Hi. I´m Andi Schmied. I was born in Budapest, Hungary.
I graduated in design (specialized in spatial design) in June 2011.
I studied 4 years, 2007-2011 in ELISAVA School of Design, Pompeu Fabra University, where i recieved my Bachelor Degree in Design. Barcelona, Spain.
I studied half year, 2010 spring semester, in Colman Academic Studies, Interior Design Faculty Rishon Le Tsyon, Israel
01.
THE VIRTUALIZED MATERIALITY
Final project- “co-workaholic” space that tries to knits together the intellectual virtuality with the material corporality. 02.
THE TRANSLIVABLE HOUSE
Project of a 49m2 living space with a lightened metal tree in the exterior. 03.
ISRAEL SUCKS
Photographic and editorial project of the most emblematic people of my half year spent in Tel Aviv. 04.
A BAR FOR EME3·ARCHITECTURE FESTIVAL
Design for the temporal bar for an archuitecture festival held in Barcelona, 2009 05.
TEL AVIV GRANNIES
Photographic & editorial work of the elderly of Tel Aviv, a cosmopolitan city in the Middle East. 06.
THE ART BOX LIBRARY
Reform project of an old cinema building in Tel Aviv. The task was to design a library in the poorest neIghborhood of the city. 07.
BARCELONA *****
Photographic & editorial project of the decadence of five emblematic Five-star Hotels of Barcelona. 08.
THE FROZEN MUSIC · RYOJI IKEDA -PER-SE
Project of abstraction and creation of a space based on a musical piece. 09.
TEL AVIV AIRSPACE
Phorographic & editorial project of Tel Aviv, a city where there are no emblematic buildings, but emblematic flying objects all day long. 10.
BE GRANNIE
Design of a fashion show club for the elderly of Barcelona. 11.
FAKE IDENTITIES
Photographic & metamorphosis projects where I played with the idea of identity. 12.
CHACHI CHEIW
Campaign to advertise the 4 new flavors of Cheiw, a spanish chewing gum company. 13.
SMELLING TYPES
Sensorial project of knitting together two of our basic senses; the view and the smell. 14.
THE HAND FAN LAMP
Design of a nightlamp inspired by Chinese hand fans.
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the materialized virtuality my final project - a “co-workaholic� space that approaches the intellectual virtuality to the material corporality
The concept The past decade our relationship with virtuality has been radically changing. Virtuality has always existed; a dream, a thought, a book. But with computers and the Internet we took it to a material level. In the past, technological inventions were an extension of our physical being; we wanted to hit harder, go faster, get farther. In our virtual era, new technology is an extension of our mind. This is the first time in history when we are living our lives with the speed of light. In medieval times the velocity was of the pigeon post; then came ships; propeller planes; then jets. But now we can be anywhere, anytime — virtually. This fact questions the definition of being. Are our corporal boundaries real boundaries? How much corporality defines us in an era when communication and information goes through an intangible platform? In my project, I wanted to create a space that works according to virtual logic, while avoiding the loss of our corporality and giving back the intellectual virtuality to the material corporality.
IN THE PAST TECHONOLICAL INVENTIONS WERE AN EXTENSION OF OUR PHISICAL BEING, NOW IN THE VIRTUAL ERA OF OUR MIND.
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Emplacement As an emplacement I have found a railway between Barcelona and Sitges in Spain (http://maps.google. com/maps?q=sitges&oe=utf-8&client=firefox-a&ie=UTF 8&hl=en&hq=&hnear=Sitges,+Province+of+Barcelona,+ Catalonia,+Spain&ll=41.235269,1.850284&spn=0.00211,0.004887&t=h&z=18), where the train comes out of the mountain for a 40-meter track and then returns. This place represents the human intellect as a sewed thread in the materiality, the nature. On the other hand, it was also really important for me to find a place in a non-urban area. But since my target is urban people, still near it. This way you disconnect from the city´s material being.
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The intervention 1.PARKING nivel +.85.00m
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2.TÚNEL PASANDO BAJO LA CARRETERA PARA CONECTAR VALLE CON+.85.00-meter EL PARKING nivel +.80.00 1.Parking EL sea level 3.CAMINO ENTRANTE AL EDIFICIO 2.Underground the parking that takes you to bajandotunel desdefrom el nivell +.80.00m hasta el nivel +.20.00 m the val4.TÚNELES SUBTERRANEOS SALIENDO DEL EDIFICIO, ley sea level +.80.00-meter ENTRANDO LA PLATAFORMA PLAYA DELsea ESPACIO 3.Path getting to theEN building , going DE down from level bajando desde el nivel +.20.00 m hasta el nivel +.5.00m +80.00-m 5.PLATAFORMA to sea level +.20.00-meter DE LA PLAYA nivel +.5.00 m 4.Underground tunel going from to building getting to the beach platform, going down from sea level +20.00-m to sea level +.5.00-meter 5.beach platform sea level +.5.00-meter
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Spatial function After the research I gave the following functions to the space: 1. Co-workaholic space: Because the Internet can serve as a meeting point of ideas, my project had to correspond to this activity. It´s a place where people get to know each other, work together, exchange ideas and thus obtain a broader view of their own projects and works and that of others. 2. Thermal bath: getting back to our corporality. 3. Café: Satisfying the corporal to promote the intellectual aspect.
