razvan ghilic-micu portfolio application for M.Arch l _ Princeton SOA
razvan ghilic-micu portfolio application for M.Arch l _ Princeton SOA
0:00
conclusions derive from process
n:
razvan ghilic-micu
a:
16 Carluke Crescent, apt #415, North York, Ontario, Canada. Postal Code: M2L 2H9
t:
647-994-1577
e:
rghilicm@ryerson.ca
i try not to envision a form too soon
deba ng shapeless ideas
building an argument
tes ng answers
methods
Sometimes things become very clear to us when we are young. Not unprecedented are cases of youngsters developing premature passions and funnelling their future into pre-determined fields. I never had such early reveries. Most of my time was divided amongst activities without a strict set of rules, actions that would challenge my ability to improvise. It was only years later that I discovered the joy of playing residing within process rather than the final product. My path of discovery, whether intuitive, insightful or amateurish held the true joy of playing the game without looking for a precise answer, perpetually fascinated with the slight nuances generated by process work.
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challenging my percep on
reďŹ ning the argument
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cast ideas into solids
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CONTENTS
1. CONCEPTUAL DESIGN Recycling Centre 2. COMPREHENSIVE DESIGN Ryerson Faculty Club 3. TWO SHORT PRACTICAL PROJECTS The Reversed Lamp Cardboard Chair 1 4. EARLY WORK Ski Chalet Animal Clinic Muskoka Boathouse 5. KPMB ARCHITECTS 18 York 6. THESIS Sarajevo Social Activities Club
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select a theme
re-formulate
tap into the unexpected
Recycling Centre
Location: Toronto, ON Date: March 2008 Instructor: Vera Straka Course: 3rd year Concrete Structures Design and production: Razvan Ghilic-Micu
1:01
The Recycling Centre is one of the few projects whose brief I meticulously ignored. Part of the Concrete Structures Class, and directed in the topmost stirrup placement mindset, the novelty of the program as well as the Downtown Toronto location have presented more interest than bottom lines of structural calculation charts. For me, a recycling facility offered more opportunities than being a processing plant ingurgitating waste and outputting new material. Potentially, the centre could be a community hub, an ecological nexus of the downtown core, thus the location chosen gravitated near the boundary with Lake Ontario along the Lakeshore boardwalk line, in the old processing plants district. The first programmatic steps have been simply taking the designated program areas required by the brief and arranging them in a linear sequence. Through repeated breaking down of the program and intersections of public and mass recycling, the idea of turning the process from an introverted activity into an educational showroom only made stronger the community component of the proposal. Ultimately, the project had become a two way link between the land and the water through the public areas, and between the front and back of house through the main programmed spaces hosting various recycling stages.
Toronto Lakeshore
1:02
Stacking programs areas horizontally
Proposing new major program division
1:03
Combining programmed areas
Potential zoning
recycling
community
general recycling
community recycling
Main Programmed Areas
community
Recycling + Community
general recycling
community recycling
Community intersects Recycling
1:04 community
Toronto Island view across the Lake
Vertical Zoning
Section Studies
1:05 AREA 1 - Large Recycling bring daily loads from Downtown Toronto
AREA 2 - Community recycles household items such as plastic, paper, cans, as well as composts Green Bin items.
AREA 3 - The landscaped roof is a filtering system for rainwater collection. Water is used for consumption by the recycling centre.
AREA 4 - The landscaped green area and social space is intended to host the community young and seniors for recreational activities.
AREA 5 - The landscaped platform cantilevering over the water is a pocket of the Toronto Lakeshore Boardwalk, and could be also used as a viewing platform.
1:06
1
1. Accessible Green Roof
Roof Plan
4 5 1
1. Loading 2. Sorting 3. Processing 4. Offices 5. Washrooms 6. Re-Use items
7. Sorting 8. Delivery 9. Exhibition/ Cafe 10. Lobby 11. Terrace
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3
6
7
9
8 10
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11
Ground Floor Plan
1. Water Purification Hall 2. Lookout Terrace
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20
10 5 m 2
N
Level -1 Plan
1:08
tes ng the dynamics of the plane
a liniar sequence
crossing paths
reaching out
into the open
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another parking lot downtown. A building was here long ago, its memory lost in the archives. There are no parking lots without a history. How could
one s tch the urban fabric, inject a new iden ty...
