“Every idea that is a true idea has a form, and is capable of many forms. The variety of forms of which it is capable determines the value of the idea. So by way of ideas, and your mastery of them in relation to what you are doing, will come your value as an architect to your society and future. That’s where you go to school. You can’t get it in a university, you can’t get it here, you can’t get it anywhere except as you love it, love the feeling of it, desire and pursue it. And it doesn’t come when you are very young, I think. I believe it comes faster with each experience, and the next is very simple, or more simple, until it becomes quite natural to you to become master of the idea you would express.” “Idea and Essence” September 7, 1958 — Frank Lloyd Wright
rux.avramescu@gmail.com
RUXANDRA AVRAMESCU
name
Ruxandra Elena Avramescu birth date
30.09.1991 nationality
Romanian mother tongue
Romanian
WORK EXPERIENCE 2015
Intern Architect MTI Rehabilitation Valletta, Malta
Creativity Responsbility Punctuality Communication Teamwork Organization Photoshop InDesign Revit AutoCAD 3ds Max Microsoft Office Google SketchUp Nemetscheck Allplan English French Spanish
2014
Intern Architect HOCHTIEF Warsaw, Poland 2013
INTERESTS TRAVELING MUSIC
SKIING
PHOTOGRAPHY
DRAWING FILMS
Intern Architect ARTA Ltd. Design Office, Lodz, Poland EDUCATION 2014-2015
Masters of Atchitecture (Erasmus) ENSA Paris-Belleville, France 2014
EmpatiA Workshop Tampere University of Technology, Finland 2010-2016
Integrated B.Arch. and M.Arch. degree UAUIM, Bucharest, Romania 
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Taidehalli Las Club YK
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Cable Factory
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Forum Box Madhouse Club Nosturi Kuva/Tilla
i The Line siplasti Kiasma The Cathedral Loose Bar Central Station ndorra Virgin Oil Co Forsblom Savoy Teatteri stia Club The Tower Heino Gallery Galerie Sinne The Black Box
The Platform
THE NEXT HELSINKI CONTEST (anti-guggenheim)
Location: Helsinki, Finland Year: 2015 Type: contest, individual project Duration: 13 weeks Coordinator: Agissilaos Pangalos (ENSA-PB)
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Guggenheim is a well known institution on the firmament of worldwide art. It is a Mecca for creative minds, attracting and presenting grand designs ranging from art, to sculpture, design, architecture, all enveloped in the veil of the modern movement. The city of Helsinki, as the capital of Finland, presents itself with an artistic community that is well known, respected and showing a certain proclivity for innovative ideas and thoughts.. Thus, by keeping the starting points of this thinking process, we decided to leave apart the idea of one big centralized institution and open towards the city by creating specific places. More than creating general exhibiting facilities which already exist, the proposal is searching for particularities.
With this idea of expansion and openness, we thought of neglecting a unified, central design that beckons others to it, and instead divide it and spread it throughout the city, thus taking the museum to the visitors. Each of the four pavilions is designed according to a special “openness” that it presents, because design comes in various shapes and scales, and more often than not, space is not specific enough to accommodate such ideas. The canvas is as important as the artwork itself so we pursued the idea of creating atypical “canvases”. This is an opportunity for the artists and designers as well, because they will have the required environment to create something specific to that space and that space only. Following this idea, the proposal is aiming to develop four of one possible series consisting in particular “places”.
Starting from the idea that Guggenheim is meant to promote Helsinki, we decided to spread the pavilions in the city, among the existing typical exhibition spaces. For each one, a certain space had to be found, specific for that pavilion, thus beginning a symbiosis between the two that could, from an urban planning point, begin a transformation process for Helsinki. With that in mind, positioning each pavilion so that it’s easily accessible but at the same time not to close to the others was a major preoccupation for us.
Being on top of the world. This can be just a feeling or it can be a dream come. Every artist wishes his art becomes known worldwide and he sees it as standing on a pedestal. Starting from this idea our project proposes an existing pedestal - one platform - to follow the artist’s concept requirements. The site was chosen for its good characteristics which suit to the concept. The main point was getting advantage of the city’s landscape and place the platform on one of its highest points in order to have the view over the city and the sea.
For this reason, the pieces of art will always be perceived together with the surroundings: the skyline of Helsinki; and they have to be conceived taking this into consideration. Following the city’s traditional urban regulation, the pavilion isn’t meant to stand out by itself, but to emphasize the work of art. In this way, it is well fitting into the existing fabric by size in plan and height, but at the same time it’s permeable, simulating the density of a forest and it is integrated with the existing vegetation, as it is situated next to Tähtitominvuoren Puisto.
