Part I Architectural Portfolio
Zuzanna Sliwinska
University of Westminster
Ba Architecture (Hons)
2019
''Even the most perfect reproduction of art is lacking in one element: its presence in time and space, its unique existence at the place where it happens to be.''
The work of art in the Age of Mechanical Reproduction Walter Benjamin
Proficiency
Contact
zuza.sliwinska@gmail.com 0048500663319
Digital abilities 3D
2D
19
Work experience
Manual abilities
De Metz Forbes Knight Architects
Traditional, hand drawing Model making and digital fabriction Painting, illustrating
work experience January 2019
Working on the foreign office refurbishment scheme, developing overall proposal for interior spaces as well as the furniture design through conceptual hand drawing as well as 3d modeling 18
Rhinoceros (advanced) Sketchup (advanced) Autocad (intermmediate) Vectorworks (beginner) Adobe Illustrator (advanced) Adobe Photoshop (advanced) Adobe Indesign (intermmediate)
DaeWha Kang Design architectural assistant September/ October 2018
Working on Barking Riverside redevelopment scheme through developing and representing strategies for public space interventions. Organizing data, designing and revising general visual communication to be presented to the client
Languages English (fluent) Polish (native) French (intermmediate)
Achievements and projects Gotoco: volunteering in China July/ September 2019
RIBA mentoring scheme
Education 19
University of Westminster (Ba Architecture (hons September 2016/ June 2019
18
Chinese University of Hong Kong study abroad program January/ May 2018
Fletcher Preist Architects (with Dipa Joshi) November/ January 2019
Fabfest 2018
Architectural gateway, workshop with Sami Rintala June/ July2018
Westminster Golden Scholarship
Due to outstanding academic performance and voluntary work
Clawsa reward nomination Due to high academic performance
Archikurs
architectural drawing and modeling course September 2014/ May 2016
Université Libre de Bruxelles language scholarship program July 2016 16
I Liceum Ogólnokształcące im. Juliusza Słowackiego high school September 2013/ May 2016
Referees Dr Constance Lau
Senior Lecturer at University of Westminster C. Lau@westminster.ac.uk
Paul Flynn
Architect at De Metz Forbes Knight Architects paul.flynn@dmfk.ac.uk
Table of contents 01 University of Westminster / year 03/ sem 02 Washing of London's monumentality in stagnation: Destillery and tidal observatory 02 University of Westminster / year 03/ sem 01 A reading of Piranesian Capricci in the Soane Musuem: a cabinet for dream collecting 03 CUHK / year 02/ sem 02 Education center for sustainable timber construction, Da Nang, Vietnam 04 University of Westminster / year 02/ sem 01 Westbourne Grove allotments restoration project: a farm to cultivate and share 05 University of Westminster / year 01/ sem 02 Rebbecca Horn house and studio
I. Washing off London's monumentality in stagnation: antimonument for London spring 2019 Today's phenomenon of sacralizing monuments lead to them failing their role as repositories of historical knowledge. This happens not only because of the ignorant lack of engagement with 'sacred' spaces, but also due to the characteristics of change in shape and function of communities and social aspect of the city. Voluminous cities such as London became culturally, ethnically and socially so diverse that once erected monuments which were constructed for particular type of citizens are no longer understandable and not able to deliver the same experience they were intended to. As a result monuments undergo a process of sacrazlization and become stagnant monolith within urban fabric. We are eager to impose on them responsibility to store the memory, relieving ourselves from the obligation to remember in the same time taking those as a substitute for collective memory. Monuments, giants in the city invoke the idea of permanence and eternity. On the other hand the ephemeral experience can have much stronger impact on person initializing the process of
initializing the process of transferring the restorability of remembrance from cultural institutions and urban monuments and memorials onto individual members of society. Through transitiveness of the event and almost its rare occurrence it becomes a time of celebration and particular attentiveness not to loose any of its importance and glory. (Krzysztof Wodiczko, James E. Young) River Thames remains to be the biggest archeological site in UK. Much of what we know about it's history has been discovered through artifacts recovered from the river. Over its history river Thames became a symbol of redemption and renewal, associated with baptisms due to its ability to return to its source and reverse the damage. It has been used as a symbol of unfolding the events in time, and carries the burden of the past vents upon its back. It renews itself constantly and is everlasting, perpetually reborn. The project is going to focus on that purifying power of the Thames's water introducing it to the site in an intention to use it as a metaphor for the social renewal and washing off the stagnation of monumentality within London's city.
Neap tide
31
30
1
29
2 7.0 6.5 6.0
28
3
5.5 5.0 4.5 4.0 3.5
27
4
3.0 2.5 2.0 1.5 1.0 0.5
26
5
0.0 [m]
25
6
Spring tide
7
24
8
23
Spring tide
9
22
21
10
20
11
12
19
13
18 14
17 16
15
Neap tide
- Peter Acroyd Thames: Sacred river
Roman era
Tide levels for January 2019; River Thames, Tower Bridge [Tower Pier], based on PLA Tides Table
Modern times
''It is history, the river of history, along which most of the significant events of the last two thousand years taken place, but it is also a river as history. The closer the Thames advances towards London, the more historical it becomes. That is its underlying nature. It has reflected the moving pageant of the ages.[...] Art and civilization have flourished alongside its banks. Each generation has a different understanding of it, so that it has accumulated a token of a national character. The destiny of England is intimately linked with the destiny of the river. In mythic accounts, it gives the island energy [...] it gives its fertility. No one could deny the central importance of the Thames to London. It brought its trade, and in so doing beauty, squalor, wealth, misery and dignity to the city. London could never have existed without Thames. That’s why the river has always been central to English life, and can fairly claim to be the most historic (and certainly the most eventful) river in the world.''
