BA hons Interior Architecture 2019/2020
PORTFOLIO
by Emeli Gรถransson
INFO
EDUCATION
Profile
PREVIOUS BA Hons in Interior Architecture Middlesex, London / Marbella Design Academy, Spain 2017-2020
Emeli Viktoria Göransson 1995.06.22
2
Position
Marbella, Spain Borås, Sweden
Economics with depth in accounting Sven Eriksson Gymnasiet, Sweden 2011-2014
Phone
+46738410015
@
Email emeligoransson@gmail.com
EXPERIENCE
SO CI A L Instagram @emeliviktoriadesign
https://www.linkedin.com/in/emeli -g%C3%B6ransson-0928b315b/
L A N G UAG ES Swedish - Native English - Fluent Spanish - Basic
ME RI TS Divers licence 3DS MAX, REVIT, CAD, Lumion Adobe Creative Suite, Office
RESUME
PC, MAC
My name is Emeli Göransson and I am a in the end of being a fulltime student in the third year towards a Bachelor of Arts in Interior Architecture. I am currently 24 years old and born in Borås, Sweden. I am an energetic and positive person which I believe comes from me growing up at my family farm. During my high school years, I was already interested in the field of design. After some years from home traveling and working I decided to go through with my design vision and left for my current education. During my past 2 years here, I haven’t been anything than thrilled by my decision.
CURRENT Interior Architect Assistant Organization, Assisting projects, Design Part-time Henoo Designs, Spain 2019 PREVIOUS Interior Design Store Worker Logistics, Service, Assisting designers Full- & part-time Estuco Interiors, Spain 2018-2019 Head waitress & Waitress Service, Flexibility, Responsibility Full- & part-time Tylösand Hotel, Sweden 2015-2017
This portfolio is dedicated to all the teachers that has helped me understand my passion in architecture and design. I am grateful to have learn as much as I have during these 3 years of study that now has come to an end. There has been many ups and downs but in the end I believe that I progressed to an designer with passion and will. The coming chapters will show you a year of designing and learning. The coming projects has been hard, but only because I have been pushing myself to do my best. Therefore I also finished the projects with joy as I believe they are achievements of my 3 years of becoming a Interior Architect. I hope that during these design projects, you can understand the way that I believe is the right way to design, for the people and also to understand me as a designer. Again, thanks to all the people that has been supporting me during the years, you have all been there and made me to the designer that I will become to be.
Chapter
One
Final Major Proje c t An Uneven So ciet y page numb er 6 - 45
Chapter
Two
Reform & Rehabilitation C o n t r a d i c t i o n page numb er 46 - 109
Chapter
Thre e
Sustainabilit y
page 110
-
& Ethics
numb er 115
Chapter
Four
Chapter
Five
Histor y of Archite c ture
Thre e M o d page 120
Dimensional e l l i n g numb er 123
page 116
-
numb er 119
Chapter
Six
M a n a g e m e n t
page 124
-
numb er 129
6
EUROPES TALLEST SKYSCRAPER For the Final Major Project, we were given a brief only describing the area for the project. The area is a current considered master plan for Marbella Port called La Bajadilla. The idea is to create the most exclusive port in Europe to attract more people to the area. Currently are the port in Puerto Banus, which is also located in Marbella, the more exclusive area in the city including high brand shops and restaurants and clubs. The area al though are not very luxurious looking and therefore it this new master plan issued. The main idea of the project that will be presented through this chapter is to create an exclusive building for the port. My idea was to create the most exclusive looking building for Europe, and what better way than presenting the tallest skyscraper in Europe.
An uneven society
FMP
Although the area is presented to be a luxurious area for the richer rich, I also wanted to include the society in the project. Where the building will function for the many. The project is therefore called an uneven society because the project is exactly that, for an uneven society. This considering and dedicating the building to the year 2020 where we have been seeing many difficulties throughout the world. This building are thereby giving people, the nature and life a new chance.
Estimated to 1000 m
Site
Analysis
C o n c e p t
Development
page
numb er 8
page
page 14
numb er 12
numb er 21
Te c h n i c a l D r a w i n g s page numb er 22 32
P r o p o s e d D e s i g n page numb er 33 45
SITE PLAN
La Bajadilla | Marbella Port
An uneven society
FMP
8
The proposed location for the building is taking its place on the master plan of Marbella Port – La Bajadilla and are one of the buildings that shall bring more luxury to Marbella Centre. The location is in the end of the bridge to be a high and steady point of the masterplan.
Reta i l A re a s
S p o r t C ra f t s p o t s
To u r i s m A re a s
The proposed harbour is divided in several areas to reach the exclusivity goal of the master plan of La Bajadilla. Where the port will include luxury retail, reaching a capacity up to 1220 sport crafts (from 6 - 120 meters, including possibility for 170 meter cruise liners to disembark.) There will also be tourism areas including hotels, restaurants etc.
CLIMATE PLAN Impact | Change
The past decade has seen relatively small progress towards addressing global climate change; we are reaching a point where the next decade will see change to our ecosystem health, fresh water supplies and climates at unprecedented levels.
W
CARBON DIOXIDE
413
Ave ra g e W i n d S p e e d
S u n Pa t h
E
Ave ra g e Wa ve H e i g h t
W - WSW
PARTS PER MILLION sw - s
GLOBAL TEMP
SEA LEVEL
17°C 3,3
SINCE 1880
Sun rises from east to west and the area has a average of 320 days of sun per year.
Average 4.38 m/s yearly
Ave ra g e Te m p e ra t u re
mm PER YEAR
Wave 1,5
height meters
Ave ra g e S e a Te m p e ra t u re
35 24
20
14
0
jan
dec
0
jan
dec
Even if we can estimate an average according to climate in the past, we today see that it very easily can change quick and that climate disasters are getting more common. This is a result of the global climate change. We only in this year have seen one of the worst fire spreads in modern history in Australia that almost reached to destroy a whole continent. This is why taking the weather and climate change to an account is very important, and also understanding that the climate is unpredictable.
average yearly.
RESEARCH
Physical & Mental Health | Nature
10
Researches has been done that discovered that spending time in nature can help with mental health problems such as anxiety and depression. Also, it has an effect on improving mood, reducing stress or anger, can improve the physical health and help to be more active. By being more active and improving the physical health will also have effects on health problems such as the ones mentioned before. Thereby can nature give a person a better health in many aspects. Due to the corona and other mental restrictions. There a long term due
pandemic we have been seeing affects such as increasing of anxiety health problems due to the social distancing and the quarantine is also believed to have a bigger affect on the physical health in to the quarantine restrictions and the less activity being pursued.
By including nature and areas to pursue activities can thereby have a big effect of the health of people. Nature will also have a better effect on the nature as it adds more oxygen to the environment and removes carbon dioxide. Which also has an great effect on the indoor environment due to higher level of oxygen.
An uneven society
FMP
C a r b o n D i ox i d e
Sunlight
Oxygen
Wa te r
RESEARCH
Wo r l d R e c o r d s | S ky s c r a p e r s
Today we are constantly trying to understand how to build higher than ever. We are constantly discovering new methods and materials that makes us build safer even if the building, in this case skyscraper, is an impressive 1000 meters or even higher.
1931
Empire State Bu ildi n g, USA Height 4 4 9 m (381 m occupia b l e )
1999
Ji n Mao Bu ildi n g, Ch i n a Height 4 21 m (382 m occupia b l e )
1973
Wil l is Tower (Sea rs Tower). US A Height 527 m (4 4 2 m occupia b l e )
1996
Petron as Twi n Towers Height 4 52 m (375 m occupia b l e )
Today the highest skyscraper is 828 meters high but there is more to come. In Saudi Arabia and in Dubai there is skyscrapers in construction that are estimated to an 1000 meters and 1300 meter height.
2021
2004
Ta i pei 101, Ta iwa n Height 508 m (4 38 m occ up ia b l e )
2008
Sha n gha i World Fi n acia l Ce n tre , C h i n a Height 4 94 m
2010
Bu rj Kha l ifa, Du ba i Height 828 m (585 m occup ia b l e )
2022
Jeddah Tower, Sa udi Ara bia Esti mated to 1000 m
Creek Tower Du ba i Esti mated to 1300 m
AN UNEVEN SOCIETY Unequal | Layers | Life
An uneven society
FMP
12
We all live in an uneven society – from uneven as literal as mountains to beaches but also uneven as unequal. Unequal in all – rases, money, power, medical care, living standard, luxury – the list will never end. It is very easy to se as of today 2020.03.23 that we also live in an uneven mind. Where it is very easy to take what you have for granted and not understand how much it actually means when you can not do it, as easy as being able to be outside in the nature or socialize with people. It is also very easy to see how helpless we are in one of these situations. How can we then help for the future? My idea is to create a building for an uneven society – to understand the difficulties we have from just going through a pandemic as we are doing today. To tackle mental and physical health problems through experiences, create an exhibition of an environment that makes people smile and in the same time can be a resource for medicine and local materials. It can also work as a helper for the environment to give Marbella and the world some extra air to breath as in the same time reducing the carbon dioxide. Also invite people to sleep looking over the ocean and clear skies that Marbella luckily has more than 300 days of the year. As an conclusion – a building that serves an uneven society.
INSPIRATION
nature | landscapes | experiences | colour | abnormal
DEVELOPMENT
An uneven society
FMP
14
B r a i n s t o r m | S ke t c h i n g
DEVELOPMENT Model making
The modelmaking was an experimenting to reach a form of the design. By working on a exterior structure I could also understand how the exterior part would affect the interior one.
DEVELOPMENT Shape
An uneven society
FMP
16
After experimenting experimenting in a
with models I 3d software to
went come
back to sketching and up with the final shape.
DEVELOPMENT Distrubution
20
The floors are distributed in three different areas. The building has a private area, an public one and a base and structure area that also includes an fire exit staircase and an service elevator. The building is distributed in different areas where the bottom part of the building is only public. This area includes spaces for rental spots. This gives people the opportunity to open their businesses in a luxurious area. The middle part of the building is the hotel and public area. This area gives the opportunity to sleep in front of the stars. It also gives the people the opportunity to be active in the public area, see a living exhibition and enjoy the nature thriving within the building. The top occupied floor will give people an opportunity to view Marbella and its surroundings on an impressive ca 600m height.
UNOCCUPIED AREA
HOTEL AREA & PUBLIC SPACE
The top part of the building is an unoccupied area that only will include service areas and structural elements.
An uneven society
FMP
The distribution following will be shown on a example floorplan as shown on the right.
EXAMPLE FLOORPLAN
PUBLIC SPACE & ENTRANCE
VIEWPOINT
DEVELOPMENT Material Boards
Public Space
P r i va te S p a c e
The materials used for the public space are chosen to give a warm and harmonic feeling as the space is directed to make people feel good. The warmth in the materials goes well together with all the vegetation that surrounds the areas.
The materials used for the private areas are chosen to be a bit more crisp than the materials in the public area. This is because the rooms should give a an more expensive and luxurious feeling. This also works well with the vegeation that also will be in the rooms. Soft fabrics are included to give the room warmth to the rather cold materials.
An uneven society
FMP
22
TECHNICAL DRAWINGS Category
Code
Title
Scale
Proposed Example Floorplan
FP01
Proposed Floorplan
1:400
Proposed Example Floorplan
FLRO01
Double Room Floorplan
1:100
Proposed Example Floorplan
FLSU01
Suite Floorplan
1:100
Proposed Example Floorplan
FLAR01
Area 01 Floorplan
1:100
Proposed Example Floorplan
FLAR02
Area 02 Floorplan
1:100
Circulation
FLCL01
Circulation Floorplan
1:400
Dimensions
FLDM01
Dimensions Floorplan Double Room
1:100
Dimensions
FLDM02
Dimensions Floorplan Suite
1:100
Section
SE01
Section AA
1:400
Section
SE02
Section AA Close up
1:100
N OT ES Purpose of proposed floorplan is to get a knowledge of the space with a holistic perspective. The floorplan is drawn in a scale of 1/400 and are purposely drawn to show the whole floor for the viewer. La Bajadilla, proposal for masterplan in Marbella
Port.
OWNER PROJECT NAME
EMELI GÖRANSSON AN UNEVEN SOCIETY
PROJECT NUMBER
002 29/05/2020
DATE
0
5M
10M
DRAWN BY
EMELI GÖRANSSON
CHECKED BY
CATERINA SPOSATO
50M
FL001 SCALE BAR: 1:400 @ A3
SCALE
1/400
N OT ES Purpose of proposed floorplan is to get a knowledge of the single rooms in the hotel. There will all have a view over the ocean or city Marbella from all bedrooms.
1
R3.03
R3.01
R3.02
AA
La Bajadilla, proposal for masterplan in Marbella Port.
KEY PLAN: PROPOSED ROOF SCALE: NTS
25.97
25.97
EXISTING ROOFLIGHT TO BE REMOVED AND REPLACED.
1no. ENLARGED REPLACEMENT CONSERVATION ROOFLIGHT. UNIT TO MATCH COLOUR AND PROFILE OF EXISTING ROOFLIGHTS AND PROJECTING NOT MORE THAN 150MM ABOVE THE LINE OF THE PITCHED ROOF.