Reaching for the sky. Great works of art that require being seen from all directions. Following a route with different stops meant to enhance the value of art as well as the value of Helsinki. Multiple openings allow a glimpse of the work of art from outside and at the same time it’s offering panoramic views over the city.
Choosing the web for the envelope was inspired by the long Northern winters, more precisely by the frozen sea and the ice pieces that are covering it all. Placing the tower in the South Harbor, as the most iconic place of Helsinki, it looks just as the sea has grown on the tower covering it all.
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The work of art which stands out by itself. It doesn’t need any existing background, light or noise. Thus, the Black Box is aiming to provide this kind of unlimited space for all the directions for complete works of art. It’s like having a cube filled with substance in which the artworks are craving their required space.
The envelope is also following the same “limitless” rule, trying to hide the building from its context us using mirror walls. Choosing the site was determined by the character of the building which desires to fill and create space without creating any limits. In consequence, the Black Box is animating the Kasarmitori square without even feeling its presence.
Running towards infinite. Being the longest art gallery, with its almost 500m length, it’s the place for sequential perception of a series of works of art. it’s closing itself and the park against the railway while opening to the other direction. Starting from a fully lightened section
in the ground level, it is slightly increasing height until arrives in the end to total blindness and an opening over the sea. The gentle curve brings a protective sensation to the park and the field which is often used to hold big events.
TRAMWAY INSERTION
Location: Colombes, Ile-de-France, France Year: 2015 Type: academic, intensive, team project (5 members) Duration: 1 week Coordinator: Michele Lambert-Bresson (ENSA-PB)
ANALYSIS: TERITORIAL SCALE
T1 LINE SCALE
EXTENSION SCALE
STUDY ZONE SCALE
A PROJECT INSERTED IN A GREAT TRANSPORT NETWORK The first modern tramway line of the Parisian region, T1, was opened to public in July 1992. Connecting the Saint-Denis train station to Bobigny, this line had already been extended twice: from Bobigny to Noisy -le-Sec (2003) and from Saint-Denis to Asnières-Gennevilliers (2012). T1 line is 17 km long nowadays. The purpose, established in 1994 by the Ile-de-France Region Master Plan, is to create a tramway ring surrounding Paris. In consequence, the extension of T1 line is part of this Master Plan. A real transport belt in the Northern part of Paris, the extension project for T1 tramway line for the West will connect the existing terminus “Les Courtilles” to “Gabriel Péri” stop, close to Quatre Chemins intersection, in Colombes. It will be connected to metro line M13 at Courtilles, transilien train J at State train station and to tramway T2 at “Parc Pierre Lagravère”. This future axis will allow passengers easily between Colombes, Bois-Colombes and Asnières towns and also between all the towns served by the existing T1 and T2 tramway lines. Looking forward to 2023, more than 60 000 passengers/day will be able to travel this 6,4 distance of extension in 20 minutes. The main purpose is improving transport conditions and the mobility between the towns situated in the North-West of the Parisian region.
GLOBAL DECISIONS The project aimed to enrich the area by adding as many green areas as possible (since they were hard to be seen before the implementation of the tramway line) and also bike lanes for a greener town (that didn’t exist before). Studying the existing means of transport all together with the new tramway line determined us to take the decision to reroute only bus line no 176 to other streets not served by public transport since we calculated that it was not necessary to have two means of transport serving the same passengers. TRAMWAY STOPS The analysis brought us to the conclusion that the best placement for the tramway stops is: 1st - at the begging of the study area, close to Departamental A86, but in a human-scale zone. 2nd - close to the school and the main commercial area that the tramway is crossing. GETTING INTO DETAILS Moreover, we evaluated the space available because the insertion of tramway also meant an enlargement of the street which sometimes was impossible without the demolition of some not so important buildings. We also had to build new streets for the tramway in order to make the turn possible in the narrow commercial zone. In consequence, the future street’s prospect is varying during its route. We detailed three characteristic sections that are mostly encountered, one containing also the tramway station: 1st - the tramway station, situated in the middle of the road for a more efficient use of space in a crowded zone of the route in order to save some space for a green area along the street. 2nd - the narrowest prospect of the street in the zones there demolishing building for enlargement was not an option. In this section the street only contains the minimum necessary spaces like pedestrian, bike lane, one car lane and tramway. 3rd - the largest street prospect permitted adding parking lots along the street as well as vegetation and the mandatory functionalities.
