SIRAWAT “Him� Chanwipat
Birthday: 15 April 1993 Nationality: Thai Address: Via Jacopo dal Verme, 16 20159 Milan, Italy Languages: Thai (Native) English (Fluent) Italian (Basic) Email: Sirawat.cwp@gmail.com Sirawat.chanwipat@mail.polimi.it Telephone: +39 3519362840
Education: 2011-2015
Thammasat University, Thailand Bachelor of Science (BSc) in Architecture
2016present
Politecnico di Milano, Milan, Italy Laurea Magistrale (MSc) in Architecture
Professional Experiences: 2014
Tandem Architects 2001, Thailand Architect Internship (3 months) High rise building design, model making and senior architect assistant
2015
Tandem Architects 2001, Thailand Outsouce Architect (1 months) Design team for Thakher City at Mecca competition, Saudi Arabia
2015
Tadah Collaboration, Thailand Outsouce Architect (1 months) Design team for Royal Gems Mixed-Use Complex competition at Pattaya, Thailand
2016
Pygmy Design Studio, Thailand Architect and designer (8 months) Newly opened design firm, handled various types of project: architecture, interior, landscape, and graphic design
Competitons: 2017
Europan 14 Design competition of the new waterfront at Alta, Norway In collaboration with Lara Zentilomo, Pietro Olioso and Zofia Kasinska
2017
Soverato Municipality Reconditioning of streets and public spaces at Soverato, Italy In collaboration with Carlo Gallelli, Bianca Gentili, Francesca Luci, Francesca Morselli, Lara Zentilomo, Mirko Calasso, Wei Han, Yuanping Qian and Zofia Kasinska
2019
Competition For Designer Nodo D’Amore wine label competitiom In collaboration with Lara Zentilomo and Zofia Kasinska
Exhibitions: 2015
ASA Thailand Architecture Exposition 2015 Selected project (Trang Airport) from Thammasat University to be exhibited at the exposition
2015
Skin Shift Parametric design exhibition at Fab Cafe, Bangkok In collaboration with Benjarat Na-Thalang
Workshops: 2017-2018
Terra Viva Workshop Waste as Resources, Mondo Digitalia, Beehive Design Shelter design from reuse/waste material, Network of beekeepers and Beehive design for the city of Milan
2018
Internation Workshop of Urban And Architectural Design Reopening Navigli project, Milan, Italy In collaboration with Chulalongkorn University, Bangkok
2018
Reinventing Milan The design of Serio area, Milan, Italy In collaboration with Harbin Institute of Technology, China
Publication: 2017
Njonica Ghost Town Lab Riace-Badolato Research, experiment and project of Ghost Town Laboratory
Software Skills: Adobe Phototoshop Adobe Illustrator Adobe Indesign SketchUP Rhinoceros Autodesk Autocad Autodesk 3dsMax Autodesk Ecotect Grasshoppers V-Ray
CONTENTS
PARAMETRIC DESIGN Greenery Cubes Urban farming surface design for the Grand Postal Building
7
COMPETITION Seafactor(y) The Waterfront and production site of Skifferkaia
15
ARCHITECTURAL DESIGN Monbijou Tor The new Modernism art gallery of Berlin’s Museum Island
23
Sukhothai Center The information center and exhibition of Sukhothai Historical Park
29
Trang International Airport The new airport integrated with stormwater resevoir system
35
SUSTAINABLE DESIGN Through The Bloc The zero energy Cold War Museum
39
INTERIOR AND EXHIBITION DESIGN The Perceptive Background The traveling exhibition dedicated to Oscar Hansen of CIAM
43
GREENERY CUBES Academic year: BSc, 4TH Location: Bangkok, Thailand Type: Parametric, Product Design In collaboration with: Benjarat Na-Thalang
Grand Postal Building, one of well-known landmarks in the city centre of Bangkok where the headquater of Thailand Creative and Design Centre is located. The building becomes a new hub for both district and city of Bangkok combining public functions such as library, co-working space and design centre. By combining digital modeling and fabrication, “Greenery Cubes� aims to provide a green space inspired by urban farming system on the roof of Grand Postal Building. This green space is not only intended to create a new community for the city, but also to acknowledge citizen, a new way of urban farming integrated with digital modeling and fabrication. The processes conclude in 4 stages: software analysis, architectural design, planters design and planters fabrication. Starting from an insolation analysis to determine types of plants in each spacific zone, the surface is then modified according to a requirement of each vegetation, a connection between cubes and a circulation and fuction areas. The final 4 planters represent different ways of uses, different amount of soil and different ways of planting but all can be connected on every sides, forming an architecture which can be modified into multiple alternatives according to the site. The project also aims to discover various ways of production, from the use of CNC machine, 3d printing and steel manufacturing, in order to find the best way that can be applied for the mass production of the products. We hope that this project would established a new way of urban farming.
