DESIGN
PORTFOLIO
w w w. h a n e l o re . c o m
HANELORE DUMITRACHE
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NOTHING IS ORIGINAL
“Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And don’t bother concealing your thievery - celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: It’s not where you take things from - it’s where you take them to. “ - Jim Jarmusch
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P OR T F OL IO SELECTED WORKS
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CONTENT
THE PUBLIC HOME
T H E M I C R O TO W N H A L L
INTERACT
C A M PA I G N F O R T H E B E S E T K A
PUBLICWORKS
The home as a civic space - Roman Road, East London
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The Teahouse / Roman Road Besetka - Roman Road, East London The Threshold - Roman Road, East London
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An interdisciplinary collective - Sir John Cass Faculty of Art, Architecture & Design
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Manifestly abstruse - Roman Road, East London
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Social huts, winterproofing besetkas - Yerevan, Armenia
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#TransActing: A Market of Values - Chelsea College of Arts
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Saving Cheetham Hill Park, Manchester
OT H E R W O R K S
Saving Cheetham Hill Park, Manchester
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CV & contact information
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Civic Pride - Basel, Switzerland The drawing machine, Sir John Cass Faculty of Art, Architecture & Design
C O N TA C T
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THE PUBLIC HOME N E G OT I AT I N G P U B L I C N E S S
In current times the high-street as a typology is beginning to lose its authenticity; in a constantly changing climate, local high-streets are struggling to comply with the massive push towards revitalising the city put in place by the Greater London Authority. However, the rules seem to be changing in the high-street’s favour, and the relaxing of planning laws is allowing shops to be turned into houses. Through wide investments currently being made into high-streets, Roman Road is open to regeneration, which starts with local community support and involvement, and continues with the upbringing of a new housing typology.
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THE PUBLIC HOME
Interior staircase - card model/charcoal
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9 Site plan of Roman Road
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The proposed development on Roman Road, East London is a criticism towards modernism and a praise to the times when a home was much more than just a house. The home opens its walls to the public by negotiating publicness; therefore, it becomes an extension of the High Street. Experimenting with different layers of publicness, the house is conceived as a partnership between a private entity (the owner) and the public element (the community) and would run as a 50-50 match funding. Designed as an ode to the true meaning of home, the narrative of the design starts room by room and is dictated by an exploration of the senses.
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A S PA C E F O R M E D I T A T I O N
The bathroom becomes more than a toilet, a shower and a sink; it transcends into a realm of meditation, where the user can overlook into a beautiful roof garden and be surrounded by a rain of showers. Function loses its hierarchical status and instead the conceptual and meditative aspect brings back the meaning of home.
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1:20 scale cardboard models of the bathroom / collage 13
A M O S T P R I VA T E P L A C E
“Books are, like bricks, a basic element of architecture.” Knowledge is the core of human evolution and personal growth, and the main tool in achiving them is through a most indispensable tool - books. Following this idea, the study has to become the centre of the home. The study, therefore, becomes an oasis of privacy, where one goes to heighten their knowledge sphere and be remotely alone. On the idea that books can be elements of architecture, almost like bricks, the design evolved into books “holding up” the ceiling, almost like an integral structural element.
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1:20 scale cardboard models of the study / collage 15
A S C E N D I N G T O WA R D S T H E L I G H T
The ascension to light and the lifting towards knowledge are somehow related. The stairs are not just steps leading from one floor to the other; instead it becomes almost like a piece in itself. By using the same principle that books can act as architectural spaces, the staircase becomes an extension of the study into the lower floor. The privacy of the study gets opened up to the community through a semi-public library. This way, the house becomes not only a home, but a place of social gatherings and cultural interaction for the locals interested in literature. The idea in the study is basically adapted and continued in the design of the stairs, creating a parallel between the public and private.
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1:20 scale cardboard models of the staircase / collage 17
A CONTINUATION OF THE HIGH STREET
Through its various levels of publicness, the house opens its walls to the High Street. The interior garden at the core of the house connects with the Roman Road through various spaces of interaction. Currently unused, the car park facing the site has the potential of becoming a valuable asset to the community by taking on the ideas of the interior garden and applying them to the civic space.
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Site plan showcasing the relationship between the house and the public realm
K E Y S PA C E S
The house features key moments of public/private interaction. 1. The 1st floor private study, which continues downwards into the semi-public library/staircase, showing glimpses of communication between the two spaces. 2. The top floor garden, which can be used as a negotation with the private owner and the ground floor interior garden which is open as a social space.