AA 24.98
24.06
22.34
2 22.07
STAIRS
0 40
M
M
VI
E
BL
SI
R EA
CL
BEDROOM
22.14
BATHROOM
BEDROOM
21.85
21.70
21.85
21.78
21.85 SECOND FLOOR
HANGING
SHELVES
SECOND FLOOR
20.34 20.34
20.34
STORAGE
19.29
2
KEY PLAN: PROPOSED THIRD FLOOR SCALE: NTS
3
19.29
19.29
PARTIAL SECTION AA. THIRD FLOOR AS EXISTING. SCALE, 1:100 @ A3
19.29
4
PARTIAL SECTION AA. THIRD FLOOR AS PROPOSED SCALE, 1:100 @ A3
OWNER
EMELI GÖRANSSON
PROJECT NAME
AN UNEVEN SOCIETY
PROJECT NUMBER
002 29/05/2020
DATE DO NOT SCALE WORKING DIMENSIONS FROM THIS DRAWING
Thomas Croft Architect DRAWN BY 325 Latimer Road,EMELI GÖRANSSON 9 Ivebury Court, London W10 6RA Telephone 020 8962 0066, Facsimile 020 8962 0088 www.thomascroft.com email@thomascroft.com
CHECKED BY 0
1M
2M
5M
10M
CATERINA SPOSATO
JOB TITLE:
3 ILCHESTER PLACE.
FLSR01
SCALE BAR: 1:100 @ A3
* DATE
INITIAL ISSUE DESCRIPTION
16.07.14 REVISION
DRAWING TITLE:
PARTIAL SECTION A-A', AS EXISTING & AS PROPOSED.
SCALE SCALE:
DRAWN BY:
DATE (D.M.Y):
16.07.14
1:100@A3
DWG ISSUE:
LAWFUL DEVELOPMENT CERTIFICATE
JOB NUMBER:
273
DWG NUMBER:
P03
REVISION:
*
1/100
F
N OT ES
1
R3.03
R3.01
R3.02
AA
A E
Purpose of proposed floorplan is to get a knowledge of the suites that will be available in the hotel. The suites will include several bedrooms and bathrooms.
P L
La Bajadilla, masterplan in
S 1
proposal for Marbella Port.
KEY PLAN: PROPOSED ROOF SCALE: NTS
25.97
25.97
EXISTING ROOFLIGHT TO BE REMOVED AND REPLACED.
1no. ENLARGED REPLACEMENT CONSERVATION ROOFLIGHT. UNIT TO MATCH COLOUR AND PROFILE OF EXISTING ROOFLIGHTS AND PROJECTING NOT MORE THAN 150MM ABOVE THE LINE OF THE PITCHED ROOF.
AA 24.98
24.06
VI
E
BL
SI
AR
E
24
22.34 22.07 STAIRS
M 00
M
CL
BEDROOM
22.14
BATHROOM
BEDROOM
21.85
21.70
21.85
21.78
21.85 SECOND FLOOR
HANGING
SHELVES
SECOND FLOOR
20.34 20.34
20.34
STORAGE
19.29
2
KEY PLAN: PROPOSED THIRD FLOOR SCALE: NTS
3
19.29
19.29
PARTIAL SECTION AA. THIRD FLOOR AS EXISTING. SCALE, 1:100 @ A3
19.29
4
PARTIAL SECTION AA. THIRD FLOOR AS PROPOSED SCALE, 1:100 @ A3
OWNER
EMELI GÖRANSSON
PROJECT NAME
AN UNEVEN SOCIETY
PROJECT NUMBER
002 29/05/2020
DATE DO NOT SCALE WORKING DIMENSIONS FROM THIS DRAWING
Thomas Croft Architect DRAWN BY EMELI GÖRANSSON 9 Ivebury Court, 325 Latimer Road, London W10 6RA Telephone 020 8962 0066, Facsimile 020 8962 0088 www.thomascroft.com
CHECKED BY email@thomascroft.com 0
1M
2M
5M
10M
CATERINA SPOSATO
JOB TITLE:
3 ILCHESTER PLACE. FLSU01
SCALE BAR: 1:100 @ A3
* DATE
INITIAL ISSUE DESCRIPTION
16.07.14 REVISION
DRAWING TITLE:
PARTIAL SECTION A-A', AS EXISTING & AS PROPOSED.
SCALE SCALE:
DRAWN BY:
DATE (D.M.Y):
16.07.14
1:100@A3
DWG ISSUE:
LAWFUL DEVELOPMENT CERTIFICATE
JOB NUMBER:
273
DWG NUMBER:
P03
REVISION:
*
1/100
N OT ES
E
F CA
P
U OP
Elevator
Elevator
Elevator
Purpose of proposed floorplan is to get a knowledge of the base structure of the building. There is positioned a staircase for safety reasons and an industrial elevator for easy accessibility workwise.
Drawing Name FL001
Elevator
Author Bajadilla, proposal for Emeli Göransson
La R3.03
R3.01
R3.02
P
AA
masterplan
in
Marbella
Project La Bajadilla
Port.
Scale 1/400
1
KEY PLAN: PROPOSED ROOF SCALE: NTS
25.97
25.97
EXISTING ROOFLIGHT TO BE REMOVED AND REPLACED.
1no. ENLARGED REPLACEMENT CONSERVATION ROOFLIGHT. UNIT TO MATCH COLOUR AND PROFILE OF EXISTING ROOFLIGHTS AND PROJECTING NOT MORE THAN 150MM ABOVE THE LINE OF THE PITCHED ROOF.
AA 24.98
Elevator Elevator
24.06
SI
R
A LE
24
22.34 22.07 STAIRS
E BL
00
M
M
VI
Elevator
BEDROOM
C
22.14
Elevator
BATHROOM
BEDROOM
21.85
21.70
21.85
21.78
Elevator
21.85 SECOND FLOOR
HANGING
SHELVES
SECOND FLOOR
20.34 20.34
20.34
STORAGE
19.29
2
KEY PLAN: PROPOSED THIRD FLOOR SCALE: NTS
3
19.29
19.29
PARTIAL SECTION AA. THIRD FLOOR AS EXISTING. SCALE, 1:100 @ A3
19.29
4
PARTIAL SECTION AA. THIRD FLOOR AS PROPOSED SCALE, 1:100 @ A3
OWNER
EMELI GÖRANSSON
PROJECT NAME
AN UNEVEN SOCIETY
PROJECT NUMBER
002 29/05/2020
DATE DO NOT SCALE WORKING DIMENSIONS FROM THIS DRAWING
Thomas Croft Architect DRAWN BY EMELI GÖRANSSON 9 Ivebury Court, 325 Latimer Road, London W10 6RA Telephone 020 8962 0066, Facsimile 020 8962 0088 www.thomascroft.com
CHECKED BY email@thomascroft.com Elevator
0
1M
2M
5M
10M
Elevator
CATERINA SPOSATO
JOB TITLE:
Elevator Elevator
3 ILCHESTERFLAR01 PLACE.
SCALE BAR: 1:100 @ A3
* DATE
INITIAL ISSUE DESCRIPTION
16.07.14 REVISION
DRAWING TITLE:
PARTIAL SECTION A-A', AS EXISTING & AS PROPOSED.
SCALE SCALE:
DRAWN BY:
DATE (D.M.Y):
16.07.14
1:100@A3
DWG ISSUE:
LAWFUL DEVELOPMENT CERTIFICATE
JOB NUMBER:
273
DWG NUMBER:
P03
REVISION:
*
1/100
N OT ES Purpose of proposed floorplan is to get a knowledge of the restaurant/ cafe area where companies will have availability to rent spaces. The space is focused on being able to have social dis tans if needed.
AA
Drawing Name FL001
EAuthor F A Emeli Göransson
C P U
R3.03
R3.01
R3.02
La
P O
P
1
Bajadilla,
masterplan
proposal
in
Marbella
for Port
.
Project La Bajadilla Scale 1/400
KEY PLAN: PROPOSED ROOF SCALE: NTS
25.97
25.97
EXISTING ROOFLIGHT TO BE REMOVED AND REPLACED.
1no. ENLARGED REPLACEMENT CONSERVATION ROOFLIGHT. UNIT TO MATCH COLOUR AND PROFILE OF EXISTING ROOFLIGHTS AND PROJECTING NOT MORE THAN 150MM ABOVE THE LINE OF THE PITCHED ROOF.
AA 24.98
24.06
VI
E
BL
SI
AR
E
24
22.34 22.07 STAIRS
M 00
M
CL
BEDROOM
22.14
BATHROOM
BEDROOM
21.85
21.70
21.85
21.78
21.85 SECOND FLOOR
HANGING
SHELVES
SECOND FLOOR
20.34 20.34
20.34
T
STORAGE
POIN
19.29
2
KEY PLAN: PROPOSED THIRD FLOOR SCALE: NTS
3
19.29
19.29
PARTIAL SECTION AA. THIRD FLOOR AS EXISTING. SCALE, 1:100 @ A3
19.29
4
PARTIAL SECTION AA. THIRD FLOOR AS PROPOSED SCALE, 1:100 @ A3
OWNER
EMELI GÖRANSSON
EW
PROJECT NAME
AN UNEVEN SOCIETY
PROJECT NUMBER
002 29/05/2020
DATE DO NOT SCALE WORKING DIMENSIONS FROM THIS DRAWING
Thomas Croft Architect DRAWN BY EMELI GÖRANSSON 9 Ivebury Court, 325 Latimer Road, London W10 6RA Telephone 020 8962 0066, Facsimile 020 8962 0088 www.thomascroft.com
CHECKED BY email@thomascroft.com 0
1M
2M
5M
10M
CATERINA SPOSATO
JOB TITLE:
3 ILCHESTER PLACE.
FLAR02
SCALE BAR: 1:100 @ A3
* DATE
INITIAL ISSUE DESCRIPTION
16.07.14 REVISION
DRAWING TITLE:
PARTIAL SECTION A-A', AS EXISTING & AS PROPOSED.
SCALE SCALE:
DRAWN BY:
DATE (D.M.Y):
16.07.14
1:100@A3
DWG ISSUE:
LAWFUL DEVELOPMENT CERTIFICATE
JOB NUMBER:
273
DWG NUMBER:
P03
REVISION:
*
1/100
N OT ES
Purpose of proposed floorplan is to show the circulation for the example floor. La Bajadilla, masterplan in
proposal Marbella
Hotel
Rooms
Public
for Port
Area
B a t h r o o m s Fire
Exit
&
OWNER PROJECT NAME
Service
EMELI GÖRANSSON AN UNEVEN SOCIETY
PROJECT NUMBER
002 29/05/2020
DATE
0
5M
10M
DRAWN BY
EMELI GÖRANSSON
CHECKED BY
CATERINA SPOSATO
50M
FLCL01 SCALE BAR: 1:400 @ A3
SCALE
1/400
N OT ES AA
Purpose of proposed floorplan is to get an knowledge of the dimensions of the proposed hotel rooms.
masterplan in Marbella Port
R3.03
R3.01
R3.02
L a B a j a d i l l a , p ro p o s a l f o r
8.50
3.60
3.00
0.90
7.00
2.80
2.80
1
0.90
KEY PLAN: PROPOSED ROOF
5.80
SCALE: NTS
3.00
25.97
4.40
EXISTING ROOFLIGHT TO BE REMOVED AND REPLACED.
1no. ENLARGED REPLACEMENT CONSERVATION ROOFLIGHT. UNIT TO MATCH COLOUR AND PROFILE OF EXISTING ROOFLIGHTS AND PROJECTING NOT MORE THAN 150MM ABOVE THE LINE OF THE PITCHED ROOF.
AA
8.50
24.98
0.90
25.97
24.06
VI
E
BL
SI
AR
E
24
22.34 22.07 STAIRS
M 00
M
CL
BEDROOM
22.14
BATHROOM
BEDROOM
21.85
21.70
21.85
21.78
21.85
0.90 SECOND FLOOR
HANGING
SHELVES
SECOND FLOOR
20.34 20.34
20.34
STORAGE
19.29
2
KEY PLAN: PROPOSED THIRD FLOOR SCALE: NTS
3
19.29
19.29
PARTIAL SECTION AA. THIRD FLOOR AS EXISTING. SCALE, 1:100 @ A3
19.29
4
PARTIAL SECTION AA. THIRD FLOOR AS PROPOSED SCALE, 1:100 @ A3
OWNER
EMELI GÖRANSSON
PROJECT NAME
AN UNEVEN SOCIETY
PROJECT NUMBER
002 29/05/2020
DATE DO NOT SCALE WORKING DIMENSIONS FROM THIS DRAWING
Thomas Croft Architect DRAWN BY EMELI GÖRANSSON 9 Ivebury Court, 325 Latimer Road, London W10 6RA Telephone 020 8962 0066, Facsimile 020 8962 0088 www.thomascroft.com
CHECKED BY email@thomascroft.com 0
1M
2M
5M
10M
CATERINA SPOSATO
JOB TITLE:
3 ILCHESTER PLACE.
FLDM01
SCALE BAR: 1:100 @ A3
* DATE
INITIAL ISSUE DESCRIPTION
16.07.14 REVISION
DRAWING TITLE:
PARTIAL SECTION A-A', AS EXISTING & AS PROPOSED.
SCALE SCALE:
DRAWN BY:
DATE (D.M.Y):
16.07.14
1:100@A3
DWG ISSUE:
LAWFUL DEVELOPMENT CERTIFICATE
JOB NUMBER:
273
DWG NUMBER:
P03
REVISION:
*
1/100
N OT ES Purpose of proposed floorplan is to get a knowledge of the dimensions of the hotel suites.
AA
La
Bajadilla,
proposal
for
1
R3.03
R3.01
R3.02
masterplan in Marbella Port.
