ARCHITECTURE / DESIGN PORTF.
N E J C VA Š L 0 0 9 - 0 1 4
ARCHITECTURE / DESIGN PORTF. 009 - 014 NEJC VAŠL FACULTY OF ARCH. IN LJUBLJANA SLOVENIA
CONTACT INDEX
NEJC VAŠL nejc.vasl@gmail.com PREŠERNOVA 17 1000 LJUBLJANA SLOVENIA +386 40 222 263 //cargocollective.com/nejcvasl
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CV ACADEMIC PORTFOLIO PROFESSIONAL PORTFOLIO SIDE PROJECTS
4-5 6-52 53-59 60-63
Nejc Vašl Born 1987 in Ljubljana, Slovenia. edducation: high school / Gimnazija Ljubljana Šiška faculty / Fakulteta za arhitekturo v Ljubljani, 5th year skills: envirnoment / Microsoft Office, Macintosh internet browser / Safari, Google Chrome, Firefox social networks / Facebook, Myspace, Tumblr, Blogspot, Wordpress, ... programs / Adobe Illustrator, Photoshop, Indesign // Autocad, Archicad, Artlantis interested in: contemporary social networks field of architecture, interior design, graphics extreme sports
CV 987 - 014
language: native: slovenian fluent: english basic: german experience: 2010 - Involvement in the project Eternity: “Concept design proposal for the film adaption of Asimov’s The end of Eternity”, - Honorary mention at the A.L.I.C.E. competition 2011 - with the project Eternity, - workshop Light Guerilla 2011 2011 - Involvement in the project Ljubljana Teleport Station 2052, - Wining and instalement of a permanent light installation on an international competition: “New promenade along Klopeiner See” in Austria, - workshop Zagorje - “Park of senses”, 2012 - workshop “Church of St. Štefan, Dolnja Košana - interior renovation”, - competition “ISOVER Students Contest Multi Comfort House”, - competition “Renovation and expansion of the motorcycle museum Vransko”, - urbanistic workshop “Brezovica - organization of a county”, - 3rd prize at the competition “Organization of city of Polhov Gradec” with Prima d.o.o. architectural studio, - design and production of promo material for sports store ASA Naklo 2013 - competition “New design for Fida 2014 ski collection”, - design of new visual identity for acrobatic group The Dunking Devils, - design and production of promo material for sports store ASA Naklo, - work with IPOP Institue For Space Policy on the project PARK & RIDE Ljubljana, - work with company Enki and the city of Ljubljana on the design of new drinking fountain. - competition “Monument to the victims of war”, with Maja Farol group 2014 - launch of Logsaw Meat brand - exposition of the Logsaw Meat products at the Pop-Up Dom gallery - exposition of the Logsaw Meat products at the A-plus-A gallery in Venice - invitation to 24th Biennial of Design Ljubljana, Slovenia - design of new visual identity for Goltes Snowboards 2006 - 2014 - during the studies involvement in multiple exhibitions Online portfolio: cargocollective.com/nejcvasl
TEMPIETTO 2. YEAR HISTORY AND THEORY OF ARCHITECTURE PROJECT; 2009 MENTOR: LOCATION: / PROGRAM: A MONUMENT TO ARCHITECTURE AUTHOR: N. VAĹ L A composition made of classical architectural elements such as columns, piedestals, architrav, in order to celebrate architecture itself.
GARAGE
AUTO-GARAGE / URBAN CLIMBING SPOT 2. YEAR STUDIO PROJECT; 2009 MENTOR: LOCATION: PROGRAM: AUTHOR:
PROF. DR. FEDJA KOŠIR LJUBLJANA TRNOVO AUTO-GARAGE N. VAŠL
A car garage situated in the suburbs of Ljubljana city. It combines the sport of urban climbing, with a park that stands on the site currently. With ofcourse the necessity to accommodate appropriate number of vehicles.