-7-
SUMMARIZED DESIGN PROCESS
Greenery Cubes! 8 Let’s grow vegetables!
0.35 x 0.35 m Cubes 7
Final process of surface experimentation, subdivision of cubes into smaller size
Circulation / Function 6
Selected area to create a system of walkways and activities
5.
Plants Arrangement 5
According to surface experimentation in the previous steps
0.7 x 0.7 m Cubes 4
Improved cubes size, suitable for structural system of the surface and human scale relation
3.
3 1.4 x 1.4 m Cubes
Experimentation of surface arrangement based om insolation analysis and plants selection.
2.
2 Plants Selection
According to insolation analysis and each plant requirements
Selected design area
1 Insolation Analysis
Sunlight exposure to the building’s roof
Exception area
Grand Postal Building
1 Insolation Analysis
Sunlight exposure to the building’s roof
-8-
3
30-50 cm. 30-50 cm.
3m. 4m.
4m. 5m.
5m. 6m.
6m. 7m.
7m. 8m.
8m. 9m.
9m. 10m.
10m. 11m.
Planting Planting Planting JAN. JAN. FAB.JAN.FAB. MAR.FAB.MAR. APR.MAR.APR. MAY. MAY. JUL. JUL.JUL. AUG. SEP. SEP. NOV. DEC. APR. JUN. MAY.JUN. JUN. AUG. AUG. OCT. SEP. OCT. OCT. NOV. NOV. DEC. DEC.
Planting
Harvesting Harvesting Harvesting
Harvesting
11m.
1m.
LightLight intensity intensity
Light intensity LightLight intensity intensity
4820-4860 4820-4860
4760-4820 4760-4820
4340-4400 4760-4820 4760-4820
2
3
200cm.200cm.
6 160cm.
160cm.
160cm.160cm.
250cm. 250cm.250cm.
3
2
3
2
3
25-50 cm. 25-50 cm.
JAN.
FAB.
MAR. APR.
MAY. JUN.
JUL. AUG.
SEP. OCT. NOV. DEC.
8m.
9m.
10m.
1m.
11m.
2m.
10m. 11m.
1m.
2m.
2
4
1 2
120cm.120cm. 120cm.
3
20-30cm. 40cm. 40cm. 40cm.
15-20 cm.
10cm. 10cm.
10cm.
11m.
1
2
3
80cm. 80cm. 80cm.
15-30cm. 10cm. 10cm. 10cm.
Planting Planting JAN.
Harvesting Harvesting Harvesting
1m. 1m. 2m. 2m. 3m. 3m. 4m. 4m. 5m. 5m. 6m. 6m. 7m. 7m. 8m. 8m. 9m. 9m. 10m. 3m. 4m. 5m. 6m. 7m. 8m. 9m. 10m. 11m.
1
7m.
3
6m.
2
5m.
2
4m.
3
3m.
1
2m.
1
2
25-30 cm. 25-30 cm.
Planting Planting Planting Planting PlantingPlanting JAN. FAB. MAR. MAY. MAY. JUL.SEP.AUG. JUL.OCT.AUG. SEP.NOV.OCT. SEP.DEC.NOV. OCT. DEC. NOV. DEC.JAN. FAB. JAN.MAR.FAB. JAN.APR.MAR. FAB. MAY. APR. MAR.JUN.APR. MAY.JUL.JUN. MAY.AUG. JUN. JUL. SEP. AUG. JUL. OCT. AUG. SEP. NOV. OCT. SEP. DEC. NOV. OCT. DEC. NOV. DEC. JAN. FAB. JAN. MAR. FAB. APR. MAR. MAY.APR. JUN. APR. JUL. JUN. AUG. JUN.
Harvesting Harvesting Harvesting
Harvesting 1m.
10cm. 10cm.
10cm.
1
2
15 -20 cm.
40cm.
50 cm. 50 cm.
20-30 cm.
10cm.
Planting
1
80cm. 80cm.
80cm.
60cm. 60cm. 15-20 cm. 15-20 cm.
30-50 cm.
10-20 cm.
Planting
FAB. JAN. MAR. FAB. APR. MAR. APR. MAY. JUN. MAY. JUN. JUL. AUG. JUL. AUG. SEP. OCT. SEP. NOV. OCT. DEC. NOV. DEC.