Ryerson Faculty Club
Location: Toronto, ON Date: November 2007 - April 2008 Instructor: Colin Ripley John Cirka Course: 3rd year Studio
Glazing System Detailing for the project Date: October - November 2008 Instructor: Cheryl Atkinson Course: 4th Year professional elective Glass in Architecture Design and production: Razvan Ghilic-Micu
2:01
2:02
Urban Grids
Aerial view of the site
Void as a figure
Ryerson’s Faculty Club is located within a rich and heterogeneous urban texture of Downtown Toronto. The two different property grids are colliding on the site, making it a difficult context to operate with. The North - South large grid, reminiscent of the “main street” properties intersects the small scale grid of the townhouses stretching East - West. Mediating the two grids in a point of collision is not the only challenge of the site. The parking lot is also the overlap of Ryerson University outermost ring and the mixed social fabric of Toronto.
Void as figure
Void carving through built form
Void permeating through the built fabric
Void becomes program
As an urban campus, Ryerson claims its city building role. In many ways, the rhetoric is continued by the higher ambition of the Faculty club: becoming a nucleus through which the University is exerting its influence on the surrounding neighbourhoods.
Void travels through the urban fabric
Void travels through program space
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2:04
Concept Sketches
greeting
lobby
cafe
chatting having coffee
bar
reading
dining room
alcoves
listening
theatre
gossiping
foyer
gallery
resting
reading room
socializing
playing
flirting
meeting room
offices terrace
washrooms
meditation room
purifying this is the space of encounter, the event space, where function and space overlap in a complex meshing of tectonics and logistics. the architect can only observe the shifts in human behaviour patterns and accomodate them. the space is contracting and expanding, shifting and sliding on a human microscale, within a fixed shell, responsive to the macroscale of the context _ the city.
training working serving
2:05
Space / Activity Diagram
Massing Studies
1. Reception 2. Cafe 3. Bar 4. Dining 5. Alcoves 6. Kitchen 7. Storage
2:06
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6 4
Church Street
7 1 3 2
1m McGill Street Ground Floor Plan
3m
N
6m
2:07
Reception View
1. Theatre 2. Reading Room 3. Lounge 4. Foyer 5. Podium / Gallery
3
2:08
2
4 Church Street
1
5
N 1m McGill Street Second Floor Plan
3m
6m
2:09
Dining Hall
1. Boardroom 2. Offices 3. Flexible Foyer 4. Staff Kitchen 5. Terrace
C
4
2:10
5
2
A
Church Street
1
3 B
1m McGill Street Third Floor Plan
3m
N
6m
2:11
View of the Theatre Above
2:12
Massing rotations
Offices
Meeting Room
Reading Space
2:13
Theatre
Dining Hall
Reception View Stacked Levels
1m
3m
6m Section A
2:14
1m
3m
6m Section B
Equinox
8:00 hrs
12:00 hrs
December 21 Sun Angles
2:15
16:00 hrs Summer Solstice
8:00 hrs
12:00 hrs
Sun Studies
16:00 hrs
June 21 Sun Angles
The facade wrapping the main volumes is planned to reflect the gravitational effects of the programmed elements. The texture density of the facade also influences the privacy levels behind and controls the light levels based on the local space depths. In essence the wrapper can be seen as a mesh containing points of maximum density around which texture intensifies.
2:16
Generative Components Logical Structure
Density Patterns
01
03
05
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first polygon 01_ the size of a curtain wall cell
distance 01 is obtained connecting the centre 01 with the room behind the facade
polygon points are conncted to centre 01 by
half points are connected forming a new polygon 02
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determining the geometrical centre 01 of the polygon
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the polygon is divided in equal lengths equal to distance 01 divided by 10
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line 01 ( a series of geometrical lines, having same logical name) line 01 middle point is marked by the half points
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polygon 01 contains inscribed circles. inscription is programmed defining circles through: - centre = half points - radius = MAX { distance from half points to polygon points OR 1/8 of the polygon 01 Circles also undergo a sweep to become toruses.
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all the other members are sweeped acoording to their thickness in real life: - Polygon 01 becomes the rigid frame - All other lines are a series of cables in tension, stabilizing the toruses against lateral loads.
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the elements have to be remapped following a coordinate system relative to the surface normal of the polygon 01. After this procedure, the orientation of the facade panel has no impact on the alignments of the elements. They will normalize themselves after the plane of the main pane.