THE END OF ETERNITY A CONCEPT DESIGN PROPOSAL FOR THE FILM ADAPTATION OF ISAAC ASIMOV'S THE END OF ETERNITY 3rd YEAR STUDIO PROJECT; 2010 MENTOR: LOCATION: PROGRAM: AUTHORS:
DOC. DR. OR ETTLINGER OUTSIDE SPACE AND TIME “ADMINISTRATION” I.JUNKOVA, E.MOHORIC, A.PETEK, S.STARE, N.VAŠL
Creating Architecture Beyond Time and Place Isaac Asimov’s The End of Eternity presents a unique architectural challenge. How do you design places that are located hundreds and thousands of centuries in the future? And how do you design them such that they appear hundreds and thousands of centuries apart from each other? And finally, how do you design a place that exists outside of space and time altogether? These challenges presented an opportunity to create a study project that would promote and nurture creativity in architecture. The above questions may not be a daily part of an architect’s life, but having faced them would surely equip him with experience and confidence in his creative abilities – which would prove useful for the more common challenges of architecture as well. The development process of this project began with a long phase of preparation, introspection, and exploration of the state of mind with which such a task would best be approached. We aimed to first identify the barriers that limit our thinking so that we could step beyond them. If we are to think ‘outside the box’ then we must realize the box that we are in, or in other words, discover what our own ‘water to the fish’ might be. We did that on two main levels: our understanding of the future, and of architecture. - The future: How do we imagine the future would be? How did previous generations imagine the future? Could it be that a culture’s idea of the future is constantly changing, and is just another aspect of its contemporary state? If so, how could we even hope to create an image of the future that truly belongs in the future? - Architecture: What do we think architecture is, who is it made for, and for what purpose? How would architects in previous periods in history answer these questions? Could it be that the different styles of architecture produced in different periods and places are due to their culture’s fundamentally different answers to this exact set of questions? If so, are our own views of architecture even relevant to designing the future, and can we think beyond these limitations?
From that point, we began to invent future societies with their own histories, sets of values, as well as their own different understandings of what architecture is. We used the few hints provided in the book as our starting point, and encouraged our freed imaginations to do the rest. We speculated on the kind of materials they would use, their treatment of light, and their construction technologies. Only then we were truly ready to experiment with giving form to actual buildings. We imposed no limitations onto what is possible to invent, as long as it is internally consistent and effectively communicated.
Design of Eternity
But this was not only an unusual design exercise – this project was also a demanding exercise in collaboration and project management. This is not a series of unrelated projects, but a multi-level team work not unlike that of large-scale architecture offices. Our challenge was to coordinate the work of five teams: keeping the work of each team member in line with the team’s invented vision; developing team projects to be as different from each other as possible; and simultaneously ensure their mutual compatibility where the book demands it to be so.
In the book, Eternity is described as existing outside of space and outside of time, inside of a “temporal field” with neither natural light nor natural air, and with the future Nova explosion of the sun as its source of energy. For each Century it supervises, Eternity has a separate Section, identical in layout and structure though adapted to the style of its respective time. The Sections are connected to each other by “kettle shafts” which can be travelled through with devices known as “kettles”. The internal structure of each Section includes multiple Levels such as offices, private quarters, or maintenance, and the circulation inside of each Section is by walking through corridors and ramps.
The result is our own vision of how this book could be made into a film.
Eternity is the (non-) place that is at the heart of the book and is where the majority of the events in it unfold. Eternity is both an organization as well as the place from which this organization operates. Its official purpose is to facilitate contact and commerce between the Centuries of human history, beginning with its creation in the 27th Century and on to eternity… at least in theory. Additionally, its hidden purpose is to intervene in the course of history whenever it deems it necessary for the highest good.
Based on that, we speculated that the temporal field where Eternity is built practically functions as a space of four physical dimensions. In the direct experience of each of its inhabitants, the environment seems to follow the known rules of three-dimensional physics – but the way its various parts come together does not. Thus, for example, a series of corridors that can be walked along a straight path actually form a closed loop; what seems from a distance like the meeting of two walls and a floor reveals a passageway when one approaches it; places located at different distances from each other can be connected with ramps of the same length; and two large rooms can be placed with their floors back-to-back while each retaining its own consistent gravity. The overall guiding principle in all of these is that for each individual who uses them – no matter how crooked what he sees in the distance may appear – whatever is right near him at any given moment remains consistent to the regular rules of three-dimensional physics.