0.90
KEY PLAN: PROPOSED ROOF SCALE: NTS
25.97
25.97
EXISTING ROOFLIGHT TO BE REMOVED AND REPLACED.
2.50
1no. ENLARGED REPLACEMENT CONSERVATION ROOFLIGHT. UNIT TO MATCH COLOUR AND PROFILE OF EXISTING ROOFLIGHTS AND PROJECTING NOT MORE THAN 150MM ABOVE THE LINE OF THE PITCHED ROOF.
AA 24.98
9.10 24.06
E
4.25 22.34
2.98
24 22.07
STAIRS
VI
E
BL
SI
AR
M 00
M
CL
BEDROOM
22.14
BATHROOM
1.75
2.25
BEDROOM
HANGING
SHELVES
21.85
21.70
2.00
0.90
21.85
21.85
21.78
2.75
SECOND FLOOR
0.90
SECOND FLOOR 20.34 20.34
20.34
STORAGE
19.29
19.29
19.29
19.29
8.50
3.00 3.15 4.37 2
KEY PLAN: PROPOSED THIRD FLOOR SCALE: NTS
3
PARTIAL SECTION AA. THIRD FLOOR AS EXISTING. SCALE, 1:100 @ A3
3.00
4
PARTIAL SECTION AA. THIRD FLOOR AS PROPOSED SCALE, 1:100 @ A3
OWNER
EMELI GÖRANSSON
PROJECT NAME
6.00
AN UNEVEN SOCIETY
PROJECT NUMBER
6.00
002 29/05/2020
DATE DO NOT SCALE WORKING DIMENSIONS FROM THIS DRAWING
Thomas Croft Architect DRAWN BY EMELI GÖRANSSON 9 Ivebury Court, 325 Latimer Road, London W10 6RA Telephone 020 8962 0066, Facsimile 020 8962 0088 www.thomascroft.com
CHECKED BY email@thomascroft.com 0
1M
2M
5M
10M
CATERINA SPOSATO
JOB TITLE:
3 ILCHESTER PLACE.
FLDM02
SCALE BAR: 1:100 @ A3
* DATE
INITIAL ISSUE DESCRIPTION
16.07.14 REVISION
DRAWING TITLE:
PARTIAL SECTION A-A', AS EXISTING & AS PROPOSED.
SCALE SCALE:
DRAWN BY:
DATE (D.M.Y):
16.07.14
1:100@A3
DWG ISSUE:
LAWFUL DEVELOPMENT CERTIFICATE
JOB NUMBER:
273
DWG NUMBER:
P03
REVISION:
*
1/100
N OT ES
a
Purpose of proposed section it to get an understanding of the different heights in the building. La Bajadilla, proposal for masterplan in Marbella Port
a
0.50
4.50
9.00 0.50
3.00
0.50
OWNER PROJECT NAME
EMELI GÖRANSSON AN UNEVEN SOCIETY
PROJECT NUMBER
002 29/05/2020
DATE
0
5M
10M
DRAWN BY
EMELI GÖRANSSON
CHECKED BY
CATERINA SPOSATO
50M
SE01
SCALE BAR: 1:400 @ A3
SCALE
1/400
N OT ES
a AA
R3.03
R3.01
R3.02
Purpose of proposed section is to get an understanding of different heights in the building. There is also dimensions in the section to be more accurate. La Bajadilla, proposal for masterplan in Marbella Port
a 0.50
1
KEY PLAN: PROPOSED ROOF SCALE: NTS 4.50 0.50
4.50
25.97
25.97
EXISTING ROOFLIGHT TO BE REMOVED AND REPLACED.
1no. ENLARGED REPLACEMENT CONSERVATION ROOFLIGHT. UNIT TO MATCH COLOUR AND PROFILE OF EXISTING ROOFLIGHTS AND PROJECTING NOT MORE THAN 150MM ABOVE THE LINE OF THE PITCHED ROOF.
AA
9.00
24.98
9.00 0.50
0.50
24.06
R EA
0.50
22.34
2 22.07
3.00
STAIRS
0 40
M
M
VI
E
BL
SI
3.00
CL
BEDROOM
22.14
BATHROOM
BEDROOM
21.85
21.70
21.85
21.78
21.85 SECOND FLOOR
HANGING
SHELVES
SECOND FLOOR
20.34 20.34
20.34
0.50
STORAGE
19.29
2
KEY PLAN: PROPOSED THIRD FLOOR SCALE: NTS
3
19.29
19.29
PARTIAL SECTION AA. THIRD FLOOR AS EXISTING. SCALE, 1:100 @ A3
19.29
4
PARTIAL SECTION AA. THIRD FLOOR AS PROPOSED SCALE, 1:100 @ A3
OWNER
EMELI GÖRANSSON
PROJECT NAME
AN UNEVEN SOCIETY
PROJECT NUMBER
002 29/05/2020
DATE DO NOT SCALE WORKING DIMENSIONS FROM THIS DRAWING
Thomas Croft Architect DRAWN BY 325 Latimer Road,EMELI GÖRANSSON 9 Ivebury Court, London W10 6RA Telephone 020 8962 0066, Facsimile 020 8962 0088 www.thomascroft.com email@thomascroft.com
CHECKED BY 0
1M
2M
5M
10M
CATERINA SPOSATO
JOB TITLE:
3 ILCHESTERSE02 PLACE.
SCALE BAR: 1:100 @ A3
* DATE
INITIAL ISSUE DESCRIPTION
16.07.14 REVISION
DRAWING TITLE:
PARTIAL SECTION A-A', AS EXISTING & AS PROPOSED.
SCALE SCALE:
DRAWN BY:
DATE (D.M.Y):
16.07.14
1:100@A3
DWG ISSUE:
LAWFUL DEVELOPMENT CERTIFICATE
JOB NUMBER:
273
DWG NUMBER:
P03
REVISION:
*
1/100
46
A house for contradiction The project a house for contradiction is a project dedicated to the poverty in one of the poorest regions in Spain, Andalusia. The purpose of the project is to give people the opportunity to feel free and equal as others. The space is there to give a location where everyone can be the same and can learn from each-other . This as learning is the most important tool to get understood, to understand and to progress. During the research done there is easily seen that due to the low intelligence in the area it also results in low income or low employments . This space is therefore there to help people with this problem.
Contradiction
R & R
The space is created to have areas where you can feel less exposure because of the long wooden structure hugging the interior surfaces. This is designed to give people a comfort in the same time as representing something that will hold you together.
A n a l y s i s page numb er 48 61
C o n c e p t page numb er 64
Development page numb er 66 69
Te c h n i c a l D r a w i n g s page numb er 70 99
P r o p o s e d D e s i g n page numb er 100 109
SITE ANALYSIS
Contradiction
R & R
48
Site Journey
Latitude 36.63 Longitude -4.830609999999979
02
01
01
01
03 - The village Monda 01 - Choosen abandoned building Building who hasen't been finished building. Presently it's only a structure with slabs, a half roof & primary and secondary pillars built.
This traditional villages has much to offer already. It has many different kinds of bars and resterants. It has a oliveoil factory that produces high quality olive oil and in the edge of monda there is also a wineyard which produces local wine. The villages also offers hairdressers, small supermarkets, playgrounds and a hotel with great food and rooms with magical views.
02 - Close surroundings The area where the structure sits is in a calmer area where it hasent been built to many buidings yet. The area is also up on a higher top then most of the village. The structure is surrounded by a kindergarden and a gym which is placed in a newer buidling just across. There is also some recidentials close by and a view point with a religoius and cultural statue.
04 - South West About 20 minutes drive from Monda, one of the more famous citys in Andalucia is found, Marbella. This city offers luxury in its whole. From resturant to yatches to million villas. This town drags turists from the whole world all year around.
05 - East About 30 minutes east of Monda, is Malaga located. This is the bigger town found closed to the village and offers a cultural history. it is also where the airport is located and
01
02
02
RESEARCH Poverty
50
Poverty is divided in to two groups. The absolute poverty easy explained is a lack of necessities for survival. It can include starving, lack of clean water, proper housing, sufficient clothing, lack of medicine or struggling to stay alive. The other group is called relative poverty. That is explained as being much worse than the general standard of the living in the country or region that it is affecting. Which means that the person concerned struggles tom live a normal life and having a hard time participating in ordinary economic, social and cultural activities. This varies from different countries depending on the living standard in the area. To count poverty, it is looked in to 3 different stages. The risk of monetary poverty (AROP indicator), materially poverty (SMP indicator) and living in the households with very low work intensity. If falling under one of the stages, the person is counted as risk of poverty. In Europe if falling under 60 % of the median income, people are said to be “at risk of monetary poverty” and is included in the group below poverty line. Measuring the poverty gap can help to asses in which state poor people falling below a poverty threshold actually are, that is the intensity of poverty.
Contradiction
R & R
Andalucia Andalucía is one of the communities with the highest poverty and/or social exclusion. Just after the community Extremadura with the highest points, Andalucía presents 38.2 % of the total population– which is 12.1 points above the state average and effects 3.2 million people. The community has a severe poverty rate (people with income below 30 % of the median) of 9.9 % which is 4.2 points higher than the national averages and the highest of all the autonomous communities.
“15.7 % have delays in payments of housing expenses.”
“13,4 % cannot afford to keep the right temperature in their homes.”
“48 % cannot afford to go on vacation at least one week per year.”
“50 % have no capacity to meet unforeseen expenses.”
“In 2017, 112.8 million people in the EU lived in households at risk of poverty or social exclusion; 22.4 % of the population.”
“9.5 % of the population aged 0-59 years in the EU lived in households with very low work intensity in 2017.”
SITE ANALYSIS
Sunpath & Climate Monda that is in Costa Del Sol has mainly good weather and sun over 300 days a year. This makes South of Spain one of the most weather secure area in Europe and brings many tourists from all over the world. The area has not much rain and bad weather days and is considered a normal to warm climate. On the picture on the right, is the sun path of the chosen building. The sun rises in the east and sets in the west. On the left side is the yearly rainfall and temperature shown.
SOCIAL ANALYSIS Inter views
Spanish Local Woman
Swedish Local Woman
I think it would be good with a place that is different from the places we have since before. It's just opening coffee places everywhere. It would be fun to see something new in the town.
I would like to have a cafe or a area where we could work or hang. A place that is creative and calm. We have many of this places in Sweden. Where you can grab a nice coffee or some posteries and work on your jobs from the computer. A place that gives oppertunities to a lot of people,
Local people
Student
I would be nice with something that helps the community in somehow. We have alot of people who dosent have a lot in the village. Maybe something for them, who has a hard time.
2018
We think we're missing somewhere where we could study and work on or projects that isnt in the school. A creative place that can help our study flow.
2523 ppl 1981
1836 ppl
SOCIAL ANALYSIS
54
Cultures
Andalucía and Monda has many traditions and cultures that has been through the years. The most important of these happenings is that the people gathers and socialize. From the simplest as a holiday to the celebration of Easter, all gathers on the streets of Monda. The events makes people to bring together as a small family, which is because of the size of the town but also because its traditions and cultures.
1 de Enero Año Nuevo 7 de Enero Lunes siguiente a Epifanía 28 de Febrero Día de Andalucía 18 de Abril Jueves Santo 19 de Abril Viernes Santo 1 de Mayo Fiesta del Trabajo 15 de Agosto Asunción de la Virgen 16 de Agosto Festivo Local
Contradiction
R & R
19 de Agosto Festivo Local 12 de Octubre Fiesta Nacional de España 1 de Noviembre Todos los Santos 6 de Diciembre Día de la Constitución Española 9 de Diciembre Lunes siguiente a la Inmaculada Concepción 25 de Diciembre Natividad del Señor
BUILDING ANALYSIS C u r r e n t Co n d i t i o n
The buildings condition is in a unfinished state with only the structure built so far. The building has many primary and secondary pillars in concrete that keeps the structure steady. It’s also buildings both on the left and right side which gives the structure even more stability. It has some brick showing on the right side of the building, coming from the exterior walls of the neighbour building. The building has 3 floors connected by an un built staircase that is unsteady as it doesn’t have a great primary structure. This goes for the two staircases in the building. There are holes opened up for the passage to the other floors but is right now covered up for safety reasons.
9,56 m
8,9 m
BUILDING ANALYSIS Current Materials
The building stands in the middle of two other buildings. On the left it’s a apartment complex and on the right another abandon building. The building is only built up with the structural pillars and
56
slabs and a staircase to the top. The whole structure is made out of concrete and the tighside wall is covered with bricks. It’s also a big plant growing inside the building on the right side that covers the staircase. Otherwise than that, the building is standing open and you can easily see through the building out to the open greenspace.
Front Elevation
BUILDING ANALYSIS Surroundings
Backside Elevation
BUILDING ANALYSIS
Contradiction
R & R
58
Existing Floorplans
Existing floorplans made out of the measured dimensions on the spot. The building consists of three floors. Ground floor, First floor and Second floor. There is a staircase leading up to all floors on the right side of the building made of concrete. Seen on the right side is the drawn up floorplans with basic measurements. More detailed measurements are shown in the technical drawings.
Ground Floor
First Floor
Second Floor
CLIENT
60
EAPN
The European Anti-Poverty Network is the largest European network of national, regional and local networks, involving anti-poverty NGOs and grassroot groups as well as European Organizations, active in the fight against poverty and social extension. The network is established all over Europe and has 31 national networks of voluntary organizations and 13 European organizations. The membership of the EAPN is involved in a variety of activities aimed at combating poverty and social exclusion including, education and training activities, service provision and activities aimed at the participation and empowerment of people experiencing poverty and social exclusion. Together the membership of EAPN aims to put the fight against poverty high on the agenda of the EU and to ensure cooperation at EU level aimed at the eradication of poverty and social exclusion.