1
Harvesting Harvesting
1m. 1m. 2m. 2m. 3m. 3m. 4m. 4m. 5m. 5m. 6m. 6m. 7m. 7m. 8m. 8m. 9m. 9m. 10m. 2 3m. 4m. 5m. 6m. 7m. 8m. 9m. 10m. 11m.
10m. 11m.
11m.
1m.
1m. 2m.
2
JAN.
3
3m. 4m.
4m. 5m.
5m. 6m.
6m. 7m.
7m. 8m.
8m. 9m.
9m. 10m.
10m. 11m.
FAB.
MAR. APR.
11m.
1m. 1
2
2m.
3
4 3
2
Light Light intensity intensity Light intensity
Light Light intensity intensity Light intensity
Light Light intensity intensity
4820-4860
4340-4400 4340-4400 4760-4820
4280-4340 4280-4340 4760-4820
4100-4160 4220-4280 4220-4280
3
2
Light intensity
Light intensity 4040-4100
1
1
1
1
1
4
3
3
3
3
14 14 Celery Celery 11 Bird's Eye Chilli
2
2
2
2
2
13 13 Parsley Parsley 10 Holy basil
1
1
1
1
1
2
2
2
2
2
3
3
Plants Selection
250cm.
250cm.
200cm.
200cm.
160cm.
160cm.
120cm.
120cm.
80cm.
80cm.
250cm.
200cm.200cm.
200cm.
160cm.160cm.
160cm.
120cm.120cm.
15 15 Mint Mint
1 2
3
250cm.250cm.
50-80 cm.
4
25-50 cm.
120cm.
250cm.250cm.
1 2
2
2
3
3
1 2
3
3
250cm.250cm.
200cm.200cm.
200cm.200cm.
160cm.160cm.
160cm.160cm.
120cm.120cm.
120cm.120cm.
30 cm. 80cm. 80cm.
80cm.
20-30cm. 20-30cm. 15 -20 cm. 15 -20 cm. 2
3
1
40cm.
60cm.
40cm. 40cm.
50 cm.
15-20 cm. 1
3
2
10cm. 10cm.
10cm.
3
10cm.
40cm. 40cm.
4 3
2
3
2
JAN.
FAB.
MAR. APR.
MAY. JUN.
1
10m.
3
9m.
2
2
Planting Planting
Harvesting Harvesting 1 Harvesting
Harvesting Harvesting
11m.
1m.
1
1
1
2
2
2
2
4
JAN.
Harvesting Harvesting Harvesting
1 2
1m. 1m. 2m. 2m. 3m. 3m. 4m. 4m. 5m. 5m. 6m. 6m. 7m. 7m. 8m. 8m. 9m. 9m. 10m. 3m. 4m. 5m. 6m. 7m. 3 8m. 9m. 3 10m. 11m.
2m.
3
1
10m. 11m.
11m.
1m. 2m.
1m.
1m. 2m. 3m.
1
2m. 3m. 4m.
3m. 4m. 5m.
4m. 5m. 5m. 6m. 6m. 7m. 6m. 2 7m. 2 8m. 3
2
7m. 8m. 9m.
8m. 9m. 10m.
9m. 10m. 11m.
1
3
3
10m. 11m.
1
2
2
3
10cm. 10cm.
3
3
Planting Planting Planting Planting Planting Planting JAN. FAB.MAY.APR. MAR. MAY. MAY. JUL.SEP. AUG. JUL. SEP. SEP. OCT. DEC. NOV. DEC. JAN. FAB. JAN. MAR. FAB. APR. MAR. APR. MAY. JUN. MAY. JUN. JUL. AUG. JUL. AUG. SEP. OCT. SEP. NOV. OCT. DEC. NOV. DEC. JAN. FAB. JAN. MAR. FAB. APR. MAR. JUN. APR. JUL. JUN. AUG. JUN. OCT. AUG. NOV. OCT. DEC. NOV. JAN. FAB. MAR. APR. MAY. JUN. JUL. AUG. SEP. OCT. NOV. DEC.
2
2
8m.
2
7m.
1
1
6m.
3
5m.
2
4m.
SEP. OCT. NOV. DEC.
1
3m.
3
3
2m.
2
2
1m.
1
1
4
Harvesting
JUL. AUG.
40cm. 40cm. 10-15cm. 10-15cm.
4 10cm. 10cm.
1
Planting
80cm. 80cm. 15-20cm. 15-20cm.
40cm.
25-30 cm. 1 2 3 15-30cm. 15-30cm.