Kettle space in 2456th–2481st Centuries
The corridor in 2456th–2481st Centuries The importance of the 2456th Century for the story is as a precursor to the 2481st Century, a civilization with a desire for space travel as well as a unique and elegant technology with which to achieve it. However, it is also a civilization afflicted with a record level of drug addiction. It is described as consisting mostly of highly reflective surfaces, glinting light, and providing the illusion of complete smoothness as the effect of a molecular film. Harlan, who is only a visitor to this Century, first finds himself squinting at the brilliance, shielding his eyes, and annoyed with the insane riot of light reflection. Matter seems to be consisting only of mirrors, with ever-repeating reflections of him, of others, and of everything he can see, to the point of utter confusion and nausea.
The 95th Century Andrew Harlan's home Century. It is described as an austere and conformist society, stiffly restrictive of atomic power, faintly rustic, and fond of natural wood as a structural material. Its designs are described as Spartan, physical, and based on simple raw materials such as wood, metal, and leather.
The 482nd Century The 482nd Century is the Century to which Andrew Harlan was first assigned after reaching a senior level as a member of Eternity. It is described as an era without ethics or principles and with a big difference between social classes, allowing for the development of a leisure class which encouraged culture and grace. The society in this Century is described as hedonistic, materialistic and somewhat matriarchal. From a design point of view it is described as a wild baroque which consists of massive elements, splashy pigments, heavily ornamented, all in a general ‘triumph of aesthetics over utility’. The main materials are steel and concrete, as well as ‘fieldpermeated matter’, a peculiar welding of matter and energy used by the upper classes of society.
The 575th Century It is described as a world of whiteness and clarity, broken by sparse patches of light pastel, and made out of creamy glass and porcelain surfaces. Also mentioned are this Century's fetish of cleanliness, and their expertise in half a dozen varieties of air travel.
HOUSE “NAGELJ” 4th YEAR LANDSCAPE ARCH. PROJECT; 2012 MENTOR: LOCATION: PROGRAM: AUTHOR:
IMAGINARY SINGLE APARTMENT HOUSE N. VAŠL
The site is “infected” with a view towards an industrial complex on the north and “blessed” with an unobstructed view towards nature on the south. I try to take advantage of the site’s natural qualities - proximity of the forest, view of the landscape, the church nearby. Thus from every corner of the house a view towards the forest is possible (either from the living room, kitchen, bedroom), or a view of the landscape - I deliberetly open the corridor, that leads to the bedroom, towards the vast planes outside. I create a story of three trees, that evolves through the changing of the seasons. To the house leads a path by the first tree - beside it I place benches, east and west - summer and winter, both with unobstructed view towards the forest. I enter the house, to the living room, under the ceiling there is a window that illuminates the space. To the east, in the atrium, I see the second tree. In front of the bedroom I place a deciduous tree, that in the summer blocks the sun, in the winter it transmits it. From the living quarters I exit the house and head towards the third tree. It is accompanied by a table and benches. All it is surrounded by bushes and trees, that protect from harsh winter winds and hot summer sun. The story ends with a view towards the nature.
CITY’S NEW PROMENADE 4th YEAR LANDSCAPE ARCH. PROJECT; 2012 MENTOR: LOCATION: PROGRAM: AUTHOR:
Legenda skulpture po vzori Lenassi-ja
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Tramvaj
“Zik-zak” pot s profilom
zanimivi objekti ob poti
LJUBLJANA “URBAN ACUPUNCTURE” N. VAŠL
A new promenade through the city of Ljubljana, that runs along some of the city’s most promemenant sites. It is unified by the sculptures of slovenian sculptor Janez Lenassi, that lead the pedestrian from the sites of new botanical garden, pass the bridge and Ljubljanica river and end the path at the base of Ljubljanski Hrib hill.
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Vrtovi
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Caffe
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Pod Lipo
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Park “Filofax”
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Ferantovi vrtovi
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Arhitekturni muzej Caffe
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Napoleonov spomenik
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Mestni muzej
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Vodnjak
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Mini teater
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Promenada
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Glasbena šola
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Stari trg - Neptunov vodnjak
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Sv. Florijan
VILLAGE, VINE CELLAR, HOTEL AND A HIGHWAY 4th YEAR LANDSCAPE ARCH. PROJECT; 2012 MENTOR: LOCATION: PROGRAM: AUTHOR:
VIPAVA, SLOVENIJA VILAGE RENOVATION, VINE CELAR, HOTEL, HIGHWAY N. VAŠL
Project brief comprises of instructions to renovate an old karst village, design of a new vine cellar with a hotel in the hills nearby and to plan a highway in the same valley, but to connect each project in a way which goes hand in hand with local natural limitations and local traditions. Legenda stari del
poselitev vinogradi sadovnjaki
Sever
njive
travniki
RJAVA TLA
GLINENA TLA
The highway fence is designed in a way that it translates high winds of karst and also the reflecting sound of vehicles, into sounds of different hight. Thus creates a “wow effect”, which will hopefully make drivers to slow down and listen.
