calinamanisor _architecture portfolio_ 2015
calina manisor statement of purpose
Creation is a powerful skill, an intriguing ability evolving from our originalities and perspectives. The creation of the built form is but an expression of socio-cultural values (Low, 1993), therefore a manifestation of science, of the arts and of the people. It is this correlation between the practical and the transcendental worlds that has driven my passion for architecture. Having been engaged with both the construing and the constructed aspect of architecture through my academic background which moves from a Ba(Hons) Architecture Degree [University of Lincoln, UK] to a MSc Architecture and Design Degree [Aalborg University, DK], I have understood the importance of an integrated design approach that emphasizes on the correlation between structural and aesthetic aspects.
Nonetheless, the privilege of being involved in the architectural scene in a number of different countries across Europe, has contributed to my acknowledgment towards cultural diversity and the need of creating an environment that serves both the material world as well as addresses societal change. Consequently, I am confident that your practice can rightly provide me with the best resources and tools available, supporting my evolution as a promising architect while following the above mentioned architectural goal.
contents selected works from academic background and in practice experience
academic
study
01
hatlehol parish/ tectonic design _4th year MSc detailed design
competitions
05
mioritic verticality/ competition entry_internship proposal
02
repository of a disfractured society/ comprehesive design project_3rd year BA detailed design
workshops
06
the reciprocalizer/ performance aided design _4th year MSc finit product
03
transcendent materiality/ integrated design project_2nd year BA detailed design
07
a place to ascend/ tectonic design _4th year MSc finit product
04
architecture_motif of globalization/ research project_3rd year BA dissertation
08
banffy castle/ restoration workshop _ 2014 finit product
01 hatlehol parish tectonic design project_MSc sem 1 location: Alesund, Norway supervisor: Claus Kristensen
By dwelling upon a tectonic approach, the synopsis of the conducted research outlines a dynamic preliminary proposal for the Hatlehol Parish, proposal that harmoniously merges the construing with the constructed. Nonetheless, separate elements meet their requirements for static, acoustic or thermal insulation consideration. However, the aim is that through a tectonic approach and an integrated design process a successful solution is achieved when merging all components together. The departure point in the design process has been the formulation of the desired gestures of invitation, safety and ascendance, which strongly influence the design of the proposal through all stages. In an effort to achieve the initial goals, as well as harmony among all structural parts, a great number of analyses and explorations regarding statics, acoustics, lighting, as well as human perception have been made.
The final proposal for the structural system is a synthesis between load bearing systems analysed in the preliminary stage. The chosen system consists of two structural parts which cooperate and mutually eliminate their weak features. The problematic of acoustics was taken into consideration in the development of the geometry of the Church Room. During the analysis, various iterations of the wall and roof configurations have been tested, the most efficient proving to be that of the fractured surfaces which help in breaking the continuity of the convex curvature of the outer wall. Conclusively, the end result is a structure which supports the concept and gestures, as well as the dynamic movement through facade fragmentation. This fragmentation permits light infiltration into the church room and positively influences the acoustics of the geometry.
residential
nature
site directions
cemetery
The proposed site has an area of approximately 18770 square meters. To the East, the site opens up towards the cemetery, the North vista frames a view of the surrounding mountains, while in the South-West one comes across a small residential area. A main road frames the Northern boundary of the site providing several possibilities for access. Moreover, the western boundary of the site is given by a narrow water stream. The site height culminates with a peak point, the peak point, currently used for outdoor ceremonies and events. As a result of the analysis of the given location, as well as taking into consideration the requirements given in the brief, the existing parking lots are not sufficient for the new complex, and better access from the bus stops shall be provided.
acoustic distress from main street
bus stop bus stop
site access
on-site circulation
peak point
wind directions
sun light
site analysis
concept and gesture
The Church is desired to work as a landmark, while at the same time relate to the human scale, a key feature of Nordic Architecture. Therefore, a study of the phenomenological interpretation of various buildings and their heights is provided. Moreover, an analysis of distances between building volumes is considered, the latter being used in the understanding of what is acceptable with respect to the human scale. With consideration to the interior of the Church room, the height is designed as to inspire a feeling ascendence towards divinity. The choice of using a height between 20-25 meters has been made after on site surveys of different buildings in Aalborg, such as Norkraft. By choosing this height, the proposal will not only serve as landmark and icon in the Hatlehol Parish, but also create a sense of ceremoniousness for the inner space of the main Church room. The non-sacred volumes of the building complex need not be the same height as the Church room, as the meaning of ceremoniousness does not need to be attached to these other functions. Consequently, the latter must be kept in the human scale, having the aim of achieving a height of no more then max. 10 m.
