VISIONS
SNOISIV
There is a need for the production of POssible POsitive FUture visions in order to provide platforms for social excitement.
VIKTORIA SANDOR CV Nationality hungarian Birth date / place 13. September 1990/ Budapest, Hungary Email dgke90@gmail.com
EDUCATION 2010- graduation 26.01.2017 University of Applied Arts Vienna, Diploma Studies Design Studio: Wolf d. Prix, Hani Rashid, Cross over studio Diploma Supervisor: Hani Rashid, Graduation with distinction (1,1) Mag. Arch. 2009-2010 University of Applied Arts Sopron WORK EXPERIENCE 2017 University of Applied Arts, Vienna /Energy design Department _Researcher, Responsive Facade kit development since 2016 Carl Pruscha Architekt _ Publikations, project development since 2013 Ottreinisch Architekt _Competition design 2015 Delugan Meissl Associated Architect _Internship (Competition, visualizations) 2015 Alapkő Kft., Hungary _Internship 2012-2013 Franz Sam Architekt _ Internship 2012 Gregor Eichinger Architekt _Internship 2012 Sam -Ottreinisch Architekten _Internship TEACHING since 2017 Blockheadz University _mentor;Grasshopper, Visualizations tutor 2017-2019 University of Applied Arts, Vienna _Teacher; “Society in Motion” Erasmus+ WS series 2017 University of Applied Arts Vienna/ AA-Angewandte Summerschool _Grasshopper, Karamba, After Effects Tutor, Teaching assistant 2016 KIBU Budapest / Mapped Reality workshop _workshop leader; Rhino, Grasshopper, Unity Tutor since 2012 University of Applied Arts Vienna _Grasshopper Tutor
SCHOLARSHIPS/FUNDS 2017-2018 Startstipendium 2017; Austria 2018 Vorbrenner18; Innsbruck MODEL BUILDING SKILLS CNC-Milling Machine / RhinoCam Trotek laser machine Powder printer Makerbot Formlabs Kuka / Kuka PRC
SOFTWARE SKILLS Microsoft Word | Excel | Powerpoint Adobe Photoshop | Illustrator | Indesign | Dreamweaver|After Effects Autodesk Autocad | Microstation Rhino | Grasshopper | Karamba | Kangaroo | Galapagos |Volvox etc. Autodesk Maya | 3ds Max Processing - basic |Eclipse Keyshot Unity LANGUAGES English - B2 level Hungarian- mothertongue German -B1 level PUBLICATIONS June 2017 Re:Futures_Studio Hani Rashid _projects July 2016 Mein Haus in Lajtakatta_Carl Pruscha Architect _architectural drawings Oktober 2016 Der Standard FORSCHUNG Nr.1 2016/17_Stadt 4.0-Wie wir leben werden _Impuls 6 : Drohnen für mehr Wohnlichkeit by Lisa Breit August 2016 Architect Chamber Magazine_ num.247 _article May 2016 Architect Chamber Magazine_ num.245 _article 16 July 2015 dezeen / 2015 graduate show - Conceptual Cirque du Soleil _project 5 July 2015 ArchDaily _ Conceptual Cirque du Soleil _project 2008 Kiss Anna Dr. - Bűnbe esett irodalmi hősök _ illustration 2010- Prosecutor’a paper _ illustration
2017 2016 2012-15 2014
EXHIBITIONS The Essence 2017, Alte Post, Vienna; The Permanently Temporary Thesis project The Essence 2016, Alte Post, Vienna ;Energizing Vienna project The Essence 2012-15, Künstlerhaus, Vienna The Essence 2011, MAK Museum of Applied Arts
BITCOIN HQ with Ewa Lenart 2014
VIRTUAL BLUR BITCOIN AVENUE At the dawn of a new era when crypto currencies show the potential for shifting the world into a new economic and social phase, architecture also has the responsibility to integrate such new directions into its dynamics. As an early attempt (2014; 1 BTC = $400-$700) to understand how virtual currencies can affect and motivate physical space - the VIRTUAL BLUR project investigates relations between the notions of the physical, digital and virtual. The project proposes a vertical avenue which carves out its functional spaces from the existing UBS headquarters on 299 Park Ave in order to provide
storage hubs and pick-up spots for the physical products - payed by bitcoin - while it creates a new type of storefront system which binds the pedestrians together with the ordered objects through “optical lens-distorted� visual connections. In a world where the medium of exchange is immaterial and mono-informational (numeric) the value becomes directly projected onto the product. Until the products lose their physicality we need to provide them portions of the space to occupy. The virtual blur project tries to solve the exchange of physical products efficiently while in its behavior questions the definition of virtuality.