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CHAPEL 4th YEAR HISTORY OF ARCH.2 PROJECT; 2012 MENTOR: LOCATION: PROGRAM: AUTHOR:
PROF. DR. ALEŠ VODOPIVEC LJUBLJANA, SLOVENIJA CHAPEL N. VAŠL
A chapel in the center of Ljubljana city, on a narrow plot between two older houses. Interior is partially lit by acrylic rods, that penetrate the ceiling and thus transmit the light from the outside in.
PARK OF SENSES 4th YEAR WORKSHOP; 2012 MENTOR: LOCATION: PROGRAM: AUTHORS:
DOC.DR.SONJA IFKO ZAGORJE, SLOVENIJA SPORTS PARK J. HRIBERNIK, A. URANKAR, J. ŠTEMBERGER, J. LAH,
Client wanted to expand an existing sports park, but at the same time add a certain value to it, that would attract not only local, but people from afar as well. Our team proposed an idea that originates from the critique of “modern” society, that generaly promotes only brief and quick fading pleasures. This is why we as society, are becoming a “socity of experience” - a society that seeks meaningfull events, no matter how “small” or “big” thay might be, personal growth and cooperation. We seeked to develop an existing infrastructure and program into one that would support various new sport centres, a science and culture center, different event places, ecologically oriented art and a theme path called “The path of senses” that would connect all.
SUMMER USSAGE OF THE PARK AGILITY PARK: walking dogs / TOUCH: relief wall-blind / SOUND: chimes, wind - deaf / TASTE- market, fruit trees / AIRFIELD / RESTAURANT / ARCHERY / BOCCE / CHILDRENS PLAYGROUND / TEA-HOUSE, PICNIC SPACE / HOSTEL
WINTER USSAGE OF THE PARK
TELEPORT STATION LJUBLJANA TELEPORT STATION 2052
CREATIVITY AND EXPERIMENTATION IN ARCH. 4th YEAR STUDIO PROJECT; 2012 MENTOR: LOCATION: PROGRAM: AUTHORS: CONTRIBUTORS:
DOC. DR. OR ETTLINGER LJUBLJANA TELEPORT STATION A.POLANKO, A. PETEK, U.Ĺ KRAP
Creativity in architecture? What? Why? How? What does it mean to be creative and explorative in architecture? What exactly is creativity? How relevant is it for the regular practice of an architect? How can creativity be learned or developed? Contrary to common belief, architectural creativity is not necessarily about producing fantastical forms, and it does not mean that there are no limitations or that "anything goes". It does not mean following egocentric visions instead of responsible planning, and it is not achieved through just tricks or techniques. Architectural creativity is about identifying the hidden thought patterns that guide our thinking and finding ways to step beyond them; it is about being able to welcome uncertainty and function well within it on a regular basis; and it is about developing a flexible mindset that can adapt to changing requirements. In this design studio class we were tought architectural creativity by challenging our thinking habits on multiple levels simultaneously: providing a highly unusual program (non-existent), an unfamiliar time period (in the future), and relatively unfamiliar design principles (from the past). This combination of unusual requirements provided us with the opportunity to strengthen our creative abilities so as to prepare us for the challenges of everyday architectural practice: To see beyond the obvious even in what might seem like the most regular project. At the same time, it also prepares us to handle any unexpected design task that might come our way during the next 50 years of our career.
How to invent a new building type for a function that does not eists yet?
Could pre-modern principles someday be made fresh again?
The project “Ljubljana Teleport Station 2052" imagines a future scenario in which teleportation is an actual reality. What would it be like if cities around the world would form a global network of interconnected teleport stations?
This project provides an opportunity to question current architectural trends and speculate about future architecture while learning from older styles. What if by the year 2052 architecture would again incorporate much of the principles of pre-modern architecture, yet without return-ing to it literally?
