copyright
Š 2015 by nourkassam. All rights reserved. Published by author and printed in San Diego, CA.
nour kassam portfolio
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TA B L E O F
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WORKS
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CURRICULUM VITAE
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Creative Suites @ CMYK Photography - Image Processing Sukkah Design Competition Najwa Design Contest Envelopes at Port of San Diego Torrey Pines Gliderport Nature’s clock Encinital ALLEY HOUSE MEA Museum for Experimental Arts PLACE Performances at Los Angeles center for Experimentation Processing interior cavities
BIOGRAPHY
CONTENTS
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BIOGRAPHY from Nice, France October 8th, 1987
With a French, Belgian and Indian background, I grew up mostly in Italy between Sardinia, where I spent most of my childhood, Rome for eight years graduating at the French LycĂŠe Chateaubriand de Rome in 2005, then Milan where I started my studies in the field. I earned my bachelor Interior design at the Politecnico di Milano in 2008 and started in September the same year in a two months internship in Vancouver at GovanbrownSzeto Construction Managers. Back in Sardinia, I interned then worked for Studio Lesuisse designing high-end villas, hotels and restaurants, mostly in Costa Smeralda, although some works were located in other regions of Italy such as Rome and Venice. During this time I also participated in a design competition for Najwa in the protected Wadi Rum Desert, Jordan. After working as an independent designer, I applied at NewSchool in 2012 where I started my Master in Architecture. During my studies in San Diego, I also participated in two team design contests, the Sukkah Design Expo Competition (2013) and the Quicksilver competition with USD students (2014), winning both projects.
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2012-Present MArch 4+3 at NSAD candidate
2008 Graduate at Polytechnic of Milan, Italy, Faculty of Architecture III, Interior Design. Degree in Interior Design Grade 102/110 2005 Graduate at LycĂŠe Chateaubriand de Rome, French school in Italy, Scientific BaccalaurĂŠat
OTHER
Fall 2014-Present Public relation team for NSAD student council Fall 2013-Present Class representative for Student Council Ambassador for NSAD Fall l 2013 Volunteer for Manzanita Gathering space construction
SKILLS HIGHLIGHTS
EDUCATION
CAREER OVERVIEW
CURRICULUM
Ambitious person with excellent research, time management and problem solving skills. Ability to work as part of a team or independently; multicultural awareness with a high level of adaptability. Great talent for communicating both technical information as well as creative ideas. Versed in many computer programs and can jump from one application to another, a great asset when producing presentation.
-Languages: French and Italian mother language, Fluent English
-Computer skills: Rhino, Autocad, Photoshop, Illustrator, InDesign, Sketchup, Iwork/Office, Beginner Revit.
9 May 2014 Winner Team of the Quicksilver design competition with USD Real Estate management students September 2013 Winner Team of the design competition Sukkah Design Expo Competition July-August 2011 Participates in competition by invitation for Najwa Desert Resort Competition in the Wadu Rum desert, Jordan 2013 and 2014 Academic excellence at NewSchool awardes Presidential Scholarships at NewSchool
REFERENCES
July 2013-Present Design, drafting and permit processing for Thief Design Single family residential projects in San Diego June 2012-Present Designer at nourkassam Residential Building, Milan, Italy. 64 units Les Maisons, Lido di Jesolo, Italy. 135 units residential, in construction. lesmaisons.it Several designs for prestigious villlas in Sardinia, Italy Sept 2009 to May 2012 Project designer at Studio Lesuisse Porto Cervo Costa Smeralda, Italy studiolesuisse.com Some projects: La Cascina del Mar, Jesolo, Italy. 90 vacation apartments in a touristic complex completed in 2011. cascinadelmar.it Le Pantoge, Porto Cervo, Italy. 2009 - 2012. Residential park of 20 villas lepantoge.it Villaggio Sherden, Golfo Aranci, Italy. Hotel resort + 31 residentian units. 2009-2012. Residential area completed in 2012, Hotel in construction. villaggiosherden.com Other several projects for private high-end villas and restaurants, from the architectural drawings to the funiture design and construction, with high interaction with construction industry and craftsmanship May 2009 to Sept 2009 Intern at Studio Lesuisse Porto Cervo Costa Smeralda, Italy studiolesuisse.com September 2008 to October 2008 Intern at Govanbrownszeto Construction Managers Vancouver BC, Canada gbscm.com April 2007 and April 2008 Representative at Futura Italian furniture makers during the Salone Internazional del Mobile of Milan Prestigeous international furniture fair futura-italy.it
AWARDS & COMPETITIONS