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Shade Screen Position 1
Shade Screen Position 2
vertical interior SSG mullion interior double IGU circle louvre screen 02 track for second louvre screen operable grill to cavity spandrel panel wooden bench along Church Street sewer grill
flashing moisture barrier operable exhaust grille air filter operable exhaust grille heat exchanger fin tubes operable trap door to cavity fin tube _ bar linear heat diffuser raised access floor system city sewer CB
cavity + louvre screens
2:19
Church St. wooden bench
louvre system sliding track cavity wall operable grille spandrel panel
exhaust into cavity access raised floor system bar fin tube heater operable trap door air exchangers operable exhaust grille operable exhaust grille
city sewer line
Double Skin Wall Detailing
vertical interior SSG mullion interior double IGU 500mm cavity louvre screen sliding louvre screen track operable cavity grille single exterior glass pane
interior double IGU
louvre circle screen
2:20
louvre system sliding track cavity wall operable grille horizontal SSG mullion louvre system sliding track
alucobond siding
canopy cantilever beam horizontal SSG mullion
operable exhaust grille operable cavity grille horizontal SSG mullion louvre screen slider track louvre screen / sliding vertical interior SSG mullion
2:21
horizontal SSG mullion
operable exhaust grille cavity wall operable grille louvre system sliding track
louvre circle screen
2:22
Church Street View
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some mes material proper es inuence form
and form can contradict func on
tes ng limits
fabrica on methods
Two Short Practical Projects The Reversed Lamp Cardboard Chair I
Location: Toronto, ON Date: October 2008 Course: 4th year Thesis _ warm-up series Instructor: Jeff Geldart Design and production: Razvan Ghilic-Micu
3:01
Glass The “supported” material, using its transparency to allow light through. Conventional Bulbs are being blown into the desired shape. Wood The “supporting” material, using its sturdiness to become the structural spine of the lamp.
Regular Lamp
Wood becomes 3:02 The “supported” material, wrapping against its grain properties to create the curved surface of a bulb. Glass becomes The “supporting” material, still fulfilling the lighting purpose on top of the structural aspect.
Inverse Lamp
The inverted lamp started as an exercise meant to explore the reading of inherent material qualities in common objects. The way we perceive objects and assume their function and materiality as an inseparable descriptor, had to be contradicted by the outcome of the charette. An interesting object that has not changed since its inception is the simple reading lamp, with its candlestick shaped spindle leg and the source of light at the top. We can only imagine it as a sturdy support and a transparent glowing light source. It seems that even the most sophisticated designs are following religiously the dogmatic zoning of the lamp syntax. Unfortunately, the difference between formal syntax and material morphology is still underexplored.
The proposal is aiming at inverting the material composition of the light fixture without altering its function. Ultimately, the “inverted lamp” would shed light while offering an apparent contradiction in materials. The glass becomes the support against its brittle behaviour and the wood is wrapping into a “bulb”, fighting the inability of grain to describe a double curved surface. The rounded shape of the bulb is split into strips that would make the geometry achievable by unfolding its curvature.
Slice the bulb
3:03
Split the drums
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Veneer bulb cut patterns
Veneer Bulb The bulb is formed using the cut veneer strips bent and glued together. This “rhetoric” bulb fulfills the syntactical requirement of a lamp while inverting the morphology. Material qualities are kept, but their reading is mirrored.
Vacuum Formed Leg A simple candlestick has been used as mold for vacuum forming the transparent leg of the “lamp”. The two halves are connected, trapping the bulb with their top profile. The support is perceived as an immaterial object, able to fulfill the former syntactic function of wood, while morphologically keeping its lighting function.
Light Source A flat push-light has been used under the transparent leg to make the lamp glow.
Support The skirt around the base is concealing the light source and offering more stability.
3:05
3:06
The cardboard chair charette intention was to expose students to ways of reaching structural stiffness enough to support human weight through physically altering two sheets of carboard, without any additional strengthening devices such as glue, rivets or rope. Although folding stands out as one of the most popular methods of constructing paper chairs, my approach tried to not only look for a sensuous body-friendly profile, but also make apparent the elements transferring the load axially. The solution implying a series of blades has been based on two concepts. Firstly, carboard could act admirably in compression, and secondly, there seems not to be a stronger mechanical connection than a lock of double notched elements, packed tighter together once load is applied.