movement around focal point
invitation safety ascendence
invitation
safety
ascendence
exterior of complex
interior of complex
interior of church
geometry development
1_three volumes, three functions
2_connection to the peak point
3_gesture of safety
4_sun to the courtyard
5_protection from wind
6_one origin for geometry
7_relation to human scale in courtyard
8_landmark from outside
9_movement towards ascending
10_complex connected through roof
11_framing views from courtyard
12_relationship to points of interest
13_inviting gesture to the complex
14_circulation in the courtyard
15_important functions at high ends
16_ light, acoustic, structure
the proposal
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+21,250 DETAIL A
+21,250
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STONE FLOOR OSB SHEET
DETAIL A
DETAIL A
DOUBLE FLOO
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OSB SHEETS 2
STONE FLOOR TILES (SLATE) OSB SHEET
INSULATION E DOUBLE FLOOR FOR VENTILATION
+18,300
HYDRO INSUL OSB SHEETS 2 x 20 mm
CONCRETE SL INSULATION EPS 300 mm
SPRINKLE SOI
+18,300
1 2
3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23
the
church room, 670 m2 technical room, 15 m2 additional sacristy, 13 m2 sacristy, 10 m2 sacristy for baptism, 45 m2 storage for hymn books, 15 m2 cloister room, 12 m2 church entrance hall, 50 m2 proposal cloakroom, 25 m2 children’s chapel, 75 m2 toilets, 12 m2 storage, 35 m2 meeting room, 25 m2 chapel entrance, 20 m2 chapel, 95 m2 activity room, 30 m2 class room 1, 25 m2 class room 2, 25 m2 music room, 28 m2 cloak room, 20 m2 toilets, 20 m2 storage, 12 m2 entrance hall/library, 100 m2
ORIGINAL SOIL CONCRETE SLAB 150 mm
INTERIOR BIRC
3
LATHS 40 x 50
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VAPOR BARRIE INTERIOR BIRCH CLADDING STRUCTURAL LATHS 40 x 50 mm
OSB SH VAPOR BARRIER
INSULA
OSB SH STRUCTURAL INSULATED PANEL (SIP)
HYDRO INSUL
OSB SHEET 20 mm INSULATION EPS 300 mm
2 LAYERS OF L
OSB SHEET 20 mm
EXTERIOR LAR HYDRO INSULATION LAYER
2 LAYERS OF LATHS 40 x 50 mm
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EXTERIOR LARCH CLADDING ROOF LARCH
C
2 LAYERS OF L
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HYDRO INSUL ROOF LARCH CLADDING STRUCTURAL 2 LAYERS OF LATHS 40 x 50 mm
OSB SH HYDRO INSULATION LAYER
INSULA
OSB SH STRUCTURAL INSULATED PANEL (SIP)
VAPOR BARRIE
OSB SHEET 20 mm
INSULATION EPS 350 mm LATHS 40 x 50
2
OSB SHEET 20 mm
INTERIOR BIRC VAPOR BARRIER
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2
LATHS 40 x 50 mm
INTERIOR BIRCH CLADDING
MATERIALS
MATERIALS
DETAIL B
CONCRETE
DETAIL B
DETAIL B
THERMAL INSULATION EPS
RIGID FOAM INSULATION
ORIGINAL SOIL
1 ±0,000
SECTION PLANE
SPRINKLE SOIL
-0,390
1
SECTION PL GRAVEL / PEA GRAVEL
±0,000
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-0,390 SECTION PLANE
-2,550
-2,550
±0,000 = 25,000 a
A
Designed by:
Group 6 Module:
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GSEducationalVersion
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34 14 31
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15 m
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±0,000 = 25,000 alt. Project: Designed by:
Group 6
GSEducationalVersion
C
workshop, 45 m2 toilets, 20 m2 laundry room, 15 m2 meeting/dining room, 20 m2 offices, 50 m2 technical room, 25 m2 entrance hall, 50 m2 kitchen, 40 m2 storage, 12 m2 refuse, 12 m2 congregational hall, 150 m2
2
ORIGINAL SOIL
B
24 25 26 27 28 29 30 31 32 33 34
SPRINKLE SOIL
3
7
33
HYDRO INSULATION LAYER
H
Supervisors:
Semeste
Claus Kristensen, Dario Parigi Drawing:
MSc01 A
S
Module:
Tectonic Design: Structure and Constru
Project:
Hatlehol Parish
Drawing:
Section of facade
02 repository of a disfractured society comprehensive design project_BA year3 location: Leeds, United Kingdom tutor: Paul Clarke
Architecture is a mere response to the needs and desires of society. Every architectural aspect hides a story, a reasoning that justifies its existence at a particular moment in time. The narrative of the presented project is inspired by Law’s belief that the built form is strongly intertwined with societal change. The integrity of a place lies within the user’s understanding of its socio-cultural heritage. Such is the case of the fracture appearing in a city’s urban fabric, developed as a result of the Industrial Revolution. Cities of great importance at the time of this phenomenon, had striven to maintain their status by rapidly adapting to the needs and demands of the new user, hence rapidly absorbing new demands and obliterating the old functional pattern.
