CV name
Ruxandra Elena Avramescu birth date
30.09.1991 nationality
Romanian mother tongue
Romanian
rux.avramescu@gmail.com
WORK EXPERIENCE 2017
Interior Architect Aelite Street, Barcelona, Spain 2015
Intern Architect MTI Rehabilitation Project Office, Valletta, Malta 2014
Intern Architect HOCHTIEF Warsaw, Poland 2013
Intern Architect ARTA Ltd. Design Office, Lodz, Poland
EDUCATION 2018-ongoing
Master degree in BIM Management UPC, Barcelona, Spain 2010-2016
Integrated Bachelor and Master degree in General Architecture UAUIM, Bucharest, Romania 2014-2015
Masters of Architecture (Erasmus) ENSA Paris-Belleville, France 2014
EmpatiA Workshop Tampere University of Technology, Finland
SKILLS Creativity Responsibility Punctuality Communication Teamwork Organization Photoshop Illustrator InDesign Revit AutoCAD 3ds Max Microsoft Office Google SketchUp Nemetscheck Allplan English Spanish French Catalan
INTERESTS Travelling Photography Skiing Music Films Drawing
2017
04
2016
12
2015
22 30
2014
36 40 46 52
CONTENTS
2013
58 64 68 72
01
INTERIOR ARCHITECT @ AELITE STREET
02 MODELING FRAGILITY
03
THE NEXT HELSINKI CONTEST
04
TRAMWAY INSERTION
05
HOCHTIEF INTERNSHIP - JK 51
06
ROMANIAN CINEMATEQUE
07
RESTORATION - CHIAJNA MONASTERY
08
FISKARS MARKET SQUARE - WORKSHOP
09
3* HOTEL
10 PHOTOGRAPHY
11 DRAWING
12 MODELING
02°11’14”E
BARCELONA, SPAIN
A E L I T E
01
S T R E E T
INTERIOR ARCHITECT Location: Year: Type: Duration: Coordinator:
Barcelona, Catalonia, Spain 2017 job 8 months Andrada Camelia (CEO)
41°22’39”N
Luxurious living room concept
INTERIOR DESIGN AND REHABILITATION During the 8 months at Aelite Street I worked as responsible for various interior design and reformation projects, following all the steps from the first discussions with the client to the delivery of the flat: • Develop distributions, design concepts and presentations while discussing requirements in detail with international clients. • Buildings survey and acknowledge of the constraints. • Consider materials and costs according to set budgets. Make budgets for interior design. • Prepare detailed working drawings, designs, plans (construction, furnished, electrical, lights). • Make orders and track them until the delivery, making sure of meeting the deadlines. • Supervise rehabilitation and design works on-site. Child room concept
Building floor distribuited into 4 apartments 6
I N T E R I O R
D E S I G N
P R O J E C T
O N
V I A
L A I E T A N A
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Elegant soft interiors and understated furniture characterised by clean colours, gorgeous materials and subtle vintage accents.
I N T E R I O R D E S I G N P R OJ E C T This project implied the responsability over the discussions with the client and the totality of the design process: • Study over the existing situation, restrictions and posibilities. Developement of various design style proposals. • Agreement with the client over the furniture distribution, materials, furniture and the budgets accordingly. • Making and tracking the orders. • Supervise the reception of material, as well as its assamblage and decoration of the flat.
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I N T E R I O R
D E S I G N
P R O J E C T
O N
R E C
C O M T A L
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F U L L
R E N O V A T I O N
P R O J E C T
INITIAL DISTRIBUTION
O N
C A L L E
M A L L O R C A
FINAL DISTRIBUTION
F U L L R E N O V AT I O N P R OJ E C T This project implied the responsability over the discussions with the client and the totality of the works: • Study over the existing situation, restrictions and posibilities. Developement of various distribution plans and perspectives. • Agreement with the client over the new distribution, materials, fix furniture and the budgets accordingly. • Making and tracking the orders. • Creation of the new water, electricity and lightning instalation plans. • Supervise the demolition and constuction works on-site and coordinate them with the material supply.