Funding of the Network
Contradiction
R & R
The european Anti-Poverty Network are funded by the European Commission. This project is to propose a design that can work as a hub for education, help and communicate the problem that we are facing in the world. The idea is that the hub should be the start of a place that can work in any country and will fill the functions and visions that the EAPN has.
The network’s mission is to - Raise awareness about poverty - Empower the people living in poverty and social exclusion. - Enhance the effectiveness of actions to eradicate poverty. - To lobby for and with people and groups facing poverty and social exclusion. EAPN includes the objectives of gender equality and nondiscrimination in all its areas of work.
ANALYSIS OUTCOME Location
The location proposed for this purpose is a suitable starting point because of its big variety of people. The purpose can because of that spread through the different nationalities. The village is also struggling with partly poverty, especially during hard periods and climate changes. During the hard rains and storms the roads and buildings are very affected and makes many people to struggle. The area is also suitable because of its partly tourism to the castle, the vineyard and the olive oil factory which is just some things that makes people visit Monda. The building which is located in a bit calmer area of Monda is great for its purpose. The area is a relativity new area with less buildings and houses, but still easily accessible. Because of its less activities around the proposed building, the shame of somebody intruding on your privacy is much lesser than it would be in the center of the village. Still, as said easily accessible and on a spot where the view can be considered to the design of the building. The creation of a calm and inspiring area is very important for the buildings purpose.
Functions & Purposes The different functions of the building are all focused to educate and show people how they can raise awareness, empower people and how help the people that is affected. The idea is to have different areas for education and classes for both volunteers that want to help and for the people who needs help. The classes should include ways of reusing and upcycling products that can have a new life which also will be focused on sustainability. An area for social difficulties will be proposed for the building, to let people talk to each other and push for a nonsocial exclusion. There will also be a proposed area for donation. A proposed educational area should also be located in the building. Shortly different
explained areas -
the building should Creative, Socual &
include 3 Educational.
RESEARCH
62
Biomimicry
Biomimicry is an approach to innovation that seeks sustainable solutions to human challenges by emulating nature´s time-tested patterns and strategies. Broken down, it stands for Life (Bio) & imitate (mimicry). Mostly this method leads to a way creating a more sustainable environment. As nature already has had time to adapt to the life we are living now. Life can make it simpler for us, as life is working on what the nature has to offer already. It’s Is not creating new substances to then benefit from that. It makes chemistry on what we already have, on water with local expertise. An example of biomimicry is the solar panel systems we have today. They mimic how the leaves harvest energy. The new artificial leaves combined chlorophyll with carbon materials, generates renewable energy and winds. This results in greater efficiency and lower cost. Another example is the kinetic architecture implementations tend to imitate the excellent mobility of nature and kinetic architecture implementations are somehow investigated in biomimicry studies.
Glassbutterfly (Greta Oto) I looked into the butterflies that reflects lights with their wings to achieve a patterned wing that for the human eye is beautiful.
Contradiction
R & R
More into the research I found a butterfly that doesn’t reflect to achieve this characteristic, it instead sends the light through the wing and the light reflects to the surrounding, which makes the wings transparent. This through a small structure, about 50-1000 times thinner than a hair. The idea of creating a transparent or translucent surface as when you look through your hair made me very inspired. The butterfly also has other characteristics that should be mentioned. As it can carry about 40 times more than its own weight. The butterfly is also a poisoned one, because the cocoon is positioned on a poisoned tree and during its time in the cocoon, it is sucking up the poison. To protect itself, except of the transparent wings, the cocoon is glossy to implement a raindrop which also is a very interesting characteristic. The whole way of the butterfly’s life was very inspiring for me and I wanted to implement this in to the functions and problems found during the analyses to create a design concept for my building.
DEVELOPMENT Co n c e p t
CONCEPT
64
As a conclusion on the functions and the design the concept became the thing closing the loop. The words unfocused and focus came to my mind. Where the graduation of going from something unfocused to focused can be a way to interpret the functions in to the design. As the design and the purpose of the design should help to get people more aware of today’s problem both locally and worldwide. From looking at the glass butterfly and its way of showing what’s going on behind the scenes through its glass wings. Also as it with its thin structure can hold up weight that is just unbelievable for us people – this concept should help people get strength and believes.
Unfocused
Contradiction
R & R
def. not brought into focus; lacking proper focus or lacking a clear purpose or direction.
Focused def. a central point, as of attraction, attention, or activity or to bring to a focus or into focus; cause to converge on a perceived point.
INSPIRATION
Phantom Odile Decq | Pavilion Igor Pantic and Fologram
DEVELOPMENT
Contradiction
R & R
66
Shape
During the development of the shape of the building I brainstormed by sketching. The main purpose were to understand how a shape could give the concept a more literal feeling inside the space. Here I was trying to understand my idea and to give the shape a comforting purpose.
DEVELOPMENT Shape
Contradiction
R & R
68
After sketching the ideas I went further in to the 3d software to understand how it could take shape inside the actual space given for the project. In the beginning the experimenting was very conceptual and simple and then I went further with giving the shape a more complex look. This to give the shape a higher purpose and experience to the building.
Experimenting spaces using different softwares
TECHNICAL DRAWINGS Code
Title
Scale
Existing Drawings
EX01
Existing Floorplan Ground Floor
1:50
EX02
Existing Floorplan First Floor
1:50
EX03
Existing Floorplan Second Floor
1:50
EX04
Existing Elevation East Side
1:100
EX05
Existing Elevation West Side
1:100
DP01
Ground Floor
1:50
DP02
First Floor
1:50
DP03
Second Floor
1:50
PF01
Proposed Floorplan Ground Floor
1:50
PF02
Proposed Floorplan First Floor
1:50
PF03
Proposed Floorplan Second Floor
1:50
QU01
Quotations Ground Floor
1:50
QU02
Quotations First Floor
1:50
QU03
Quotations Second Floor
1:50
CP01
Circulation Plan
1:50
CP02
Circulation Plan
1:50
CP03
Circulation Plan
1:50
SE01
Section 01
1:50
SE02
Section 02
1:50
SE03
Section 03
1:50
Exterior Elevation
EE01
Exterior Elevation West Side
1:100
Interior Elevation
IE01
Interior Elevation Close Up
1:20
70
Category
Demolish Plan
Proposed Floorplan
Quotation Plan
Contradiction
R & R
Circulation Plan
Sections
Category
Code
Title
Scale
Finishes Plan
FP01
Finishes Plan Ground Floor
1:50
Finishes Plan
FP02
Finishes Plan First Floor
1:50
Finishes Plan
FP03
Finsihes Plan Second Floor
1:50
General Arrangement
GP01
General Arrangemen All Floors
1:100
Electricityplan
LP01
Electricity Schedule All Floors
1:100
Doors & Windows
DW01
Doors & Windows Schedule All Floors
1:00
N OT ES Existing ground floor. The building does not have any built walls. The building only includes structural pillars and a plant growing from the floor. The staircase is missing several steps in the beginning.
OWN E R
E M E L I G Ö RANSSO N
P ROJ ECT NAM E
CASA DE LA CONTRADICCIÓN
P ROJ ECT N U M B E R
0 01
DAT E
5M
0
10M
24-11 - 201 9
D RAWN BY
E M E L I G Ö RANSSO N
C H EC KE D BY
CAT E RI NA S POSATO
E X01 SCALE BAR: 1:50 @ A3
SCAL E
1 : 50
N OT ES Existing first floor. The building does not have any built walls. The floor only includes structural pillars and a fully staircas to the second floor.
OWN E R
E M E L I G Ö RANSSO N
P ROJ ECT NAM E
CASA DE LA CONTRADICCIÓN
P ROJ ECT N U M B E R
0 01
DAT E
5M
0
10M
24-11 - 201 9
D RAWN BY
E M E L I G Ö RANSSO N
C H EC KE D BY
CAT E RI NA S POSATO
E X02 SCALE BAR: 1:50 @ A3
SCAL E
1 : 50
N OT ES Existing second floor. The building does not have any built walls. The floor only includes structural pillars and a fully staircase coming from the first floor.
OWN E R
E M E L I G Ö RANSSO N
P ROJ ECT NAM E
CASA DE LA CONTRADICCIÓN 0 01
P ROJ ECT N U M B E R DAT E
5M
0
D RAWN BY
E M E L I G Ö RANSSO N
C H EC KE D BY
CAT E RI NA S POSATO
10M
E X03 SCAL E
SCALE BAR: 1:50 @ A3
24-11 - 201 9
1 : 50
N OT ES
1
R3.03
R3.01
R3.02
AA
KEY PLAN: PROPOSED ROOF SCALE: NTS
25.97
25.97
EXISTING ROOFLIGHT TO BE REMOVED AND REPLACED.
1no. ENLARGED REPLACEMENT CONSERVATION ROOFLIGHT. UNIT TO MATCH COLOUR AND PROFILE OF EXISTING ROOFLIGHTS AND PROJECTING NOT MORE THAN 150MM ABOVE THE LINE OF THE PITCHED ROOF.
AA 24.98
24.06
22.34
2 22.07
STAIRS
0 40
M
M
VI
E
BL
SI
R EA
CL
BEDROOM
22.14
BATHROOM
BEDROOM
21.85
21.70
21.85
21.78
21.85 SECOND FLOOR
HANGING
SHELVES
SECOND FLOOR
20.34 20.34
20.34
STORAGE
19.29
2
KEY PLAN: PROPOSED THIRD FLOOR
3
SCALE: NTS
19.29
19.29
19.29
PARTIAL SECTION AA. THIRD FLOOR AS EXISTING.
4
SCALE, 1:100 @ A3
PARTIAL SECTION AA. THIRD FLOOR AS PROPOSED
OWN E R
SCALE, 1:100 @ A3
E M E L I G Ö RANSSO N
P ROJ ECT NAM E
-0.30
-0.60
DAT E DO NOT SCALE WORKING DIMENSIONS FROM THIS DRAWING
1M
2M
5M
0 01
P ROJ ECT N U M B E R
0.00
D RAWN BY C H EC KE D BY
0
CASA DE LA CONTRADICCIÓN
02-1 2- 201 9 E M E L I G Ö RANSSO N
Thomas Croft Architect 9 Ivebury Court, 325 Latimer Road, London W10 6RA Telephone 020 8962 0066, Facsimile 020 8962 0088 www.thomascroft.com email@thomascroft.com
CAT E RI NA S POSATO
E X04
10M
JOB TITLE:
3 ILCHESTER PLACE.
SCALE BAR: 1:100 @ A3
* DATE
INITIAL ISSUE DESCRIPTION
DRAWING TITLE:
16.07.14 REVISION
DWG ISSUE:
LAWFUL DEVELOPMENT CERTIFICATE
SCAL E
PARTIAL SECTION A-A', AS EXISTING & AS PROPOSED. SCALE:
DRAWN BY:
DATE (D.M.Y):
16.07.14
1:100@A3 JOB NUMBER:
273
DWG NUMBER:
P03
REVISION:
*
1 :1 0 0
N OT ES
1
R3.03
R3.01
R3.02
AA
KEY PLAN: PROPOSED ROOF SCALE: NTS
25.97
25.97
EXISTING ROOFLIGHT TO BE REMOVED AND REPLACED.
1no. ENLARGED REPLACEMENT CONSERVATION ROOFLIGHT. UNIT TO MATCH COLOUR AND PROFILE OF EXISTING ROOFLIGHTS AND PROJECTING NOT MORE THAN 150MM ABOVE THE LINE OF THE PITCHED ROOF.
AA 24.98
24.06
22.34
2 22.07
STAIRS
0 40
M
M
VI
E
BL
SI
R EA
CL
BEDROOM
22.14
BATHROOM
BEDROOM
21.85
21.70
21.85
21.78
21.85 SECOND FLOOR
HANGING
SHELVES
SECOND FLOOR
20.34 20.34
20.34
STORAGE
19.29
2
KEY PLAN: PROPOSED THIRD FLOOR SCALE: NTS
3
19.29
19.29
19.29
PARTIAL SECTION AA. THIRD FLOOR AS EXISTING.