Therefore, this project addresses the issue of reintegration of a forgotten area within the city of Leeds, UK dismissed after the Industrial Revolution, in the newly developed urban fabric of the city. This is achieved by dwelling upon the city’s heritage as well as the needs of the current user. Consequently, the resulted venue considers how a place can be perceived as a transitional environment between the materiality of what used to represent and what now represents the city of Leeds while dwelling upon the societal chance the city has undergone. Programmatically, the intervention intends to preserve the industrial inheritance of the location and, at the same time, provide for the new user of the city, hence transitioning from a place of desperate degradation to a major space of social and cultural public activity.
industrial
academic
economic
social district systematization
The built form is a mere reflection of the socio-cultural values of society (Low,1993:75). Therefore, any architectural phenomenon can be explained through a thorough analysis of its context. The spatial fracture in urban development, embedded in the urban fabric of Leeds city, finds its reasoning in the dramatic dynamic of the Industrial Revolution. Throughout history, emblematic cities of the time have had to maintain their eminent statuses by rapidly adapting to the requirements and demands of the new user brought in by the Industrial Revolution. Consequently, large urban areas of importance to the former user have lost their value, while the modern city continued to develop amidst.
industrial
academic
economic
movement between districts
buffer zone
buffer zone
This phenomenon of the metaphorical fracture within the urban environment has been a common sight through many cities of the Industrial Era, Leeds being an accurate example. Such an area within Leeds is that of the Little London district. This quarter finds itself on the boundary line between the modern city center, the academic quarter inhabited by the new user of the city, and the old industrial settlements.
site analysis
concept development
_nucleus preceding industrial Leeds, the city has been an important railway junction. This fact has lead to the booming development of the city during the Industrial Revolution.
_evolution following the industrialization, the city’s railway network has developed, the juxtaposition of these steel objects determining the focal point in the development of my concept.
_development the inspiration for the vocabulary of my project is inspired by the clear angles resulted from rail juxtapositioning as well as the mechanism of the steel wheels of a train.
_under-fabric
_consistency
transition
research shows that the city is built on a network of canals. Moreover, we can see here again the repetition of steel elements much like the rails mentioned previously.
the clock - a constant sight in industrial Leeds. It’s mechanism has inspired the concept narrative. Having mapped the city area similar to that of a clock, each area representing a cog; a driven analogy has shown that similar to a broken component of a clock, an ill component of a city negatively influences the whole mechanism.
art as a mechanismthe Steam-punk artistic current developed by modern artists, revealing the involuntary appeal of the new generation to the industrial past along with it’s metal mechanisms.
analog development
morphology development
vernacular strategy
site designation
gallery spaces fitted for the needs of present day society
interconnecting passage between building wings
exhibition spaces suited for works of remembrance of the old city
The geometry of the proposed venue is designed as an expression of both the industrial heritage of the city, as well as of the organic fracture between the three existing experiential quarters of Leeds. The building with its surrounding site shall act as a catalyst within the urban and social fabric of the city. Thus, the venue shall commemorate the history of Leeds through a Remembrance Museum, exposing works that dwell upon the development of the city from an industrial town to an aspiring academic center. Nevertheless, the venue shall shelter the needs of the new user- the young professional residing within the art and design realm, that has been brought in by the continuous expansion of the academic function of the city; by providing aspiring artist with exposition halls and workshops, therefore facilitating their integration within the larger scheme of the city. Moreover, the building shall act as a visual indicator of it’s programme by capturing architectural elements present in the vocabulary of Victorian industrial buildings.