PROFESSIONAL EXPERIENCE
V I TA E
MATTHEW WINTER Project manager at BNIM (858) 232-4870 PATRICK LESUISSE Principal at Studio Lesuisse +39 333 8655463
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WORKS
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INTERIOR CAVITIES A work on process
Starting with the analysis of an aerial image, I extracted specific features and moments of the landscape creating the basis for the design of a three dimensional object. The development of these criteria led me to a two skin polygonal model that set a series of rules and codifications in the study of a continuous interior cavity inside a building. Using of polygonal surfaces, we were asked to understand the forces interacting in the designed system, specifically in peaks and dips, to better clarify how these could inform the logic in the generation of passages and/or void continuity, and in the understanding
of hypothetic circulation systems not related to human scale but understood as a geometric and spatial composition.The fusion of the alien object with a traditional mission style building generated conflicts in the distribution of space and in the physical interaction of objects and surfaces with the existing rhythm of the building’s opening. The study of a continuous interior cavity and the relationship between the different levels of the site through the building, are the leading principles in the design process.
Image from google earth, in the proximity of Beberibe, Brazil
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From the top clockwise: Model and drawing at NewSchool of Architecture and design Student Showcase, June 2013. Finlal model at the Student Showcase. Elevation (final model+Illustrator). Process paper model of the alien object.
14 Process foam model defining the voids.
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Hand drawn process section of existing mission style buildig and alien object.
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PLACE
Performances at Los Angeles Center for Experimentation
to connect downtown LA districts
Place is the new Performance center for experimentation that provides new adaptive spaces and changes the approach to theaters and performance spaces. The project started analyzing the context specifically the street scape, and the main shape comes from playing on the use of fake facades of the Los Angeles movie industry. Both these aspects apply high attention to the main facades lacking the design and conception of side and back facades creating a curtain in front of the building that sometimes consists in a simulation of a program. Front facades result as a fake product and do not dress any building behind. Considering this aspect the challenge was to create a building that does not have a front facade forcing the design of the secondary ones.
In addition, the project focuses on creating a significant outdoor performance space taking advantage of the already activated area due to the vicinity with the subway station. The public would have access to the spectacle from the street, the square and from below the scene which would reinvent the type of performances. Public space appears below the main theater spaces creating an additional connection between Broadway and Pershing Square while keeping the alley as the service access. Two outdoor circulation cores reduce the need for additional emergency exit paths. The urban space is activated also by providing a shop, a cafe and a restaurant at the lower levels. A secondary lounge space is provided on the rooftop overlooking the open space the building faces.
From left: Site plan. Rendered Eye view from Broadway (Rhino-Revit-IPhotoshop-Illustrator). Bird eye view of project facing Pershing Square (Rhino-Revit-IPhotoshop-Illustrator).
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Picture of massing chipboard model simulating eye view from Pershing Square.
18 From left: Initial concept model from - view from Broadway boulevard. Layered Chipboard study model simulating the brick pattern.
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Initial concept model - Chipboard+wood+vellum
20 Rendered main floor plan (Rhino-IPhotoshop-Illustrator)
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LEVEL 9 = +144ft
LEVEL 7 = +114ft LEVEL 6 = +99 LEVEL 5 = +84ft LEVEL 4 = +69ft LEVEL 3 = +54ft LEVEL 2 = +39ft
LEVEL 2 = +15ft Wrangler
LEVEL 0 = 0ft
LEVEL 9 = +144ft
LEVEL 8 = +129ft
LEVEL 7 = +114ft
LEVEL 6 = +99
LEVEL 4 = +69ft
LEVEL 3 = +54ft
LEVEL 2 = +39ft
LEVEL 0 = 0ft
Wrangler
LEVEL 1 = 24ft
From top left: Section of the North-West wing showing the vertical circulation system. Section of the main theater and outdoor performance space. Longitudinal section with program annotations showing connection between the two sides of the project, Broadway Boulevard and Pershing Square.
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Rendered view from pershing square during outdoor performance.