THE SPACE HAS TWO FLOORS; THE CORPORAL AND THE INTELLECTUAL sección E
The space has two floors: the corporal and the intellectual. The corporal is the ground floor and intellectual is the first floor because of the function and of the closeness of the ground and closeness of the sky. In this sense, corporality is closer to limitations and the intellect is closer to the infinite.
sección A
sección A´
sección B
sección B´
13Cº 36Cº
sección C
43Cº
sección C ´
sección E´
24Cº
sección D
sección D ´
THE CORPORAL LEVEL - GROUND FLOOR
ANDI SCHMIED PROYECTO FINAL DE CARRERA coworkaholing space
THE CORPORAL LEVEL
CARRETERA DE BARCELONA A VALLS C-31 TÚNELES DE TREN
PLANO 3
The cafe place has natural light, and it is located near the entrance; being the perfect meeting point. It has glass sliding doors, so in summer all its exterior environment can be converted into the cafe.
PLANTA BAJA
ESCALA 1:200 The corporal floor´s thermal part is underground, without 2 4 m any natural light, and high humidity to 0reinforce the feeling of hell and boundaries.
CONCRETE SITTING BLOCKS IN THE POOLS TO PROMOTE THE INTERCOMMUNICATION. SPACE LIGHTENED FROM BELOW WITH LED.
TRANSITION BETWEEN TWO WORLDS - THE RAMP The 50-meter-long ramp which is the access to the intellectual level provides the process of change. It has two fragments: the 40-meter-long part next to the main entrance´s wall and the 10-meter part going right into the central workaholic nucleus.
sección E
sección A´
sección B
sección B´
sección C
sección C ´
sección E´
sección A
sección D
sección D ´
THE INTELLECTUAL LEVEL - FIRST FLOOR
THE INTELLECTUAL LEVEL ANDI SCHMIED PROYECTO FINAL DE CARRERA coworkaholing space This level is the soul of the whole project. This is the level of the co-workaholic space. CARRETERA DE BARCELONA A VALLS C-31 TÚNELES DE TREN
It has three basic working/brain nucleus, where the co-work can be done, and the rest of PLANO 4 the available ground is for individual, or more random group work. PLANTA DE ARRIBA ESCALA 1:200
The group work stations have a minus 0.4-meter level difference representing the fact that 0 2 4 m this form of thinking is closer to the corporality than the individual thinking.
THE STRUCTURE OF THE ROOF The roof continues the function of the co-working, of the brain- as an extension of it. There is more space for activity where the roof is higher. According to this logic, it gets an organic shape. The light works in the same way. The structure itself is a metal one with glass in it, as shown in the plans.
STRUCTURE OF THE ROOF 1.EXTRUDED ALUMINIUM FRAME 2.THERMAL ISOLATION, STEEL SECTION 3.20mm GLASS PLATE 4.STEEL “U” PROFILE, 6mm 5.STEEL NODE 6.TUBULAR MEMBER
STRUCTURE OF THE ROOF 7.BEARING STEEL FOR THE LEDDER BEAMS 8. 0,9 mm MEMBRANE; TRANSPARENT PVC POLYESTER 9.STEEL PLATES, BUILT IN THE ROOFING
THE WORKING NUCLEUS THAT IS COVERED WITH THE METALIC STRUCTURE
1. TÚNEL SUBTERRÁNEO SALIENDO DE LA ZONA DE PISCI-
1.UNDERGROUND TUNEL NAS 2 GOING LLEGANDO ALFROM MAR DE SALIDA DE LA ZONA THE POOL AREA 1 TO 2.TÚNEL THE SEA PLATFORM DE PISCINAS 2 CON CARIPINTE2.EXIT OF THE TUNEL FROM THE POOL RÍA DE CRISTAL 3.ZONA DE CAFETERÍA Y BAR AREA 2 WITH GLASS CARPINTERY CON SUELO DE HORMIGON ACABADO CON ELICOPTERO 3.CAFETERÍA AREA WITH 4.ZONA DE PASO, CAMBIO DE CONCRETE FROUND NIVEL DE RAMPA. MUROS Y RAMPA ACABADO EN HORMI4.RAMP´S LEVEL CHANGING AREA GON 5.ASCENSOR 5.ELEVATOR OF 2 HOLES WITH DE DOS HUECOS DE LA EMPRESA THISMETAL COATING SENKRUPP. ACABADO METÁLICO 6.WIRKING AREA, CONCRETE WALL 6.ZONA DE TRABAJO, MURO BEARING THE COVER DE STRUCTURE HORMIGÓN EN EL QUE SE LA CUBIERTA 7.CENTRAL WORKINGAGUANTA / BRAIN NUCLEUS OF 7.ZONA NÚCLEO DE TRABAJO; ESPACIO DE COMPUTERS AND SHELVES ORDENADORES. MESA Y ESTANTERÍAS AGUANOF RUSTY STEEL TADOS CON ESTRUCTURA DE HIERRO OXIDADO CON ACABATHICKNESS OF THE PLATES: 10mm DOS DE PLACAS DEL MISMO
