Lenart - work samples - extended version

CURIOSITY IS THE LUST OF THE MIND thomas hobbes

EWA LENART s e l e c t e d w o r k s a m p l e s -

extended version

table of

contents

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CV Resume About

Tectonic Creolisation| Addis Ababa, Ethiopia die Angewandte | studio Hani Rashid | winter 2015-16| Diploma Thesis Virtual Blur| New York, NY die Angewandte | studio Hani Rashid | summer 2014 | with V.Sandor Museum of Found Souls| Los Angeles, California Sci-Arc | studio Coy Howard | fall 2014 | single project Vast Markt | Dresden, Germany die Angewandte | studio Greg Lynn | winter 2013-14| with J.Strohmayer Haduwa Stage | Apam, Ghana die Angewandte | a[FA] | research, design and realization | built 2014 with C.Car, J.Hofmarcher, I.Klis, J.Lazarova, I.Petkova, P.Reinsberg

Contact

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EWA LENART

nationality: polish | contact: +43 69919936974 | lenarteee at gmail com | www.ewalenart.com

EDUCATION:

Graduation with Distinction Mag. Arch.

University of Applied Arts Vienna University of Applied Arts Vienna DIE ANGEWANDTE Diploma programme in architecture (Mag. Arch.): design studio : Wolf d.Prix design studio : Greg Lynn design studio: Hani Rashid research lab: applied foreign affairs | Baerbel Mueller

[a]FA is a lab at the IOA investigates spatial, infrastructural, environmental and cultural phenomena in rural and urban Sub-Saharan Africa

Southern California Institute of Architecture Los Angeles SCI ARC exchange | Advanced Vertical Design Studio

January 2016

2010 - 2016 2 terms 1 term 6 terms 2012 -

fall 14

Design Studio: Coy Howard Visual Studies: Andrew Zago, Ivan Bernal, Critical Studies: Dora Epstein-Jones, David Bergmann

EXHIBITIONS/PUBLICATIONS/AWARDS:

architecture & culture no 417 wood structures - print publication Helmut Richter Preis 15 (Staging Apam project)

winter 2016 fall 2015

Award for Innovation (kritische Neuordnung) issued by: Austrian Chamber of Architects in cooperation with Vienna Technical University

Design Acts!

Galerie Freihausgasse | Villach, Austria The Essence 12+14+15 K端nstlerhaus Wien | Vienna, Austria The Essence 13 MAK Museum of Applied Arts | Vienna, Austria Think Global, Build Social!

AZW The Architekturzentrum Wien | Vienna, Austria Staging Apam Galerie Goettlicher | Krems an der Donau , Austria Staging Nubuke Foundation | Accra , Ghana

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fall 2014 summer 2012, 2014, 2015

fall 2014 spring 2014 winter 2013

summer 2014

FULL TIME PROFESSIONAL WORK: Adjaye Associates | Accra, Ghana Architectural Assistant

Rwanda Cancer Treatment Center (Commision, Design Phase) summer 2013

Liquifer Systems Group | Vienna, Austria Designer

SHEE project , Self-deployable Habitat for Extreme Environments since 2013

Irene Ott-Reinisch Architecture | Vienna , Austria Designer cconceptual, design and production work on several competition entries

summer 2011

Delugan Meissl Associated Architects | Vienna, Austria Architectural Assistant

Competitions: Office Complex Bremen (1st prize), Hyundai Global Dealership Space Identity Seoul (1st prize), Bank Austria Campus Vienna (2nd prize), Quartier M D端sseldorf (1st prize ex aequo), John Cranko Ballet School Stuttgart

since 2014

PROJECT SPECIFIC COLLABORATIONS: noCOLOUR INC. | Accra, Ghana

Collaborations, from design to realization since 2014 winter 2014

Atelier Eva Schlegel | Vienna, Austria Fabrication (model making) for art installations - work on selected project

