ARCHITECTURE PORTFOLIO SOFIA DAN
Bachelor ’s and Master ’s Projects
CONTENT
6 Hamburg Cruise Center 12 Juvenile Rehabilitation Center 16 The Bookstore 20 Museum of Music 26 Between the Old Urban Fabric and Communist Urban Interventions in the 1980s: Bălașa Cultural Center 30 Schönwald im Schwazwald 34 Social Collective Housing 42 Solacolu Inn Restoration 48 Byzantine and Islamic Architecture
HAMBURG CRUISE CENTER HAMBURG Hafen City, Germany Individual work Master, 10th Semester Prof. Dr. Arch. Peter Seger, Prof. Dr. Arch. Friedrich Grimm, Prof. Dr. Arch Jutta Albus, Prof. Dr. Arch. Stephan Robanus, Prof. Dr. Arch. Johannes Pelkofer
Arrivals Cafe Retail
Departures Retail
Offices Terminal Conference hall
Restaurant
General: Hamburg, on its official name Freie und Hansestadt Hamburg, the second biggest city in Germany, constantly striving to give the best quality of its urban spaces, launched a very exciting architectural proposal – designing Hamburg’s Hafen City newest Cruise Ship Terminal. Hamburg Hafen City is the city’s newest district. Urban strategy: The strategy of the proposed project sought to respond not only to the functional requirements of the terminal but also to offer quality urban spaces thus, the future project will be integrated in all the city’s urban life. A few decisions have been made to increase the urban character of the terminal such as: modifying the original master plan, placing the project shore side and creating a urban piazza between the terminal and the future urban fabric. A pedestrian artery form the original master plan was kept and integrated into the urban space, leading to the main access into the terminal. Concept: The main concept of the project was to create a polyvalent volumetry: can create simultaneously functional spaces for the terminal and urban spaces. This was achieved through a geometrical variation of 3 concrete slabs that create functional spaces underneath (enclosed by a glass façade) and urban terraces above. The terraces link the building with the urban piazza and invite the visitors to a show of spaciousness, light and transparency. Each terrace differs in character: the first terrace and the largest, offers a generous viewing point to the bay and a café, the second terrace offers a balcony to the urban piazza behind and a lounge space for the conference spaces and finally, the third terrace offers a panoramic restaurant. The architectural image is based on the contrast between 2 architectural forms: the straight slabs and a free form roof envelope. They both work together to generate an image of lightness and effortlessness. Functionality: The terminal is hosted by the first three floors of the building: ground floor - departures, first floor - arrivals and second floor - office spaces. The second and third floor host additional functions to the terminal: a conference hall with a balcony area and a panoramic restaurant. The building is structured around an atrium and a dividing core (which represents the circulation of the building) that structures the plans into public access, only passenger access and personnel access. The boarding passengers enter in the space of the atrium and transit the following areas: Self check-in with retail facilities, security control, passport control and departure lounge. The debarking passengers arrive into the arrival lounge, transit passport control, baggage claim and customs. The crew boarding is done separately but in parallel with both the departure and arrival zones. The visitor may enjoy the different terraces with cafés, a balcony lounge and a restaurant. 4
E l b e s h o r e p er sp e cti ve
S chwarzpla n
Master plan: Further modifications of the current master plan were still possible because the area wasn’t built yet. The master plan proposed for this whole area consists of a series of 3 buildings, from which the one located to the shore would become the permanent Terminal. The building in the middle has been removed in order to create an urban piazza.