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MATERIAL. GROSOR DE LAS CHAPAS: 10mm
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NIVEL CORPORAL 1.PISCINA DE 36Cº 2.PUERTA 1 HACÍA EL TÚNEL SUBTERRÁNEO QUE LLEGA AL MAR 3.SAUNA 4.CAFETERÍA 5.PISCINA TERMAL DE 13Cº 6.PUERTA 2 HACÍA EL TÚNEL SUBTERRÁNEO QUE LLEGA AL MAR 7.PISCINA TERMAL DE 43Cº
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1 NIVEL INTELECTUAL 8.NÚCLEO DE CEREBRO/TRABAJO 1 9. NÚCLEO DE CEREBRO/TRABAJO 1 (INTERSECCIONADO CON NÚCLEO 1) 10.NÚCLEO CENTRAL, TRABAJO CON ORDENADORES 11.NÚCLEO DE CEREBRO/ TRABAJO 3
SECTION E E´
CORPORAL LEVEL 1.THERMAL POOL OF 36cº 2.PIVOTING DOOR TO THE UNDERGROUND TUNEL 1 3.SAUNA 4.CAFETERIA 5.THERMAL POOL OF 13cº 6.PIVOTING DOOR TO THE UNDERGROUND TUNEL 2 7.THERMAL POOL OF 43cº
INTELLECTUAL LEVEL 8.WORKING/BRAIN NUCLEUS 1 9.WORKING/BRAIN NUCLEUS 2 (INTERSECTION WITH CORE 1) 10.CENTRAL CORE, COMPUTERS 11.WORKING/BRAIN NUCLEUS 3
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SECTION C C´
HIGH WAY FROM BARCELONA CARRETERA DE BARCELONA A TOVALLS VALLS C-31 C-31 CON BARANDILLA DE HORMIGÓN DE 0,8 M DE LATURA
ARRIVAL TUNEL FROM THE PARKING
TÚNEL DE LLEGADA AL VALLE PROCEDIENTE DEL PARKING
CORPORAL LEVEL 1.LAVATORY AREA SUTIABLE FOR NIVEL CORPORAL DISABLED IN THE POOL AREA 1 1.BAÑO APTO PARA 2.SHOWER MINUSVALIDOSCAB EN LA ZONA DE PISCINAS 1 3.DRESSING ROOM 2.DUCHA CON SUELO CON 4.MAIN ENTRANCE; PIVOTING PENDIENTE PARA EL DESAGUE EN LA ZONA DE PISCINAS 1 CONCRETE DOOR WITH RAILS 3.VESTIDOR 4.ENTRADAWITH PRINCIPAL 5.RAMP 10% INCLINATION, 5.RAMPA CON PENDIENTE DE 40-METER LONG 10% DE 40m DE LARGO 6.DUCHA CON SUELO CON 6.SHOWER CAB PENDIENTE PARA EL DESAGUE EN LA ZONA DE PISCINAS 7.LAVATORY AREA2SUTIABLE FOR
INTELLECTUAL LEVEL 6.FEMALE LAVATORY AREA NIVEL INTELECTUAL AREA 7.DISABLED LAVATORY 6.ZONA SERVICIO FEMENINO 8.RELAXING, READING AREA 7.ZONA SERIVICO MINUSVALIDOS 9.MALE LAVATORY AREA 8.ZONA LECTURA, DESCANSO 10.STORAGE AREA 9.ZONA SERVICIO MASCULINO 10.ZONA ALMACÉN
7.BAÑO APTO PARA
MINUSVALIDOS LA ZONA DE DISABLED INENTHE POOL AREA 2 PISCINAS 2MAR
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SECTION A A´
PERFIL DE ALUMINIO EXTRUIDO OXIDADO PLATEADO OPACO, VERSIÓN EMPOTRADA CON DIFUSOR. EL ALIMENTADORLED ESTÁ SITUADO LIGHTING GOING DENTRO DEL PERFIL Y ELPERIMETER DIFUSOR OF ON THE DE POLICARBONATO CUBRE EN SITTING THE CONCRETE LÁMPARA PIERRE OU PAUL TODA SU LONGITUD EL MÓDULO BLOCKS EXTRUDED DISEÑADO POR INGO MAURER ALUMINUM ELECTRIFICADO, CREANDO UNA PROFILE, TEMA, 1996 LÍNEA CONTINUAMATT DE LUZ. DISTRISILVER BUILT IN PERFIL DE ALUMINIO LUCES BUIDOR:CON VIABIZZUNO. WITH OPCIONALMENTE COLORES DIFFUSER, ELECTRICITY IS LAS DE LUCES RECORREN TODO EL QUE CON UN PERFIL REFLECTANLOCATED IN THE PERÍMETRO DE LAS ALTURAS DE TE TAMBIÉN MARCA LUZ HACÍADIFFUSOR. HORMIGÓN ARRIBA VIABIZZUNO PIERRE AU PAUL- LAMP ESTÁ ENGANCHADO CON UNA DESIGNED BY INGO MAURER PLATAFORMA METÁLICA A LA R 120 ESTRUCTURA DEL FORJADO CON TORNILLOS Y CABLEADO DENTRO DE LOS TUBOS DE HIERRO