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study mock-up
3
1 fabrication sequence
1
3:08 9
3
6
infill
1 buttox line 1
feet line 2
good rear support elongated structural tail chair components
chair tested by reluctant classmate. it held.
final prototype
3:09
textured surface
elegant side profile
signature structural blades
4:00
moving forward by understanding where i come from
who i am
what my abili es are
weaknesses
and interests.
Early Work
retrospec ve introspec on
Ski Chalet Animal Clinic Muskoka Boathouse
4:01 1st year 1st year 2nd year
Design and production: Razvan Ghilic-Micu
Boathouse rendering
site plan sketch
4:02
Ski Chalet
Location: Toronto Date: January 2006 - February 2006 Course: 1th year Studio Instructor: Paul Raff Design and production: Razvan Ghilic-Micu
Located in Toronto’s Don Valley ravine area, the Ski Chalet’s ambition was to mediate the two main public areas of Riverdale Park : the top of the hill, point of arrival from downtown Toronto, and the bottom of the slope. The two distinct volumes, one moving with the slope and the other hovering over the landscape framing views of the valley are creating a built connection between and the dissociate levels of the park.
site profile
4:03
cantilever
path down the slope
Presentation Pastel Perspectives
4:04
Process Sketches
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Presentation Pastel Perspectives
4:06
Pastel and Crayon Presentation Drawing
Chalet Model
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vehicular spiral
flat parking lot
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Animal Clinic
Location: Toronto Date: March 2006 - April 2006 Course: 1th year Studio Instructor: Paul Raff
parking ramp
Design and production: Razvan Ghilic-Micu
Myriad Parking Lots are sprinkled all over Toronto’s downtown. The particular site of the project is well known for its convoluted access. Due to frequent traffic problems and one way streets, many times cars are spiralling on side streets around the parking until finally finding the entrance. The urban motion of the context is picked up by the building tectonics and program becomes a progression of fractured spaces moving vertically.
built spiral
=
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4:10
1st Floor Plan
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2nd Floor Plan
3rd Floor Plan
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4:13
Pastel Presentation Drawings
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Muskoka Boathouse
Location: Toronto Date: September 2006 Course: 2nd year Studio Instructor: Dimitri Papatheodorou Design and production: Razvan Ghilic-Micu
Muskoka Lakes are best known as the “Cottage Country�. The project goal was to design a suitable structure for a boathouse with one guest bedroom. The proposal relies mainly on on-site assembly and local materials. The dock level designed as a curtain of tree trunks allows for water variations also blending into the forested hill. The design reading outlines the upper rooms as a floating programmed shell.
top of slope
sight line
water line
4:15
forest top area
building area
shore view area
lake Muskoka
vertical zoning
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4:17
Ink+Pastels Presentation Board
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4:19
4:20
4:21
5:00
KPMB office: 3rd floor photo by Tom Arban
KPMB Architects 18 York
5:01
rendering by Norm Li
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18 York
Location: 18 York Street, Toronto Date: May 2008 - September 2008
KPMB Principal:
Tom Payne
KPMB Associate:
Chris Couse
Student Intern:
Razvan Ghilic-Micu
One of the most exciting design opportunities while working on the 18 York Street project was designing the curtain wall system. Tower’s apparent formal simplicity is complimented by numerous features qualifying the project to LEED Gold standards. One of the implications of such design ambition was the overall performance of the fully glazed facades, aiming for high solar heat gain reduction as well as visual compelling presence in Toronto’s lower downtown. The experimentations with frit patterns deriving from natural motifs as well as the continuous assessment of the proposal for proper energy modeling constituted a didactic and interesting process for the typology presented.