4
SCALE, 1:100 @ A3
OWN E R
E M E L I G Ö RANSSO N
PARTIAL SECTION AA. THIRD FLOOR AS PROPOSED SCALE, 1:100 @ A3
P ROJ ECT NAM E 0.00
-0.20
DAT E
-1.33
D RAWN BY
DO NOT SCALE WORKING DIMENSIONS FROM THIS DRAWING
C H EC KE D BY 1M
2M
5M
0 01
P ROJ ECT N U M B E R
-1.33
0
CASA DE LA CONTRADICCIÓN
02-1 2- 201 9 E M E L I G Ö RANSSO N
Thomas Croft Architect 9 Ivebury Court, 325 Latimer Road, London W10 6RA Telephone 020 8962 0066, Facsimile 020 8962 0088 www.thomascroft.com email@thomascroft.com
CAT E RI NA S POSATO
E X05
10M
JOB TITLE:
3 ILCHESTER PLACE.
SCALE BAR: 1:100 @ A3
* DATE
INITIAL ISSUE DESCRIPTION
16.07.14 REVISION
SCAL E
DRAWING TITLE:
PARTIAL SECTION A-A', AS EXISTING & AS PROPOSED. SCALE:
DRAWN BY:
DATE (D.M.Y):
16.07.14
1:100@A3
DWG ISSUE:
LAWFUL DEVELOPMENT CERTIFICATE
JOB NUMBER:
273
DWG NUMBER:
P03
REVISION:
*
1 :1 0 0
N OT ES
D e m o lis h p la n G ro u n d F lo o r L EG E N D TO BE DEMOLISH TO BE BUILT
OWN E R
E M E L I G Ö RANSSO N
P ROJ ECT NAM E
CASA DE LA CONTRADICCIÓN 0 01
P ROJ ECT N U M B E R DAT E
5M
0
D RAWN BY
E M E L I G Ö RANSSO N
C H EC KE D BY
CAT E RI NA S POSATO
D P01
10M SCAL E
SCALE BAR: 1:50 @ A3
24-11 - 201 9
1 : 50
N OT ES Demolish plan 1st Floor
L EG E N D TO BE DEMOLISH TO BE BUILT
OWN E R
E M E L I G Ö RANSSO N
P ROJ ECT NAM E
CASA DE LA CONTRADICCIÓN 0 01
P ROJ ECT N U M B E R DAT E
5M
0
D RAWN BY
E M E L I G Ö RANSSO N
C H EC KE D BY
CAT E RI NA S POSATO
10M
D P02 SCAL E
SCALE BAR: 1:50 @ A3
24-11 - 201 9
1 : 50
N OT ES
D e m o lis h p la n 2n d F lo o r L EG E N D TO BE DEMOLISH TO BE BUILT
OWN E R
E M E L I G Ö RANSSO N
P ROJ ECT NAM E
CASA DE LA CONTRADICCIÓN 0 01
P ROJ ECT N U M B E R DAT E
5M
0
D RAWN BY
E M E L I G Ö RANSSO N
C H EC KE D BY
CAT E RI NA S POSATO
10M
D P03 SCAL E
SCALE BAR: 1:50 @ A3
24-11 - 201 9
1 : 50
N OT ES Proposed Floorplan Ground Floor
OWN E R
E M E L I G Ö RANSSO N
P ROJ ECT NAM E
CASA DE LA CONTRADICCIÓN
P ROJ ECT N U M B E R
0 01 24-11 - 201 9
DAT E
5M
0 SCALE BAR: 1:50 @ A3
10M
D RAWN BY
E M E L I G Ö RANSSO N
C H EC KE D BY
CAT E RI NA S POSATO
P F01 SCAL E
1 : 50
N OT ES Proposed Floorplan 1st Floor
OWN E R
E M E L I G Ö RANSSO N
P ROJ ECT NAM E
CASA DE LA CONTRADICCIÓN
P ROJ ECT N U M B E R
0 01 24-11 - 201 9
DAT E
5M
0 SCALE BAR: 1:50 @ A3
10M
D RAWN BY
E M E L I G Ö RANSSO N
C H EC KE D BY
CAT E RI NA S POSATO
P F02 SCAL E
1 : 50
N OT ES Proposed Floorplan 2nd Floor
OWN E R
E M E L I G Ö RANSSO N
P ROJ ECT NAM E
CASA DE LA CONTRADICCIÓN
P ROJ ECT N U M B E R
0 01
DAT E
5M
0 SCALE BAR: 1:50 @ A3
10M
24-11 - 201 9
D RAWN BY
E M E L I G Ö RANSSO N
C H EC KE D BY
CAT E RI NA S POSATO
P F03 SCAL E
1 : 50
N OT ES
E M E L I G Ö RANSSO N
OWN E R P ROJ ECT NAM E
CASA DE LA CONTRADICCIÓN
P ROJ ECT N U M B E R
0 01
DAT E
5M
0
D RAWN BY
E M E L I G Ö RANSSO N
C H EC KE D BY
CAT E RI NA S POSATO
Q U01
10M SCAL E
SCALE BAR: 1:50 @ A3
03-1 2- 201 9
1 : 50
N OT ES
E M E L I G Ö RANSSO N
OWN E R P ROJ ECT NAM E
CASA DE LA CONTRADICCIÓN
P ROJ ECT N U M B E R
0 01
DAT E
5M
0 SCALE BAR: 1:50 @ A3
24-11 - 201 9
D RAWN BY
E M E L I G Ö RANSSO N
C H EC KE D BY
CAT E RI NA S POSATO
10M
Q U02 SCAL E
1 : 50
N OT ES
OWN E R
E M E L I G Ö RANSSO N
P ROJ ECT NAM E
CASA DE LA CONTRADICCIÓN
P ROJ ECT N U M B E R
0 01
DAT E
5M
0 SCALE BAR: 1:50 @ A3
10M
24-11 - 201 9
D RAWN BY
E M E L I G Ö RANSSO N
C H EC KE D BY
CAT E RI NA S POSATO
Q U03 SCAL E
1 : 50
N OT ES C i rc u lat i o n Ro ute L EG E N D STAF F RO U T E D ISAB L E C I RC U L AT I O N RO U T E C I RC U L AT I O N RO U T E
OWN E R
E M E L I G Ö RANSSO N
P ROJ ECT NAM E
CASA DE LA CONTRADICCIÓN
P ROJ ECT N U M B E R
0 01
DAT E
5M
0
10M
24-11 - 201 9
D RAWN BY
E M E L I G Ö RANSSO N
C H EC KE D BY
CAT E RI NA S POSATO
C P01 SCALE BAR: 1:50 @ A3
SCAL E
1 : 50
N OT ES C i rc u lat i o n Ro ute L EG E N D STAF F RO U T E D ISAB L E C I RC U L AT I O N RO U T E C I RC U L AT I O N RO U T E
OWN E R
E M E L I G Ö RANSSO N
P ROJ ECT NAM E
CASA DE LA CONTRADICCIÓN
P ROJ ECT N U M B E R
0 01
DAT E
5M
0
10M
24-11 - 201 9
D RAWN BY
E M E L I G Ö RANSSO N
C H EC KE D BY
CAT E RI NA S POSATO
C P02 SCALE BAR: 1:50 @ A3
SCAL E
1 : 50
N OT ES C i rc u lat i o n Ro ute L EG E N D STAF F RO U T E D ISAB L E C I RC U L AT I O N RO U T E C I RC U L AT I O N RO U T E
OWN E R
E M E L I G Ö RANSSO N
P ROJ ECT NAM E
CASA DE LA CONTRADICCIÓN
P ROJ ECT N U M B E R
0 01
DAT E
5M
0
10M
24-11 - 201 9
D RAWN BY
E M E L I G Ö RANSSO N
C H EC KE D BY
CAT E RI NA S POSATO
C P03 SCALE BAR: 1:50 @ A3
SCAL E
1 : 50
N OT ES
0.30
S e c t i o n P la n A - A
2.75
0.30
2.75
0.30
3.56
OWN E R
E M E L I G Ö RANSSO N
P ROJ ECT NAM E
CASA DE LA CONTRADICCIÓN
P ROJ ECT N U M B E R 0.00
-2.00
5M
0 SCALE BAR: 1:50 @ A3
0 01
DAT E
02-1 2- 201 9
D RAWN BY
E M E L I G Ö RANSSO N
C H EC KE D BY
CAT E RI NA S POSATO
10M
S E01 SCAL E
1 : 50
NOTES
0.30
S e c t i o n P la n B - B
2.75
0.30
2.75
0.30
OWN E R
3.56
E M E L I G Ö RANSSO N
P ROJ ECT NAM E
CASA DE LA CONTRADICCIÓN
P ROJ ECT N U M B E R
5M
TECHNICAL DRAWING SCALE BAR: 1:50 @ A3
01 -1 2- 201 9
DAT E
0.00
0
0 01
10M
D RAWN BY
E M E L I G Ö RANSSO N
C H EC KE D BY
CAT E RI NA S POSATO
S E02
-2.00 -3.00
SCAL E
1 : 50
NOTES
0.30
S e c t i o n P la n C - C
2.75 6.91
0.30
2.75 3.86 0.30
OWN E R
3.56
E M E L I G Ö RANSSO N
P ROJ ECT NAM E
CASA DE LA CONTRADICCIÓN
P ROJ ECT N U M B E R 0.00
5M
D RAWN BY
E M E L I G Ö RANSSO N
C H EC KE D BY
CAT E RI NA S POSATO
10M
S E03 SCAL E
SCALE BAR: 1:50 @ A3
01 -1 2- 201 9
DAT E
0.00
0
0 01
1 : 50
NOTES Interior Elevation Plan A-A
OWN E R
E M E L I G Ö RANSSO N
P ROJ ECT NAM E
CASA DE LA CONTRADICCIÓN
P ROJ ECT N U M B E R
0 01
DAT E
02-1 2- 201 9
D RAWN BY
E M E L I G Ö RANSSO N
C H EC KE D BY
CAT E RI NA S POSATO
I E01 SCAL E
1 : 20
NOTES Exterior Elevation Plan A-A
1
R3.03
R3.01
R3.02
AA
KEY PLAN: PROPOSED ROOF SCALE: NTS
25.97
EXISTING ROOFLIGHT TO BE REMOVED AND REPLACED.
1no. ENLARGED REPLAC ROOFLIGHT. UNIT T PROFILE OF EXI PROJECTING NOT MORE LINE
AA 24.98
24.06
22.34 22.07 STAIRS
BATHROOM
BEDROOM
21.85
21.70
21.85
21.78
21.85
HANGING
SHELVES
SECOND FLOOR 20.34
STORAGE
19.29
19.29
19.29
19.29
OWN E R 2
KEY PLAN: PROPOSED THIRD FLOOR SCALE: NTS
3
E M E L I G Ö RANSSO N
PARTIAL SECTION AA. THIRD FLOOR AS EXISTING. SCALE, 1:100 @ A3
P ROJ ECT NAM E
CASA DE LA CONTRADICCIÓN
P ROJ ECT N U M B E R
0 01
DAT E
0
1M
2M
5M
D RAWN BY
E M E L I G Ö RANSSO N
C H EC KE D BY
CAT E RI NA S POSATO
E E01
10M
SCAL E SCALE BAR: 1:100 @ A3
02-1 2- 201 9
1 :1 0 0
N OT ES Floor & Wall Finishes Plan Ground Floor
F01 - Polished Concrete W01 - Exposed Concrete W02 - Graffiti Wall S01 - Treated Pine Wood S02 - Treated Pine Wood Outdoor
W02
S01 F01 W01
OWN E R
E M E L I G Ö RANSSO N
P ROJ ECT NAM E
CASA DE LA CONTRADICCIÓN
P ROJ ECT N U M B E R S02
5M
0
10M
0 01
DAT E
02-1 2- 201 9
D RAWN BY
E M E L I G Ö RANSSO N
C H EC KE D BY
CAT E RI NA S POSATO
F P01 SCALE BAR: 1:50 @ A3
SCAL E
1 : 50
N OT ES Floor & Wall Finishes Plan First Floor
F01 - Polished Concrete W01 - Exposed Concrete W02 - Graffiti Wall S01 - Treated Pine Wood W02
S02 - Treated Pine Wood Outdoor
F01
S01
W01
OWN E R
E M E L I G Ö RANSSO N
P ROJ ECT NAM E
CASA DE LA CONTRADICCIÓN
P ROJ ECT N U M B E R S02
5M
0
10M
0 01
DAT E
02-1 2- 201 9
D RAWN BY
E M E L I G Ö RANSSO N
C H EC KE D BY
CAT E RI NA S POSATO
F P02 SCALE BAR: 1:50 @ A3
SCAL E
1 : 50
N OT ES
F lo o r & Wa ll F i n is h es P la n S e co n d F lo o r F01 - Polished Concrete S01
W01 - Exposed Concrete W02 - Graffiti Wall S01 - Treated Pine Wood S02 - Treated Pine Wood Outdoor W02
F01
W01
OWN E R
E M E L I G Ö RANSSO N CASA DE LA CONTRADICCIÓN
P ROJ ECT NAM E
0 01
P ROJ ECT N U M B E R S02
5M
0
10M
DAT E
02-1 2- 201 9
D RAWN BY
E M E L I G Ö RANSSO N
C H EC KE D BY
CAT E RI NA S POSATO
F P03 SCALE BAR: 1:50 @ A3
SCAL E
1 : 50
N OT ES KEY PLAN: PROPOSED ROOF
1
Ground Floor
SCALE: NTS
First Floor
25.97
AA
Second Floor
EXISTING ROOFLIGHT TO BE REMOVED AND REPLACED.