ESTRUCTURA DE PERFIL EXTRUIDOS DE HIERRO OXIDADO, Y ENCIMA SOLDADOS ESTANTERÍAS QUE SON PLACAS DE HIERRO OXIDADO DE 10mm DE GROSOR TODA LA ESTRUCTURA ESTA ATORNILLADO AL MURO DE 40cm RUSTY STEELDE SHELVES WITH DE ALTURA CAMBIO DE STEEL NIVEL. STRUCTURE THICKNESS OF SHELVES: 10mm
ANDI SCHMIED PROYECTO FINAL DE CARRERA coworkaholing space CARRETERA DE BARCELONA A VALLS C-31 TÚNELES DE TREN
ARMADURA DEL FORJADO DE HORMIGÓN RESIGUE A LA LÍNEA REINFORCED CONCRETE WITH R DEL CAMBIO DE NIVELES. HIERROS 20mm STEEL WHERE THE REINEXTRUIDOS DE R 10mm FORCMENT FOLLOWS THE LINE OF THE LEVEL CHANGE. LEVEL CHANGE: 0,4-METER
PLANO 10 DETALLES VARIAS ESCALAS
DETAILS OF THE EXECUTIVE AND DETAIL PLANS ROOFING OF REINFORCED CONCRETE
SEALED JOINT
WATERREPELENT INSULATION
SEALED JOINT
ELEVATOR PIT
BEARING SHIMS, 50 mm SLIDING DOOR, MODEL NF63 ROM THE COMPANY SCHUCO, OF TWO RAILS, ALUMINUM WITH GLASS OF 10mm THICKNESS, WITH ALUMIUM KNOB PAINTED TO WHITE
PILAR SHOE OF REINFORCED CONCRETE OF R 10mm STEEL
200mm THICK RAMP OF REINFORCED CONCRETE OF R 10mm STEEL, DELIVERED TO THE SUPPORTING WALL
the translivable house with a lighetened metal tree in the exterior that is visible from both sides but still makes a separation in between spaces
H-PROJECTS
PROJECTS
The 45-square-meter apartment is located on the top floor of a building in the center of Barcelona looking at a large park. The young couple who have just moved in asked me to create a space where they can be together all the time, even without crowding each other. They have been a creative team, and have had studio together, for the past 10 years and neither needed a personal, intimate, separate space. The basic concept was to try to create a space where without being together you can be together. One of the possible answers for this contradiction could be related to the five human senses. We can be together without being together if we disconnect some of the senses but leave others. A clear example could be the hearing: speaking on the phone with someone we can feel his presence, though physically we are not together.
SECTION A
Transferring this idea to the space the sense that keeps us together is the view. Though we are doing different activities, we can still feel the maximum presence of the other. In this sense the walls are visual barriers that do not leave space for the “common intimacy.” The way of destroying the barrier is to change its material to one that does not separates the space visually.
SECTION B INTERIORISTA
TÍTULO DEL PROYECTO
EXPLICACIÓN DEL PROYECTO
Schmied Andi
LA CASA TRANSVIVIBLE
PISO EN PLANTA ALTA, CON VISTAS A PARQUE EN ENTORNO URBANO
INTERIORISTA
TÍTULO DEL PROYECTO
EXPLICACIÓN DEL PROYECTO
Schmied Andi
LA CASA TRANSVIVIBLE
PISO EN PLANTA ALTA, CON VISTAS A PARQUE EN ENTORNO URBANO
TÍTULO DEL PLANO
ESCALA
PLANO Nº
ALZADO 2
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TÍTULO DEL PLANO
ESCALA
PLANO Nº
ALZADO 1
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ONE CONTINUOUS SPACE WITH THE EXTERIORS AS SEPARATION SECTION C
It’s been interesting to play with the shape of the facade, using it as if it would be all the interior walls. Having the outside - where there are things happening - in the inside, though you can see what is happening in different spaces of the apartment, still you can be by yourself. All the space has the size of 10 meters by 4.5 meters (45 square meters); 7.5 exteriors, 37.5 interiors.