00°38’00”E
LLEIDA, SPAIN
L L E I DA A RTS C E N T E R
02
MODELING FRAGILITY Location: Year: Type: Duration: Coordinator:
Lleida, Catalonia, Spain 2016 master thesis, individual project 24 weeks Anca Mitrache (UAUIM)
41°37’00”N
FRANȚA toulouse
pamplona perpignan ANDORRA
bilbao rialp huesca
vic
lleida
zaragoza
girona agramunt tarrega badalona
muel madrid
barcelona
rialp
tarragona
L’Hort de Santa Teresa Square
Magi Llorenc House
Front: Sant Joan Church Background: La Seu Vella
Arc del Pont Street
Sant Llorenc Steps
Interior Courtyard Fountain Institut d’Estudis Llerdencs
Sant Llorenc Church
La Seu Vella entrance
Sant Anastasi Street
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ARCHES
Clavell Street
BELL TOWERS
Espai Orfeo - Sant Marti Church
CERAMICS
Sant Josep Square No. 4
STEPS
position in the region
valencia
viella andorra lleida-alguaire
The academic character of the Spanish city of Lleida and the position of the site right in the cultural-historical core of the city inspired the choice of the architectural challenge:
huesca
• An Arts Center dedicated to keeping traditions alive. In an unique environment. For the city and for the limited groups of youth. • A connection between old and new and a new esplanade.
barcelona
• A major challenge: to get advantage of the position right next to Sant Llorenc Church and emphasize its views, for being one of the most important monuments of the city. • A second point: to fill up the blank with an appropriate volume that will reunite back the old isle but at the same time leave a gap for the perspective towards the church.
tarragona madrid
position in the city and accessibility zaragoza/ barcelona
The University
The Episcopal Palace
Sant Llorenc Square
Sant Llorenc Church
Leandre Cristofol School of Arts
La Paeria Youth Center
The New Cathedral
The Major Street
Circulation The circulation consists of two vertical junctions and several closed or open bridges connecting the volumes. The material supply for all the center is situated in the semi-basement entrance and has its own circulation, connected to the depositories. 16
The approach was strongly influenced by the position nearby Sant Llorenรง 13th century Church, one of the highlights of Lleida. Even if the local regulations allowed a 100% plot usage, opening the middle of the volume would emphasize the church perspective, which already became part of the local memory. The volume was conceived to be monolithic, specific for warm, Mediterranean zones, and opening towards its core: the atrium and the back courtyard. Even so, the bridges were positioned in order to create transparency towards the church from some angles and close the entire volume from the others.
0
0
18
10
10
The central zone is divided into a public, exterior 100 space and an interior one, used by the students in ceramic art classes. Due to the concept of transparency, the two spaces are not visually divided and both allow views of the church aisle and bell tower. The back yard forms another square for the church, where people can rest on the steps while watching the students creating art.
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50
100
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MATERIAL SELECTION
Functions The equipment consists of one public area at the inferior levels which allows organizing cultural events at the scale of the city (one auditorium and exhibition rooms) and a restricted superior area, dominated by the creative facilities. The first level is dedicated to ceramic art and it is organized in the same way as the individual pottery studios, by following the clay processes: modeling, decoration and burning. The facility is equipped with interior kilns as well as an exterior zone hosting a soda and a raku kilns. At the same time, the zone can be adapted for glass art if there is a demand. The upper zone consists in adaptable rooms and laboratories, which can serve for different other types of art such as textile, painting, drawing, sculpture depending on the requirements.
Materials
Glass panels for visibility and discretion
Steel elements for slimmer and stronger structure
Limestone facade to integrate in the historical center
Being situated in the historical center of the city of Lleida, it was obligatory to follow the color palette recommended by the authorities. By choosing to use local light colored stone for the facades, the proposal aims to integrate in the context and earn its prestige. In conclusion, there are just two major types of materials used: heavy (the stone) and transparent (glass), which are supposed to offer sincere simplicity and elegance to the project, as a specific feature of Mediterranean architecture.
Travertine “mesh� for extra light in the classrooms
Travertine flooring in all the exterior areas and atrium
21
24°56’15”E
HELSINKI, FINLAND
60°10’15”N
03
ANTI-GUGGENHEIM THE NEXT HELSINKI Location: Year: Type: Duration: Coordinator:
Helsinki, Finland 2015 academic, contest, individual project 13 weeks Agissilaos Pangalos (ENSA-PB)
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 centralised 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.
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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”.
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.
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”.
THE TOWER
THE PLATFORM
THE CUBE
THE LINE
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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.
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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.
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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.
02°15’08”E
PARIS, FRANCE
04
TRAMWAY INSERTION Location: Year: Type: Duration: Coordinator:
Colombes, Ile-de-France, France 2015 academic, intensive, team project (5 members) 1 week Michele Lambert-Bresson (ENSA-PB)
48°55’25”N
ANALYSIS: TERITORIAL SCALE
T1 LINE SCALE
EXTENSION SCALE
STUDY ZONE SCALE
A PROJECT INSERTED GREAT TRANSPORT
IN A 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, closetoDepartamental 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.