CONCEPT DIAGRAM digital = translation of the physical translation = mutation transformation change
CONVERGING LENS TYPE1
CONVERGING LENS TYPE 2
O 2F
2F
F
F
2F
LIGHTCONE
F6 F1
P.2 P.3P.4 P.5P.6 LENS TYPE 3
F3
LENS TYPE 3
F2
LENS TYPE 2
P.1
F5
F4
LENS TYPE 3
F
LENS TYPE 2
F
LENS TYPE 1
2F
The vertical storefront system transforms the function of the UBS tower into a market which expresses the differences between physical and digital reality. The storefronts act as the analoguemedium in order to translate the inner physical products into “digital images” for the pedestrians of Park Avenue. Optical lens screens are used to isolate the stored objects from the exterior. They are
DIVERGING LENS TYPE 1
2F
F
F
responsible for the transformations, translations and mutations of their physicality. According to the lens type (converging, diverging) - the diopter and the distance - the image varies. While the pedestrians move along Park Avenue they experience the constant change in the distortion of the “exhibited” products.
CONVERGING LENS TYPE 3
2F
2F
F
F
2F
LIGHTCONE
F7
F8
P.8 LENS TYPE 1
LENS TYPE 4
P.7
LENS TYPE 1 IMAGE: magnified inverted
LENS TYPE 2 IMAGE: magnified upright
LENS TYPE 3 IMAGE: demagnified upright
LENS TYPE 4 IMAGE: equal size inverted
(2F > P.1, P.8 > F
(P.2,P.3 < F)
(P.4,P.5,P.6 > 2F)
(P.7 = 2F)
DESIGN PROCESS component definition
LENS DESIGN
double lens positioning
R1 - r1 > R2 - r2
DOUBLE-LENS COMPONTENT
lens functions
LIGHT - CONE
CAPTURE ZONE
STOREFRONT - CONE
COMPONENT COMBINATIONS
exposed
orientation, arrangement
semi-encolsed
semi-exposed
enclosed
SHOWROOM
section diagram
STRUCTURAL CONCEPT
_core reduction --- 50 % _moduls are attached to the core _cones trim the columns
PARK AVENUE
49TH STREET
48TH STREET
PARK
AVEN
UE
PARK
EXISTING STRUCTURE perspective
AVEN
UE PROPOSAL plan
PLANS +15 M
+80 M
+160 M
12.5
25
50
SECTION
A
Aâ&#x20AC;&#x2122;
+160 M
+80 M
+15 M
PARK AVENUE
12.5
25
50
3D print - double-lens
3D print - double-lens
3D print - lens and cone
3D print - lens and cone
MEDIUM,
translation
-
physical
,
digital
3D print - structure
3D print - structure
QH NIOCTIB traneL awE htiw 4102
ÜBERPORT with Lea Dietiker 2013
MALAYSIA
SINGAPORE
ÜBERPORT SINGAPORE THE BROKEN EARTH TONGUE “With the inevitable surges in population to which cities are being increasingly subjected, one of the most important influences to a city’s growth, longevity and sustainability into the deep future is location, which includes accessibility and efficiency of its urban ports of entry.” Studio Hani Rashid The project is based on our proposed upgraded highspeed railway from Thailand to Sumatra, Indonesia, crossing Singapore Strait through a tunnel in order to connect four countries with the population of more than 300 million people. (The network could further connect to the Trans-Asean Railway which continues from Turkey to China.)
