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. You can find here work samples from the academic field page. 7 lenartewaselectedworks
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
Top View, No roof page. 31 lenartewaselectedworks
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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