1no. ENLARGED REPLACEMENT CO ROOFLIGHT. UNIT TO MATCH C PROFILE OF EXISTING ROOF PROJECTING NOT MORE THAN 150MM LINE OF THE PIT 24.98
2
3
4
3
2 3 3
1
1
1
1
3
1
1
2 3
2 3
4
24.06
22.34
G e n e ra l Ar ra n g e m e nt P la n 22.07
STAIRS
2
BEDROOM
2 3
4
STORAGE
21.85
4 3
2 4
21.85
21.70
21.78
21.85
SECOND FLOOR
HANGING
3
SHELVES
2
BATHROOM
3
4
20.34
2 3 19.29
19.29
19.29
19.29
2 4
2 4 2
0
KEY PLAN: PROPOSED THIRD FLOOR SCALE: NTS
1M
2M
5M
3
PARTIAL SECTION AA. THIRD FLOOR AS EXISTING. SCALE, 1:100 @ A3
10M
SCALE BAR: 1:100 @ A3
OWN E R
E M E L I G Ö RANSSO N CASA DE LA CONTRADICCIÓN
P ROJ ECT NAM E 1
Bar Stool Taburete Beas By Doñana
3
Fabrics for cushions Inessa Cirrus Romo Group
0 01
P ROJ ECT N U M B E R DAT E
2
Fabrics for cushions Japura Jasper Romo Group
4
Fabrics for cushions Inessa Magnesium Romo Group
04-1 2- 201 9
D RAWN BY
E M E L I G Ö RANSSO N
C H EC KE D BY
CAT E RI NA S POSATO
GA01 SCAL E
1 :1 0 0
N OT ES AA
C
Ground Floor
First Floor
Second Floor R3.03
R3.01
R3.02
C
E le c t ri c ity P la n
TV
TV TV
TV
TV
Main Distribution board C
Light Controller
C
Pendent Light
A
Light Utillity
C C C
C
Plafond Light
C
TV
C
MOV
1
MOV
KEY PLAN: PROPOSED ROOF
Electricity Utillity
Pendent Light
Led Stripe
Wall light
Recessed Spotlight
SCALE: NTS
25.97
MOV
TV
TV
Outdoor Spotlight
EXISTING ROOFLIGHT TO BE REMOVED AND REPLACED.
TV Screen
1no. ENLARGED REPLACEMENT ROOFLIGHT. UNIT TO MATCH PROFILE OF EXISTING RO PROJECTING NOT MORE THAN 150 LINE OF THE
Electricity Socket
AA 24.98
MOV
TV
MOV
Automatic Sensor
MOV
24.06
C 22.34 22.07
Elea PF785 Black by Joana Bover BOVER Barcelona
STAIRS
BATHROOM
BEDROOM
21.85
C
HANGING
Skybell Linear S/9L/20 Black by Estudi Manel Molina BOVER Barcelona
MOV
19.29
19.29
19.29
MOV
OWN E R
MOV
2
KEY PLAN: PROPOSED THIRD FLOOR
3
SCALE: NTS
Led Strips
COBO LED Dark Grey Wall Lamp Ref. 70404 by Faro Barcelona A C
TV TV TV TV
E M E L I G Ö RANSSO N
PARTIAL SECTION AA. THIRD FLOOR AS EXISTING. SCALE, 1:100 @ A3
P ROJ ECT NAM E
CASA DE LA CONTRADICCIÓN
P ROJ ECT N U M B E R
0 01
DAT E A
02-1 2- 201 9
D RAWN BY
E M E L I G Ö RANSSO N
C H EC KE D BY
CAT E RI NA S POSATO
MOV
MOV
E P01
MOV MOV
0
1M
2M
SCALE BAR: 1:100 @ A3
TV
21.85
TV 19.29
Bright Eye G2 Bend White 2700K Light Source - LED. Hide-a-lite by Elektro Elco AB Recessed down lights mounted directed upward.
Noburo Dark Grey Ref. 70576 Outdoor Projection Light by Faro Barcelona
21.78
20.34
STORAGE
C
21.85
21.70
SECOND FLOOR SHELVES
C
JUNG KNX System Domotic System to control security, lights, sound
5M
A A
10M
SCAL E
1 :1 0 0
N OT ES 1
KEY PLAN: PROPOSED ROOF SCALE: NTS
25.97
EXISTING ROOFLIGHT TO BE REMOVED AND REPLACED.
Ground Floor
First Floor
Second Floor
D01
1no. ENLARGED REPLACEMENT CO ROOFLIGHT. UNIT TO MATCH C PROFILE OF EXISTING ROOF PROJECTING NOT MORE THAN 150MM LINE OF THE PIT
D02
AA
24.98
W01 W01
W01
W02
W02
W01
24.06
W02
22.34 22.07 STAIRS
BATHROOM
D o o rs & Wi n d ows S c h e d u le
Width: 2150-6000 mm Height: 2100-2700 mm BEDROOM
21.85
ASSA ABLOY Entrance Systems
Beam mounted, doors and side screens
21.70
21.85
21.85
21.78
Le g e n d
HANGING
SHELVES
SECOND FLOOR
D01
D02
D03
STORAGE D01
19.29
Width: 3180 mm D03mm Height: 3560
D02
19.29
D04
20.34
19.29
*
D04
IQ GLASS, Solar Control Glazing
19.29
Custom made glazing
* Width: 2150-6000 mm Height: 2100-2700 mm
D04
Width: 810 mm Height: 2100 mm
ASSA ABLOY Entrance Systems
SWEDOOR
Beam mounted, doors and side screens
W01
2
W02
Door suited for wet areas
Width: 2150-6000 mm Height: 2100-2700 mm
Width: 810 mm Height: 2100 mm
ASSA ABLOY Entrance Systems
KEY PLAN: PROPOSED THIRD FLOOR
3
SCALE: NTS
SWEDOOR
PARTIAL SECTION AA. THIRD FLOOR AS EXISTING. Beam mounted, doors and side screens
Door suited for wet areas
Width: 1000 mm Height: 2100 mm
Width: 1570 mm Height: 2100 mm
SWEDOOR
SWEDOOR
Slidning door
Door suited for wet areas
Width: 1000 mm Height: 2100 mm
Width: 1570 mm Height: 2100 mm
SWEDOOR
SWEDOOR
Slidning door
Door suited for wet areas
SCALE, 1:100 @ A3
W01
W02
W03
D02
W01
D03
D01
W03
W02
W03
W03
W03
Width: 3180 mm Height: 3560 mm
Width: 4820 mm Height: 3560 mm
IQ GLASS, Solar Control Glazing
IQ GLASS, Solar Control Glazing
Custom made glazing
Width: 3180 mm Height: 3560 mm
Width: 4820 mm Height: 3560 mm
IQ GLASS, Solar Control Glazing
IQ GLASS, Solar Control Glazing
Custom made glazing
1M
2M
5M
IQ GLASS, Solar Control Glazing
Custom made glazing
Custom made glazing
Width: 3180 mm Height: 3560 mm
Width: 4820 mm Height: 3560 mm
IQ GLASS, Solar Control Glazing
IQ GLASS, Solar Control Glazing
Custom made glazing
0
Width: 3160 mm Height: 3560 mm
Custom made glazing
Width: 3160 mm Height: 3560 mm IQ GLASS, Solar Control Glazing
Custom made glazing
Custom made glazing
10M
SCALE BAR: 1:100 @ A3
Ass a Abloy Prote ct G lass Slid i ng Do or System ASSA ABLOY SL500P TightSeal Mechanic locking 2000 mm width 2200 mm height
OWN E R
E M E L I G Ö RANSSO N
P ROJ ECT NAM E
CASA DE LA CONTRADICCIÓN D01
P ROJ ECT N U M B E R Swedoor Clever Line Bathroom Door suitable for wet areas. 810 mm & 1000 mm width 2100 mm height Colour - Black
IQGlass - Glass Wall Solar Control Glazing Custom Made Glass 3180 x 3560 mm, 3180 x 2750 mm 4820 x 3560 mm, 4820 x 2750 mm 3160 x 3560 mm, 3160 x 2750 mm Colour
0 01
DAT E
02-1 2- 201 9
D RAWN BY
E M E L I G Ö RANSSO N
C H EC KE D BY
CAT E RI NA S POSATO
DW01 SCAL E
1 :1 0 0
SUS, HIA, 3D
In Architecture
Sustainability & Ethics, History of Architecture & Parametric Design
SUS. HIA .
110
In this chapter we go through three parts of the theoretical project. The different components are Sustainability and Ethics, History of Modern Architecture and Parametric Design in 3D software.
S us t ain abili t y & Ethics page numb er 112 115
Histor y of Architec ture page numb er 116 119
Parametric D e s i g n page numb er 120 123
SUSTAINABILITY In Architecture
Sustainability & Ethics, History of Architecture & Parametric Design
SUS. HIA .
112
Shortly explained sustainability in architecture addresses the negative environmental impacts of the building. By utilizing design methods, energy materials and development spaces that are not detrimental to the surrounding ecosystem or communities. To achieve sustainability in architecture natural resources and conditions on site must be taken in consideration and be incorporated into the design wherever feasible. Meaning utilizing materials that will minimize the structures environmental footprint. Ways to interpret this is to understand what we do not need and what we do. How we can minimize long transportations, high energy-intensive manufacturing, to build with recycled materials or to even build a recyclable building. Both the architect and the builder must consider employing systems into the design and the performance to harness waste and reuse it in an as efficient way as possible. To attain a sustainable architecture, it must begin with research, mostly to understand the site and to understand what is around the building that can be able to be used. Also, to determine the natural conditions and constrains that should be considered.
Social
Impact
To understand a building from the social perspective there is ways to research and determinate practices to propose planning, design and building projects. One of the most important social impact is the culture. Easily seen, companies goes ahead of themselves and provides help to groups that is not the person that “owns� the land that they are trying to build on. The actual owner of the land is the people that visits it every day, the people that lives near and see the area every day and the people that works in close areas. The people that create the culture in the spot. Therefore, it is very important to engage the community in the entire life-cycle of the project, to make them socially interactive and making them feel accepted doing so. There is also important to design with sensitivity to the local culture and to address that the design will give back to the community. Also, when looking at social impacts usually includes benefits of health and wellbeing, not just around the building but also inside it. It is proven that workers in green,
well-ventilated offices record a 101 percent increase in cognitive scores (brain functions). Many researchers are focusing on this as the social aspect is getting more and more important, especially seeing from a work perspective. It creates a happier, healthier and a more productive lifestyle for the concerned person.
the building need to eliminate the negative impacts on the environment by using different techniques as said earlier. It also needs to have a positive impact by generating for example their own energy or increasing biodiversity. Today has the building sector the largest potential for significantly reducing greenhouse gas emission compared to other major emitting sectors and can by 2050 be 50 percent more energy efficient. This is not achieved by not taking responsibility and choosing the cheap materials that is produced in non-local areas, which in the end likely will make the building cost more money that it would have had to been doing. By thinking of the environmental impact of a building is the smartest economic and social choice a company can do and has affect on all the impacts – social, economic, functional and environmental.
Environmental I m p a c t In an environmental perspective there is many ways of reducing negative impacts. The main problem is being focused on is energy efficiency as the production of a building needs a lot of energy. From research to materials to construction. To find materials and new ways of working can therefore lead to a less energy efficient buildings which will have a less cost and a better impact on the environment. To consider what materials to use for the construction has a great impact of the environment. We do not realize that we are externalizing costs on society by this. To decide to use local materials or local workers can lead to a better community and a better social impact on the architecture. The building, if being sustainable environmentally will have better impacts on health problems that also will lead to less pressure on the hospitals and other likewise services which also is less impact on the social side of the sustainability. Not only does
F u n c t i o n a l I m p a c t By taking the social and environmental impacts into consideration to a building you will probably achieve functionality into the building as you research the needs and wants of cultures, people and environment. The functionality also needs to be considered into positioning of different objects, both interior and exterior to make the building both environmentally and socially functional. For example, the functionality of putting a window at one specific spot will also have both social and environmental impact of the building. The same goes for the furniture or the circulation in the building. In the does all 3 impact relay on each-other and by considering them for a design project will help understanding perspectives from those impacts.
DESIGN STRATEGIES Sustainable
T h e F r o n t i e r Pr o j e c t Green buildings refer to both structure and the application of the process that are environmentally responsible and resourceefficient throughout a building cycle. From planning a design to construction, operation, maintenance, renovation and demolition. Usually when designing sustainable or green buildings we look at different strategies that will have an affect on the building and how the people will act inside of it. There are passive sustainable design strategies, active sustainable design strategies, renewable energy system strategies, green building and finishes strategies, native landscaping strategies, the list goes on, but these is some of the most used once. All these strategies are in some way planned to reduce the negative environmental impact from a built environment. The passive sustainable design strategy is a passive strategy. This means considering the sun placement an its operation before deciding position or angle for the proposed building or idea. This to create less energy cost for the building by working with natural light inside the building, and natural heating by thermal mass for example. There is also a passive strategy ‘to consider climate and wind to create different types of natural ventilation for the building which also is a good choice for energy costs. All these strategies are “free” and therefore called passive. The Active Sustainable Design strategy is when mechanical and electrical engineers are consulting to implement high-efficiency electrical, plumbing, HVAC systems and other types techniques which all are designed to have a small impact on the environment and leads the building to be more sustainable. The Renewable Energy Systems Strategies are when systems like solar harnessing or wind energy is taken to consideration which also is a great option for many buildings. There means that buildings can work with less cost or even non cost for electricity as they are powered by natural resources. There systems are often used in conjunction with passive design strategies.
Green Building Materials and Finishes strategies are to choose materials from companies that use environmentally responsible manufacturing techniques or/and recyclable materials. Native Landscaping strategies can have a big impact in civil building water consumption. By using vegetation that are native to the area, there can greatly reduce irrigation needs. It can also be used as part of passive energy strategies – as planting vegetation for shading roofs or windows during the hottest part of the day etc.