S i t u a t io n a l p l a n
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S o u t h f a c a d e ( E l b e sh o r e )
G r o u n d fl o o r p l a n
L o n g i t u d i n a l se cti o n
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We st fa ca d e
F i r s t fl o o r p l a n
C r o s s se cti o n
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90.15 15.00 2.50
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1.25
90.15
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D e t a i l i n g : R o o f p l a n , a x o n o m e t r y o f str u ctu r a l n o d e , c r o s s s e c t i o n o f s t r u c tu r a l n o d e
1.25
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1.25
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12.50
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47.65
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T h i r d fl o o r p l a n
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Te r r a c e p e r sp e cti ve
U r b a n p i a z z a p e r sp e cti ve
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JUVENILE REHABILITATION CENTER Floreasca, Comandor Eugen Botez Street, Bucharest, Romania Collaboration with: Adina Șerban Master, 7th Semester Prof. Dr. Arch. Ștefan Scafa-Udriște
Administration
Education
Accomodation
Dining hall
General: The site of the project is located in a more residential and sports-oriented area between the Floreasca neighborhood and the Dinamo sports club. The site hosted a former public transport Motor pool. Urban strategy: The site measures 21300 sqm totally in an L shaped form. To better increase the connectivity of the infrastructure a street has been created, thus dividing the site into two. The top part has been designed as an urban park and the bottom part was reserved for the rehabilitation center. Concept: By exploring types of surveillance spaces for prisons in the early stages of the project, we opted for an enclosed volumetry with a central interior courtyard. The relation between the built space and the courtyard was the central conceptual question. The main aim was to create a space where the limit between the two is diluted. Thus the circulation within the building is always situated on the periphery of the building and the functions are oriented to the courtyard. Some of the functions extend into the space with consoles, balconies and staircases. To accentuate the idea of exterior and interior we designed the two envelopes of the building with two different systems. The exterior envelope that faces the neighborhood is a common concrete wall system with openings whereas the interior envelope facing the interior courtyard is a curtain wall system. To increase the sense of the interior merging with the exterior, we wanted a certain architectural effect for the interior spaces that are extended into the courtyard. We wished that the volumes will differ clearly from the curtain wall placed behind. Therefore we used Profilglas that will create an even, whiter façade that will be better accentuated on the darker tinted curtain glass. The Profilglas also had a practical purpose to it, allowing for a calm and uniform light for the educational spaces. Function: The project houses an educational facility (with classrooms and studios), housing units, a sports hall, a dining hall and a multifunctional hall for the juvenile delinquents and administrative and office spaces for the employees of the rehabilitation center. 10
E n t r a n c e p e r sp e cti ve
S chwarzpla n
Master plan: The original limits of the site have been redesigned to increase connectivity of the neighborhood.
S i t u a t io n a l p l a n
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N o r t h f a c a d e ( e n tr a n ce )
G r o u n d fl o o r p l a n
L o n g i t u d i n a l se cti o n
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I n t e r i o r c o u r t y a r d p e rsp e cti ve s
F irst floo r pla n
E a s t f a c a d e , L o n g i t u d i n al se cti o n
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THE BOOKSTORE Splaiul Independenței, Bucharest, Romania Individual work Conceptual project Master, 8th Semester Prof. Dr. Arch. Ștefan Scafa-Udriște
General: Located in the center of Bucharest, near the historical Bulandra Theater, connected to the Dâmbovița quay on the South, with a small urban green space and the basilical church Saint Ilie Gorgani on the North, the site created a very interesting architectural situation. Urban strategy: Questions on how to operate with a site with 2 blind walls sidewise and how to integrate in a historical front were determinant from the beginning of the project. The infill proposal connected to both blind walls and kept the alignment established by the law. Another important question was how to integrate connectivity into the project and how to create two facades that can respond to two distinct situations. I opted for a volumetric architectural solution that will answer the question of façade appearance, in the sense that the volume will be distinctly designed on the sides. Concept: The bookstore is created around the allegory of a historical library with bunk bookcases and connecting staircases. I used this special image and translated it into an architectural multi-story space with overlapping levels with cozy reading spaces and in between spaces that are connected by staircases. The volumetry develops from a straight line level on the quay side to a gradual subtraction of the level on the side with the green space. The subtraction is greater on the upper levels allowing the light to fill in the overall space. The facades are designed in a curtain wall system. The difference in perceiving the two facades is achieved through transparency: on the South side, one may see clearly the presence of the levels whereas one may catch a glimpse of the intertwined levels on the North side. Function: The bookstore contains areas for selling books, reading and co-working on every surface level. On the ground floor, the project hosts a café with a musical audition space. 14
N o c t u r n a l p er sp e cti ve
S chwarzpla n
The infill situation had strict rules of alignment, height and architectural image.