atelier of creation for young professionals
building programme
the proposal
north - west elevation
south - east elevation
north - east elevation
axonometric view_1st floor
ground floor plan
concept and gesture
Morphologically, the proposal is comprised by two separate buildings represented by the Main Museum and the Atelier of Creation. The main building is intended as a transitory space that dwells upon a route through time, from the industrial past to present day. These two entities of time are stipulated at a visual level by the two wings of the building, connected through a Hall of Remembrance designed as a reenactment of the fracture of the urban fabric in Leeds.
study sections
remembrance hall
gallery space of modern art wing
03 transcendent materiality integrated design project_Ba year 2 location: Bartney Woods supervisor: Hanna Featherby
The given brief for this particular project depicted upon the proposal of a natural burial grounds estate. Through the study of a phenomenon we have been asked to design a space that finds itself in antithesis with the generic nucleus of the brief: death.
death and the life after death. Therefore, by using complementing materials such as wood and concrete the feeling of the place has been rendered to achieve different experiences of the different spaces within the building.
Therefore, the design process for this project is inspired by the allegiance between death and the organic form. The concept intends to capture the rhythm of life, englobing both evolution, as well as degradation, intertwined in a single architectural statement.
Moreover, complementing entities such as lightness and darkness supports the concept by creating an inspiring environment in which a passage through the cycle of life is mapped at a transcendental level.
Materiality has proved to be essential towards achieving the desired gesture that reflected both the life before
Thus, the proposal acts as a processional route through life, and the experiences that come along with it, while reflecting on the different levels of human existence.
analysis and concept
Parallels driven between the initial instances of the brief: death and woodlands, have shaped the existence of two experiential antithetical sensations driven by the same determinant: time. Living organisms are not only subjected to evolution, but also to degradation. These two existential happenings shape the conceptual development of the project. The expression of organic growth seen in site-specific examples, as well as experimental degradation studies conducted by myself, have determined the design decisions made within the project. Therefore, the physicality of the building is an expression of decomposition, while the morphology of the plan suggests the continuous expansion of living organisms.
organic evolution _living organism decomposition
organic evolution _organism growth
site analysis _monument positioning
building morphology
processional route
birdswatch tower
service chapel
gallery
longitudinal section
north elevation
cross sections
site plan
basement
ground floor
first floor
first floor _birdswatch tower
The organic dimension of the site with its untouched woodlands inspire the visitor to enjoy its typology beyond the nature of the place. Moreover, intending to maintain some of the features formerly present on site and aiming to preserve as much as of the environment as possible, I have decided to incorporate a birds-watch tower with a 360 degree view of the surrounding area.
ground floor _chapel
The proposal advocates an innovative approach to the concept of death. Organic degeneration is subject to reinterpretation, by attaching a divine terminology to the sinister after-death experience. Therefore, 12 pairs of concrete ribs are introduced in the design, taking on the role of a processional route that guides visitors to the center place of worship, of salvation, while expressing at a metaphorical dimension the decomposition of organic materials.
basement _gallery space
The integration of a gallery exhibiting ‘the human body’ adds to the natural dimension of the proposal, encouraging the user to have a more opened approach towards the phenomenon of death.