HOCHTIEF JK51
Location: 51 Jana Kazimierza, Warsaw, Poland Year: 2014 Type: Internship Duration: 6 weeks Coordinator: Krysztof Jankowski (Hochtief)
During my internship in Hochtief Poland i took part of the team in charge for the collective housing JK 51 project and also the collaboration between Bulanda & Mucha Architects and Hochtief. I followed all the steps from first phase of the project from architecture project to structure and equipments, visiting the site with many occasions to see how the project was growing. My main task in the office was to help the team and the selling department with the public image, with the interior design of the space and making visualizations to be shown to clients.
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THE ROMANIAN CINEMATEQUE
Location: Splaiul Unirii, Bucharest, Romania Year: 2014 Type: academic, individual project Duration: 7 weeks Coordinator: Daniela Radulescu-Andronic (UAUIM)
As an urban implementation the building was split in 2 parts, each aligned to one of the streets in order to obtain a continuous front. In the case of Splaiul Unirii street, the Cinemateque aims to connect the small housing fabric to the collective housing tall fabric, being placed just at the border between them. In consequence the building had to solve the 3 open facades which can be easily perceived from Dambovita Quay promenade, Dr. Dumitru Raureanu street and the courtyard as well. The layout permits a free circulation for the ground floor, typical characteristic for Bucharest’s old center, interconnecting interior courtyards together with the pedestrian old city and Dambovita Quay. Also, the distribution towards all the functions of the building is assured by the underground lobby.
Choosing to build a Cinemateque on that site was determined by its central position, being close to the most important pedestrian area of the city. It can also be seen as an attempt to revitalize the zone which nowadays is mostly known for the nightlife and pubs, but it remains quite empty during the day due to the lack of interest points. The equipment includes different functions such as big and smaller projection rooms, exhibition spaces, a bookstore, the archive with a specific library and two different bistros. It also provides panoramic views aver Bucharest. Moreover, the projects aims to revitalize the area by proposing an exterior set of stairs used freely during the day and as an exterior cinema during the evenings, by projecting the movies on the cinemateque’s elevation.
RESTORATION PROJECT chiajna monastery
Location: Chiajna, Ilfov, Romania Year: 2014 Type: academic, team project (2 members) Duration: 6 weeks Coordinator: Diana Mihnea (UAUIM)
Model of a possible reconstituition for the vaulting
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The concept that was guiding our restoration intention for Chiajna Monastery is to be aware of the spiritual aspect as well as the ecclesiastical function of the space. In consequence, we decided to keep as much as it is possible the ruin appearance of the monastery for exterior and interior and to emphasize the importance of the 4 spaces that compile an Orthodox worship place: Porch, Pronaos, Naos, Altar. Trying to connect the religious aspect with a future use of the monastery, we chose to keep the existing character, the sacred space, and to propose a concert hall for religious choirs. The interior space of a church is natively conceived for such an use, providing an impressive acoustics. The religious music on many voices is optimal for this kind of space and the evolution of church typology always took into consideration this aspect because churches were always conditioned by this kind of music.
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For the proposal, the choir will be placed in the Altar, on a 50cm height floor in order to symbolize a subtle limit that cannot be crossed, as a separation between the two parts of a church which are originally separated by a wall: Altar and Pronaos. The wooden flooring provides better acoustics for the space. The floor continues outside on the area of the former Porch as it was discovered during excavations, but using the same limestone as the one used to cover the Altar. We tried as much as possible to detach the new interventions from the existing ruins, to create a clear distinction between historical material and the new proposal. For the separating wall with two piles between Pronaos and Naos which came out from historical evidence, we considered it to be an important element. In consequence, we decided to cover in stone the area of the piles that were discovered also during excavation works.
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URBAN 3*HOTEL
Location: Str. Buzesti, Bucharest, Romania Year: 2013 Type: academic, individual project Duration: 7 weeks Coordinator: Daniela Radulescu Andronic (UAUIM)
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OFFICE
SHOPS
RESTAU
GARDEN
ACC
CONFERENCE ROOMS AUDITORIUM
FOYER
BAR
MEZZANINE
LOBBY
UNDERGROUND
The hotel is situated in a central and accessible area of Bucharest. Starting with the district analysis, the hotel resulted in continuing the alignment of Buzesti boulevard and afterwards breaking it in order to visually participate in Victoriei Square skyline. In consequence a little square appeared in front of the hotel, which can be used as a foyer. The hotel’s major facilities include a restaurant and a multi-functional hall which can be accessed directly from the exterior. There is also a small business center situated at the mezzanine of the hotel, while the last two floors host a beauty center with pool and spa and a bar with a panoramic view over the city. The accommodation is oriented on both sides of the hotel, and the monotony of accommodation floors is broken by the appearance of some greenhouses used as lunge areas, which are also visible on the facade.