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Museum fo Experimental Arts MEA a new icon for Buenos Aires
From the visit and analysis of a specific corner lot in Buenos Aires and several museum case studies I extracted features that were important to me to enhance and or maintain. I noticed in the city streetscape that very few times the urban fabric opens to create a transitional space. In the few moments when that happens, as in the case of the MALBA museum, this creates a pause. This museum is recessed from the street allowing for an elevated platform, creating distance from the velocity and noise of the street and cars. The second feature that surprised me was a new apartment construction developed in the narrow street a few blocks down from our site. The building stands as a unifier of the street skyline “connecting� the height of the edifices on its sides. In contradiction with the first quality, this unifies the elevation of the urban fabric. Those two ideas were the basis in the development of the initial process. The approach was achieved by inserting the new museum in the assigned site as if the project was studied for, and only, that site using the features previously described. First, the connection between the heights and volumes of the three adjacent buildings defined the basic volumetric shape from which to depart.
The thread connections analyzed in the first study model, also allow to express the first aesthetic features and regulates the structural system. The hypothetical prolongation of the Avenida Presidente Julio A. Roca also one of the two diagonals and main axis of the city was considered to further more break what is the actual lot/city grid, serving as a second device. Last, the idea of an overflowing building that affects its surrounding without limiting itself to the lot boundaries. The process resulting from these three focal points establishes the basis in which the shapes were rooted deriving an opportunity to establish relational and organizational strategies between program and form. Dialogues between interior and exterior spaces, surface and structure becomes necessary from which emerges interstitial and informal spaces aiming to generate distinct perceived atmospheres. The use a specific structural paraboloid form and its consecutive development from one edge to the other, transfer to the building a sense of continuity in volume and shape. It generates a structural gradient varying in intensity transferred in the interior by the corresponding intensities and reliefs in the concrete coffering. The structure unfolds around the volume and is defined by two major movements.
become in contradiction loaded creating a couter-contrast between materials. The project mixes the old fashioned materiality with a modern form generation system combining Buenos Aires modern and extremely contemporary spirit of the city. The building pauses on a given time being related to its neighbor’s heights. It will function as a memory of the urban fabric and style that the city has a hard time to define. It will work as a time mark in BA cityscape and still will offer a perpetual contemporaneity of the artistic research.
Interior render of exhibition space (Rhino, Hand drawing, Photoshop)
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Intersecting each other, they enclose the space and create a new exterior space piercing the volume transversally. The light enters the building from the secondary exposed east and west facades, and it is filtered through glass blocks that protect the artwork. Viewed from the exterior, the glass blocks create an intense dark pattern that contrasts with the plain, light colored concrete. Two materials when juxtaposed exchange their original characteristic: the heavy concrete becomes visually light, the lightweight glass
26 From top counterclockwise: Longotudinal section, front and side elevation , trasversal section (Rhino, Illurtrator)
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Street view render in context by night (Rhino, Photoshop, Illustrator)
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Left page: process model pictures: Thread and foam model, conceptual metal frame, wood extensive frame. Right page: Enlightened final model
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Encinitas ALLEY HOUSE Southern California
On the old elementary school of Encinitas site, the alley house is part of a 13 residential single family house redevelopment. The project focuses on the idea of a pedestrian alley that often separates the sites along the coast to give access to the beach or ocean views. The alley on the east west axis divides the house into two cores. In the north core are the main living spaces at the first floor and additional bedrooms and study space on the second floor. Access is also provided to the roof with sofas and outdoor fire place providing a space to observe the afternoon sunset during all seasons. From the back street is also the two parking spots garage directly connected to the service areas.
The south core hosts a secondary master bedroom with steep roofs that allow more light to the north core. It also provides three courtyard: one with pool and outdoor cooking on the west side, one with a fruit tree that emphasize the changing of seasons in a steady climate area providing a view from the dining room, and one on the east side providing for outdoor breakfast enjoying the morning sun. The project is also integrated with solar panel and water heater to provide electricity for the house and for a charging station for vehicle in the carport. The two wall on enclosing the pedestrian alley, two 2’ thick walls, allow for ducts and systems to be implemented throughout the house.
Concept diagrams.