Teleport technology: How would this technology work? What are the required breakthroughs in the field of physics that would make it a realistic possibility? How would it be applied to a com-mercially available operation? Urban Considerations: What would be the implications of building a teleport station in an existing city? How would it affect existing types of transportation (cars, buses, trains, airplanes) and their traffic loads and circulation in and out of the city? How would it transform the role and flow of pedestrian traffic in a city? Inventing a new building type: How should a building for teleportation be designed? What would it have in common with previously developed building types such as airports and railways stations? What new aspects must it include that would be unique to it?
Pre-modern principles: How were architects thinking before modernism? How to make pre-modern principles become relevant again? What were the mistakes of post-modernism, and how can they be avoided? What is the difference between copying and imitating, and is there even architecture without any imitation? How to respect past references and yet simultaneously be creative and original? Building in Ljubljana: How do the answers to all the above questions fit into the city of Ljubljana? What are the aspects of traditional Slovene architecture that might be relevant for such a proj-ect? How can they be used as a local vocabulary with which to express the universal principles of pre-modern architecture?
TELEPORT STATION Research book Knjiga je nastala kot uvod v projektiranje teleportacijske postaje v Ljubljani - kot raziskava
arhitekture
Azije,
Afrike,
tradicionalne arhitekture Slovenije.
Amerike,
TELEPORT STATION Research book Knjiga je nastala kot uvod v projektiranje teleportacijske postaje v Ljubljani - kot raziskava
arhitekture
Azije,
Afrike,
tradicionalne arhitekture Slovenije.
Amerike,
Teleport station - design principles The teleport station design is strongly influenced by pre-modern architectural principles yet shouldn’t be confused with post-modernism. Although both styles are strongly influenced by historical design there are major differences between the two. Post-modernism uses pre-modern architectural elements but completely disregards the core rules that dictate the proper arrangement and relationships between these elements. The result may appear pre-modern to a layman observer but in reality such design is fundamentally different from it. Furthermore these pre-modern “rules� are not some shallow formulas that should be followed blindly but they are rich design concepts that are the result of hundreds and thousands of years of architectural knowledge. What is surprising is that these architectural concepts are for the most part universal and they appear in various parts of the world that had no contact which each other. Different cultures had access to different construction materials, they lived in environments with different climates and they also had their own social and political systems. Yet even though these core architectural design principles were developed completely independently, they exhibit extraordinary similarities between each other. They use symmetry and repetition to create a sense of order, designs are often monumental with special emphasis given to religious buildings, we can find similar shapes and forms that follow basic tectonic solutions, structures are made from local materials and finally, architecture is often decorated with details and colors - and even decoration derives from a symbolic representation of a past detail from traditional structural elements, or in most cases is the result of imitation of simpler materials. Throughout our research phase we discovered various pre-modern principles that can also be found in the final station design: - formal consistency - hierarchy - repetition of elements - symmetry - consistent proportional system - architecture respects gravity - ornamentation derives from function - ceremonial path - leading with architecture - monumentality
The station consists of several key parts, which follow the design goals and building functionality. The primary entrance is located in the main hall, which contains various functions and also allows for vertical connections (separate for arrivals, departures and employees), teleportation corridors go around the whole building and are located in three floors.
private teleportation
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teleportation corridors
central open square
main hall
The station is not only a gate to the city but it’s purpose is also to show the city to the travelers. Our design therefore incorporates such solutions that make this possible. Mainly the positioning of the building in a proper urban space and with it’s shape and forms. Furthermore a circular shape allows for countless views of the city.
teleport station
circular path around the station
The proposed teleportation technology would result in a series of teleport stations throughout the world. These buildings would be “gates” to cities and thus they would become buildings of utmost importance. Teleport station should therefore be designed with care and it’s image should be able to stand the test of time. Inside the station itself we want to create a central “open square” where people can meet, say goodbye or welcome their loved ones. Due to transparent and open roof design the interior becomes open and well illuminated space, giving visitors of the station the feeling that they are “outside”.
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The station uses a consistent 1:2 proportion system (3, 6, 12, 24, 48, 96). It adds order and structure to the design, various sections of the building are not only visually distinct but they also contain different functions. The station also reaches a similar height as existing buildings in the area (namely Zavarovalnica building from surrounding context. Different floors of the station are carefully designed so that even their height reflects their importance and functions. The tall, rough base floor is supporting the structure, the three equal teleportation corridors and lastly the elegant and shorter office level sits on the top.