Galerie Goettlicher | Krems an der Donau, Austria Curatorial work - conceptual and realization exhibition work for Staging Apam

spring 2013

Asymptote, NYC | Vienna, Austria Competition entry - design work conceptual design, 3d modelling

summer 2013

KinderuniKunst Kreativwoche | Vienna, Austria

summer 2012

White partners London - dark side club | Venice, Italy 13th La Biennale di Venezia 2012

Teaching, architectural workshops for children

Communication, Event Organization

SKILLS:

3d Modelling | Rhinoceros, Maya, Grasshopper Graphics | Illustrator, Indesign, Photoshop, After Effects Visualization | Vray, Maxwell Fabrication | Laser Cutting , CNC milling, 3dprinting , Vacuum Forming Lingual | polish (5) english (4) german (2) page. 5 lenartewaselectedworks

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EWA LENART have always been inspired by foreign cultures. Seemingly accidential compositions, their improvisations and variations (be it textiles, pottery, food, natural formations or sound). Using them as an experimental pattern rather than a reflection of reality, I am trying to trace the unknown and by interpreting the existing; giving new connections and solutions to the many urban conditions. This is why I have always found architecture as an interdisciplinary platform to express economical, political and social concerns in such a visual medium.

After graduating from high school in 2010, from a small town in Northern Poland, I have moved to Vienna to undertake architectural studies at the University of Applied Arts (die Angewandte) in the masterclass of Wolf d.Prix of Coop Himmelblau.

Since then, I have learned conceptual thinking from Greg Lynn, Hani Rashid and Sanford Kwinter, among others.

Since 2011 I have been part of [a]FA, the lab at the IOA (Institute of Architecture, University of Applied Arts Vienna/ die Angewandte) investigating spatial, infrastructural, environmental and cultural phenomena in rural and urban Sub-Saharan Africa. I have visited Ghana several times to participate in the realization of a accomplished and widely published design-build project Staging Apam.

In 2014 I studied full time in the Southern California Institute of Architecture in Los Angeles, California (SCI-Arc), as an exchange student.

Throughout the duration of my academic studies I have interned full time in Delugan Meissl Associated Architects Vienna (summer 2011), Liquifer Systems Group Vienna (summer 2013) and Adjaye Associates Ghana(summer 2014).

Moreover, during my studies I have collaborated and worked with several design and architecture studios in Europe, USA and Africa.

I have vast experience in the architectural design process - from the conceptual phase to the physical manifestation. I hold high digital skills in 3d modelling and manufacturing tools as well being very efficient with teamwork, event organising and editorial work.

In January 2016 I have graduated with Distinction from Studio Hani Rashid, University of Applied Arts Vienna (jury: Greg Lynn, Sanford Kwinter, Hani Rashid, Klaus Bollinger, Brian Cody, Kazuyo Sejima) with thesis project Tectonic Creolisation investigating a post-colonial african metropolis condition, proposing an institutional building in Addis Ababa, capital of Ethiopia, which integrates civic life with highly political organisation.

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TECTONIC C|R|E|O|L|I|S|A|T|I|O|N contemporary trademark

Aerial Night View

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for African Metropolis

“Nothing of me is original.

I am the combined effort of everyone I’ve ever known.” ― Chuck Palahniuk

Tectonic creolisation investigates a post-colonial african

metropolis condition, proposing an institutional building in Addis Ababa, capital of Ethiopia, which integrates civic life with highly political organisation.

New power seeks a new symbol.

My research is based on the booming economy (Integrated African Commercial Block TFTA) and growing need to host several new institional services which gives a great opportunity for the future of african cities, to develope tangible identity, internal city brand, which will generate the contemporary paradigms.

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Creolisation is a new cultural unity evolving from

the blending of diverse original elements.

My interest comes from combination of two organisational methods, provided for two audiences.