S i t u a t io n a l p l a n
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S o u t h f a c a d e ( D â m b o vi ța q u a y)
G r o u n d fl o o r p l a n
L o n g i t u d i n a l se cti o n
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I n t e r i o r p er sp e cti ve
F i r s t , s e c o n d , t h i r d a n d f o r t h fl o o r p l a n
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MUSEUM OF MUSIC ARCUB Theater, Batiștei Street, Bucharest, Romania Collaboration with: Adina Șerban Bachelor, 5th Semester Prof. Dr. Arch: Cristian Drughean
General: The site of the project is located in Bucharest’s cultural center, in the vicinity of the two main theaters – the National Theater (represented by the large building on the Schwarzplan) and the ARCUB Theater (represented by the building on the right side of the site). Urban strategy: Being oriented on three distinct sides, the nature of the site created the conditions needed for a poly-oriented architectural object. Thus the proposal responds to the built environment context with a sculptural object that provides 3 main facades. The center of the project acts as an attracting urban space both by day and by night. Concept: The project is created around the allegory of music and represents immateriality and ascension. The building consists of a translucent tube that rotates around the margins of the site. The clear ends of the tube act as a main entrance and an urban balcony oriented towards the intersection. The volumetry begins from the street level, rises, twists and reaches its maximal height accentuating the urban space of the intersection. It follows a concentric movement that develops within the volumetric urban limits and creates in the volumetric center an urban core of its own – a central upper space that irradiates light by night-time. Underneath the urban upper space lies the nucleus of the project, the music hall, covered by translucent glass. Function: The museum invites its visitors to a spectacle of volumetry and calm natural light accompanied by music. The underground level hosts a small but luminous music hall, a Café and administrative and technical spaces. 18
P e r sp e cti ve
S chwarzpla n
The site is situated beside the ARCUB Theatre and respects the limit of the facade and the maximal height of the building.
S i t u a t io n a l p l a n
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N o rth fa ca d e
G r o u n d fl o o r p l a n
C r o s s se cti o n
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E ast fa ca d e
F i r s t fl o o r p l a n
C r o s s se cti o n
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S o u th fa ca d e
S e c o n d fl o o r p l a n
U n d e r g r o u n d fl o o r p l a n
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M o d e l p ho to g r a p h
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BETWEEN THE OLD URBAN FABRIC AND COMMUNIST URBAN INTERVENTIONS IN THE 1980s Bălașa Cultural Center Unirii square, The Saint Apostles Street, Bucharest, Romania Individual work Master, 8th Semester Prof. Dr. Arch. Ștefan Scafa-Udriște
Conference hall
Reading room
Cafe re
sto
ok
Bo
Exhibition n
itio
hib
Ex
General: The area of study is represented by the demolished and later restructured central area in the capital of Romania, Bucharest, under communist president Nicolae Ceausescu’s leading in the 1980s. Deeply impressed by the monumentality of Pyongyang, after visiting the North Korean capital, Ceausescu came with the idea of a grand project, one intended to recreate the monumentality of the city. Vast demolitions took place in the center of Bucharest, on the south bank of the river Dâmbovița and soon after, intense discussions about a monumental civic center began. The Romanian architects who were already organized in bureaus intended to fulfill only the communist parties projects and wishes, were required to design the new building. A persistent vagueness in the functional program and building size led to constant changes in the design which led in the end to the chaotic architectural image we see today. Urban strategy: The master plan designed for the whole area behind the line of concrete blocks sought to fill the voids, create new green spaces and respond adequately to each urban situation. The project is located on the east part of the master plan, in an area surrounded by the Domnița Bălașa Church, the Supreme Court building and collective housing. The master plan proposed for the area, a vast green space and an architectural solution that will incorporate a neutral approach in image while hosting a more cultural-oriented function. Concept: The concept made use of the multiple geometrical orientations and architectural styles of the buildings present on the site. The aim was to create a project that will be flexible in design and will simultaneously create interior and exterior spaces. The directions of the pavilions is not random at all but seeks to accentuate the focal point of the church’s building and to restore its once lost importance (due to the communist urban interventions aimed towards hiding religious sanctuaries). The architectural image is deliberately neutral and subtle, playing with different transparencies and textures such as: glass, metal, water, in order to be better integrated in a complex gathering of styles: neo-gothic, neo-byzantine and neo-Stalinist. The cultural center invites the guests to a journey that begins from the bridge hung over the water, then enters into the first pavilion into the double height space of the stairs, continues through the suspended bridge and ends with the spiral staircase. The landscape design aims to further emphasize the fluent urban space created. Function: The cultural center hosts a bookstore, exhibition spaces, a café with outdoor terrace, reading spaces, foyer and a conference hall. 24
M a ste r Pl a n H isto rical Schwa rzp lan 1899 an d Cu rren t S chwarzpla n 1 99 9
The Demolitions of the 1980s: As a pretext for cleaning up after the massive earth quake in 1977, that left many important buildings in ruins, Ceausescu initiated a pr ocess of demo lition. The immense damage done by de molishing the his torical urban tissue can’t even be com pared to the quan tity of the damages done by the earth quakes in 1944 and 1977 combined. The Arsenal or Spirii Hill was totally de molished to permit the construction of a new civic center. The Spirii Hill was a special area in the topography of Bu charest, that gave a more representative position and it was very well suited for a public function. The site was taken into consideration for a public function from the inter-war period.