31 Trasversal perspective section: on the left north core, on the right the south core, in the center the pedestrian alley corridor. (Rhino, Sketchup, Photoshop, Illustrator)
32 From top: South-west perspective. Longitudinal perspective section of the north core, Longitudinal perspective section of the south core. All diagrams to emphasize sustainable features.(Rhino, Sketchup, Illustrator)
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Street view render (Rhino, Sketchup, Photoshop)
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Final wood model.
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NATURE’S CLOCK
Rethinking small spaces of San Diego Harbour A major part of the old original San Diego Bay has been excavated and the shores have been engineered allowing man took over the bay. The concept focuses on giving back what once was to the sea, and celebrate the “Nature’s Clock”. The second aspect is the contemplation of time. San Diego area doesn’t allow for huge changes in seasons so the idea rests in emphasizing those changes that express time: in moons and daylight/nightlight but also in season. Sun light, city lights, tide and plants are the markers to measure time in a microspace for observation that offers different views to the site and the city. Gentle slopes allow for observation pools as well as an extended field created by the low tide, and forbid by the high tide. The water is guardian of the site and influences the visitors when crossing through the space. The nature in the site revives the visitors senses while he overlooks the artificiality of downtown. The hardscape emphasizes the time passing by with the rhythm of nature. The use of wood reflects the western tradition of building. The gathering space evokes the iconography of the west coast piers. The shadows cast on the sandy landform when tide retreat , or extending on the water by reflection,
intend to create a subjective environment influenced by the “Nature’s Clock”. The vegetation is used as a visual division of the site in three parts. As the level of the ground goes up, toward the west side, the “dry” vegetation appears. When tide goes down the “wet” vegetation appears. The plants emphasize the paths keeping the visitor on track. In some rare occasion the vegetation allow to exit that track accessing a transitory space between the water as the new main player, and the parking as a survivor to nature. The intent is to invert the roles between the two showing an ever-changing scenario. The buildings sit in specific areas of the site. The connection between them and the main bicycle and pedestrian path crossing the sites, are defined by keeping the language with a different materiality: the planks are thinner but they keep the persistent rhythm of time. The artificial reflective surfaces of building enclosure gets in contradiction with the natural mirrors of the water. The building merge in the site, yet they are in perfect contradiction material wise. Everything is there to remind us that we cannot control nature but that she goes with her own rhythm. While in the site, we do not have the choice: we follow the Nature’s clock.
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Sequence model from the landform to the completion.
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TORREY PINES GLIDERPORT
Blending in the landscape
In the process of providing a building that would fit a better program of the gliderport, the principle of integration and sense of place, I developed a concept that could enhance the working space and, at the same time, that could emphasize the vibrant atmosphere of the unique location, Torrey pines. The vicinity with the cliffs as well as the famous blacks beach offer a captivating background for the building to be. The lights of La Jolla and the emptiness of the ocean are the backdrop while the gliders, the surfers or simple visitors are the activator of the space. As the main element for the gliders to run, the wind plays a fundamental role. The main rule is not to affect its path that makes the site so exclusive for the gliders. Therefore the site calls for a the low profile, horizontal shaped structure. The second feature that makes the
site special is the gentle slope before the drop of the cliff. That slope on his higher point creates a little hill that is the basis for the placement of the building. The idea is to have a structure that comes out from the land and transforms itself gradually from natural to artificial without disturbing the flow of the wind. The building goes from being submerged to being levitating. The hill that defines now the take off and landing area gets extruded creating the volume. The more the building come out of the hill the more the edges become sharp. In doing so the project attempts to improve the take off and landing area for the gliders providing a steeper terrain but also a enlarge that area in a green roof. The impact of the building becomes more gentle while allowing for a bigger usable surface. The program then gets divided in two portions. On the north side the areas
Image from google earth, in the proximity of Beberibe, Brazil
enclose the view until the site gets freed from the construction artificiality and becomes inhabited only by the gliders flying above. The gradual transformation from natural to artificial is emphasized by the sharpening on the edges and the use of material.
From the top clockwise: Model and drawing at NewSchool of Architecture and design Student Showcase, June 2013. Finlal model at the Student Showcase. Elevation (final model+Illustrator). Process paper model of the alien object.
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strictly related to the gliderport activity, and on the south side, the ones open to the public with a store and a cafe. The two areas are connected by longitudinal space developed in the east-west axis that drives the attention to the ocean. The side buildings
40 From the top: South West hand rendering. Hand rendering of the far end east west axis. Hand rendering of the axis from the beginning of the path.