15-20 cm. 15-20 cm.
2
10cm.
80cm. 80cm.
11m.
FAB. JAN. MAR. FAB. APR. MAR. APR. MAY. JUN. MAY. JUN. JUL. AUG. JUL. AUG. SEP. OCT. SEP. NOV. OCT. DEC. NOV. DEC.
1m.
1m. 2m.
2m. 3m.
3m. 4m.
4m. 5m.
5m. 6m.
6m. 7m.
7m. 8m.
8m. 9m.
9m. 10m.
2
1
2
2
2
2
3
2
3
3
3
3
10m. 11m.
11m.
3
Light Light intensity intensity Light intensity
Light intensity
Light Light intensity intensity Light intensity
Light Light intensity intensity
4040-4100 4040-4100 4220-4280
4000-4040 4000-4040
4100-4160 4100-4160 4280-4340
4340-4400
13 Parsley
15 Mint Area Selection Circulation and Function
14 Celery 250cm. 200cm.
1
2
250cm.
250cm.
200cm.
200cm.
3
160cm.
160cm.
160cm.
1
2
2
3
3
4 2 3
1
120cm.
A
A
A
A
2
3
120cm.
80cm.
1
2
120cm.
3
80cm.
1
1
1
15-20 cm.2 2
2 2
3 1
1
1
2
B B
4
2
3
A A
B
B
B
B
40cm.
1 2
2
2
3
3
1
10-15cm.
10cm.
2
1.4m
3
MAR. APR.
MAY. JUN.
JUL. AUG.
3 1
SEP. OCT. NOV. DEC.
JAN.
Planting
FAB.
MAR. APR.
MAY. JUN.
JUL. AUG.
SEP. OCT. NOV. DEC.
JAN.
MAR. APR.
2
2
2
2
2
3
3
3
3
3
MAY. JUN.
JUL. AUG.
4
B
C
A
B
3
D
B
2
3m.
4m.
5m.
C
B
6m.
3
C
7m.
3 C
A
B
4
2
4100-4160
8m.
9m.
10m.
C
C
C
C
11m.
1m.
Harvesting
2m.
3m.
4m.
5m.
6m.
1
2
B
C
B
C
4
B
B
B
B
7m.
8m.
9m.
10m.
11m.
1m.
Light intensity
2m.
3m.
4m.
5m.
6m.
7m.
8m.
9m.
10m.
11m.
1.4
m
1.4
1
1
E
5
5
A
C
D
E
B
C
D
E
0.7 m
2
3
D
E
D
E
1
5
2
3
5
C
B
D
D
C
B
D
D
1
2
3
E
E
2
E
D
D
E
E
D
D
E
E
E
E
E
ED ED
A
B
A
B
B
6
1
1 2
2
2
3
3
A
B
B
1
6
7
7
2
7
7
A
B
A
A
B
C
B
C
A
A
B
C
C
A
B
B
C
C
C
A
B
B
C
8
2
8
A
A
B
C
B
C
A
A
B
C
A
B
B
C
C
C
A
B
B
C
C
A
2
A
B C
D
D
D
C
B
C
9
1
2
1
2
2
2
2
2
3
3
3
3
3
B
11
2
1
B
C
B
C
B C
3 B
A
A
B
C
B
B
B
B
A
A
B
C
B
B
B
B
A
A
B
C
B
A
B
B
A
A
B
C
B
A
B
4
8
3
B
B
B
C
7
C
C
C
C
8
B
B
B
C
4 9
0.4m
7 6
3
8
A
3
B
4
7
B
3
2
9 B Ax2 A
D
3
7
A B
8
B C
1
3
8
A B
B
5
1
B
A
D
C
3
8
E
D
2
3
7
D
C
A
5
B
B
B
2
1.4m
2
m
1 3
2
1
1
1
0.7
4000-4040
3
E
4
1
12
m
Light intensity
4040-4100
3 4
1
2
1
3
B
Light intensity
6
11
E
SEP. OCT. NOV. DEC.
0.7m
Harvesting
2m.
D
E
10cm.
3
Harvesting
1
FAB.
1
E
2
40cm.
Planting
FAB.
1m.
2
3
Planting JAN.
15-30cm.
1
10cm.
3
2
3
15-20cm.
40cm.
D
1
80cm.
20-30cm. 15 -20 cm.