Situational plan
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N o r t h f a c a d e ( M a i n e n tr a n ce )
G r o u n d fl o o r p l a n
E a s t f a c a d e , C r o s s s e c t i o n , L o n g i t u d i n a l se cti o n
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M a i n e n t r a n c e p er sp e cti ve
F i r s t fl o o r p l a n C onf eren ce ha ll acc es s per s pec t iv e
N o c t u r n a l p er sp e cti ve
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SCHÖNWALD IM SCHWARZWALD Schönwald, Schwarzwald, Germany Individual work Master, 9th Semester Prof. Dr. Arch. Peter Cheret
Carpentry workshop
Shop
Cafe
Exhibition space
Terrace
Workshop for children
Carpentry workshop
Cafe
General: Schönwald im Schwarzwald is a small village situated in the Black Forest in Germany best known as the birth place of the cuckoo clock, invented by Franz Ketterer in 1737. Today, Schönwald is considered a state-approved climatic health resort. Topography: At an altitude of about 1,000 meters above sea, Schönwald is one of the highest closed spatial locations in Germany. The surrounding mountain valley is divided into six partial sprawling wells, which are characterized by meadows, pastures and farmsteads in typical Black Forest design. The streams accumulate in the Gutach river, constituting about 3 kilometers northeast of the town the Triberg Waterfalls. Similarly close lies to the West, the Bregquelle which is the main source of the Danube. Urban strategy: The urban structure of the Schönwald village presents a linear urban structure - a main road to which all the public urban functions are linked to. In this branched structure, the initial situation showed the main road changes its character without any landmark, without any beginning or ending point. Two main locations proved potential to become public spaces to mark the start and end of the public urban character of the main road. The two potential urban squares are located near the church respectively near the 19th century hotel. The strategy of the project therefore proposes to mark the start and the end of this area with public character by emphasizing two main public squares (the church square and the hotel square) that are linked by a slow speed/ pedestrian friendly segment of the main road. The church square will have a more representative character aside from the existing church and city hall by adding the following buildings: a community groceries market and a regional-based restaurant, designed as an extension of the historical hotel. The hotel square will have a more touristic and social character with the proposed info point with a café and a workshop for carpentry with exhibition spaces. Concept: The project proposes a complex of two buildings that are permeable, engaging and respond to the topography and local image. The context of this location has a double valence: it has both an urban (next to the main road) and a natural character (next to the park area). The architectural proposal uses this longitudinal direction to create an architectural space that leads the visitor into the panoramic view of the natural landscape. The two volumes, each with a different form and orientation firstly define and ensure concentration of activity in the urban space and secondly open up to the landscape. The materiality of the spaces change as they are closer to the landscape: single height workshops, a double height exhibition hall, a static platform that opens the view to the landscape park, a dynamic deck that directs the view of the visitor to the more far away landscape. Function: The project hosts a café with info point in one building and workshop spaces, shop, exhibition spaces and outdoor terrace in the second building. 28
1 : 2 0 0 0 M o d e l p ho to g r a p h
S chwarzpla n
Master plan: The strategy of the project proposes to break this uniformity into a branched structure and to create a central core. The strategy used was to mark the start and the end of this street segment with public character by emphasizing two main public squares (the church square and the hotel square) that are linked by a slow speed/ pedestrian friendly segment of the main road.