ORISTA
TÍTULO DEL PROYECTO
EXPLICACIÓN DEL PROYECTO
ed Andi
LA CASA TRANSVIVIBLE
PISO EN PLANTA ALTA, CON VISTAS A PARQUE EN ENTORNO URBANO
TÍTULO DEL PLANO
ESCALA
PLANO Nº
SECCIÓN 2
1/50
05
In certain circumstances it could happen that having walls, that are non-walls is not convenient. For example, during the day when the sun is too strong. For this possible problem some of the glass-walls are equipped with a special curtain system that can work either as a color-giving point, or as a light keeper. The walls between the interior and the exterior have white screens, that in the case of the living room can be the screen for the projection at the same time. The small wall sections are equipped also with different-colored plastic transparent curtains that retains light in the exterior and colors the interior according to the mood of the occupants.
SPECIAL CURTAIN SYSTEM GIVES THE SPACE AN OPTIONAL DY NAMISM OF LIGHT, COLORS AND SHADOWS.
YOU CAN CONVERT THE LIVING ROOM INTO A SMALL CINEMA AT ANY GIVEN MOMENT
THERE WAS NO NEED FOR ANY TELEVISION IN THE FLAT, BUT IT IS ABLE TO CONVERT AT ANY GIVEN MOMENT INTO A SMALL CINEMA JUST BY TURNING THE SMALL, LIGHT METAL STRUCTURED SOFAS TOWARD THE BIG GLASS WALL AND UNROLLING THE SCREEN FOR THE PROJECTOR.
As an artistic object between the glass walls you can find a metal tree. It´s made of rusted and non-rusted metal sheets. The basic function of it is the subtle separation of the living room from the bedroom, as a visual barrier, though it still lets the light pass. The basic concept was to insinuate the nature, but in a way that it makes you understand that the exterior of the space, due to its function, became the interior.
LIGHTENED METAL TREE IN THE EXTERIOR
3 MATERIALS
1.FORJADO HORMIGÓN The useDE of the materials has complete consistency with 2.FORJADO PARA SUJECIÓN 3.PERFIL “U” METÁLICO the rest of the project due to its reflections on the 4.VIDRIO DE LA BARANDILLA 5.SILICONA interior-exterior. The four basic materials are concrete, 6.PERFIL “T” METÁLICO 7.PIEZA METÁLICA; 30 X 323CM wood, 8.MORTERO metal DE RELLENOand glass. 9.PIEZA DEL CERRAMIENTO DE LA PUERTA; METÁLICO 10.MANETA DE LA PUERTA 11.VIDRIO 12.PLACAS DE PARQUET 13.AISLAMIENTO ACÚSTICO 14.MADERA DE SUJECIÓN DEL PARQUET 15.PIEZAS DE SUJECIÓN DE “PAREDES” DE CRISTAL 16.PERFIL “U” METÁLICO 17.ÁRBOL DE CHAPAS METÁLICAS
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SCH-PROJECTS
INTERIORISTA
TÍTULO DEL PROYECTO
EXPLICACIÓN DEL PROYECTO
Schmied Andi
LA CASA TRANSVIVIBLE
PISO EN PLANTA ALTA, CON VISTAS A PARQUE EN ENTORNO URBANO
1.concrete forged 2.concrete fixing points 3.metal U- profile 4.glass handrail 5.silicone 6.metal T-profile 7.metalic piece; 30x323cms 8.mortar 9.metal closing system 10.door handle 11.glass 12.parquet-floor 13.acoustic isolation 14.parquet-floor fixing wood 15.glass“walls”fixing piece
TÍTULO DEL PLANO
ALZADO SECCIONADO DE DETALLE CONSTRUCTIVO
ESCALA
1/10
PLANO Nº
12
israel sucks
If one spends a half year somewhere, one just can’t go away as if nothing happened. After six months in Tel Aviv on my last week I photographed all those friends, acquaintances, street figures that I thought I would miss from my everyday life. The project brings up questions of the nostalgia, of the end and of remembering.
ISRAEL SUCKS IS A PHOTOGRAPHIC AND EDITORIAL PROJECT
BOOKLET
Israel
PROYECTOS PERSONALES
Eme3 is an annual architecture festival (www.eme3.org) held in Barcelona. Our task was to design the bar for the fesitval. This year’s topic was the “collapse,� the ecological problems that construction can cause in the world. According to this, we had to design two types of bars, with two different budgets. The common thing in proposals is that the bar had to contain three maritime containers, and had to have the same concept. Our concept was based on the contrast. We have made in all three cases calmed bars, reflecting the fact that we can ease ecological problems, considering the cyclical way the world works.
a bar for 路eme3路 architecture festival a design for the temporal bar of an archuitecture festival held in Barcelona, 2009
In the second proposal, we took out the wood parquet, as it was a high-cost element. We have put pallets as it is easier to transport and you don´t have to cut it to size. This way, each client could make his or her own space. We still maintained the water, as a calming element, and as an element that reflects the projection, giving it even more importance. we have also made a third - most economic - proposal, we took out the water, and we just played with the movement of the seating elements, of the pallets. The video projection is applied on all the installations. We have also focused on the transportability of the bar. We had the exact amount of the pallets to be able to put it in of the two containers, so this way we could reduce transport costs.