Singapore’s subway network 2009
The Singapore Überport is positioned above the new tunnel on Johor Straits creating an underwater station and land connection. The hub exchanges the existing earth tongue - the current land connection between Malaysia and Singapore - to a “reclaimed land and bridge” hybrid. While it allows water traffic between the Malaysian harbors on the northern half of the straight on the southern half it also reclaimes land and provides sea water desalination plants for Singapore, solving its watershortage issues. The strategic location and the introduced new funcionalities of the hub aims to dampen the ongoing tension between the two countries.
Singapore’s subway network 2013
Singapore’s subway network 2040
view from Johor Straight west side SINGAPOREAN TERRITORY
view from Johor straight east side SINGAPOREAN TERRITORY
FORMAL STUDIES component design by using predefined keywords: underground-fuzzy
component evolution
step_1
step_2
step_3
step_4
step_5
intersection variations main terminal prototype view 1
prototype view 2
prototype view 3
r aine cont
ship
path
PLAN 0
MALAYSIA
50m
100m
parking zone
TERMINAL 1 A AYSI MAL ORE P A SING
th ry pa
fer
TION Y STA R R E F
J
TERMINAL 1
artificial pond system + fresh water storage desalination plant area
SINGAPORE
ait
Str ohor
REDHOOK REDOX with P. K.Prokopowicz, R.Hajtmรกnek, L. Petrรกkovรก 2014
REDHOOK REDOX body and theater, cirque du soleil
Within the Performance centre the traditional engagement between visitors and artist is upheaved where a constant exchange between stage and auditorium is in question. In a way, the entire structure is a stage for Cirque du Soleil. There also exists a blurring of interior and exterior where the external public is able to witness the activities that occur within. The Performance Centre, located in Brooklyn, New York, is designed to display one of the most groundbreaking performance groups of our era, the Cirque du Soleil. We chose to exemplify this group’s long tradition of engaging the live audience with their performances by bringing the outside inside. Large windows provide an opportunity for the public to view live performances, as well as, training activities
from outside. In effect the traditional boundaries set behind the curtain are removed providing the public with a holistic view of the ‘performance’, where even the audience is a spectacle. It was important to create a balance between two parts, which also inspired us to apply the term within our formal operations. We decided upon a set of two distinctive curves in 3D space, of which the origin was Gömböc, a self stabilising volume. Having those as our sort of geometric DNA, we created various components, altering their formal expression in regard to different programatic and conceptual needs. For overall balance in our architectural proposal the aggregation of the elements creates moments of intersections and nesting, resolving in a novel part to whole relationship.
GEOMETRICAL STUDIES ““gömböc”
interpretation
Theorem 1 - All planar convex, homogeneous shapes have at least 2 stable and 2 unstable equilibria. If an object had only one equilibrium point each type, the diagram of the corresponding function R(a) would have just one maximum and one minimum. In this case one could cut it by a horizontal line R =R0 such that the two parts R>R0 and R<R0 of the function have equal (length p) horizontal projection.
THEOREM 1
The surface of the body could be cut by a level set R=R0 to a thin and a thick part of equal size (i.e. the spatial angles determined by the two parts from G are of equal sizes). It can also be spatial curves as for example the on tennis balls. In this case, the separation of the body to an upper thick and a lower thin part does not mean that G has to be in the upper part. Thus, the planar proof does not apply in 3D.
TENNIS BALL
In order to build up a catalogue of “Gömböc” inspired moduls, we manipulated the separating surfaces of the “tennis-ball”. The resulting iterations were later used for the spatial dynamics of the building.