S i t u a t io n a l p l a n
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S o u th fa ca d e
G r o u n d fl o o r p l a n
C r o s s s e c t i o n , L o n g i t u d i n a l se cti o n
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N o r t h f a c a d e ( p a r k e n tr a n ce )
F i r s t fl o o r p l a n P a r k p er sp e cti ve
1 : 2 0 0 M o d e l p h o to g r a p h
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SOCIAL COLLECTIVE HOUSING Toporași Street, Bucharest, Romania Collaboration with: Dorin-Nicolae Tecuceanu Bachelor, 6th Semester Prof. Dr. Arch. Cristian Drughean
General: The site is located in the 5th district of the Romanian capital, Bucharest between the main avenue that connects the city with its outskirts and a low income neighborhood. The main avenue is defined on both sides by high-rise (10 to 12 stories) housing blocks accomplished in the Communist era. The low-rise housing behind are represented by constructions made from cheap materials and often with a temporary character. Urban strategy: The aim of the collective housing project was to create the proper conditions for a future community that will enjoy both privacy and public recreational spaces. Thus the four housing blocks are placed on the limits of the site, defining a central public space. The ground floor provides the neighborhood with several street functions such as small shops, cafes, a kindergarten and a fitness center. The buildings vary in height in correlation with the urban fabric in the following way: the main street area has the maximal height while the area beside the lowrise neighborhood is 3 stories tall. Concept: The main concept that drove the project from the beginning was the question of how to link the interior with the exterior and how to give the quality of a private house to an apartment. Our answer was the deep and spacious (for social standards) loggia. We used the architectural element of the loggia and turned it into the leitmotif of the project, exploring the possibilities of different perspectives and the idea of a framed landscape image. To break the monotony of the façade we purposely changed the placement of the loggia sliding it from left to right. To increase the sense of privacy, we placed all apartments within a housing block facing the central courtyard leaving the circulations on the exterior side. The only exception to the rule is represented by the block facing North. We designed this building with a double orientation North-South. The landscape design of the courtyard follows the same leitmotif of the framed natural picture with a series of concrete walls with multiple square openings that emphasize a certain perspective. Function: The project responds to a clear requirement of minimum 100 apartments distributed in the following way: 20% single room apartments, 50% double room apartments 20% triple room apartments 10% quadruple room apartments. The East block hosts the most of the single room apartments and double room apartments, the North block hosts all remaining double room apartments, the West block hosts the some triple and all quadruple room apartments and the south block hosts the remaining triple room apartments. The ground floor hosts multiple retail spaces, a fitness center, a daycare center and a café which are distributed according to the public character of the streets: the shops and the café are situated on the street which is the most circulated – Toporași Street, while the daycare and fitness center are located on more private streets 32
I n t e r i o r c o u r t y a r d p e r sp e cti ve
S chwarzpla n
The volumetry of the project seeks to integrate into a heterogeneous urban fabric defined by a majority of low-rise housing and highrise housing at its periphery. The site is located at the confluence of these distinct volumetric characters. The project answers with a volumetry that varies in height according to the different urban characters of the streets.
S i t u a t io n a l p l a n
33
S o u t h f a c a d e ( e xte r i o r )
G r o u n d fl o o r p l a n
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We s t f a c a d e ( i n te r i o r )
F i r s t f l o o r ( o d d n u m b e r f l o o r s) p l a n
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E a s t f a c a d e ( i n te r i o r )
S e c o n d f l o o r ( e v e n n u m b e r fl o o r ) p l a n
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D e t a i l i n g : f a c a d e a n d se cti o n
D e t a i l i n g : f i r s t fl o o r p l a n
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To p o r a È™ i S t r e e t p e r sp e cti ve
L o g g i a p e r sp e cti ve
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I n t e r i o r c o u r t y a r d p e r sp e cti ve
L o g g i a s a n d w o o d s h u t t e r s p e r sp e cti ve
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SOLACOLU INN RESTORATION Calea Moșilor, Bucharest, Romania Collaboration with: Adrian Leanca Master, 8th Semester Prof. Dr. Arch. Daniela Enescu
General: The historical Inn built in 1859 by the brothers Solacolu or Solacoglu, declared a historical monument, required intense restoration interventions. The situation was particularly delicate as the original plans from the 19th century offered an unclear architectural representation that did not correspond with the reality. Assignment requirements: The restoration project required the fulfillment of two main tasks: restoring the main façade in detail (meaning materiality, reconstituting lost details), and a volumetric reconstitution of the Inn disregarding the future function of the Inn after the restoration. The purpose of the exercise was to consolidate the theoretical knowledge of Conservation and Protection of Architectural Heritage. Restoration strategy: The theoretical basis for the intervention was formulated with regards to the INTERNATIONAL CHARTER FOR THE CONSERVATION AND RESTORATION OF MONUMENTS AND SITES: 1. Authenticity principle (art. 9) 2. Minimal intervention principle (art. 9) 3. Emphasizing the intervention with a mark of contemporaneousness (art. 9) 4. Using the modern technologies when traditional techniques prove inadequate (art. 10.) 5. Conservation of all periods of the monument but emphasizing the unity of architectural style (art. 11) 6. Filling missing elements principle (art.13) 7. Reversibility principle (art. 13) The intervention was based on identifying the historical periods of the inn and conserving them. For the missing elements, as the original documentation was poor, intense methods of analogy were used to compare and contrast elements from different typologies of remaining Inns. The filled in components were easily distinguishable among the historical remaining elements. All interventions were intended to be reversible. A. • • • • •
Restored elements:
B. • • • • • • •
Volumetric reconstitution Reconstructing the roof with a modern technique (Glulam beams) Reconstructing the fallen vault in a reversible technique (Glulam circular profiles) Reconstruction the geamlâc (traditional wood curtain wall) after photographs Reconstructing fallen floors Eliminating certain added elements from non-specific/non-traditional materials Restoring the original facade plaster
Main façade Completing the damaged arch Restoring remaining decorative elements and filling in missing ones Restoring remaining wood work and filling in missing elements Restoring the original facade plaster Reconstructing the missing metal gates
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Original facade photograph (1960)
Historical inns map
The restauration process was particularly delicate as the original plans from the 19th century offered an unclear architectural representation that did not correspond with the reality.