6
8
1.4
B B
8
7
C
B
C
B
8
B
B
B
B
A
B
A
A
B
12
m 0.7 m
0.7
m
B
A
C
B
8
7
A
C
1.4
7
A B
4
B
m
9
7
B
A
C
B
9
8
B
A
B
A
9
A
A
A
A
3
1 1
3
A
B
B
C
10
2
3
B
C
B
C
11
1
2
2
2
2
2
3
3
3
3
4 10
10
4
B
A
A
B
C
A
A
B
10
5
E
D
E
D
10 10
6
10
D
E
E
E
D
E
E
E
7 7
C
B
C
B
10
D
D
D
D
3
1 1
3
3
4 11
4
6
B Ax3 Ax2 B C
A
A
B
11
6
7
11
E
D
E
D
E
D
E
E
7
C
A
C
C
11
D
D
D
D
3
1 1
3
B
C
B
C
12
B
A
B
A
13
3
14
3
15
3
B B
C
A
13
4
A
B
A
A A
A
B
A
11
7
13
B
C
B
14
4
D
B
A
E
B
A
5
15
4
B
A
B
A
14
B
C
B
D
B
A
E
E
B
A
5
B
A
B
A
15
A
C
B
D
B
A
E
E
B
A
8
13
8
14
8
15
8
B
A
B
A
B B
A A
13
9
B
C
B
14
9
15
9
B B
A
B
A
B
C
B
B
A
B
14
10
15
10
9
B
A
B
A
Cubes Arrangement Experimentation
-9-
10
A
8
C
13
9
B
E
E
E
E
12
A A
8
C
7 7
9
B B
7 7
12
8
C C
15
E
12
7 7
14
E
4
C
B
13
E E
4
C
8
7 B
5
B
3
B
A
B
3
B
2 2
4
B Ax3 Ax2 B
4
C C
2 2
12
3
2 2
4
3
D Dx2 D Dx2
11
10
A
B
A
B
D Dx2 D Dx2
E
C
B
B
A
D
C
B
B
A
11 14
D Dx2 D Dx2
12 14
11
D Dx2 D Dx2
14
E
E
C
B
B
A
E
D
C
B
B
A
11 15
13
E E
12 15
MAY. JUN.
JUL. AUG.
Harvesting
4
2m. 3m.
3
9 Celery
8m
3
3
2
120cm. 120cm.120cm. 2
2
3
3
2
1
1
1
1
2
40cm.
40cm. 40cm.
7m.
160cm.160cm. 160cm. 1
1
4
80cm. 80cm.
6m.
2
20 cm.
30 cm. 30 cm.
40cm.
5m.
200cm.200cm. 200cm.
50-80 cm. 50-80 cm.
80cm.
4m.
250cm.250cm. 250cm.
160cm. 160cm.160cm.
120cm.120cm.
80cm.
3m.
JUL. AUG.
4280-4340
4
20-30 cm.
2m.
MAY. JUN.
14 Celery
3
200cm. 200cm.200cm.
140cm.
20-50 cm.
MAR. APR.
Light intensity
2
250cm.250cm.
120cm.
1m.
11 13 11 Bird's Bird's EyeEye Chilli Chilli Parsley
1
3
200cm.
2
250cm.
200cm.
FAB.
1
3 Lactuca sativa 10 10 Holy Holy basil basil
250cm.
JAN.
1m. 2m.1m.2m. 3m.2m. 3m. 4m.3m. 4m. 5m.4m. 5m. 6m. 7m. 8m. 9m. 10m. 11m. 5m. 6m. 6m. 7m. 7m. 8m. 8m. 9m. 9m. 10m. 10m. 11m. 11m.
LightLight intensity intensity
2 Nappa 9 Celery 9 cabbage Celery
1 Cabbage
2m. 3m.
3
1m. 2m.
2
1m.
11m.
2
10m. 11m.
1
9m. 10m.
50 cm.
10cm. 10cm. 10cm. 1
8m. 9m.
3
7m. 8m.
2
6m. 7m.
1
5m. 6m.
3
4m. 5m.
2
3m. 4m.
1
2m. 3m.
3
1m. 2m.
FAB. MAR. MAR. APR. APR. MAY. JUN. MAY. JUN. JUL. AUG. JUL. AUG. SEP. OCT. SEP. OCT. NOV. NOV. DEC. DEC.
Harvesting Harvesting
Harvesting Harvesting 1m.
JAN. FAB.
2
JAN.
FAB. MAR. MAR. APR. APR. MAY. JUN. MAY. JUN. JUL. AUG. JUL. AUG. SEP. OCT. SEP. OCT. NOV. NOV. DEC. DEC.
1
JAN. FAB.
4
Planting Planting
Planting Planting
40cm. 40cm. 40cm.