The station’s facade consists of an arcade system that derives from a combination of colonnades and arcades with arches. Similar designs are found in traditional Slovene courtyards. The design basically splits the arcades into two parts and uses a series of pillars on the bottom part that are supporting the arches on top. The base arcade system consists of double arcades, the outer (larger) arcades are slightly slanted which derives from traditional Slovene buildings which also use this design principle as it helps carrying the weight of the structure. Slanted shape is the simplest form that derives from gravity itself.
Next is the creation of the ceremonial path that provides arrival travelers with various views of the city on their way from the teleportation gate to the main hall. Traveling via teleportation is quite different from traditional means of transportation (cars, ships, planes, trains, etc...) because the actual travel happens instantaneously. In other words, there is no journey - we must rely purely on architecture to create the traveling experience. Since teleportation technology will be something new and exciting we want to make sure to show the act of teleportation as well - this means optimal positioning of the game frames so that they become visible to both travelers and people that are just passing by. Teleportation gates are distributed on three levels, lifted from the main floor and also visible from both directions (the outside and inside). The main floor is perforated in key locations and it allows access to the interior of the building.
arrival’s descending ramp
circular teleportation gate frame
gate frames
One of the most impressive features of the station design are visible teleportation gates that show the traveling destination. Light from the portals is transmitted through a vault system onwards and can be seen on the outer and inner facade of the building. Due to time zone changes it is actually possible to see daylight protruding through the portals during night time.
The station is visually and functionally divided into three key parts. This principal of dividing buildings in three parts (base, body and head) is often used in traditional pre-modern architecture. Our station design follows this principal and is thus separated into the office level on top, teleportation corridors in the middle and main floor at the bottom. Each section is visually and functionally different and at the same time connected and complementary to each other.
head
office level
body
teleportation corridors
base
main floor
The office level is “light� and acts as a cornice of the teleport station. It contains not only offices but also conference rooms, storage areas, vertical communications, kitchen, toilets and various other functions vital for smooth operation of the teleport station. The body of the station consists of teleportation corridors where travelers from different cities arrive to Ljubljana. It it split into three identical floors. The gates are divided in such a way that close destinations are positioned on lower floors and far away destinations are located in uppers floors (because they require more processing of the travelers). The base of the building consists of a path leading around the whole station with secondary entrances to the interior space. The whole base is made out of dual arcade system that visually solidifies the station to the ground and the outer arcade ring also helps carrying the weight of the whole structure.
The exterior and interior of the station are different yet visually strongly connected. They both contain teleportation ramps which are used by travelers to reach higher and lower floors. They also feature a single main focus point in the middle (the column in the outer facade and the tall main hall exit on the inner facade). Both facades also play with the idea of full and empty space and in a sense they are an inverted image of one another. Forms, shapes and mass are expressed differently, yet both exterior and interior speak the same language. The teleportation gate frames are located both on the exterior (arrivals) and interior (departures). The inner facade is protected with the roof and closed space and is thus more open and exposed, while the outer facade is more closed but it still leaves opening for the most important part - the teleportation gates and corridors extend to the surface.
The front facade is influenced by traditional Slovenian roof shapes which have very distinct shape and angles while the element of travel (the descending teleportation ramp) references the stairs and the balcony from ‘kozolec’ which is used to ascend and descend from the building.
Materials also follow the same logic. Rough materials are found on the outside and smooth materials on the inside. Since the interior is well protected from the elements the materials can be elegant and this also gives the feeling of interior space, while the materials on the outside in harsher environment can be rougher.
The inner facade sits on top of the stairs which are split in have by an exit ramp coming down from the main hall (used by arriving travelers). There are also two ascending ramps on the facade for departing travelers to reach upper floors. Since all traveling is based on time precision the inner facade also features a clock.