Int erio r co urtyard ph ot ogr aphs
Original ground floor plan and facade (1859)
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D a m a g e a n a l y s i s o f t h e f a c a d e o n p h oto g r a p h s
Damage analysis of the facade mapping
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ANALOGII DIN ARHITECTURA EPOCII: FAȚADA PRINCIPALĂ F a c a d e p r o p o sa l
Asemănarea fațadei romantico- clasicistă a Hanului Solacoglu cu Tăttărescu creează de direcții de abordare în proiectului de restaurare. Analogiile sunt: 1. alcătuirea fațadei: două registre, proporții similare plin-gol 2. registru superior goluri asemănător din perspectiva proporțiilor și a detaliilor: ancadrament cu antablament și console decorative, panou decorativ dreptunghiular 3. cornișă cu ritm similar Sursa fotografii: Daniela Costin-Tutunea RMI 1-2/2000 și sursă proprie.
Detaliu travee: Hanul Tăttărescu, Hanul Solacoglu (foto an 1969)
Ancadramentul de la ferestrele etajului întâi sunt tratate similar printr-un panou decorativ arcuit tratat cu motive geometrice (Tăttărescu) sau antropomorfe (Solacoglu) protejat de un antablament susținut de console. Rezolvarea cornișei diferă: fie este o cornișă dreaptă susținută de console (Tăttărescu) sau este o cornișă polilobată susținută de console. Chiar dacă rezolvarea este distinctă ritmul și imaginea de arhitectură prezintă similitudini.
Detaliu ancadrament gol: Hanul Tăttărescu, Hanul Solacoglu (1969)
Detaliu cornișă: Hanul Tăttărescu respectiv Hanul Solacoglu (1969)
Partea inferioară a golurilor etajului întâi este rezolvată asemănător printr-un panou decorativ dreptunghiular cu motive vegetale. În ambele cazul este prezent brâul median care divide cele două registre. Detaliu panou decorativ și brâu: Hanul Tăttărescu, Hanul Solacoglu
Ambele hanuri prezintă tencuială profilată cu singura diferență că în cazul hanului Tăttărescu ritmul este inegal. Pilaștrii adosați sunt tratați în ambele cazuri cu motive vegetale.
Detaliu pilastru adosat respectiv tencuiala profilată: Hanul Tăttărescu respectiv Hanul Solacoglu (1969)
D e ta i l i n g : f a c a d e , p l a n , se cti o n
Analogy analy s is
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ANALIZA STĂRII ELEMENTELOR DE ARHITECTURĂ (DEGRADĂRI): PLAN PARTER LEGENDA - Elemente diferite/incoerente ca expresie și spațialitate corpuri de clădire construit ulterior corp de clădire cu expresie arhitecturală diferită de cea a ansamblului corp de clădire demolat - Elemente orizontale (bolți și planșee) bolți prăbușite planșee prăbușite
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A2
- Elemente de conexiune între etaje
Incinta A
scări avariate parțial scări avariate complet
A1
Incinta A - gang (A1) Prima boltă peste gang (dinspre stradă) prăbușită complet, observându-se doar urme ale ei pe pereții de zidărie din cărămidă / Planșeele din lemn de peste parter și etaj prăbușite complet / Tâmplarie din lemn degradată, cu elemente lipsă (fără sticlă, elemente din lemn). Zidărie expusă, adăugiri recente de mortar.