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1:50 lasercut model - testing of key spaces
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THE MICRO TOWN HALL THE ROMAN ROAD BESETKA
Started as a self-initiated programme, the project on Roman Road is interdependent on the strong partnerships with the residents and business association. Focused on social participation, the intervention on Roman Road becomes less about building and more about community engagement. The site, as a back garden, gets transformed into a public and community oriented area. This begins to speak to the idea of reclaiming public realm and creating a sense of ownership within the community. By initiating a slow regeneration process, the team involved gets a better chance to understand the community and their needs. This also allows for the community to get actively involved in the process, by working with them to create a more organic and authentic space.
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THE TEAHOUSE
Map of Roman Road - showing the Private house and the Micro Town Hall
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The Roman Road Besetka appeared as a response when trying to create a public space which can host local activities and encourage the community to get involved and engage with the site. As a temporary structure preceded by a threshold, the teahouse paves the way for future projects designed by InterAct, which will take place during the next 3 years.
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Build your own Teahouse Illustrated instructions
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The finished timber structure - copper and shingle cladding and repurposed wooden crates to cover the seating area
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THE THRESHOLD
Various threshold tests and iterations
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Final threshold design - collectively built Currently on Roman Road
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INTERACT AN INTERDISCIPLINARY COLLECTIVE
InterAct is a collective of architects and artists from Sir John Cass, Faculty of Art, Architecture and Design, who have joined forces to create a new type of studio. With a highly experimental approach, InterAct becomes a platform for artists and architects to explore new interdisciplinary ways of thinking and challenge conventions of the two forms of expression. This, in turn, generates a “praxis of art and architecture� - new ways of producing, fresh aesthetics, new ways to practice and act. As a project, it is strongly socially and politically engaged, while striving to create and expand the publicness of spaces where individuals have a right to speak and be heard.
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Applying Corbusier’s Modulor to the Roman Road High Street
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Punk Zine - criticising the modulor and proposing a new scale system
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M A N I F E S T LY A B S T R U S E A LO V E S TO R Y
The workshop was an explanation of how artistic practice can sit between sculpture, installation and architecture. The method inspired a more conceptual approach, making students question fundamental theories and concepts. Although its roots are strongly grounded into palpable scenarios, this project is primarily conceptual. It starts as a narrative; its prologue is carved into the carpet shop Abbott’s, where the beige carpet generously originates from. The thread develops and perpetually changes; the carpet mutates and becomes unrecognizable – it takes on a life of its own. The string paints a tale to remain hidden in the core; the only visible part is a reminiscence of a myth. It stays hidden. It strips away tangibility and becomes a story. Manifestus (Lat.) – plainly apprehensible, clear, apparent, evident. Abstrusus (Lat.) – hidden, concealed, secret.
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MANIFESTLY ABSTR USE
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Will you marry me?
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For a rose
Opposite the cherry tree
At perfect symmetry
And then lose you
As you walk past me
We meet in the centre
I will follow you
I am a stranger.
Once the story has been told, the book is sewn shut. The pages are never to be seen again; they become tales. There’s only a subtle trace of what the story used to be, kept alive by the reminiscence of the painted pictures.
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C A M PA I G N F O R T H E B E S E T K A WINTERPROOFING BESETKAS - ARMENIA
As informal spaces of gathering, games, debate that emerged during the soviet period, Besetkas have not been researched in the past. In the light of their erasure and decline and with its importance as civic infrastructures of the city, this publication will highlight their importance and potential. Besetkas are the physical manifestations that trigger Collective memory. This proposal looks to extend the Besetka not purely as a physical structure but make proposals that extends the activity of the Besetka.
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CAMPAIG N FOR THE BESETKA
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Main frame addition - attached to original frame
Swivelling wall
Pivot - attached to panel frame
Rubber stopper Panel frame
This scheme uses dense but thin polistyrene insulation boards fitted into a thin metal frame. These polystyrene boards can be painted with wasted packaging card and either varnished to be weather proofed or the card board changed every season. Once varnished the boards can be painted with black board paint to be used for notices or painted in different colours.
Corrugated cardboard sheet Polystyrene sheet Cardboard with blackboard paint layer Metal sheet holding panels Bolt
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PUBLICWORKS # T R A N S A C T I N G : A M A R K E T O F VA L U E S
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#TRANSACTING: A MARKET OF VALUES
#TransActing: A Market of Values Saturday, 11th July 2015, 12 - 5pm, Chelsea College of Arts
This bustling pop-up market will feature artists, designers, economists, civil-society groups, academics, ecologists, activists and others who creatively explore existing structures of evaluation and actively produce new ones. Organised by Critical Practice, #TransActing will take place on the historic Rootstein Hopkins Parade Ground, located between Tate Britain and Chelsea College of Arts. The Market will showcase a skillshare, a peoples bureau, organ donation, an economy of promises, commoners, a fablab, a bring your own BBQ, virtuous communities, a speakers’ corner—even a kiosk buying tears. Multiple currencies will circulate, not all of them monetary. #TransActing will take place in bespoke stalls built by Critical Practice, public works and other contributors.