SWIMMING POOL GYM
SPA
NIGHT BAR
ISTRATION
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URANT
KITCHEN
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COMMODATION
SUPPLY
D PARKING
GARBAGE LAUNDRY ROOM
Verification of solar protection during summer, for the room which receives the greatest amount of light: -June - 11:45-19:45 -May, July - 11:30-19:30 -April, August - 11:30-18:45 -March, September - 11:15-16:15 -February, October - 11:10-15:45 -January, November - 11:00 - 15:50 -December - 11:00-16:05
Calculating the quantity of natural light for the most exposed room.
Discomfort period: -June - after 11:45 -May, July - after 11:30 -April, August - after 11:30
In consequence, we need to add shading which reduces with 45% the quantity of light in the closed position. The advantage of the system is that it allows a fully control of the light.
In conclusion, the room doesn’t benefit from the best positioning. It is placed on the corner of the building, being lightened by two windows, corresponding to each facade. In consequence, the room is too much exposed to solar radiation.
-Height: 37m -Orientation: S-V -2 windows -N-V window: 348 Lx -S-V window: 296 Lx Total: 644 Lx
Final Total: 481 Lx
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Tencuiala zugravita Lambriu lemn masic 20mm la 2-3cm Mocheta Usa masiva Prodema Act wrm perforatii ovale 8-10(40)/20mm 50mm vata min. Pardoseala parchet Knauf Apertura gipscarton perf. 6/18, 60mm dist. + impaslitura
CATEDRA STIINTE TEHNICE
AN UNIV. 2013-2014
FIZICA CONSTRUCTIILOR 2 - LUCRARE PRACTICA 2
SECTIUNI SCARA 1:100
AVRAMESCU RUXANDRA-ELENA
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CATEDRA STIINTE TEHNICE
FIZICA CONSTRUCTIILOR 2 - LUCRARE P AVRAMESCU RUXANDRA-ELENA
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COLLECTIVE HOUSING
Location: Str. Mantuleasa, Bucharest, Romania Year: 2013 Type: academic, team project (2 members) Duration: 13 weeks Coordinator: Emil Barbu Popescu (UAUIM)
The proposed site for this project consisted in sticking together some old parcels. Thereupon, the main concern was creating an unitary assembly which has to be fragmented at the same time in order to maintain the scale of the old fabric. In order to keep the character of the neighborhood, the public space was divided in two different spaces: a private courtyard used together by the inhabitants and which also represents the access to their apartments and a “pedestrian road” which is crossing the site and connecting two existing streets, equipped with common and public facilities. Another concern was offering to each apartment the minimal comfort and a private garden. Moreover, all the apartments benefit from a big private common garden as well as from a “pedestrian street” bordered by facilities and commercial spaces.
In order to solve the energetic and the insulation issues, we have chosen a ventilated wall system. Moreover, this system is useful for phonic insulation and it protects the mineral wool layer against the harmful factors (like pluvial water, sun rays and wind) and for circulating the air which prevents from the appearance of sweat.
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PHOTOGRAPHY
The photo camera has always been the tool that I feel the most at ease with. The best way that I can express myself. I have it all the time with me and I am waiting to see things happening in order to capture them. I think that I am mostly interested into street photography. It’s all about capturing that ephereme moment, waiting for the planets to align And when they are, you are feeling as part of the story. All together with my passion for travelling, i feel photography is the best mean to capture the atmosphere of one place, searcing for it into detail. The main idea is to enjoy myself while photographing and this is what i always do!
DRAWING
Starting with my drawing lessons that i took in order to pass the exam and be admitted into the Architecture school, I discovered my pleasure in drawing. That was a time when i was dedicating a big amount of my time to this activity. University also taught me more techniques besides sketching: watercolor, guaches, pastels... But I think i will remain to my first love which is sketching, together with watercolors. I used to take my sketchbook and go into streets and draw details that were catching my eye, but it was all part of my training for the exam. After I got into University I feel like I forgot all these pleasure moments, and that University had a purpose in making us forget how to draw, by always encouraging clear presentations, most of the times digital.
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MODELING
Modeling is always perceived in the begging as something mandatory, needed for a better comprehension of the project. But I soon discovered it was something I enjoyed doing. I am a determined person, working until the smallest detail and never lets flaws go away easily. I am addicted to perfection. And I have the necessary patience to spend hours, days in order to finish a flawless work rather than finish it soon and point out all the flaws after.
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A MAP OF PROJECTS
Thank you for your time!