A building with many creative sustainable strategies is the Frontier Project by HMC Architects. The project is located in Rancho Cucamonga, California was partnered with the Cucamonga Valley Water District when being built. This building is called to be “A Demonstration in Sustainability”. The goal of the project was to make residential consumers, commercial builders and sustainable advocates aware of alternative building methods to inspire and encourage sustainability. The end result of the project is a demonstration of facility that represents one of the best practises for energy and water conversation. This from filtering rain to sustainable roof strategies and visitors constantly exposed to green technologies. The projects are describes to be a dynamic and natural light filled showcase of architectural materials – including terrazzo flooring and recycled glass chips. Also highly textured insulated concrete walls contrasted against FSC certified wood ceilings. Some • • •
•
of
the
strategies
used
is
Sloped walls – to allow light to penetrate deeper inside of the building and allow more window surface area. Connection to nature – making views of native trees and plants to allow connectivity. Cooling tower – as southern California has a warm climate, the tower harness cool air by water evaporation and forces the air to spread out in the building. Thermal mass – The thick walls decided for the project absorbs the hat slowly and releases it during the cool nights which insulates the interior environment from the outside temperature differences.
The building through its methods and strategies achieved LEED Platinum certification and is one of the most sustainable facilities in California, US.
SUSTAINABLE ARCHITECTURE Co n s i d e r i n g t h e p a n d e m i c 2 0 2 0
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2 0 - 0 3 - 2 0 2 0 As of today, 20-03-2020 there is 246,657 confirmed cases of the pandemic and 10,059 deaths all over the world.1 When we see this numbers we believe that the pandemic is not worse than a regular influenza that kills up to 61,000 people per year. 2 What makes us be more afraid of this disease than a normal influenza then? You better understand that social media is one of the causes – also as of today, it has been mentioned at least 19,000,000 times. 3
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Architecture, not at least sustainable one is very important for us today and as Le Corbusier gives functionality to his building 4, has to be considered not just as how we have been living but also how we will live after going through one of the worlds for now biggest natural disaster.
D e a l b r e a k e r Sustainable architecture and green architecture are today “cool” and implemented in most buildings that are being built today. Architecture is not today only a field for those people, it today includes scientists, environmental researchers, bio engineers etc. – you get the point, it is no longer one specified field which makes this area so very interesting. There is also why we as architects or one of the all other fields that today is included in the field is not only working on architecture today or architectures beauty for the eye or architecture that will give the society and culture what they need today. There is a more forward thinking were these new field tries to predict the future of living and of being. 5 As a pandemic as of today could be predicted by people, but not as soon as it has come, and this will be a dealbreaker for architecture in its whole. As we now see how people reacts to these difficulties that the pandemic is brining with it. Seeing videos online on how people are panicking and bunkering food. Also, the consequences from not being able to leave the home and the anxiety of not being able to work or seeing family and friends. 6 We can look back to an architect as Le Corbusier and one of his as of today master pieces Unité d’Habitation. The way this is designed is only on the functions of what people needed then to be satisfied in their social community. A way of designing after peoples need and a rather impressive way of implementing the social impact. We can from him, mimic his idea and create a design that will suit for the future and be the main point of the social impact of our sustainable architecture.7
Do
we
understand
How can we then create an architecture that will predict these, obvious problems and needs that all the population will need to survive, but also so obvious problems that we necessarily do not think about them, things we take for granted. By looking into famous architects and how they implemented future needs and functions in one way of doing it, also understanding what this pandemic has been showing us and will show us is very important. To create a sustainable architecture is not always only about seeing energy costs and construction time, do not get me wrong. It is also important in the matter, but we also need to understand people’s needs and through that create an architecture that focus on all parts and can withstand the coming natural disasters that we are facing.
References 1. https://www.worldometers.info/coronavirus/ 2. https://www.cdc.gov/flu/about/burden/index.html 3. https://www.vox.com/recode/2020/3/12/21175570/ coronavirus-covid-19-socialmedia-twitter-facebook-google 4. J. Pile & J. Gura (Forth Edition - 2013) ‘Le Corbusier´ A history of Interior Design p. 341 – 349 5. http://mclennan-design.com/about/jason-f-mclennan/ 6. https://time.com/5802802/social-media-coronavirus/ 7. J. Pile & J. Gura (Forth Edition - 2013) ‘Le Corbusier´ A history of Interior Design p. 341 - 349
BIOPHILIA
Love of LIFE
H o p e f u l l y, everybody understands this by now All years researching and discovering has led us to a new way of living, creating and seeing the world. We have now gone from throwing refrigerators in the ocean and batteries in the forest (hopefully everybody understands this by now) to understanding that by implementing the nature into our buildings will not just only make an aesthetically beautiful space but also a space that will create balance and health, it will help us with mental problems, reduce stress and it will create more creativity and concentration. 1 Not only this, it will also help the environment to thrive and for us to be able to live on this earth for a longer time. By this we show love to the world and its nature instead of destroying it as we can see we have done in the previous time. Love of life or love of living things – Biophilia. 2
T h b e n e f i t s
e o f
u n d e r s t a n d i n g The Harvard biologist E.O. Wilson describes biophilia as the innate human need to affiliate with life. 3 To understand this we need to understand the benefits of the strategy to design sustainable and beneficial. There are many studies done to prove that biophilic design has many benefits. It has shown to increase creativity and reduce absenteeism in workplaces. This recording to an 8 % increase in productivity and a 13 % increase in employee well-being. It has also been seen to improve recovery time in hospitals and increase in learning ability and test results in schools. 4 For a long time now, there has been priority to build after function and less focus on the comfort which includes natural light, airflow and atmosphere. Today we can see an increase in this, where we no longer focus on one part of building a building. We now look at different sustainable strategies to not just create a functionally good building but also a comfortable, flexible and a building that serves as a highly environmentally friendly building. 5
The WHO (World Health Organization) does today say that mental health problems are increasing more than ever. Where depression is one of the leading causes. There is also a higher rate of suicide among people between 15 – 29 years old and is the second highest cause of death in this age range. There is also estimated that the mental health problems will increase rapidly due to the COVID-19 pandemic and its measures. 6 7 The way of designing with biophilia in your mind is also something that creates harmony with the architecture and the natural world. Not only as you design with materials that can be discovered nearby or by using colors and shapes that mimics the surroundings. It can also have an impact on the environment and the planet. 8 As most of us should now by now, we have had a rapid increase on the climate change during the past years. We can see that for example our carbon level is the highest it has ever been in more 650,000 years and the architecture and construction has a big role to this. 9 To take care and handle the surrounding environment makes us leave very little impact on our world. It also helps us increase the beneficial parts as growing more plants and giving bacteria, animals and insects more places to live, grow or eat etc. 10
More than
important ever
Therefore, biophilic design is more important than ever – pointing on the mental health problems we are experiencing in the current century. As there is described earlier in this document, this type of strategy can with certainty help against these kinds of problems and will for sure have an effect on coming architecture and design. Pointing on the environmental problems we will for sure see an increase in this type of design to as it has beneficial qualities here as well. Hopefully, we all understands and sees the problems we are facing today and hopefully we also see that we have solutions for many of those problems by just letting the nature take its part.
1. https://www.hsr.se/fakta-om-skrap/skrapet-i-havet 2. https://www.terrapinbrightgreen.com/blog/2018/05/theimpact-and-benefits-of-biophilia-in-the-workplace/ 3. https://www.terrapinbrightgreen.com/blog/2018/05/theimpact-and-benefits-of-biophilia-in-the-workplace/ 4. https://www.ansgroupglobal.com/news/principles-andbenefits-biophilic-design 5. https://www.ansgroupglobal.com/news/principles-andbenefits-biophilic-design 6. https://www.who.int/health-topics/mental-health#tab=tab_1 7. https://www.who.int/news-room/campaigns/connectingthe-world-to-combat-coronavirus/healthyathome 8. https://www.youtube.com/watch?time_ continue=154&v=6TvlwAgi-vQ&feature=emb_logo 9. https://climate.nasa.gov/ 10. https://www.youtube.com/watch?time_ continue=154&v=6TvlwAgi-vQ&feature=emb_logo
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MODERN ARCHITECTURE Modernism in architecture is characterized by its importance on form over ornament, appreciation of material and structure before good constructions and a higher purpose of methodical use of space. The architecture was based on new and innovative technologies of construction, in particular usage of glass, steel and reinforced concrete. The main idea was that from should follow function to embrace a minimalism of its own. There are several different styles of modern architecture that was mostly developed between 1930 – 1970. These styles are International, Expressionist, Brutalist, New Formalist and Googie Movements. We can trace the roots of modern architecture to the late 19th century and it started to get replaced gradually after the 1980s by the postmodern architecture.
Villa
Savoue
Villa Savoue by Le Corbusier 1931 is also one of the greatest houses during this period of time. The house was built to be a family retreat outside of Paris. The building is designed to have an open space plan using reinforced concrete, metal framed horizontal windows and including a rooftop garden.
The Fallingwater H o u s e B
a
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h
a
u
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Bauhaus is one of the biggest influential buildings in modern times and is one of the most known buildings in det modern architecture period, which was not only a building but also a practice for fine arts. The school, when being opened, is located in Germany and was founded by Walter Gropius in 1919.
The Fallingwater House by Frank Lloyd Wright is an iconic house that incorporated nature and landscape to its design. The house was done in1935 in Pennsylvania USA. This building is considered to be one of the most famous one in Modern Architecture time as of its unique design and purpose at the time. Today the house is a museum instead of an weekend getaway that was the original purpose of the house.
NANOTECHNOLOGY
walkway along the peripheral walkway. The lattice plays no structural role in the building and serves as a filter and a shade is protecting the cube of the MuCEM and its peripheral promenade from the sun and the wind. The pattern can be compared to look like mashrabiya pattern or corals.
Te c h n i q u e s
Nanotechnology in architecture and buildings can be called nanoarchitecture as it’s a new contemporary architecture style of out century. This new style is and will revolutionize todays architecture in every way. Both how designers think about architecture but also how we use materials and how we will create usage of the design.
The role as
Nanotechnology is shortly explained to be a study and application of extremely small objects that can be used in several fields as science, biology, engineering and as said above architecture. Usage of this technology means to control individual atoms and molecules in the different elements we have. This technique can be applied to almost everything with some science done as everything of our earth is made from atoms. Therefore, we have new upcoming materials, design strategies and ways to construct a more sustainable building because of the science of nanotechnology.
MuCEM
Museum
MuCEM by Rudy Ricciotti is a museum located in Marseille, France. Opened in 2013. The building is described by the architect : Views, Sea, Sun, A mineral Quality, which all must be orchestrated by a program that will become federal and cognitive. The building is constructed by mostly reinforced concrete (UHPC), iron and glass. Next to the building is the 17th century Fort Saint-Jean located which also was restored due to the MuCEM project. The major choice for the building – to use an exceptional concrete coming from the latest researches, at the time, by French Industry. By using a fibre-reinforced concrete it makes the building affirm a mineral script in colours of dust and matt by its surrounding latticework shell compromising 400 panels measuring 6 x 3 m each. It is braced horizontally using double-articulated stunts that punctuate the
material that plays the main structural in the building is shaped as forks seen on the pictures underneath.
NANOTECHNOLOGY
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t
a
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The material used for MuCEM is called Ductal / UHPC which is explained as an advanced building solution and advanced ultra-highperformance fiber reinforced concrete (UHPC) used for rainscreen cladding solutions, custom built applications like facades, roofs, sun shading and buildings structural elements.
J e a n S t a
Another structure built by the same architecture is the Jean Bouin Stadium in Paris, France. This was designed by, as described earlier, Rudy Riccotti including the engineer Romain Riccotti and their teams. The company Lean Grosse was also involved working on this project that reopened after its renovation 2013 (originally built 1925). The project was named the winner of the 2015 American concrete Institute Excellence in Concrete Construction Awards.
In the MuCEM we see many of these usages – for the peripheric support of the structure, the perforated panels on the southeast and southwest facades and above the roof. It is also used for the peripheric gateway and its support structure. You also see the building solution in the footbridge connecting the new museum to the Fort SaintJean. Which makes you understand how flexible and usable this material is – as mentioned, being able to use for many different solutions. The material is principal for the buildings structure and working as a decorative yet sun shading element. The architects and engineers for this project has been thinking from every prospect to make the project and it all parts as essential as possible. The most impressive is that making this possible
d
B o u i n i u m
The building, similar to the MuCEM museum was also built with very few materials including the ultra-high-performance fiber concrete, glass and a steel structure.
by not using many materials – which shows the greatness of the materials and its properties. The material has during years been researched and tested – either with more or less fiber, armed or not, prestressed or not and all this has led to where the material is today. A strong, durable material sufficient to ductility. The designs of UHPC structures and its uses are growing and brining real innovative responses. Researchers and important projects are under way and will further strengthen their development and contribute to demonstrate their structural and architectural potential – same as we seen the material developing since its first usage. We can already see today the developments happening as the UHPC enters a new era and improved to push the limits and to provide innovative solutions to construction contractors. The company has made it possible for the first time to perform architectural feats and to face civil engineering challenges present UHPC in a spray form – retaining its known characteristics as high medical characteristics and its high durability (100 times higher than the durability of conventional concrete). Also, its resistance for chemical and mechanical damage.▀
As said, the same material as used in the MuCEM in Marseille was also used for this building to create a similar affect. The structure here is a three-dimensional shell made of large triangular ribbed slabs made out of UHPC with glass inclusions supported by a steel structure. The glass panel used in the project imposes implantation of flexible joints at the interface glass to endure ceiling and avoid risk of the glass panels cracking as a result of contract pressures at the interfaces. This also makes sure the structure to be waterproof. This is one of the reasons the lattice was designed in the way it was. To be waterproof but also to drain rainwater, work as a shade and filter for sunlight and contain spectator noise as the stadium fits a lot of people. Other reasons for choosing working with Ductal and UHPC is because of its granular packing effect, which because of its effect, even in the nanoscopic scale, is geometrical perfect. It was also chosen as it offers very high compressive strength an as it is impossible for harmful chemicals to penetrate the material through capillary action. This makes the building and its structural material act like an envelope. A double curved envelope with no obvious mathematical regularity of its shape and with regard to the design’s morphology, the undulating-shape of the stadium, maintains harmony with the local urban setting.