- Elemente de închidere perete cu zidărie expusă perete cu asize lipsă perete cu adăugiri recente de mortar/ciment - Tâmplărie B4
Tamplarie inexistenta Tamplarie degradata Tamplarie degradata cu elemente lipsa Goluri umplute cu elemente BCA sau lemn Porți originale lipsă
Incinta B
B1 B3 B2
Plan Parter - releveu 1998 Prodomus
Incinta B - scară secundară, cursivă peste gang (B4) Scara secundar, din lemn, încastrată în zidăria de cărămidă este complet avariată / Planșeu avariat, prăbușit complet, în zona galeriei de lemn / Geamlâc complet avariat, prăbușit / Tâmplărie degradată însă cu elementele întregi / Panoul de lemn care închidea nodul de circulație înlocuit cu zidărie. Zidăria arcadelor, care susțin cursiva, precum și cea a pereților de la etaj este erodată.
Incinta B - scară principală (B2) La parter, primele două rampe ale scarii principale, (din lemn, încastrată în zidărie) sunt avariate complet și înlocuite cu o scară cu lățimea de rampă mai îngustă, fără a păstra logica costructivă a celei inițiale / La etaj, scara este avariată par țial / Panou de lemn degradat, peste care, în mod nociv, a fost adăugat un strat de tencuială. Se observă urme de zidărie expusă din cauza căderii tencuielii, precum și adăugiri recente de mortar .
Incinta A scară principală (A2) Planșeu prăbușit complet (peste parter și etaj) / Scară de lemn încastrată în zidărie avariată parțial (la etaj) sau complet (la parter), observându-se doar urmele lăsate în zidărie / Zidărie de cărămidă expusă aproape de locul unde a dispărut scara, iar în unele zone zidăria este cu asize lipsă.
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Dam a g e a(DEGRADĂRI): nalysis of volum e t r y oETAJ n t h e g r o u n d f l o o r p l a n a n d p h o to g r a p h s ANALIZA STĂRII ELEMENTELOR DE ARHITECTURĂ PLAN PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
LEGENDA - Elemente de acoperire acoperiș prăbușit acoperiș în stare de degradare acoperiș în stare de colaps - Elemente orizontale (planșee)
scări avariate parțial scări avariate complet
Incinta A A4
A3
Incinta B - curte interioar ă (B7) Acoperiș peste corpul de la stradă și cel lateral prăbușit / Acoperiș peste corpul central și geamlâc degradat / Geamlâc la corpul de la stradă prăbușit / Geamlâc degradat cu elemente lipsă la corpul de la stradă și lateral / Zonă de planșeu peste etaj și parter degradat. La parter zidăria de cărămidă este erodată, cu asize lipsă, iar la etaj zidăria este expusă, neerodată deoarece este protejată de acoperișul de peste cursivă
A5
B6
Incinta B
Plan Etaj 1 - releveu 1998 Prodomus
Incinta B - scară aripă laterală (B5), galerie de lemn din corpul central (B6) a) Acoperiș prăbușit / Planșeu din lemn prăbușit / Planșeu cursivă degradat, prăbușit pe alocuri / Scară avariată complet / Tâmplărie inexistentă.
Incinta A - curte interioar ă (A5) Acoperiș peste corpul de la stradă prăbușit / Acoperiș peste corpul central și cel lateral degradat / Acoperiș peste corpul lateral aflat în stare de colaps / Cursivă la corpul de la stradă prăbușită / Geamlâc degradat cu elemente lipsă la corpul central și lateral / Parapet geamlâc degradat, acoperit cu tablă ruginită / Adăugiri recente de mortar pe arcadele care susțineau cursiva și zidărie cu asize lipsă, erodată a peretelui din spatele arcadelor
b) Acoperiș prăbușit / Planșeu peste etaj prăbușit / Planșeu peste parter avariat / Tâmplărie degradată cu elemente lipsă.