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On the top: chunk model at 1/8”=1’. On the bottom: model at 1/16” =1’
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ENVELOPES
A new skin fo the Port of San Diego Building
This Special Topics: Envelopes class challenged us to develop a solution of a veil or skin for the Port of San Diego building and to understand the role and the shape of different types of veil in different cultures. The skin that reveals the building’s personality and function to the public through materials and forms, enhances the working environment for users. The exploration of forms by using different materials and folding techniques, led to the solution of a layered envelope offering more volume for the building and outdoor spaces distributed on the different floors and facade of the existing structure. Those volumes could be accessible for extra
office spaces, break areas, meeting rooms or others, and the continuous structure of the mesh deformed into built-in furniture. The new solution for the envelopes allows light to permeate the interior and the polygonal forms as they scattered around the building provide the needed shading. The new envelope for the Port of San Diego building exceeds the role of a playful veil teasing the eyes of the beholder as it blurs the interior and exterior space. Thus it provides a new culture for the building and could become an icon for the surrounding environment. Group project: Nour Kassam & Trang Nguyen
Picture from one of the interior spaces of the chunk wood model.
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Render in Context of the Port of San Diego Building with the new envelope.
44 Conceptual model of the folded skin.
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Views of the model from the interior showing the potential spaces created between the new envelope and the original structure.
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NAJWA DESIGN CONTEST
July 7th to september 17th 2009
Property: Najwa group Location: Wadi Rum Desert, Jordan Typology of work: Invited design competition
Program: complex of villas, apartments and amenities such as restaurant, theater and spa. Design team: Studio Lesuisse + nourkassam + Arch. Ruzittu + Nemes
After a 5 days onsite stay in company of all of the firms invited the design process started, and lasted just about two months. The extreme respect from the Najwa group toward the site, the local population and the culture established a base line from which we started the design. The firms were carefully selected because of these considerations after several visits to the various offices all over the world. This attention was also required due to the
critical location: the site confines with the Wadi Rum Desert Reserve that is also the house of bedouins that travel the land. Other then the exceptional opportunity to participate to the design competition, the project was an incredibly challenging site and a completely new environment we had to carefully study prior to commence. Unfortunately, the winner was never annouced due to lack of political support.
Render (Picture by author, hand made plastiline model, photoshop)
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Master plan of the proposed project
48 Rock villas typology model (Plastiline model over plywood contours base)
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Spa villas typology (plastiline model over plywood contours base)
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Render (Picture by author, hand made plastiline model, photoshop)
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SUKKAH DESIGN COMPETITION Design/build projects in Encinitas
The Leichtag Foundation based in Encinitas, Ca, organized for the first time the sukkah desgn competition to which we were invited to participate as a school. Me and my team of 5 designed in and build in less then tw month the structure that hosted a two week festival at the Leichtag Ranch during which the structure was place for gathering, dinner and numerous events. The design passed the preselection and had to be build in one day with the hepl of volunteers. Prefabrication, cost effectiveness and time scheduling were few of the aspects that were to be organized prior to the construction day. The project won the first place of the contest. Our design team looked intensively at different qualities of water and ways to incorporate its quality into a cohesive built form. This resulted in the synthesis of the flow of water and the rhythm of water into the plan and structure of the sukkah. This thinking extended to the way one circulates through the structure, which is directed in an ambulatory manner around each of the enclosed spaces. The number of enclosed spaces, 3, was taken from the offering of three lugens of water during the festival. We proposed the use of wood pallets for the walls of the sukkah, which was prompted by an investigation into the structural needs
of the design, and emerged as the most efficient choice that also allows for further interpretation of the idea of water flow and rhythm. In keeping with the theme of water, we filled the cavities of the walls with cornstalks and hanging strings of pearls: a succulent plant. The river rock is worn smooth by being exposed to the continuous flow of water across its surfaces over time; these fill the cavities of the smallest space. The cornstalks symbolize the rhythm of the harvest and the dependence of agriculture upon the rains of the area to continue to bear fruit for the sustenance of the local residents. These will be hung to dry out throughout the week and provide a visual analogy to the temporality of life; these are hung in the second largest enclosed space. Filling the cavities of the main sukkah space are strings of pearls. This hanging succulent will introduce a green color into the interior of the space, and complement the tones in the wood of the pallets. These hanging succulents will catch the morning dew and allow it to refract the sunlight and throw patterns around the main space. The roof structure is composed of two elements; square framework and burlap ribbons. The form of the framework was conceived as the counterpoint to the
of the Promised Land. The combination of these elements showcases water in its many forms, both as an ethereal substance that lends interest to theinterior, but also as a necessary ingredient for sustaining life.