INNOVATIVE MATERIALS Photovoltaic
Glass
were experimenting with applying different levels of tension to a partly broken piece of nickel and found out under certain conditions, the tension actually caused the crack to close – making the edges of the boundary back together as they were self-healing.
One way of implementing photovoltaic glass is in Solar Design. Where there is possible to combine renewable energy systems with endless aesthetic possibilities.
Concrete that fills its cracks – scientist has also here developed a material from a clean concrete product that self-heals as the material is partly alive. The concrete is inserted with a batch of bacterial spores, which are sheltered inside tiny, waterpermeable capsules – making the material to heal itself. The bacteria produce calcite which acts as a kind of bio-cement, filling the cracks in the concrete as the bacteria moves. This procedure creates a more sustainable way of building buildings as the maintenance of the concrete will be less which leads to less use of concrete that contributes with 5 percent of the global carbon dioxide emissions.
One of the people developing this innovative material is Marjan van Aubel. She proposed a self-powered hydroponic rooftop greenhouse that generates solar energy to optimize good conditions for growth, in a bid to tackle the issue of food shortages. The transparent structured uses solar glass panels both to maintain an indoor climate and to power an integrated hydroponic system and specifically coloured LEDs. In other similar developments there is similar effects of the material, where the material can be translucent but not transparent or as the “Dutch Solar Design Photovoltaic module” that gives a freedom of any kind of artistic expression.
Dutch
Solar
Design
Photovoltaic
module.
Selfhealing Materials An article uncovers three self-healing materials that could significantly extend the lifespan of a construction, resulting in less expensive maintenance, less time consuming and a more sustainable solution. The materials are an asphalt that re-sets itself developed by Erik Schlagen, a concrete developed by TU Delft that patches up cracks with help of living bacterial aggregate and a recent discovery by MIT scientists that some metals has self-healing properties. Especially focusing metal and concrete essential to the
Self-powered greenhouse by Marjan van Aubel.
on the materials as they are more architecture area.
Metal that heals itself – material scientist and engineer Michael Domkowicz and colleagues were examining breakages in the grain boundaries of nickel. They
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Design
Parametric Design is explained as a design process which utilizes the latest parametric modelling techniques. It is a way of designing that embraces its capacity for futuristic form making and helps improving building performance. It is said to be a gamechanger in architecture due to its both aesthetics and functionality. It offers a powerful tool to solve visual, perspective, material and structural issues. Its seen as tools and methods in the process of making high quality and innovative buildings in a society that is as contemporary as we are today. We see more architecture and design that, instead of straight lines it is seen more complex forms and a variety of geometrics.
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ref.
h t t p s : // p m b d e s i g n s t u d i o . c o m / D e s i g n - S t u d i e s - V o l u m e - O n e I t
https://www.thorarchitects.com/parametric-design-is-changing-architecture/
There is shown different examples of parametric design on the current page. Shown that parametric can be both straight and soft shapes but with a complex geometry. h t t p s : // w w w . f r a m e w e b . c o m / n e w s / r e c i p r o c a l - f r a m e - b y n a t h a n - m e l e n b r i n k - s a m o - p e d e r s e n - a n d - s h i b u - r a m a n
I
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f
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The shown example visuals in the magazine are produced by the author if nothing else is mentioned. The software used is AUTODESK 3DS MAX . Tutor has been Adriana Salinas. h t t p s : // p m b d e s i g n s t u d i o . c o m / D e s i g n - S t u d i e s - V o l u m e - O n e I t
h t t p s : // p m b d e s i g n s t u d i o . c o m / D e s i g n - S t u d i e s - V o l u m e - O n e I t
EXPEREMENTING Design
During this we were asked to experiment with different techniques to achieve a better knowledge in 3d software. The software currently used for this experiment was 3dsmax. In the different pictures there is visuals of the different experiments I did. These was conceptual ones.
EXPEREMENTING Design
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After experimenting with different techniques I experimented with furnitures, lamps and areas to understand how to use the different techniques in a proposed design etc. By working with parametric design we were allowed to design more complex designs in the 3d software. This teqnuice did let us to advance our skills and make designs that could stand out from the many. The parametric design you see under and on the right is different types of designs that makes the ordinary furniture and products more interesting just by using this technique.
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The company’s vision is to be the most creative and recognized commercial design company and to be compared to words as playful, energetic and vibrant. This is the words that we believe is the way we want to work for and how we want to brand our design. The idea is to bring the society designs that gives out an experience and a statement where people rather will be amazed than anything else. As the most important for us is to give people a new way of experiencing places, to not just go to a place for what it offers, more for what experience the design of the place will give to the people.
PROJECT
Management Theory
We work with experienced people who know how to handle commercial buildings and have expertise in how to create a comfortable design depending on what purpose it has.
C o m p a n y page numb er 126
B r o c h u r e page numb er 127
Cost & Ser vices page numb er 128 129
PROPOSED Co m p a n y
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The company’s vision is to be the most creative and recognized commercial design company and to be compared to words as playful, energetic and vibrant. This is the words that we believe is the way we want to work for and how we want to brand our design. The idea is to bring the society designs that gives out an experience and a statement where people rather will be amazed than anything else. As the most important for us is to give people a new way of experiencing places, to not just go to a place for what it offers, more for what experience the design of the place will give to the people.
EM STUDIO P L AY F U L , E N E R G E T I C & V I B R A N T
We work with experienced people who know how to handle commercial buildings and have expertise in how to create a comfortable design depending on what purpose it has.
PROJECT
Management Theory
CEO
HR & ADMIN
GENERAL MANAGER
DESIGN DEPARTMENT
SALES DEPARTMENT
FINACIAL DEPARTMENT
DESIGNERS
MARKETING
ACCOUNTS
INTERIOR DESIGNERS INTERIOR ARCHITECTS ARCHITECTS
COSTING
For us the client’s needs are always in the
US
center. We provide a service that gives the
EM STUDIOS was founded by Emeli
client the comfort to feel included in the
Göransson in 2019. The company has
design choices and to be updated through
currently 8 employees and is increasing.
the whole design process no matter the size Our vision is to be concidered as one of
of the project.
the most innovative and prestigious high We work for the client and our services
end commercial design companies in
range from Consultations and Design
the buisness.
Concepts to interior design, retail design and architecture for retail environments,
We have been given appreciations from
department stores, office and hospitality
several magazines and companies
spaces.
during the last year.
•
Consultation
•
Concept
•
Design Detail
•
Supervision
“Cinema applies the theory of projection as the theme, bringing the movie element to the entire space.” EM STUDIO
Phone: +0000000000 Email: info@emstudio.com Adress: 123 Street City, State 45678
EM STUDIO
P L AY F U L , E N E R G E T I C & V I B R A N T
We balance the art and the science of designing a
We provide innovating and cheerful
space that will give an experience throughout the
creations that all stands out as its own
whole encounter. The goal is to give the society a area that is playful, energetic and vibrant.
EM STUDIO
UNIQUE
OUR SERVICES
EM STUDIO
in the commercial part. Some being cinemas, restaurants, hotels, retail shops and offices.
We guarantees an unique and extraordinary outcome. EM STUDIOS
CINEMA DESIGN
PROPOSED
Co s t & S e r v i c e s
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Estimated cost and hours working for one of the projects done. Where the idea was to get an understanding of the projects cost and the time spent on it from preparation till handing over the plans to construction company. The main purpose was to understand the different prices of the different materials used and to understand what was needed to be done for a project before starting building it.
Area 1.1 Staircase
Works
Spec
Unit
Quantity
Per quantity
Step Step
4 9
150,00 € 260,00 €
Concrete
m2
165
60,00 €
Ceiling False Ceiling
Cement False Celing for Wet areas
m2 m2
104 7
55,95 € 57,13 €
Exterior Walls Speration Wall False Walls Walls
Cement Exterior Cement Wall 9 x 2,5m Curved Wall Plasterboard 6 x 2,5 m Walls for wet areas
m2 m2 m2 m2
213 23 15 30
75,95 € 75,95 € 47,94 € 57,13 €
Toilett Zink Taps Handicap Assceories
INODORO COMPACTO TANQUE BAJO THE GAP ROCA ROCA Victoria Lavabo Con Pedestal Blanco GRIFO DE LAVABO CUERPO LISO LANTA ROCA Ideal Standard Contour 21 Handle L. 80 cm Chrome
pc pc pc pc
2 2 2 1
230,00 € 75,00 € 93,17 € 263,26 €
Interior Door Interior Door Exterior Doors Glasswall Glasswall Glasswall Glasswall Glasswall Glasswall Wooden Decorative Structure
Swedoor Clever Line 810x2100 mm Swedoor Clever Line 1000x2100 mm Assa Abloy SL500P 2000 mm x 2200 mm 3180 x 3560 mm IQGlass - Solar Control Glazing 3180 x 2750 mm IQGlass - Solar Control Glazing 4820 x 3560 mm IQGlass - Solar Control Glazing 4820 x 2750 mm IQGlass - Solar Control Glazing 3160 x 3560 mm IQGlass - Solar Control Glazing 3160 x 2750 mm IQGlass - Solar Control Glazing
pc pc pc m2 m2 m2 m2 m2 m2 m
1 1 1 11,5 9 17,5 13,5 11,5 9 750
223,00 € 285,00 € 999,00 € 200,00 € 200,00 € 200,00 € 200,00 € 200,00 € 200,00 € 105,00 €
Interior Spotlight Exterior Spotlight Walllamps Decorative Lighting Celing lamp Ledstrips
Bright Eye G2 Bend White 2700K Noburo Dark Grey COBO LED Dark Grey Wall Lamp Skybell Linear S/9L/20 Black Elea PF785 Black Bobina de Tira LED 220V AC SMD5050 60 LED/m Blanco Frío
pc pc pc pc pc m
60 3 6 9 4 80
35,00 € 75,00 € 33,00 € 350,00 € 350,00 € 8,00 €
Sofa / Stage Groundfloor A Sofa B Sofa C Sofa D Bartable Bar chairs
Bespoke sofa and stage 4 x 3 x 1,5 m Bespoke sofa in wood and fabric 10,34 x 0,45 m Bespoke sofa in wood and fabric 8,38 x 0,45 m Bespoke sofa in wood and fabric 8,2 x 0,45 m Bespoke bartable
m2 m2 m2 m2 m2 pc
18 4,65 3,77 3,7 2,6 8
55,00 € 55,00 € 55,00 € 55,00 € 55,00 € 99,00 €
Interior Wall finishes Interior Floor finishes Cement Wall finish
Microcement Interior Modern Emulsion Microcement Interior Full Gloss - Floor Graffiti Mural 9 x 2,5 m
m2 m2 m2
220 165 23
55,95 € 55,95 € 30,00 €
Demolishing Staircase Ground Floor Refrom Staricase Ground Floor
Demolish of distorted staircase in cement Reform of the staircase in cement
Slab
2.1 Floor 2.2 Ceiling
2.3 Walls
3.1 Sanitary
PROJECT
Management Theory
3.2 Carpentary
3.3 Lighting
4.1 Bespoken materials
4.2 Furniture 4.3 Paint
Cost € 600,00 € 2 340,00 € € 9 900,00 € € 5 818,80 € 399,91 € € 16 177,35 € 1 746,85 € 719,10 € 1 713,90 € € 460,00 € 150,00 € 186,34 € 263,26 € € 223,00 € 285,00 € 999,00 € 2 300,00 € 1 800,00 € 3 500,00 € 2 700,00 € 2 300,00 € 1 800,00 € 78 750,00 € € 2 100,00 € 225,00 € 198,00 € 3 150,00 € 1 400,00 € 640,00 € € 990,00 € 255,75 € 207,35 € 203,50 € 143,00 € 792,00 € € 12 309,00 € 9 231,75 € 690,00 €
* 1,25 € 750,00 € 2 925,00 € € 12 375,00 € € 7 273,50 € 499,89 € € 20 221,69 € 2 183,56 € 898,88 € 2 142,38 € € 575,00 € 187,50 € 232,93 € 329,08 € € 278,75 € 356,25 € 1 248,75 € 2 875,00 € 2 250,00 € 4 375,00 € 3 375,00 € 2 875,00 € 2 250,00 € 98 437,50 € € 2 625,00 € 281,25 € 247,50 € 3 937,50 € 1 750,00 € 800,00 € € 1 237,50 € 319,69 € 259,19 € 254,38 € 178,75 € 990,00 € € 15 386,25 € 11 539,69 € 862,50 €
209 584,83 €
Area Conceptual Design
Service Client Meeting Conceptual Design Research Client Research Conceptual Budgeting
Schematic Design
Sketch & Drawings Inspiration & Moodboards Meeting with client Agreements between client and architect
4 2 2 1
Design Development
Material Research Proposed drawings CAD Proposed materials Interior Images Meeting with client Agreements between client and architect
2 24
Technical Package & Installation Plans Final Budget Agreements between client and architect
40 5 1
Construction Documents
Detail
Hours 2 2 1 2
2 1
Price per Quantity 160 160 80 160 0 320 160 160 80 0 160 1920 0 0 160 80 0 3200 400 80
BA hons Interior Architecture 2019/2020
PORTFOLIO
by Emeli Gรถransson