We have made a video projection in order to achieve this, which gives us the basis to have small graphic elements - as the menu or the advertisements - of the bar. The first option was the one with the largest budget, using the water as a symbol of nature and of peace, but at the same time also a symbol of movement and of the constantly changing and moving system.
VIDEO PROJECTION GAVE THE VISUALS FOR ALL THE GRAPHIC IDENTITY
FLYER
MENU OF THE BAR DAY/NIGHT
Tel Aviv Grannies photo serial a photo serial a book of the elderly of Israel´s cultural capital
9AM · RAMAT AVIV SHOPPING CENTER
Israel was formed as a state by the United Nations in 1948. It was inhabited by early Jewish settlers and a massive inflow of people – both young and old – mainly from Europe and the Middle East. Those young people are now the oldest part of the population and only 10% of them were born on the land where the State of Israel stands today. Most of these people, because of their the historical era they were living in, had very particular lives. Their youth was not all about being carefree, their adulthood was about continuous wars and getting used to coexistence. They speak the common language – Hebrew– with different accent and it´s still a deep part of their identity that although they are Israelis, actually they are quarter- German, quarter -Yemeni, quarter- Slovak or quarter-Polish. The “Tel Aviv Grannies” photo serial shows this elderly part of the Israeli society. During a six-month stay in Israel, I decided to see these early settlers for myself and find out how they go about their everday lives. I walked the streets, I visited the beaches, I joined them in their play and sports activities to capture them on film. I didn´t want to embellish anything. My photos show the external aspects of aging: both body and face. But it is the harshness and cheerfulness that these faces show the moment they were captured. The entire serial is made with analog cameras and the photos have become part of a book.
BUS STOP · RAMAT AVIV GIMEL
PILATIS CLASS
TEL AVIV GRANNIES is a book devided by 5 chapters; glamor beach event for the organization of people who lost their sons in military actions activities street The division lets me show different realities of the Israeli elderly.
BECAUSE OF THE HISTORICAL ERA THEY WERE LIVING IN, MOST OF THESE PEOPLE HAVE HAD VERY PARTICULAR LIVES
I WALKED THE STREETS, I VISITED THE BEACHES, I JOINED THEM IN THEIR PLAY AND SPORT ACTIVITIES TO CAPTURE THEM ON FILM
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the art box library design for a public library in Tel Aviv
The task was to design a library in the poorest neighbourhood of Tel Aviv, in Neve Shanan. The building that we had to reform used to be a cinema but already 20 years ago it is not in function. Historically Neve Shanan used to be a central area, with the central bus station, and without being known as a dangerous part of the city. But lately it has changed in this aspect. The population of the area is a mix of nationalities, but what is common among them is that they arrived in Israel not very long ago, hoping to find a better life. Many of the inhabitants of the neighborhood don’t understand Hebrew, which means that they can’t benefit by the culture and have little access to information. After a short time we also could see, that the way of living is also really different from other parts of Tel Aviv. The life in Neve Shanan starts when the night enters, and finishes with the first light of the sun. This aspect during the day creates an atmosphere of indifference, of waiting for something to happen.
<< CONTINUITY
On the other hand, due to the new central bus station’s location, there is lots of activity during the day, but the so much by the inhabitants of the neighborhood. This creates a strong feeling of contrast, in the way Neve Shanan is, in the way we can perceive it. There is a strong sense of contrast between the nights and the days, of the passing of quickly-moving people versus the calmness and slowness of the locals. Finally after a long analysis of the neighbourhood I took three determinant concepts for the design of the library: continuity, transparency and contrast. After making conceptual models to represent formally the concepts I started to design the library itself.
THE NATURALITY OF THE TRANSFORMATION OF ONE EXTREME TO THE OTHER
CONTINUITY · THE NATURALNESS OF THE TRANSFORMATION OF ONE EXTREME TO THE OTHER
TRANSPARENCY · THE INVISIBLE, BUT EXISTING BORDER BETWEEN TEL AVIV AND TACHANA MERKAZIT.
THE ORIGINAL BUILDING THAT USED TO BE A PORN CINEMA
CONTRAST · ALTHOUGH WE CANNOT SEE IT, IT´S THERE IN THE MINDS. BETWEEN THE DAY AND THE NIGHT, BETWEEN THE PURPOSES OF THE PEOPLE, BETWEEN THE REST OF THE CITY AND THE NEIGHBORHOOD
CONTINUITY, TRANSPARENCY AND CONTRAST; CONCEPTS THAT DETERMINED THE DESIGN
The stairs that are going from the entrance floor to the first floor are the first step in getting to the box, but they are not yet the final step. These stairs are heavy (concrete), representing their closeness to the ground and strengthening the feeling of the floating box. The stairs that are going up from the first floor to the box are just the opposite. They are light, and almost floating; made of steel.