26°09’84”E
WARSAW, POLAND
CO L L E CT I V E H O US I N G
05
HOCHTIEF - JK51 Location: Year: Type: Duration: Coordinator:
51 Jana Kazimierza, Warsaw, Poland 2014 internship 6 weeks Krysztof Jankowski (Hochtief)
44°43’00”N
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During my internship in Hochtief Poland I was 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 deppartment with the public image, with the interior design of the space and making visualisations to be shown to clients.
26°09’84”E
BUCHAREST ROMANIA
06
ROMANIAN CINEMATEQUE Location: Year: Type: Duration: Coordinator:
Splaiul Independentei, Bucharest, Romania 2014 academic, individual project 7 weeks Daniela Radulescu Andronic (UAUIM)
44°43’00”N
42
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 Independentei 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 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 cafÊs. 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.
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26°00’00”E
CHIAJNA, ROMANIA
07
RESTORATION PROJECT CHIAJNA MONASTERY Location: Year: Type: Duration: Coordinator:
Chiajna, Ilfov, Romania 2014 academic, team project (2 members) 7 weeks Diana Mihnea (UAUIM)
44°48’00”N
Possible reconstitution for the vaulting
48
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 Ponaos 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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23°54’46”E
FISKARS, FINLAND
60°13’09”N
08
RE-THINK FISKARS Location: Year: Type: Duration: Coordinator:
Fiskars, Raseborg, Finland 2014 workshop, team project (5 members) 2 weeks Markku Hedman (TUT)
A CENTRAL AREA TO RE-QUALIFY
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26°08’78”E
BUCHAREST, ROMANIA
09
URBAN 3* HOTEL Location: Year: Type: Duration: Coordinator:
Buzesti Street, Bucharest, Romania 2013 academic, individual project 7 weeks Daniela Radulescu Andronic (UAUIM)
44°45’03”N
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 major facilities include a restaurant and a multifunctional 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.
CONFERENCE ROOMS AUDITORIUM
FOYER
BAR
MEZANINE
POOL
SWIMMING
GYM
SPA
NIGHT BAR
ADMINISTRATION
OFFICES
SHOPS
RESTAURANT
GARDEN
KITCHEN
LOBBY
SUPPLY
ACCOMODATION GARBAGE
UNDERGROUND PARKING LAUNDRY ROOM
ACOUSTICS ANALYSIS Unda incidenta Unda reflectata
Unda incidenta Unda reflectata
b.1.3
b.1.3
k.2.01
b.1.3
k.2.01
b.1.3
k.2.01
b.1.3
k.2.01
4
k.2.01
b.1.3
b.1.3
k.2.01
b.1.3
k.2.01 b.1.3
b.1.3
k.2.01
b.1.3
k.2.01
b.1.3
k.2.01 b.1.3
k.2.01
b.1.3
b.1.3
t.3.01 k.2.01
SALA DE AUDITII 192 LOCURI
b.1.3
b.1.3
t.3.01 SCENA
a.3.1
1 1
4
a.2.5
A
B
a.3.1
a.2.5
a.2.5
a.2.5 A
b.1.3 i.1.09 a.2.5 m.1.02 t.3.01 a.3.1 k.2.01
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
CONSTRUCTION DETAILS
Unda incidenta Unda reflectata
62
GRUPA 43 A
b.1.3 i.1.09 a.2.5 m.1.02 t.3.01 a.3.1 k.2.01
a.2.5
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
a.2.5
B
CATEDRA STIINTE TEHNICE
FIZICA CONSTRUCTIILOR 2 - LUCRAR AVRAMESCU RUXANDRA-ELENA
NATURAL LIGHT ANALYSIS Solar protection during summer, for the room which receives the greatest amount of light:
Calculating the quantity of natural light for the most exposed room:
-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
-Height: 37m -Orientation: S-V -2 windows
Discomfort period: -June - after 11:45 -May, July - after 11:30 -April, August - after 11:30 >>> 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.
-N-V window: 348 Lx -S-V window: 296 Lx Total: 644 Lx
>>> There is a need for adding shading which will reduce the quantity of light by 45% while closed. The advantage of the system is that it allows a fully control of the light. Final Total: 481 Lx
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P H OTO G RA P H Y
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P H OTO G RA P H Y
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 instant moment, waiting for the planets to be in the same line. And when they are, you are feeling as part of the story. All together with my passion for traveling, I feel that photography is the best mean to capture the atmosphere of one place, searching for it into detail. The main idea is to enjoy myself while photographing and this is what i always do!
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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 courses 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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DRAWING
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MODELING
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MODELING
Modeling is perceived for the beginning 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 let 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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