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Typical Curtain Wall Roll-off Polka Dot Frit Pattern
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New Type of Curtain Wall “Shaded by leaves on 23rd floor”
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Typical Frit Pattern
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Curtain wall modules Monotonous Skin
Plain Polka Dots
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Leaves Filtering Light
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Pixelate
Creative Frit Pattern
5:05
Architecture can be fashionable. The same way clothing items could be either dreary, or inventive, reinforcing personality and identity, a building’s skin is the interface between the architect’s ideas and the perceptive public. The intention of my curtain wall studies was to reach the high technical performance of ceramic fritting, without immediately adopting the showroom samples provided by Viracon. Instead, I tried interpreting the most natural light diffuser, working with leaf patterns. Through a series of transformations and optimizations, the performance has been reached, and the curtain wall turned into a playful array of organic patterns. Creative Leaves Pattern
5:06
Xray through leaves pattern
Adjust Frit Coverage
Refine Roll-off
Pixelate
1525 Model Mock-Up
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Apply Frit to Modular Units leaves pane
L1
L2
leaves pane
L1
L2
Unfold and Chart Mock-Up
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First panel produced Revolted contractors pointing at the “outrageous� pattern
5:09
Full Scale Mock-up courtesy of KPMB
6:00
one cannot solve conict through architecture
at the most it can address it..
..or reference it..
Sarajevo Social Activities Club studio theme: “Architecture in a World of Conflict�
Location: Sarajevo, Bosnia Date: September 2008 - April 2009 Course: 4th year Thesis Instructor: Jeff Geldart Faculty Advisor: John Cirka External Advisor: Chris Couse (KPMB Architects) Visiting Critics: Lars Lerup (Rice University) Hugo Hinsley (AA) Design and production: Razvan Ghilic-Micu
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6:02
43°52′0″N 18°25′0″E
world atlas
europe
bosnia
6:03
intention Sarajevo, the capital of Bosnia is slowly recovering after a war scaring most of its architectural identity in the 1990’s. The population is still struggling to overcome the disparities imposed by former regimes. The social activities club is offering an endearing architectural proposal to weave into one of the city’s most populated parks, and draw the positive social energy from the urban space through a series of intricate and unexpected program options. The building acts as a social catalyst and offers a visionary image of what Sarajevo could build its future upon: architectural integration, performative aesthetics and re-linked social connections.
6:04
00 romanic vizigoth
700 orthodox
1521 islamic
1878 catholic
1991 - 1999 sarajevo war
domination regimes
Former domination regimes have left their architectural trademark on Sarajevo’s consciousness; hence, the choice for a site located in the immediate vicinity of the main religious symbols. A site of crossing paths. A neutral area to explore and develop. A crossroad of dissimilar faiths celebrating human commonalities.
mosque
mosque
catholic cathedral mosque mosque orthodox cathedral
Religious Markers
6:05
new sarajevo new sarajevo new old islamic neighbourhood old islamic neighbourhood old sarajevo new sarajevo new sarajevo islamic neighbourhood old new sarajevo new sarajevo new islamic neighbournew sarajevo new sarajevo new sarajevo hood islamic neighmosque new sarajevo new sarajevo mixed bourhood new new sarajevo new sarajevo neighbourhood mixed mosque neighnew sarajevo new sarajevo neighbourhood mixed neigh- islamic bourhood new new sarajevo new bourhood mixed neighbourislamic neighcatholic sarajevo hood mixed neighbourhood bourhood new mixed new mixed neighbourhood islamic neighcathedral neighboursarajevo mixed neighbourhood new hood mixed new bou islamic neighneighbourhood sa mosque mixed neighbourbourhood new mixed neighbournew hood mixed neighbourislamic neighhood mixed sarajevo hood mixed neighbourhood bourhood new mosque neighnew sarajevo mixed neighbourhood mixed islamic neighnew sarajevo mixed neighbourhood neighbourhood new park park new sarajevo new mixed neighbourhood bourhood islamic neighpark park sarajevo new mixed neighbourhood mixed bourhood new park park sarajevo new sarajevo mixed neighbourhood islamic park park neighbourorthodox new sarajevo new mixed neighbourhood hood neighsarajevo new sarajevo park park mixed mixed bourhood park park cathedral new sarajevo new neighbournew park park sarajevo new sarajevo mixed neighbourislamic par new sarajevo new hood mixed neighbourhood n sarajevo new mixed neighbourhood mixed sarajevo mixed neighneighbourhood mixed neighbourhood mixed bourhood mixed new neighbourhood neighbourhood sarajevo new mixed neighmixed neighsarajevo new sarajevo bourhood mixed bourhood new sarajevo new neighbourhood mix sarajevo new sarajevo park mixed neighbournew sarajevo new park park hood mixed sarajevo new sarajevo park park park neighbourhood new sarajevo new park park park park mixed sarajevo new sarajevo park park park park park neighnew sarajevo new park park park park park park park park park park park park