SECTION B · YOU CAN SEE THE READING HALL, THE CAFETERIA AND THE BOOK FLOORS
The contrast in the library is based on the light. The box, as a hanging object is one of the important sources of light. The other source of light is the 50-centimeter-wide holes in the ceiling that create a special light effect on the exhibited art objects, and on the wall in front of it. These holes, together with the one-meter-wide hole of the box, with the movement of the earth creates an always dynamic space.
FRONT SECTION
INNER SECTION A 路 YOU CAN SEE THE LIGHT ENTRANCES
<< sketches
LIGHT ENTRANCES ON THE ROOF CONVERT THE BOX TO BE A FLOATING LAMP
HOW THE LIGHT CHANGES ON THE WALL DURING THE DAY
ON THE ROOF PLANS YOU CAN SEE THE HOLES THAT GIVES THE LIGHT IN THE SPACE. ONE HOLE ON THE BOX, AND TWO ON THE SIDES TO GIVE LIGHT TO THE EXHIBITON
The library also has a cafeteria. The special thing in it is the location of the place. It´s inside the box, located on the side that has visual interaction with the street.
THE CAFETERIA IS LOCATED ON THE PART OF THE BOX THAT IS VISIBLE FROM THE STREET
The box as a floating object, needed a serious metal structure. On one hand, the use of IPNs, and metal tubes around the box, and on the other hand, the elevator itself and its horizontal continuity are carrying all the weight.
HEAVY METAL STRUCTURE
2nd floor, the box, where you can read, from where you see the exhibition and the coffee place
13 METERS SOFA
1st floor, the box, where you have the books, a reading hall and an access to the elevator
READING TABLES
ground floor, where you have the acces to the library, the information desk, books, computers and the restrooms
FRONT VIEW
This project is based on five famous Five-star Hotels of Barcelona, a city where tourism is one the most important parts of the economy, that all were built before the 1980s. These institutions used to be the symbols of luxury and splendor. Even today, when you mention the name of these hotels to some locals their eyes are filled with desire and recognition, though both the architecture, the service and the mentality brings back a different era and speaks of decadence. Hotel Princesa SofĂa, Hotel Rey Juan Carlos I, Hilton Diagonal, Novotel, Hilton Diagonal Mar
barcelona ***** photographic project of five old luxury hotels of Barcelona
WHAT USED TO BE SPLENDOR, TODAY IS DECADENCE
the frozen music Ryoji Ikeda 路 Per-se in this abstract project a music piece is converted into space and reconverted into visuals
FRAGMENTS OF THE VIDEO
· FROM MUSIC TO SPACE · · FROM SPACE TO A MUSICAL VIDEO ·
However, the music of Ryoji Ikeda might sound as something that is built up randomly, it has the most defined logic. The only difference he has with many musicians is that his mind works in a really different way that makes his logic unique. The song “Per-se” gave the inspiration to make an abstract public square. After the model, I made a video where the music goes together with the images of the square to feel and see together the harmony of the logic of the visuals and the sound. You can check the video here: http://www.youtube.com/watch?v=eQ5m1tqn_VQ
Most cities have their emblematic buildings, that can go on postcards, book covers and are on the must-lists of all tourists. Tel Aviv is not such a city. Although the city, because of its important Bauhaus architecture is also called as the white city, the more modern and less impressive architecture defines Tel Avivâ&#x20AC;&#x2122;s landscape. On the other hand, there are some permanent features that are an integral part of the cityscape. For example, Tel Avivâ&#x20AC;&#x2122;s two airports are located in such a place that all the flight are passing by the center of the city, really close to the ground. According to many, to determine if someone comes from Jerusalem or Tel Aviv, you should just check if they look up when an airplane passes by. The photo serial works as a tourist guide. The pictures are taken in important touristic spots of the city and on all of them there is an airplane. You also can see the natural and neutral reactions of the people concerning to the flying objects.
Tel-Aviv Airspace a touristic photoserial & a book of Tel-Aviv with an airplane on each picture
PLAN
Be Grannie fashion show for the elderly
Be Grannie is a reform project of a place that is owned by the Municipality of Barcelona which wanted to create a center of elderly. The problem I wanted to solve is how all the social roles have been changing in the past decade: fewer women are now at home, men are not alone in supporting the family, children are no longer so dependent on their parents. But the role of the elderly - at least in Spain â&#x20AC;&#x201C; is still more traditional. They are still the grannies who make the cookies, who take care of the grandchildren, who are wise because they have lived a long life but they are not so much part of the modernities of 21st-century life. But in many countries, being old is no longer a stage of life that is all about nostalgia. As life expectancy has grown dramatically in the past decades, post-retirement has become a more active and vibrant period. The project Be Grannie is a place for fashion shows for this age group to help create more self-awareness and individual values. As a visitor enters the center, the runway serves as a symbolic object of activity and energy. One can feel the adrenaline. All the space is surrounded by the runway, and in the middle you can find the audience.