the venue _morpgology of space
04 architecture_a motif of globalization research project_BA year 3 dissertation tutor: Manish Mandhr
Rapid exchange of knowledge is integral to the transnational urban world, making experience everywhere essentially the same. Therefore, architecture has as well been subjected to a global standardization of its expression. Modern aspirations have rendered the material realm into a uniformed scene, regardless of tradition. This is the result of an ongoing globalization process that sustains the dissolution of geographical and, unfortunately, cultural boundaries. Has this only happened as a consequence of mass communication? Although this global homogenization has indeed been highly influenced by modern technologies that have enhanced the speed of knowledge transmission, Carroll (2007) argues that the hybridization of culture is of a probable immemorial lineage. Therefore, the research conducted within my dissertation aims to stress the meaning of primal scenes of globalization in the architectural environment, by appealing to the constant cross-cultural debate between the East
and the West. Furthermore, the objective of my paper is to assess the degree to which Islamic traditions have influenced the development of European architecture, a key pattern of development that reflects globalization in the Eurafrasian environment (landmass comprising the continents of Europe, Africa and Asia). This shall be achieved by referring to the heterogeneous fabric of Medieval Moorish Spain, encompassing Eastern as well as Western traditions. Through a brief analysis of the architectural language developed in the Hispano-Moresque environment, I aim to depict how Oriental traditions have contributed to the development of Western art and architecture. Henceforth, this paper shall aim to attest the Islamic origin of Hispano-Moresque, Gothic and Alhambresque architecture, asserting them as inspirational for later Classical and Modern European traditions that have, through the three styles mentioned above, embraced Islamic motifs as their own.
05 mioritic verticality competition entry_internship location: Cluj Napoca, Romania architect: Ivona Amaritei
The presented project has been entered as the design solution of PZP Arhitectura together with SYAA architecture office at the Cluj-Airport Control Tower Architecture Competition in December 2013.
the architectural form with the surrounding landscape, having architecture and the natural environment harmoniously interweave while complimenting the specific features of the Transylvanian hills.
The design ensemble shall be composed of two intercommunicating functional areas [as specified in the given brief for the competition]. Together these areas will have the role of assessing the control activity and well-conduct of the nearby air traffic as well as that of the takeoff and landing runway of Cluj-Napoca Airport. The concept has been formulate as the wish of integrating
My personal contribution to the project has been greatly appreciated by the two architecture practices mentioned previously, as I have researched the subject and formulated the concept behind the outlined proposal, which has been chosen out of a number of projects to represent PZP Arhitectura and SYAA at the competition.
concept and gesture
A constant debate regarded for in the present day architectural environment is that of the visual and conceptual discontinuity between the existing and the proposed environment, the old and the new architectural language. The present design proposal forms an attempt of interlinking the existing typology of a site-specific location, with the requirements of a continuously evolving environment. Therefore the visual and sensorial amenities of the mioritic landscape, specific to the suburban Cluj region, are maintained at a metaphorical level through the design of the building facades. The exterior layer of the building expresses the typology of the landscape not only through the use of a specific color palette, but also through the shape of the proposed building which embraces the organic under-layer of the site.
traditional layout
from linear organization to compression
from linear compression to organic shape
juxtaposition of the linear with the organic
juxtaposition of linear, organic and traditional
resulted amalgamate
first floor
ground floor
technical floor 1
technical floor 2
control tower
section
3d section
south-west visualization
north-west perspective
06
07
08
the reciprocalizer
a place to ascend
banffy castle
performance aided design_MSc sem1 location: Aalborg, Denmark supervisor: Dario Parigi
tectonic design_MSc sem1 location: Aalborg, Denmark supervisor: Marie Frier
restoration workshop location: Bontida, Romania supervisor: David Baxter
The Performance Aided Design workshop presented the concept of parametric design and structural analysis using the Karamba FEM plug-in for Grasshopper, as well as the Adobe Robot.
Ascending towards an inner consciousness, towards a nucleus of understanding was what we had envisioned to achieve through our proposal. Firstly, through framing the user’s viewport and formaly proposing a methaforical one-point-perspective
The restoration workshop at Banffy Castle has been organized into three different workshops comprising stone masonry, carpentry and painting.
The workshop was delivered in an optimal way, having a series of lectures and exercise groups within the first part of the experience, while the second part has comprised a hands on activity based on the use of an innovative design approach. Having learnt to use Grasshopper, Karamba and Robot in the first week, we were able to apply our knowledge further while deciding upon the reciprocal structure to be placed in the CafĂŠ pavilion.
The construction demonstrates that this experience is a consequence of the design, since it explicitly refers to the various stages in its conception [such as the design drawing and the model]. The airy composition reinforces the statement of hollowness through the proportion between solid and light.
The programme was delivered under the form of a number of lectures given from different architects and artists specialized in restoration from France, Hungary, The United Kingdom and Romania, followed up by two weeks of hands-on craftsmanship on different elements of Banffy Castle.
thankyou calimanisor@gmail.com +45 721 337062 Ane Dams Gade 13, 3 Aalborg, DK, 9400 https://calimanisor.wordpress.com/