These stands will be interspersed with spaces of assembly and exchange - a speakers’ corner, a social cinema. It’s a wealth beyond capital that will be traded at this market. Critical Practice is: Metod Blejec, Marsha Bradfield, Cinzia Cremona, Neil Cummings, Neil Farnan, Angela Hodgson-Teal, Karem Ibrahim, Catherine Long, Amy McDonnell, Claire Mokrauer-Madden, Eva Sajovic, Kuba Szreder, Sissu Tarka and many more besides. #TransActing is organised by Critical Practice and designed in collaboration with public works. It is part of Camberwell, Chelsea & Wimbledon (CCW) Graduate School’s public programme. Visit www.criticalpracticechelsea.org for more information or email criticalpracticeinfo@gmail.com
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Inspired from famous designs by Enzo Mari, the booklet of DIY market stalls is an ode to the Italian designer.
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Each series of market stalls starts from one design; the principle is then reapplied in various forms, thus resulting in multiple iterations of associated designs. Through extensive testing and modelling the final market stalls designs start to develop.
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A
TABLE STALL LONG A
2700
50X50
8X
B
900
50X50
12X
C
700
50X50
6X
D
400
50X50
3X
E
2800
50X50
4X
F G
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300 340
50X50 50X50
6X 8X
B
C
E A
B
D
A
C
G
F
G
F E
G
F
G
G
F
G
F
G
F
G
SEAT STALL A
2700
50X50
4X
B
900
50X50
8X
D
400
50X50
2X
F
300
50X50
3X
G
340
50X50
4X
H
1400
50X50
4X
I
450
50X50
4X
B
I
A
D
A
H I
B
G
F
G
F
G
F
G
H
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Micro Town Hall by InterAct / Roman Road, London, E2
Micro Town Hall by InterAct / Roman Road, London, E2
Perhaps one of the most important aspects of the market stalls is their ability to be repurposed; once the market finishes, the stalls can be adapted and converted into either benches or tables. R-Urban Wick at Mobile Garden City / Chobham Manor, London, E20.
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The market stalls being used - #TransActing: A Market of Values
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PUBLICWORKS S AV I N G C H E E T H A M H I L L PA R K , M A N C H E S T E R
Cheetham Hill Park, situated in North Manchester has been neglected over the past years and is currently poorly used. Housing two historic structures: a listed bandstand from 1890 and a viewing shelter. The aim is to return the park to its former glory through a series of investigations and collecting of people’s memories. The Save Cheetham Park Society has been organising activities such as gardening, weaving, cooking and socialising in order to bring public awareness to the importance of cherishing community assets. These memories will also become a strong political statement against the exploitation of vulnerable civic spaces.
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SAVING CHEETHAM HILL PAR K
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OTHER WORKS C I V I C P R I D E - D I E B A S L E R R AT H A U S
The Basler Rathaus, one of the most representative buildings in Basel can perhaps be interpreted as a symbol of power and prosperity of the historic city. The striking red sandstone sets the town hall apart from the surrounding buildings, although they follow the same late Gothic style. Despite the building being divided into three main blocks, the architectural narrative intertwines into a single unit, making both the facade and internal spaces have a logical continuity,. The building will be analysed through a series of abstracted investigations: model, plan and elevation.
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CIVIC PRIDE
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The Basler Rathaus has beautifully decorated interior courtyards with numerous paintings and hand-carvings. The imposing structure is highly distinguishable from typical town halls, for its polished burgundy interiors adorned with intricate balustrades and patterned tiled roof. The space is ample; the opening of the courtyard lets a generous amount of light reveal hidden details, making the Basler Rathaus a splendid amalgam of colour and decorations.
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OTHER WORKS T H E D R AW I N G M A C H I N E - 3 P E N D U L U M HARMONOGRAPH Designed in collaboration with famous artist Conrad Freiburg, the drawing machine is a 1:1 scale model of a fully functioning 3 pendulum harmonograph. Two weighted pendulum arms rotate the pencil/drawing tool, while a third pendulum moves the drawing board. Although the harmonograph is completely independent of will, the drawings it creates are beautiful in intricacy and geometry. The interesting fact about the machine is that it never creates the same drawing twice, everything is a constantly changing variable and the slightest move can completely change the end result.
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THE DRAW ING MACHINE
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OTHER WORKS MISCELLANEOUS
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MISCELLANEOUS
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CONTACT DETAILS W W W. H A N E LO R E . C O M
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