The zones are formally divided by tectonic blanket, which supports two different conditions however does not allow them to intercross. First condition serves as a headquarter for TFTA (a newly signed agreement between 26 african nations to create a free trade zone). The second condition is a space open to public, which is a result of variations of the repetitive tectonic blanket derrived from on and off beat african composition.* This strategy allows to create an eleborate plinth-roof relation, allowing to emerge diverse sheltered spaces, which are so desirable in the city life. African metropolis as a scaled up rural scene - notion of traditional african compound, suqs and occupying urban negative space.

Elevational Sketches Studies of pattern and perforation (Penplotted)

* The coherence of african composition derrived from conflicting and irreducible thytmic patterns, leaving aside the most critical feature of all, imporovisation and variation element does not stand alone - each element determines how do we apprehend another - almost any two elemets can create a composition together. It is about the organisaiton of rhytms and cross-rhytmic tensions and their periodic contraction and composiiton into coherent, dynamically stable ensembles.

Plinth - Roof Relation - Tectonic Studies, inspired by on and off beat

AESTHETIC CONFLICT Geometrical Isolation

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Addis Ababa, the city which in very short time has

transformed from great village into a true city, is facing, like most of the african capitals, very fast growing and booming economy yet not taking its time to form new urban patterns which are working with the local identity and its context.

The phenomen of copying western patterns (be it political, urban, organisational or formal) has started involuntarily due to the colonisation period. Ever since the 1960s, end of this era, artificially created african nations, have struggled with the thinking and aesthetic conflict, of trying to keep western already verified patterns but still allowing the internal identity to remain and find its way in manifestation.

East Africa - Addis Ababa -

Le Corbusier, Plan for Addis

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The coherence of african composition derrived from conflicting and irreducible thytmic patterns, leaving aside the most critical feature of all, imporovisation and variation element does not stand alone - each element determines how do we apprehend another - almost any two elemets can create a composition together. It is about the organisaiton of rhytms and cross-rhytmic tensions and their periodic contraction and composiiton into coherent, dynamically stable ensembles.

The rhytmic aprroach was applied to achieve tectonic (massing) coherence and create eleborate plinth-roof composition - which is so desirable in the african cityscape.

The same pattern logic was applied from global to local. Perforation was a crucial decision - to provide naturally ventilated spaces as well to be able to curated atmosphere underneth solid volumes.

Translation from mass to pattern - has been physically manifested trough structural frame which holds nested HQ conference spaces volumes (air controlled space, and inaccessible by public) and allows membrane to stratch all way across to provide special atmosphere for public visiting showrooms.

Elevational Sketches Studies of pattern and perforation (Penplotted)

Rendering Studies

CURRATING ATMOSPHERE

2d pattern to 3d structural framework Left - Shadow Studies Which indicated activated public zones during different daytime (morning, noon, afternoon)

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Bottom - Pattern Perforation Studies (Photography of Overlay of lasered plexi with pattern design)

Final Structural Pattern Outcome

Light Studies (Renderings)

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structure after BESO OPTIMISATION to eliminite unnecessary elements

STRUCTURAL FRAME

as cohesive integrated system

A

B A- Surfaces with the grids with estimated areas for columns and column positions.

B- grid projected onto the surfaces with the columns and support positions.

C- Utilisation red for compression, blue for tension.

D - the structure with cross section optimisation.

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C

D

Zoom ins of Structural Model in scale 1-500 (structure 3d printed and milled plinth)

ELEVATION, EAST opens up to urban plaza

PERSPECTIVE, SOUTH entrance situation from downhill side

ELEVATION, WEST view from the boullevard side

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Elements - Plinth containing public enclosed galleries -in between sheltered public open space -3 enclosed private solids, containing conference spaces for HQ being nested within the structure, which while being covered with the membrane provides shade for public

Energy Concept public spaces, naturally ventilated

Programm Distribution Red - private, HQ solids Blue - Public enclosed galleries

Circulation Red - private, HQ Blue - Public, showrooms

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Structural Model in scale 1:500 (plastic 3d print, CNC mill, lasercutting)