catalyze
Neighbourhood Texture
tran scend ence self actualization
READ LEARN
PLAY
aesthetic
cognition esteem belong and love safety physiological
WATCH +MAKE
TELL STORIES
MOVIES
RELAX
Maslow Hierarchy of Needs
rooftop sculpture solarium garden ping-pong squash tennis fussball books section meeting rooms lecture spaces mediateque exhibition hall, cafe interior court, shops cinemateque music room
Potential activities
6:06
PROGRAMM ATI C
IC AT PROGRAMM
PROGRA
GARDEN SPORTS
AT
IC
R
GER
MEDITATION TUNNEL MULTIMEDIA FIN GE
FIN
R GE FIN
MM
INTELLECTUAL GREENPUBLIC PARKGREEN PUBLIC LEVEL
INJECTION
INJECTION INJECTION INJECTION
Zoning Program
Program is Stacked
In the attempt of eliminating the religious and ethnical biases from the human interaction, Maslow’s diagram informed the cognitive levels at which the public could be engaged without addressing the discrepancies amongst Sarajevians. The incipient diagrams simply stacking such programs lacked the energy and dynamism funnelling users onto interacting paths and engaging activities. The programs also tried to tie into the adjacent park, a successful mixing ground. The intention of drawing energy from the urban space and intensifying it through program becomes a clear concept.
Programs are wrapped around eachother
Program is extended into the park
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Urban Space _ Green Space
Programmed Space
6:08
Urban Space Percolating through the building
For programmatic experimentation, we label each user group targeting a certain programmed floor in a building with the number of the target floor. This scenario operates with the building whose program is a stack of functions.
4 3 2
1
= 4th floor user group = 3rd floor user group = 2nd floor user group = 1st floor user group
4 34 234
If programs are stacked and equally appealing, each floor will lose an user group. Interaction would be hard to facilitate.
1234 intensity chart: program 1 = program 2 = program 3 = program 4
If the top floor program is a weak proposition, the odds of attracting people through the building are dramatically reduced.
4 34 234
1 234
6:09
intensity chart: program 1 = program 2 = program 3 > program 4 The natural reaction is to define an ANCHOR PROGRAM, strong attractor for user movement and sprinkle it throughout the building.
4444 4434 4234
1,2,3 1,2,3 1,2,3 1,2
1,2
1
1234 intensity chart:
program 1 = program 2 = program 3 <
An anchor program connecting with the public space.
PROGRAM 4
4444 4434 4234
1,2,3 1,2,3 1,2,3 1,2
1,2
1
1234
4. performative program 3. physical program 2. intellectual program 1. public program
6:10
1234
basic sampler
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3124
4123
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2143
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4132
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1342
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4231
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weaving iteration
1
The next programmatic exercise operated on the stacked model. Considering that in the initial version each floor has only one recognizable program, the goal was to create a varied programmatic texture to all storeys, while still keeping an anchor program component on every level. Taking a vertical sectional sample through the building and applying a program permutation procedure while keeping one end as the anchor program has generated a complex pixilation with the existing program blocks. When re-stacking the obtained permutation matrices, each floor displays an identifiable anchor program, while the rest of the â&#x20AC;&#x153;slabâ&#x20AC;? seems a disarray of programmatic pixels. Connecting the pixels in section, the proposal reads as a complex knit of changing paths through the building.
3
2
4
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1
2 3D Programmatic Pixels
3
4
1+2+3+4
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1
2
3
4
1+2+3+4 Program as Sectional Blocks
park
1 _ position
park
2 _ tilt
park
3 _ lift
park
4 _ split
park
5 _ fragment
Bringing the Park into the Building
6:14
intellectual community ar sts students
3. physical program 4. performative program 2. intellectual program 1. public program
intellectual community
ar sts students
Circulation _each floor is a node
global local circulation
6:15
services
shopping
circulation
atrium
variations
main functions
circulation
Global circulation is connecting the anchors at each level Local Circulations operate within each sectional programmatic block
The experiential section charette found the development of the project at a stage of inchoate spatial definitions and emerging principles regarding the relationship site-building, anchor programs and program pixilation, as well as interior double circulation of the building. The exercise led the design initiative into shedding its redundant arguments and clarifying one concise breakdown of the projectâ&#x20AC;&#x2122;s main parts.