In addition to using proportion system in the design we also make use of symmetry. It is visually appealing and it adds a certain precision to the design. Any changes to the symmetrical design are also quickly noticed by the observer and this can be used to our advantage - to break the symmetry and use asymmetrical elements to emphasise certain elements. Symmetry is often used in architectural design, it adds a sense of order and makes the construction easier. It is perhaps one of the oldest architectural principles in the world. It is no surprise that even tradition Slovene buildings are strongly symmetrical. Symmetry is used in various scales, from very large forms in the station as a whole and down to various small details all around the building. It is also important to mention that symmetry often derivers from other principals (repetition, hierarchy, formal consistency, ...) and is not driving the design for the sake of symmetry per say.
It is also important to know when to break the symmetry. Elements that are “out of order� become visually emphasized and we can use this to our advantage as they become the focal point of attention. Asymmetry can also be used to visually show hierarchy and the importance of certain parts of the design. The main entrance is larger than the small private one.
outer facade
main entrance
inner facade
private entrance
There are two typical sections of the vaults, the first one goes over the teleportation gate and the vault goes towards the facade in a straight line while being slightly curved on the edges. The other section shows the vault between two teleportation gates, it rises slightly above the corridor and creates a larger space connecting the two corridors.
gate frame
gate frame
The vault system is designed from two opposite vault types and they continue throughout the corridors around the station. They are enabling the continuity of gate corridors to the facade while the opposite vaults also carry the weight from upper floors and direct it downwards to the base floor. Architectural details are shaped with function in mind and they use the principle of “ornamentation follows function�. The corridor extensions helps to direct the flow of travelers in the correct direction. There is no need to use signs to tell where to go, the architecture alone can accomplish this.
In the interior space of the station there are stairs leading to the main hall, these function as an amphitheater where people can sit down, wait for their friends, relax and watch travelers teleport to different destinations using the teleportation corridors that run around the whole station.
Special attention is given to areas where different forms meet and flows are being intersected. These complex intersections have to be carefully designed because different flows of travelers must not directly meet. On top of that the design still needs to be consistent and elegant.
As a final detail a linden tree is placed in the center of the interior square. It marks a point and creates a gathering point at the bottom of the arrivals ramp. Linden tree is a part of Slovene tradition and was often used as a meeting place, it is also grown in older courtyards.
MOTORCYCLE MUSEUM VRANSKO 5th YEAR STUDIO PROJECT; 2013
CIRCULAR PATH THROUGH THE MUSEUM
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FAZA 1 N. 0
MENTOR: LOCATION: PROGRAM: AUTHOR:
DOC.DR.ALENKA FIKFAK VRANSKO, SLOVENIJA MUSEUM N. VAĹ L
A proposal for the extension of the existing motorcycle museum, which is to be done in two fazes. The interior and the exterior are designed in a way, that they resemble each other, like the inside and the back of your hand are a part of the same. Big nozzles are placed on the exterior facade in such a way, that they enable natural ventilation of the building and also provide heat needed through the principle of a solar wall. On the inside, the smaller ones serve the same purpose.
Pot po muzeju Dostop do kletnega prostora Toaleta Razstavni prostori
N. -1
FAZA 2
FACADE SOUTH
FOOTBRIDGE 5th YEAR WORKSHOP; 2013 MENTOR: DOC.DR.ALENKA FIKFAK, LOCATION: PROGRAM: AUTHOR:
FOOTBRIDGE N. VAŠL
city wanted to connect two sides of river Lahinja and arrange a new “City’s living room” on both sides of it. Proposed result is a bridge as an extension of the old town square, that takes the pedestrian on an up and down walk, which brings him to the park on west bank of the river.
Razvoj oblike mostu Razvoj oblike konstrukcije
Prečni prerez A - a 1:200
leseni lepljenci 10/20cm armiran beton
leseni lepljenci 10/20cm armiran beton
Prečni prerez B - b 1:200
Prečni prerez C - c 1:200
Otok sredi mostu nudi možnost podpore na sredi brvi. Tako se dve lupini na otoku srečata in se opreta ena v drugo. Če temu rečemo primarna konstrukcija, ki je iz armiranega betona, nanjo položimo še sekundarno - pohodni del, ki je iz lepljenega lesa. Ta sledi obliki lupin, ter tako ustavri pot, ki se dviga in spušča, daje možnost zaznavanja okolice iz različnih perspektiv. Da ohranimo vitkost celotne konstrukcije, je ograja kar se da nevidna - steklena.