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Massing Model in scale 1:500 (CNC mill, Powder 3d Print, Vacuum Form)

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North Public Entrance - Entrance into public showrooms embeded in the plinth, HQ private solids being nested on top and generous inbetween which serves to public

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V|I|R|T|U|A|L BLUR proposing Bitcoin HQ on Park Avenue

Park Avenue View

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Since BITCOIN is actually not a company but a virtual

currency the idea of a typical HQ does not apply. The inventor(s) is anonym. The system is open-source and also anonym. Bitcoin does not need office space neither advertisement. The more users the system include the higher the bitcoin value becomes. That makes the only benefit.

Our proposal was to create a new type of a “physical� market where while the legal currency is virtual (bitcoin), the products remain physical. We tried remain the original UBS bank building (very private), while expressing the idea of being open-source, accessible for everyone, which characterize Bitcoin system.

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Vieving Into Lens Cons (From the Outside In)

OBJECT VS. IMAGE Notion of facade

After the analyses of markets, shop-

ping centers, shopping streets with the focus on storefronts, we had to come up with an idea which makes our vertical tower function as a market and express the difference between physical and digital

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reality. We used the storefront as an analog-medium which translates for the pedestrians the inner physical products into “digital images�. The medium is a lens - an analog tool which digitalizing (transforming, translating, mutating) the physical.

Park Avenue Views Physical 1:1000 model

Structure Diagram Programm Distribution

Component Clustering - Internal organisation EXPOSED

category

A

SEMI-ENCOLSED

category

B

SEMI-EXPOSED

category

C

ENCLOSED

category

D

Lens Effects - Physical Model tests

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Park Avenue Street View

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Section Zoom In

Plan Rooftop - Observatory

Plan Interior- Lens Components integrating with existing structure

Plan Bottom - Atrium open to the Street

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M|U|S|E|U|M OF FOUND SOULS creating outsider art center in Los Angeles

Aerial View

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The term Outsider Art, sometimes called rough art,

describes art created outside the boundaries of official culture, very often created by those who are not trained to be an artist, children or disable.

Given the site, Silver Lake district of Los Angeles, which has become in last years one of the most desirable ares of the city with still remaining rough touch to it, has created an extremely interesting justaposition of mainstream and underground.

The project uses the idea of cultural artifact and defines the tectonics inspired by easthetics of intuitive and personal, mysterious and efordless process of creation.

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Graphite Wax on Plexi

Created Intuitive Artifacts

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First Gallery View dark long

Second Gallery View open, perforated

Third Gallery View hidden horizon

Third Gallery View leaving

Materialized state of mind

Top View

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V|A|S|T MARKT designing market in Dresden

Street View

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Whereas much discussion has been made of Dresden’s

facades and they are one of the prime contributors to its baroque character. We propose a building without facades.

The market should be thought as a vast continuous space more than a sequences of enclosed rooms.

Vastness is immeasurable, infinite, without edge or limit, difficult to comprehend, out of scale, distant, vague and sublime.

It has nothing to do with ‘absolute scale’ but instead vastness is defined by ‘relative scale.’

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1:100 physical model (Roof: Carbon Fiber Fabricated with Epoxy, covered with golden leaf. Plinth: CNC Milled )

URBAN CLERESTORY

Space instead of Facade While creating a VAST and extended space, we have analysed a forced perspective as a spatial

phenomena. Looking at baroque presences where the mass serves as a space creator, we intended to achieve this effect with our topological surface, where the effect works sectional as well as in plan.

-

Having massive plinth and a lightweight roof, we create a constant interplay between those two.

-

Urban clerestory which is an artificial controlled horizon, consequently frames the whole plaza, being a result of relentless attraction of ground and roof scape.

sections

perceiving the market from the main street - sequenced

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Plan 00 (Ground)

Plan 01

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H|A|D|U|W|A STAGE creating cultural institution in Apam, Ghana

Beach Panorama

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Driven to engage the residents of Apam, the main idea

compels to explore a significant social engagement within the development of the art discourse in Ghana and will foster the growth and the promotion of art made in Africa. Our vision focuses on ecological and economical sustainability and aims to create a comfortable working environment for artists and local residents.