6:16
The principal elements captured by the experiential section are: the connection to the public park, the global circulation expressed through the fluid shaped atrium continuing the park path, and the programmed local circulation wrapping around the main void. The next step has been materializing the concept through a sculptural object. The idea has been translated into solid form by using wood and plaster. The urban surface â&#x20AC;&#x201C; solid plaster element is holding in balance at one end the natural environment of the park, and at the other end the built continuation of the park, a building exerting same interactional forces on its visitors.
6:17
the tunnel
ramps
void
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6:19
6:20
6:21
The development of the site circulation, connection to the building as well as internal double circulation of the proposal has been through a long series of trials and re-design. This particular iteration focuses on the option of creating an entire underground layer to the park, with tunnels tapping into the building.
6:22
In parallel to the program and circulation explorations, the process also covered the seek for integrating the buildingâ&#x20AC;&#x2122;s services and energy use into the design resolutions. This reasoning promoted the special treatment of threshold spaces in the building. No space would be left without a defined function, and no boundary would act a single-sided element. In broad lines, the spaces are shaped to accommodate and inform one another. The skin of the building would naturally follow the intention and modulate offering both structural support and the â&#x20AC;&#x153;activity pocketsâ&#x20AC;? to mediate the vicinity of two distinct program areas.
6:23
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Vertical Gym
Form does not necessarily follow function. Design, while keeping a critical sense of the pragmatic issues at hand, gives enough leeway to a skilled designer to offer, besides the rigid perfection of an accomplished functional process, the unexpected and unforeseen joy of creative expression. The building envelope becomes a membrane affected by the activities and space layouts internal to the building, creating spaces that could possibly accommodate external program. In a plastic way, we could see it as a soft fabric, pushed and pulled from outside and inside. The program vectors are affecting the shape and also moulding it on the structural requirements. Trans-programming technique would take two or more potential clear cut programs, and combine them in unpredicted ways, to arrive at fresh spatial qualities, while still delivering the unaltered programmatic requirement. The Vertical Gym started as an idea about weaving the local circulation into the exercise area of a typical gym populated with treadmills. The image of a large floor carpeted in apparatus and “be fit” gadgets is much too common and immediate to allow for any more exploration. By extruding the gym floor in a series of wide landings accommodating exercise equipment, the “gym level” becomes a sectional connection to the other levels and programs in the building. The vertical component of each “gym booth” could be a screen displaying live gym training lessons. Through this procedure, the gym not only becomes the sectional element connecting the pixels – gym booths, but each booth starts offering the softer privacy one needs when engaging in physical activities.
6:27
Proposed Pathways Existing Park
6:28
existing park
isolate
6:29
overlap urban grids + randomize spacing
orient, subtract and pixelate
landscape
park vegetation
park ascending through the building
6:30
urban landscaping
intensive use
6:31
Park flowing through the building
6:32
Site Plan
7 1. Entry Vestibule 2. Reception 3. Gallery 4. Restaurant 5. Kitchen 6. Storage 7. Loading
5
6
3
4
1
2
1st Floor Plan
6:33
1. Lockers 2. Sports Concession 3. Cafe 4. Vertical Gym 5. Exterior Nook
1
2 5
3
4
2nd Floor Plan
1. Vertical Gym 2. Foyer 3. Theatre 4. Artist Support Rooms 5. Backstage Showers 6. Washrooms 7. Study Room 8. Mediateque
5
7
6
8 4
3
1 2
3rd Floor Plan
6:34
1. Beach Platform 2. Deep Pool 3. Change Room 4. Shallow Pool 5. Exterior Terrace
3
2 4
5 1
5th Floor Plan
operable windows operable skylights double skin curtain wall raised floor plenum air supply under-slab duct air extraction atrium stack effect
6:35
double skin wall
Air Circulation Diagrams
Section 01
6:36
West Elevation
Section 02
6:37
East Elevation
6:38
skin 1
generating the atrium skin
structure
skin 2
virtual interface
6:39
breathing atrium
observers
natural interface
project and subtract
convert and group
6:40
exterior perforated screen generation process
exterior skin
cladding subtraction
invert
rasterize
desaturate
6:41
circular paths
pixelation
natural interface
mediateque
6:42
atrium
theatre entrance
vertical gym
6:43
3rd floor panoramic
6:44
Exterior View
6:45
6:46
Exterior View
6:47
c razvan ghilic-micu 2009