Vzemimo kos papirja. Le položen čez dve podpori, ne nosi veliko. Če list ukrivimo v eni ravnini tako, da nastane lok, nanj že lahko postavimo manjše breme. Če pa list ukrivimo še v drugi ravnini ter tako ustvarimo manjšo kupolo, bo le-ta nosil največ. Ker tudi lupina obrnjena navzven nosi podobno breme, ter kot taka daje možnost postavitve dodatne konstrukcije nanjo (pohodni del), se tako odločim za slednjo obliko.
leseni lepljenci 10/20cm HEA jekleni nosilci armiran beton
9,00 m 7,50 m 6,00 m 4,50 m 4,50 m 3,00 m
A
D
1,50 m
B
C
d
E
e
0,00 m - 1,50 m
a
b
c
Tloris 1:200 7,50 m
Piloti
A
D
B
C
d
E
ograja - lepljeno steklo leseni lepljenci 10/20cm HEA jekleni nosilci armiran beton
Vzdolžni prerez E - e 1:200
e
a
b
c
A
B
C
Tloris 1:200 4,50 m D A
B
d
C 9,00 m
E
e
7,50 m 6,00 m 4,50 m 4,50 m 3,00 m
a
b
c
A
B
C
1,50 m 0,00 m - 1,50 m
Tloris 1:200 3,00 m D
d
Piloti
Vzdolžni pogled D - d 1:200
a
b
c
A
B
C
E
e
a
b
c
9,00 m 6,00 m 4,50 m 4,50 m
Tloris 1:200 0,00 m A
D
B
C
d
3,00 m 1,50 m 0,00 m
E
e
- 1,50 m
a a
b
c
b
c
PARK & RIDE
DEVELOPMENT OF LJUBLJANA CITY PARK AND RIDE SYSTEM 2013 - 2015 iPOP, LUZ, Omega consult, SL consult, Municipality of Ljubljana LOCATION: PROGRAM: AUTHORS:
Ljubljana Park and ride system LUZ, Omega consult, SL consult
CONTRIBUTORS:
An early scheme of Ljubljana’s existing public transportation system, with added P+R one.
Pages from publication of the system in development
MONUMENT TO THE VICTIMS OF ALL WARS COMPETITION PROPOSAL LJUBLJANA LOCATION: MONUMENT, URBAN PLANNING PROGRAM: AUTHORS: J. PRIJON, B. VOGELNIK, N. VAŠL L. KOŠENINA CONTRIBUTORS: “The nation is a soul, is a principle of mind. Two things, that basically are one, make this soul. One belongs to the past, the other to present. One is a common wealth of rich heritage of memmories, the other everyday consent, a wish to live together. The nation is such one big community of solidarity, forced by the victims that it has given, and the victims that it is willing to give. It gives forth the past, but joins in the present and a firm fact: in consent, in a clear wish to continue living together. Dasein nation's daily plebiscite.” Ernest Rénan, Qu'est-ce qu'une nation?, 1882
DRINKING FOUNTAIN DESIGN OF NEW DRINKING FOUNTAIN FOR THE CITY OF LJUBLJANA ENKI d.o.o., Municipality of Ljubljana LOCATION: AUTHORS:
LJUBLJANA ENKI d.o.o., N.VAŠL
The City of Ljubljana wishes to place several drinking fountains around the city. With a tight proposals were made. The project is ongoing.
KLOPEINER SEE PROMENADE LIGHT INSTALATION LIGHT INSTALATION AUTHORS: A permament light instalation set on the promenade by the Klopeiner See in Austria, after it won an international competition. The instalation reacts to the sound of it’s surroundings and thus gives the passers by a chance to “play” with it, if only for a brief moment.
LOGSAW MEAT USED UP SKATEBOARDS MADE INTO NEW ONES. HAND SHAPED. HAND PAINTED PROGRAM: AUTHOR:
BRANDING N. VAĹ L
Logsaw Meat proposes a process where used up skateboards, in exchange for store credit, can be returned to the shop and reshaped into mini cruisers. Offering skateboards to begin with, thus creates a closed loop of circling material, which will never go to waste. logsawmeat.com
Logsaw Meat online add
CONTACT
NEJC VAŠL nejc.vasl@gmail.com PREŠERNOVA 17 1000 LJUBLJANA SLOVENIA +386 40 222 263 //cargocollective.com/nejcvasl