A series of indoor and outdoor program specific areas are placed around the site according to their functions. Adapted to the local conditions, they will provide comfort and will meet the need for inhabitation.

The main parts of the program are kindergarten, stage, artists’ studios, living headquarter, workshop area, staff facilities and spots for recreation. [a]FA Staging Apam is an ongoing research and a built project, which began in October 2012 and main stage canopy has been successfully finilized in Summer 2014. Our project, the new Haduwa Arts & Culture Institute, located in Ghana’s Central Region, next to the city of Apam, is conceived as a place for independent artistic experimentation. The main goal is to establish a space for individuals or organizations from various cultural backgrounds to unfold their creativity and work in the field of theatrical, spatial and sound performance.

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World - West Africa - Ghana - Apam

The Stage

The stage for the performance artists is the focal point of the site. Landed gracefully in the spacious area, it is the very core, a meeting space and landmark, that will become the next big thing in Ghana’s art scene. Rather than being a self centered stage, shut off from the surroundings, we propose a structure that adapts to the topography and creates an external informal auditorium.

This will enhance the operation of the building not only by focusing on hosting performances but also opening up the space and inviting local residents to reprogram it according to their needs.

Situating the stage on the ocean front poses many questions as acoustics and wind protection.

Our strategy to solve this is to place the more vertical program parts, such as backstage, facing the ocean. This will serve as a barrier that will protect the event space from wind and noises, alternating into stage. The multifunctional platform follows the landscape and provides with an alternative stage that creates openness and leads to a bar area.

the Roof

Apart from benefiting from a gift of nature, bamboo is one of the most versatile, flexible and strong materials. Constructing with bamboo is environmental friendly and helps the adoption and reinforcement of sustainable development practices in Ghana. The roof is informed by corresponding to the material structural system, and uses its technical and spatial potential.

The rising and declining structure invites by passers to enter and explore the new form of open space. It is large enough to accommodate big concerts, gatherings, exhibitions and a market for the local residents, combining maximum daylight with minimal sunshine exposure interfacing with the external elements - sun, daylight, air humidity, wind.

For the canopy forming the grid shell we use low-tech joint details. A waterproof membrane protects the roof from heavy rain and the rain water runs down into a tank, placed on the south west side of the stage.

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Bamboo Canopy in use by locals

Masterplan - Red is indicating the main stage - keypoint of the campus

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Plan - Right 1-10 phyical model

Layering of bamboo entended beams

Built Process

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SINGLE

TRIPPLE

DOUBLE

splitted bamboo batch

nail pocket, pre-drilled

SINGLE BEAM ASSEMBLY

bamboo nail

45째

chainsaw cut through node for flexibility

nail pocket, pre-drilled

DOUBLE, TRIPPLE BEAM ASSEMBLY

splitted bamboo batch

SINGLE BEAM ASSEMBLY

MEMBRANE ROOF

Connecting single bamboo beam into double and Triple Japannese joint type using bamboo self made nails membrane cap [welded] bamboo [splitted] DOUBLE, TRIPPLE BEAM ASSEMBLY

membrane strip [welded hemstich] bamboo [double arch] rope

Bamboo Beam and Membrane Connection FOUNDATION BEAM CONNECTION

bamboo arch

SINGLE

grouted foot with reinforced hook

TRIPPLE

DOUBLE

erosion protection

Bamboo Beam Bundles Types

amboo nail

45째

chainsaw cut through node for flexibility

nail pocket, pre-drilled

splitted bamboo batch

SINGLE BEAM ASSEMBLY

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Photojournal by Julian Lanoo, February 2016

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contact EWA LENART www.ewalenart.com +43 69919936974 lenarteee at gmail com Vienna Austria

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