Marina Mirea architecture - computer generated images - fine art
CONTENTS
This portfolio is a collection of architecture
visuals
from
existing
projects; my own projects during my studies; my own multi media fine art.
THREE - D VISUALS
01 02 03 04
KC D E S I G N S T U D I O p1
Inside the Taiwanese apartment
KUNSTSTOFFHAUS FG-2000 p9
A 1960 psychedelic plastic house
STILT STUDIOS p12
Balinese prefab homes on stilts
HORIZON NEIGHBOURHOOD p15
First pre-designed neighborhood to be built at 2740m elevation
ARCHITECTURE PROJECTS
05 06
HELIX OF BRISTOL p23
Basil spence group project | 4th Year Project 01
POT p31
Timber pot exhibition pavilion | 1st Year Project 02
ADDITIONAL PROJECTS
07 08
MIXED MEDIA ART p35
Personal art pieces
BEPOS p43
Logo design for a domestic construction company
The living room corner view.
1
01 KC DESIGN STUDIO
2
A Taiwanese apartment renovated by KC Design Studio. The rich palette of textures was the principle motivation behind producing this render.
3
The main living and kitchen view.
4
a lonely clementine
5
A close up kitchen counter view. 6
A table composition shot.
7
“Honey, your soul is golden” 8
02 KUNSTSTOFFHAUS FG-2000
German
designer
Wolfgang
Feierbach was determined to bring some colour back into the postwar era. The colours and array of materials and forms
were the primary
choice for producing this render. 9
Inside the modular 1960s home. 10
An afternoon amongst the stilt homes.
11
Alexis
Dornier’s
Stilt
Studios
are small prefab homes on stilts, which can be erected in a variety of different places without causing major Beyond
damage the
to
the
admiration
landscape. for
this
property development the external perspectives are rich in vegetation and detail and were the fundamental reasons behind producing this render.
03 STILT STUDIO
12
13
An night under the stars, between the stilt homes.
14
A view out from Powder Mountain.
15
04 HORIZON NEIGHBOURHOOD
16
17
The chalets are located in Powder Mountain, Utah, designed by MacKay-Lyons Sweetapple Architects.
A interior view across one of the Horizon Neighborhood chalets at +2740m elevation.
18
An external chalet view on a calm evening.
19
20
The beginning of more snowfall.
D A Y
21
A quiet night with a star lit sky.
N I G H T
22
BASIL SPENCE
05
23
HELIX OF
E
BRISTOL
50
24
THE HELIX OF BRISTOL A f ina l ye ar g roup proj e c t w here four archite c ts desig n a f l agship exhibit ion bui lding
Q: What was your mission? A: Our mission was to design a Flagship Building for a new redevelopment master-plan scheme of the Filton airfield site in Bristol. It serves as an exhibition space with two auditoriums and office space. It will temporarily host technologies in relation to the airfield site’s history, in particular a helicopter aircraft but also a model home from the master-plan. Following this it will host other vehicular technologies relevant to the site’s history and the surrounding car companies near the site. Q: What does flagship mean to you? A: We think of it as jewel that attracts people to it. This trait puts it at the forefront of a business or movement to gain initial attention and intrigue. In terms of design, it’s also something that accumulates interest from word of mouth because of its beauty or innovation.
“A jewel” Q: What are your main drivers that will render this building Flagship? A: Design wise, an honest building that creates a new user experience and centralises its structure rather than serving as a backdrop (as it is for many non-architects).
Q: Where did you look for inspiration? A: Reading into the history of the site, it was home to numerous technological innovations and advancements, primarily in aerospace but also other vehicular automations. Their relation between them was their ability to get you from A to B. They are vehicles for transit. With this in mind, we were drawn to the idea of ‘motion’ especially helical motion (the traces left by a turbine engine in flight).
“Helical motion” Q: If you could describe your building in one word, what would it be? A: Motion. Q: How do you embody this architecturally? A: In two ways. First being the movement of people and the way the building is experienced. Secondly, aesthetically manifest the kinetic traces into a static form. Q: What will your building bring to the area? A: Because of its playful nature that rejects a banal form, it will gain attention which can be used as a tool by business, entrepreneurs, curators and others to show case products and share ideas. With regards to exhibiting, it pushes past the norm of a blank canvas and will prompt curators to re-imagine how they exhibit work.
“Playful nature that rejects a banal form”
25
H
O
B
26
T P
detail shots
27
D esig ne d and const r uc te d using Grasshopp er for R hino.
THREE -D PRINTS
A +45 o and a -45 o rot at ion of memb ers to for m t he l att ice.
28
C EN TR AL SPACE AT NIGHT 29
MODEL TOP VIEW ROOF RELATIONSHIP TO THE PUBLIC SQUARE
30
06
31
P O T | T I M B E R PAV I L I O N
60 The brief was to design a timber exhibition pavilion for the given pot. I found my muse when looking at the way in which the pot was painted. Its exterior was very colourful, child-like and rich in brush strokes. In wanting to keep the timber material natural, I focused on the textural aspect as opposed to the incorporation of colour. Its form also derived from the most evident shapes on the pot, which were very organic and individual. I adopted the fluid and seedlike form. The density of the vertical timber slats aimed to create a concealed environment where it is difficult to see through, which adds a mystery and thus lures people to walk through.
32
B RU S H S T R O K E | T E X T U R E A S S O U R C E O F I N S P I R AT I O N
33
CONCEALED YET INVITING
LIGHT
34
07
35
multi media art
36
L e s M o n t a g n e s m’a p p e l l e n t The mountains are calling
In this project I combined a classic technique of depicting a subject with a modern one; pencil portraiture drawn from my own photo manipulated piece. The theme is the longing and connection an individual feels for what is grandeur and seemingly out of reach. It is an eternal yearning for the natural land.
37
coloured pencil double exposure portrait on A2 38
Graphite powder and pencil portrait on A1
39
Hyper-realistic portrait of my Grandfather as a final piece to the study of physical aging and the marks of time. Each wrinkle is a reminder of a story of laughter and another of anger. Our faces grow richer in detail and depth as time progresses.
40
TERRAIN 41
The body’s terrain. This piece displays a female body in rotation - front, side and back. It is constructed using a black acrylic base, mdf and veneered oak.
It explores the visual representation of the body in isolation where the highlights and shadows of the body determined the shapes of the segments of layered wood.
The influence of this abstract piece stemmed from the graphic representation of terrain line drawings. Can a familiar form be presented in a similar manner?
Implementing a construction method that is familiar to architects was also important, I wanted to combine my original love for fine arts with my recent skill and architectural influences.
42
08
Branding a construction company that specialises in domestic eco Passivhaus projects.
B
43
E
P
O
S
44
@m_mirea
https://www.behance.net/ marinamire5560