DETAIL WC
DETAILS OF THE RUNWAY & THE FLOOR HEATING
DETAILS OF THE CEILING AND OF THE SUBJECTION OF THE CURTAINS
P
PLAN
ESPACI *
el diseñ * del sofá
7.INSTALACIONES DE FONTANERÍA
Sofá inyectada de metacriláto transparente con una estructura de tubo de hierro extruído de 40mm, cogiendo la forma orgánica del mueble cada 1000mm. un tubo colocado a dirección longitudinal, que esta juntado a los transversales con soldadura. Para la comodidad del usuario se colocan dos sofás, uno de 9,5 m y otro de 8 m de longitud. Con esto la capacidad del local de gente sentada es de 54 personas.
6.VIDRIERA
6.1 Vidrio de seguridad de 30 mm con una camara de aire incluído, relleno de ventanales exteriores 6.2 Colocación del pavimento Plancha de Lino Art (0.25 cm de espesor total y un peso de 2.9 g/m2). Tratado con una capa de protección de alta calidad LXP que facilita la limpieza y el pavimento. Se suministra en planchas que miden 200cm de ancho y entre 20 y 31m de largo. Distribuidor: Armstrong) en todo el superficie de la pasarela
TAMAÑO / mm
CANTIDAD
2360 x 3410 mm
ud 1
3400 x 1200 mm
ud 1
2670 x 2340 mm
ud 1
7.1 Instalación de fontanería en aseo público (4,5 m2 y 2,4 m2) agua fría y caliente en dos lavabos y fría con fluxores en dos inodoros; tuberías de suministro en cobre y evacuación en PVC; incluidas las llaves de paso.
14 12
DESIGN OF THE SOFA
ON THE RUNWAY ONE CAN FEEL THE ADRENALINE metacriláto de 10 mm
34
LONGITUDINAL SECTIONS
tubo de hiero extruído de 40 mm
TRANSVERSAL SECTIONS
ON THIS PHOTO I WANTED TO PLAY WITH THE CONCEPT OF REALITY: NON- REALITY, HOW A FRAME DIVIDES DIFFERENT CONCEPTS AND HOW IT CHANGES THE WAY WE PERCEIVE WHAT IS INSIDE AND OUTSIDE.
fake identities
photoserial and editorial work of the infinite possible identities we can have in the XXI.Century
ON THIS PICTURE I WANTED TO PLAY WITH ICONS OF POP CULTURE.
Fake identities is a photography serial that reflects on the nature of the XXI. Century man. We can define and redefine ourselves in any given moment, or as Lipovetsky has said: “We have an a´la carte identity.” Before a profession and a gender we had been defined for life, nowadays our self definition is individual and modifiable.
ON THIS THIRD PICTURE I WANTED TO PLAY WITH THE IDENTITY ITSELF, WITH THE FEARS AND THE SELF-IMAGE.
IN THE XXI. CENTURY “WE HAVE AN À LA CARTE IDENTITY”
Chachi Cheiw the adventures of the Cheiw Family
Cheiw is a spanish chewing gum company that used to be known in the 60´s. In 2011 the company will get back to the market with 5 new tastes - spicy, sweet, salty, bitter, acid - so the task was to design a campaign for the coming back. I made the campaing with Monica Molins. Our naming is “Chachi Cheiw”. Chachi is a spanish expression for “cool” that was already decadent in the 80´s. We created the family Cheiw, and for all of its members we gave a taste and made up a small story that happened to them after trying the chewing gum. Since the company have put new savors on the market we played with the idea of bizarre, weird, kitsch, how the tastes are. The main slogan of the campaign is “Tastes that other doesn´t have”.
HOW THE LIGHT CHANGES ON THE WALL DURING THE DAY
ART DIRECTION & PHOTOGRAPHY
smelling types how can you express the smell of a typeface?
The images donâ&#x20AC;&#x2122;t smell â&#x20AC;&#x201C; at least until you are shown something that has an evident relation with a recognizable odor. And if images can smell, so can typography.
<< SKETCHES
OPENING >> OPENING >> OPENING OPENING >> >>
The Menifa Mnorah (hand- fan lamp in Hebrew) is a small lamp that at the same time can be a holder. It is based on the concept of the coexistence of the nature with human creations and of the transformation of traditional objects to our days. The hand-fan is already coming from the ancient Egyptians, and still is a useful object against heath and a symbol of certain dances, of femininity.
the hand-fan lamp A night lamp, a holder that you can adjust to you mood
The fan lamp is an object that you can adjust to your mood. You can change its colors -you even can leave it without colors- change the order, change the shapes of it. The way of assembly and replace is also easy. You just take out the screw, put the new colors and put it back. Matter of 30 seconds.
<< << ASSEMBLY ASSEMBLY AND AND REPLACE REPLACE
THE WAY YOU GET THE PIECES
ASSEMBLY AND REPLACE
ADJUST THE COLORS TO YOUR MOOD OR LEAVE IT WITHOUT