20-30 cm. 20-30 cm. 15-20 cm. 10cm. 10cm.
10cm. 10cm.
JAN.
2
40cm. 40cm.
40cm. 40cm. 10-20 cm. 10-20 cm.
15
E
E
B
B
B
A
E
D
C
B
B
A
3
3m.
4m.
5m.
6m.
7m.
8m
PLANTERS DESIGN All planters are connected by interlock system and extra joints. All planters work like a mirror that can be turned around and can be assembled together. The concept of reflection also applied for drainage system which located on both sides of the planters.
Planter I: small size planta
Planter II: path and function area
Planter III: vertical plants
Planter IV: medium size plants
Planter I
Planter II
Planter III
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Planter IV
Project Perspective
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Project Section
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Project Section
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UIT Artic University
City
Northern Lights Cathedral Bossekop
Town Hall
Viewpoint - 0.4 km Harbour - 6.8 km SKIFFERKAIA - 8.5 km
Viewpoint - 5 km Viewpoint - 1.9 km
Coastal Cycle Lane
Elevated paths connect to the waterfront
SEAFACTOR(Y) Academic year: MSc, 1ST Location: Alta, Norway Type: Competition (Europan14, 5 selected project), Urban Design In collaboration with: Lara Zentilomo, Pietro Olioso and Zofia Kasinska
One of the greatest values of Alta is the sea. The sea is a fundamental part of local lives and the city’s economy. However, there is a missing direct connection among them. The strategy aims to link the three different nodes of Alta to Skifferkaia, the main spot where the city faces the sea, developing a network of soft mobility infrastructure. This system consists of two major routes which are characterized by different experiences of the landscape and journey time. Skifferkaia is in the middle of an ecotone, between the mainland and the sea. Right now, it acts as a separation due to the artificial hardscape and the road which interrupts the progression of the landscape toward the coastline. The approach is based on two operations: recreating the transitional landscape by changing the soil and bringing vegetation to the waterfront, and building a direct elevated connection that overcomes the barrier of the street. New functions are applied to the existing buildings through refurbishment and facades modication. We aim to transform the buildings usages without changing their external frameworks. New buildings will be built if necessary, mainly to host new facilities to transform Skifferkaia’s identity. The elevated path brings inhabitants from the new student houses to project area, connecting all the buildings on an horizontal level and becoming a part of the vertical distribution of all the buildings.
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WATERFRONT CONNECTION Existing ground level path, spontaneously created by people (1). Connection intterupted by traffic on the road. Lack of seaview because of the building in Skifferkaia (2). Direct elevated connection overcoming the road and linking buildings and attractions (3). Continuous visual connection with the horizon (4).
(1)
(2)
(3)
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(4)
DESIGN PHASES Demolition of the old student housing and construction of the new
Phase 1
The constuction of the new elevated path, refurbishment of existing building and biogas plant.
All the buildings are refurbished and the aquaculture strucures entering in the production system.
Skifferkaia is provided of three different landscapes: a winter garden, a birch wood and a tundra park.
Phase 2
Phase 3
Phase 4
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2
1
3
5
4
Project Masterplan 3
5
The New Student Housing
The Research Facility
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1
2
The Winter Garden
The Tundra Park
3
4
The New Student Housing
The Heate Swimming Pool
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Project Perspective
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Project Perspective
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MONBIJOU TOR Academic year: MSc, 2ND Location: Berlin, Germany Type: Architecture In collaboration with: Lara Zentilomo and Zofia Kasinska
The project area is a part of the system of urban voids along the Spree River, as the city of Berlin is full of fragmented green spaces. Before the begining of the World War II, the area belonged to Monbijou Palace but due to the heavily damage after the raids, the ruins were finally razed by the communist authorities of East Berlin. The area is very particular in term of geometry, the intersection of three different grids of the city including the railway and the river itself create a triangular shape facing the Museum Island. In contrast with the Museum Island, the area has lack of identity and connection between both Museum Island and Monbijou Park. Through the investigation on the history of Berlin, the historical city gates system are identified throughout the city. However, these gates do not only open toward the city but also connect the city to green spaces. In order to give the new identity to Monbijou Park and the project area, the new modern art museum or so called Monbijou Tor, together with Alte Nationalgalerie create “The Gate” on the Spree towards the new Monbijou Sculpture Park. To create “The Gate”, the proportion of Monbijou Tor is based on Alte Nationalgalerie. The new gate has its own identity and respect the monumentality of the existing Alte Nationalgalerie. The landscape is carved out, the building can be percieved as a floating monumental gateway toward Monbijou Sculpture Park. The new intervention take in consideration some important architectural elements but reinterpreted in a contemporary ways: the classical facade of Alte Nationalgalerie and contemporary facade of Monbijou Tor; the Hortus Conclusus and Monbijou Sculpture park; the Portico and the Belvedere.