PLAN
SECTION
MODEL PHOTO 1
MODELPHOTO 2
visualization credits: FLYING ARCHITECTURE
THE FILTER from image to data to space
“In a consumer society, social life is not about living, but about having; the spectacle uses the image to convey what people need and must have. Consequently, social life moves further, leaving a state of “having” and proceeding into a state of “appearing”; namely the appearance of the mage.” Guy Debord. Thesis 11, Thesis 4
Perception is the collision of projections of an environment and its monitored elements onto a personal filter. The environment is a medium whose existence is necessary in order ot make any living functions possible. We have an unilateral relationship with it which can never be called symbiosis. We depend on it and in order to survive we are forced to be in a constant adaptation chain. Adaptation is the key. We are adapters who need to sense the matter we should adapt to. It is important to understand the environment. The more you know it, undestand it, predict it, the easier it is to feel comfort. The environment is in constant change and its conditions are rarely static. Since our adaptation factor is limited and is strongly dependent on time, we need to slow down and create gradation between those extreme condition changes. Once our natural adaptive capabilities meet their limits, we need to start modifying our environment by placing additional elements in it or reorganasing the already existing ones. Those artificial configurations create gradience and provide us time for getting use to the different temporary states in the transitory periods. For creating a guideline for adaptation we use our sensory system which in a particular way collects and converts data into perception. This perception is the translated environment, a performance which is driven by changing conditions and constant adaptation. Perception matters.
J.J. Gibson and Richard Gregory were trying to understand through 2 opposite approaches the procedure of perception in order to get closer to the deifinition of the Environment. While Gregoryâ&#x20AC;&#x2122;s theory was based on a top-down system, which states that in order to interpret stimulus information we also require a higher cognitive information from stored knowledge, Gibson believes in a bottom-up approach where perception is based on information which is directly picked up from the environment, so that no intervening mental processes are necessary. Gibson considers information as the primary input for our sensors, in a form that can be used immediately, without being transformed, processed or manipulated in any ways. That would mean not only that there is an objective environment but also that we are able to percieve it in its original objective form. We have to ask the question: where do information come from? The project - THE FILTER - investigates the translational processes from environment to perception. It focuses on tools and algorythms which allow new spatial interpretations of the objective environment by turning image into data into space. The application of different filters results in manipulated data which can serve the specific goals of the designed spatial configuration.
DIVISION GENERATION augmented space design
Environment based division logic and cloudification:
The physical space ( studio space ) was visually recorded and translated into invisible data; in this test I used hue values at a specific resolution. These values later “filled” and “activated” the cubic object by defining the subdivision pattern of its faces and their behavior within its volume.
top
top
right
front
left
righ t
Back
bottom
STUDIO SPACE
DATA TRANSPORTATION
front
left
Bottom
back
HUE IMAGE
VALUE DEFINITION
1.0
1.8
1.7
2.66 1.75 1.83 2.78
1.86 1.58 3.05
3.75 1.53 1.81 1.53 1.7 3.41 1.83 1.63 1.83 1.94
HUE VALUES
2.42
VALUE TRANSLATION 1 subdivision
opaque
DIFFERENTIATED POINTCLOUD
translicent
transparent
6.66 4.62 4.37 5.2
VALUE TRANSLATION 2 delocalization
TRANSPARENT
TRANSLUCENT
In optics, transmission is the property of a medium allowing light to pass through the medium with some or none of the incident light being absorbed during the process
OPAQUE
The hue value at each subdivision specifies the transmission value of the material. Subdivisions with lower hue value define higher transparency while subdivisions with higher hue value bring opaque quality of the cubeâ&#x20AC;&#x2122;s surface segments.
Translated Studio space VISUAL INPUT - SPATIAL OUTPUT
APPLICATION 1 translation
PERPECTIVE 1
PERSPECTIVE 2
BACK
BOTTOM
FRONT
LEFT
RIGHT
TOP
APPLICATION 2 filtering process
PHASE I. - DISSOLVING THE VOLUME
PHASE II. DENSITY DIFFERENTIATION
PHASE III. - MASSING
exterior
interior
[0.01;0.19]rad
I.FILTER: ANGLE DOMAIN VERTICAL
PANEL
25째
31째
domain: [25째;31째] II.FILTER: ANGLE DOMAIN HORIZONTAL
depending on the distance platform-screen
III.FILTER: VISIBLE SCREEN AREA
points included in viewing volume points included in structural system
LINE DIRECTIONS
SNOISIV