a)
geamlâc dispărut geamlâc degradat cu elemente lipsă calcan cu zidărie în stare de degradare calcan cu zidărie erodată perete cu zidărie expusă perete cu asize lipsă - Tâmplărie
B7
B5
- Elemente de închidere
Tamplarie inexistenta Tamplarie degradata Tamplarie degradata cu elemente lipsa Goluri umplute cu elemente BCA sau lemn Porți originale lipsă Incinta A - corp stradă (acoperiș, planșeu, goluri - dinspre curte) (A3) Acoperișul este prăbușit / planșeele sunt prăbușite / Planșeu aflat în stare de degradare / T âmplărie de lemn inexistentă / Din cauza degradării tencuielii zidăria de cărămidă este erodată, cu asize lipsă
Incinta A geamlâc (A4)
Închidere cursivă cu geamlâc aflată în stare de degradare cu elemente lipsă (sticlă, elemente din lemn / Tablă ruginită / Lemn putrezit
b)
Dam a g e a n a l y s i s o f t h e v o l u m e t r y o n t h e f i r s t f l o o r p l a n a n d p h oto g r a p h s
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detalii
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planșeu prăbușit - Elemente de conexiune între etaje
REÎNTREGIRE VOLUMETRICĂ: ELEVAȚIE CORP DIN CURTE
D2
LEGENDĂ
INTERVENȚII
acoperiș cu învelitoare din tablă
1. Elemente nocive eliminate 2. Elemente restaurate
fermă din lemn lamelar
cursivă de lemn
tablă pentru protecția cursivei de lemn
3. Elemente reîntregite
tâmplărie de lemn geamlâc restaurat
scară de lemn (etaj)
tâmplărie de lemn ușă restaurată
boltă din lemn lamelar
tâmplărie de lemn fereastră restaurată
panou de balustradă
tâmplărie de lemn ușă adăugată
4. Elemente adăugate
panou de balustrată reîntregit
acoperiș cu învelitoare de tablă
scară de lemn reîntregită (etaj)
planșee de lemn
scară de lemn adăugată (parter)
Alfonso torreggiani, Biserica San Oratotory Fillipo Neri
scară de lemn (parter)
completare bolta de cărămidă cu boltă din lemn
Materialele folosite și sistemul de prindere prin metodă uscata a acestora permite ca intervenția să nu devină nocivă asupra elementelor existente
ușă acces nod de circulație
competare arcadă cu zidărie de cărămidă completare cornișă
S e c t i o n p r o p o sa l
REÎNTREGIRE VOLUMETRICĂ: PLAN ETAJ
LEGENDĂ 1. Completare corp central pereți de zidărie de cărămidă 2.Elemente eliminate pereți nestructurali eliminați 3. Elemente orizontale planșee reîntregite 4. Elemente de închidere geamlâc reîntregit geamlâc restaurat 5. Elemente de conexiune între etaje scări reîntregite scări restaurate
EXEMPLU, David Chipperfield, Neues Museum, Berlin, Germania Intervenție în care sunt puse în valoare toate straturile, din toate perioadele, unitatea de stil nefiin un scop al restaurării (art.11, Carta de la Veneția, 1964) Clădirea studiată prezintă urme valoroase de pictură murală, pe care dorim să le conservăm.
EXEMPLU, Todor Mihaylov, Biserica Sf. Parascheva, Nessebar, Bulgaria Intervenție în care elementul nou este alăturat armonios cu elementul vechi. De asemenea, elementul nou păstrează forma decorației vechi, dispărute, însă într-un mod simplificat, stilizat.
P l a n p r o p o sa l
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BYZANTINE AND ISLAMIC ARCHITECTURE Istanbul, Turkey Bachelor, 1th Semester
Ha g i a So p h i a
To p ka p i Pa l a ce
46
To p ka p i Pa l a ce
To p ka p i Pa l a ce
47
PERSONAL INFORMATION Name:
Sofia Dan
Address:
Florin Ciungan Street no. 9 Bucharest, Romania
Phone number:
+4915168517629
E-mail:
sofiadan1992@gmail.com
Skype:
sofiadan1992
+40740164452
WORK EXPERIENCE 01.08.2014 - 29.08.2014
Architecture Intern (Full time) SC BTFARCH RO COMPANY SRL Hristo Botev Boulevard no.10, Bucharest, Romania www.btfarch.eu
EDUCATION 2015 - 2016
Erasmus Scholarship - Architecture (9th and 10th Semesters) Universität Stuttgart, Fakultät für Architektur und Stadtplanung, Germany
2011 - present
Integrated Bachelor’s and Master’s Degree Programme - Architecture (10 out of 12 Semesters) “Ion Mincu“ University of Architecture and Urbanism, Bucharest, Romania
SKILLS
Advanced: Allplan (BIM, Nemetschek, Certificate C), AutoCAD (Autodesk), Photoshop, InDesign
Intermediate: ArchiCAD (BIM, Graphisoft) Revit (BIM, Autodesk) Vectorworks (Nemetschek) SketchUp, Lumion
Beginner: Rhino 3DS MAX, Illustrator
Languages: Romanian - Native speaker English - Cambridge ESOL Certificate in Advanced English - Level C1 German - Level B2 French - Level A2 Drawing, Painting : watercolor and acrylic Model building Photography
2013 - 2016