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Project Masterplan
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ALTE NATIONALGALERIE
MONBIJOU TOR
Classical facade
Contemporary facade
Visual connection of The Gate
Hortus Conclusus
Sculpture Park
Proportion from Alte Nationalgalerie
The Portico
The Belvedere
Monumental floating gate
Project Perspective
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Ground Floor Plan
Exhibition Floor Plans
Project Perspective Inside The Belvedere
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Facade Articulation
Detail Section
Project Section
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SUKHOTHAI CENTER Academic year: BSc, 3RD Location: Sukhothai, Thailand Type: Tradition Architecture In collaboration with: Maythisa Yenjit and Natcha Ake-Lareungsan
To discover Thai architecture elements, students are assigned to study each case study about its elements and concept. U-mong Temple is located in Chiang Mai, an old nothern capital of Thailand. The temple complex can be dated back to the 13th Century, its main features are a tunnel system connected the entrance with inner sacred chapel. The elements discovered are the transition of sensitivity throughout the tunnel complex, by the changing dimension of heights and lighting system. The ceiling is slowly shrinking as the the visitors reaching an inner sacred space, changing both perception and emotion. The concept is then applied to the new information centre at Sukhothai Historical Park. The transition of sensitivity is used to describe a timeline of Sukhothai Kingdom through the change of environments and building materials. The timeline can be divided into 4 events: Present - Transition - Sukhothai - Collapse. As the visitors entering to the building, the perception is slowly changed from the present day environment to transition room (tunnel), preparing the visitors for the exhibition space which express the sense of Sukhothai period. The path conclude at the entrance of the Historical Park represent the collapse of Sukhothai Kingdom.
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Tunnel System Sensibility Analysis
mortars
Summarized Design Process
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COLLAPSE The path leads to the Historical Park represent the collpase of the Kingdom with its existing condition.
glass
The exhibition hall trepresent the stories of Sukhothai era. Next to the exhibition hall is the Historical Park.
glass
The window opened toward the temple ruins represents the tunnel as a time machine, traveling through time back to the past.
glass
Present day of Sukhothai, the busy context around the Historical Park entrance
bricks
SUKHOTHAI
glass
TRANSIT
concrete
PRESENT
mortars
U-Mong Temple Masterplan
17
16
15 18
14 11 13
10
12
9 8 7 6
5 4 1 2 3
1. Building entrance 2. Office space 3. Bicycle path 4. Building entrance (from bus parking) 5. Ticket office 6. Transition exhibition entrance (tunnel)
7. Exhibition entrance 8. Exhibition space 9. Public library 10. Plaza open towards the park 11. Meeting room and conference 12. Stairs to the observatory
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13. cafe 14. souvenir shop 15. public plaza 16. artificial ruins 17. historical park entrance 18. ruin of Mai Temple
Project Perspective
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Project Perspective
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TRANG INTERNATIONAL AIRPORT Academic year: BSc, 4RD Location: Trang, Thailand Type: Architecture
Trang, one of the southern province of Thailand, is now improving its infrasturctural system, the new international airport. However, during the monsoon season the province receives dramatic rainfall record, one of the highest amoung the country, which can leads to flooding on the airport runway. This problem can cause not only a delay of air traffic but also safety concern for the aircraft. The project combines the drainage system with a group of resevoirs, which collect all rainwater thus creating a system of mangrove forests around the airport. The airport terminal and passenger concourse are seperated by a large covered mangrove forest provide a nature walk for the passengers before their journeys. The mangrove forest itself create a system of biodiversity environment benefit both citizen of Trang and new wildlife inside the forest.
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ETFE Roof
Provides a sunlight for both terminal and mangrove forest
Grid Shell
Provides a long span structure which serves for a covered mangrove forest
Airport Terminal
A large covered mangrove forest divides the terminal and the concourse. The bridges provide a natural walk for the passengers before their jouneys.