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12'
31'9"
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ELEVATION A
Plan of the Sukkah showing the three circle and the materials originally associated with each space.
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curvaceous forms of the walls. It also allows for the circle of water to be balanced by the square representing land. Both of these elements are essential to the harvest, and should always be in harmony. The framework consists of three levels of squares, each rotated 15 degrees from the one below, further strengthening the connection to the offering during the harvest festival. On top of this framework, we used burlap ribbons to provide additional shading for the spaces below as well as locally found palm leaves. Burlap was chosen as a material that harkens back to the tents that early Israelites would have erected to house themselves while wandering through the desert in search
54 Pictures during the prefabrication process in NewSchool Material lab, and during the construction day with the volunteers.
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Pictures of the finished Sukkah.
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PHOTOGRAPHY- IMAGE PROCESSING Ongoing
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Ceiling view of historical building, Los Angeles, April 2013
58 Sweet basil pot, San Diego, 2012
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Mirage at Siza’s swimming pools, Porto, Portugal, May 2014
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Creative Suites @ CMYK Architect as a developer
The creative suites at CMYK, are a new concept of living and working. Powered by Adobe Systems. Located at 130 E 8th street in the Heritage Block of National City, CMYK provides a space to live, a space to produce and to sell for young graphics and designers that are currently in school or starting new businesses. A young hub with an innovating philosophy for graphics to interact and work with the tools provided by Adobe Systems included. A common courtyard to all the levels and programs for a continuous communication and collaboration, a collaboration that improve quality of work such as the shared studio spaces in schools. The strategic
location is walking distance from the trolley and 10 to 15 minutes from the Mexican border as well as downtown San Diego. The project is part of a development for architects as developers, and includes 16 different programs within the Heritage square smart block that address different programs to provide a variety of typology and services. The design concentrates on providing the maximum commodities of daylighting and cross-ventilation as well as creating private spaces and shared ones within the economical parameters for a successful investment.
LIVE SUITES TYPE D
SOLAR PANELS AND WATER HEATER SYSTEMS
LIVE SUITES TYPE C
SHARED ROOFTOP
LIVE SUITES TYPE B DOUBLE GLAZING WINDOWS
LIVE SUITES TYPE A
MECHANICAL ELEVATOR FOR CARS
LOFT SUITES
RENT SUITES
PEROFORATED COLORED MESH METAL FRAME FOR PRIVATE PATIOS DOUBLE FACADE NORTH SIDE
ON THE
ORIZONATAL CIRCULATION
TO RETAIN HEAT IN THE WINTER AND CREATE PRIVACY
WORK SUITES
VERTICAL CIRCULATION MECHANICAL VERTICAL CIRCULATION
MEET SUITES
MECHANICAL ROOM TRASH ROOM HEAVY PRODUCTION SUITES
LIGHT WEIGHT CONCRETE SLABS PLANTATION WOOD FRAME STRUCTURE FOR LIVE SUITES
SELL SUITES WATER TANK FOR RAINWATER COLLECTION AND RECYCLE SYSTEM
CONCRETE COLUMNS STRUCTURE FOR SELL AND WORK SUITES
STORAGE SPACES A From the top clockwise: Model and drawing at NewSchool of Architecture and design Student Showcase, June 2013. Finlal model at the Student Showcase. Elevation (final model+Illustrator). Process paper model of the alien object.
UTOMATED
RECYCLE CONTENT CONCRETE UNDERGROUND STRUCTURE
SYSTEMS DIAGRAM
PROGRAM DIAGRAM
PARKING SYSTEM
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LIVE SUITES TYPE E
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On the left page: street view of CMYK, (autocad, sketchup, photoshop). Above: interior plans and sections of the typical unit with differents layouts thanks to the moveable furniture.