Mangrove Forest
Integrated with the drainage system, prevents flooding on the runway during Moonson season thus creates a dynamic ecosystem
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Project Plan
Project Section
Project Model for ASA Exhibition
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THROUGH THE BLOC Academic year: MSc, 2ND Location: Casarsa della Delizia, Italy Type: Architecture, Sustainable Architecture In collaboration with: Lara Zentilomo and Zofia Kasinska
The cultural, historical and social aspect of the region Friuli Venezia Giula and Casarsa della Delizia is the main point to start the design. The importance of wine, the military history of the Cold War and the rural area nearby encouraged us to take advantage of all these aspects and create a sustainable, well integrated with the surrounding landscape and interesting place for inhabitants but also for tourists. In order to achieve the stronger connection, the main axis is created, providing the main path and dividing the area into two parts. To reminds the history of the defunct Cold War military site, The monumental Cold War Museum is introduced. The Cold War Museum, a simple square object, with a very strong presence in the area, but articulated in the elevations in order to give contrast to the sorrounding landscape which mostly consists of low wineyards, an important product of Friuli. A huge square of 60 x 60 meters which is developed in elevation with different height on its tops, creating sloping roofs. The main axis cut through the square, divides the square into 2 buildings on the ground floor. This gesture symbolises the division of two blocs of superpower during the Cold War era. In appearence, the buildings seems to be divided on the exterior but in reality they are connected by underground ramps. The materiality of the facades in each bloc is treated differently. The western part of the building is made by reflecting glass while the eastern one is made by concrete panels. Despite their different appearances, one bloc is reflecting the other, eliminating the apparence of dichotomy created by the path. The left wing has only ground levelwhile the right side, with the exhibition, is developed in the underground level, with a double height ceiling. Furthurmore, the project aim is to create a zero energy building. The system work corresponding for both energy usage and energy production. The Cold War Museum intergrates both geothermal energy, photovoltaic energy and a reuse of water, create a system of zero energy building.
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Project Masterplan and Cold War Museum Plan
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supply air ducts
return air ducts
photovoltaic system
exhaust air supply air
Project Detail Drawings
heated water
connects to water source
return air
supply air (heated)
6
underfloor heating
normal water flow heated water flow underfloor heating flow rainwater flow supply air flow exhaust air flow
BUILDING TECHNOLOGY STUDIO B Casarsa Barracks 2017-18 1
Prof. L.M.F. Fabris - Prof. A. Magri - Prof. S. Zabot Tutors: Ing. C. Sosio De Rosa - Arch. G. Tavasci
6 3 3
mechanical room 100 m2.
2
Building Energy System Scheme
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Group 1 Students: Chanwipat Sirawat, Kasinska Zofia, Zentilomo Lara
CLOSE FORMS
OPEN FORMS
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THE PERCEPTIVE BACKGROUND The traveling exhibition dedicated to Oscar Hansen Academic year: MSc, 2ND Location: Various Type: Interior, Exhibition In collaboration with: Lara Zentilomo and Zofia Kasinska
The travelling exhibition explores the work of Polish architect Oskar Hansen, focusing on his utopian ideas as theorist and urban planner. He is the member of CIAM and Team 10, Oskar Hansens presented his Open Form theory. He argued, that the role of an architect consists in creating a passe-partout that frames, enhances and exposes the everyday human activity. Architecture in this way creates a background for human free activity. In 1966 transposed this theory to the scale of urban planning with the theory of the Linear Continuous System. An alternative to the traditional concentric city, it developed a system of great cities across Poland in four parallel large “belts” intersected by services, industries and nature zones, eliminating the division between center and periphery. The exhibition evokes this character of indeterminacy, flexibility, and collective participation, by involving the visitors in an interactive exhibition as a metaphor of participation during the design process. The space is divided into three different scenarios seperated by two different partition according to the Linear Continuous System. However, the partitions allow two different connection, both physical and visual. Scenarios: The Road is a transit space which is connected to the City- main exhibition area. The relationship with the Nature is not visible from each point of wiev- the visitor needs to sit on the chair to see the rest of exhibition. Only the changing of perspective allows us to observe the scenario of Nature. Partitions: The separation between the three scenarios happens through use of two different walls: between the road and the city, the wall has several rotating entrances, called gates, that the visitor has to move to proceed, interacting with the wall. Between the City and the Nature the wall has low openings through which the visitor, by changing his point of view. On the two sides of the central space two mirrors are placed, creating effect of an infinite linear space. The two partitions act in this way as the “background for the human activity”.
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Traveling Exhibition Plan
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Sequences of Exhibtion Perspectives 90 cm
1m 1.2 m
1m 1m
Furnitures Inspired By Oscar Hansen Details
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65 cm 45 cm
thank you Contact information Telephone : +39 3519362840 Email : sirawat.cwp@gmail.com, sirawat.chanwipat@mail.polimi.it
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