High water line
7.0 6.0 5.0 4.0
Low water line
3.0 2.0 1.0 0.0 [m]
8.0 7.0 6.0 5.0 4.0 3.0 2.0 1.0 0.0 [m]
Difference between high and low tide
Thames section- low and high level [fragment at Rothertithe, London]
Fragment of modern Thames section, river levels
London flood risk maps The tides are higher that at other times in the history of Thames. There can be a difference of avaerage 7.3m between high and low tide. In Roman occupation, it was a little over 0.9 meter. The south- east part of England is slowly sinking into the water at the rate of approximately 305mm per century. Because of environmental issues the Thames lower reaches are increasing at the rate of 0.6m per century. 50 BC
17th century
2170 [after Thames Barrier closure]
2570 [after Thames Barrier closure]
Distillery and tidal observatory center: Program
Scene for water performancepanels made out of recycled materials from river Thames
Supporting scaffolding structure
Observatory with a view on the river Part of research center, outlooking the river
Beer destillery and visitors FHQWHU QG ÀRRU Research center for new river GHYHORSPHQW QG ÀRRU
Beer destillery and visitors FHQWHU VW ÀRRU Research center for new river GHYHORSPHQW VW ÀRRU
Industrial elevator inside the delivery bay Public access elevator Walkway system
Boat haven
Solar clock indicating tides time
Introducing water from River Thames onto the site Water used in water performance to commemorate memories is distributed on the site using two methods. First utilities water nozzles attached to the scaffolding. Second type of the waterfall is a series of panels made out of materials/ rubbish found and recycled from the river. The shape and ripple' like texture of the panels were inspired by the changing character of the rivers bed. Thanks to water falling down from the panels, the illusion of movement and 'dancing' of the panels is created.
19 18 17 16 15 14 13 12 11
A
10 9 8 7 6 5 4 + 1.25 -
3 2
8
1
9
A
B
B 11
C
D
E + 0.75 -
+ 2.25 -
10
4 4 3
F
G
2
H
6
B’
7
6
I
1
12
J 5
K + 0.00 -
L
Scale 1:200
A’ M
Scale 1:200
N
Key:
O
2F Key:
P
1. Kitchen 2. Study room 3. Lab room 4. Toilet 5. Workspace 6. Meeting room
R
S
GF
1F
2F
7. Delivery bay 8. Stock room 9. Brewery 10. Little port 11. Tidal pool 12. Solar clock
3F
1. Kitchen 2. Study room 3. Lab room 4. Toilet 5. Workspace 6. Meeting room 7. Delivery bay 8. Stock room 9. Brewery 10. Little port 11. Tidal pool 12. Solar clock
Distillery
Water pool
A’
Tidal pool Building is organized around the water pool which corresponds with its water level to Thames, being flooded regularly it becomes a scene for water performance as well as reflections. During the low tide water pool serves as a public square/ outdoor atrium.
am pm am pm x
Waterfall and pathway
y system
Tidal observatory and visitor's center
A
600 600 1200
600
600
4800
600
600
600
600
600
600
600
5400
600
600
600
600
600
600
600
600
600
600
600
600
1200
600
2400
1 BB’
1 BB’
Section waterfall passage detail 1:20
Section waterfall passage detail 1:20
2400
2400
600
1796
II. A reading of Piranesian Capricci in the Sir Soane Museum: a cabinet for Collecting Dreams fall 2018
One of the distinct features of Soane's Museum is the number of visual lines providing sneak peaks of the spaces before we are able to physically investigate them, creating sequential juxtapositions of architectural elements. This visual decomposition of spaces and further recomposition into new pictorial routes, contributes to idea of a space that is unrational, blurring the line between what is real and what exists only in Soenian fantasy. Additionally, visual lines are separated from the lines of movement, thus creating our own perception of the spaces basing on the context we are situated in at the given moment of our journey through the space. Therefore, museum seems to be the world without the centre. It seems to be infinitely expandable, making us expect spaces behind the ones we are able to see. This illusions are the key access to an inner world, an area of freedom and awareness to seek beyond vertigo, progressing through world of appearances.
In Piranesi's Carceri d’Invenzione etching series, monolithic structures, elements of ‘beautiful’, in the process of chaotic juxtapositioning, are used in Carcerian arena to depict darkness, somber atmospheres and dramas of faceless figures, resulting in environment constructed in the contrasting manner of sublime, illustrating Kantian idea of ‘formlessness and boundlessness’. My interention's purpose is to project visitors’ dreams onto tangible architectural space, as the act of the preservation of the museum, through the methodology established basing on the designed ‘Piranesian order’. The project, at the same time, works in the conversation between notions of sublime and organic/ non-organic art as the interpretation for dream projecting.
'Deep shadows and darkness are essential, because they dim the sharpness of vision, make depth and distance ambigous, and invite unconscious peripheral vision and tactile fantasy.' The Eyes of the the Skin Juhan Pallasmaa
1810
1796
1810
1822
1837
Having bought the museum in 1792, between year 1796 and 1837, the space was constantly expanding and being modified as the collection grew, this can be said especially about the ‘heart’* of the musuem. The process was stopped at the moment of Soane’s death, leading to the assumption that it would be only natural for the musuem to preserve its autenthicity of idea through further atlerations.
Top to bottom (left to right): 1. Museum transformation diagrams 2. Unrational shadows, conceptual plan 3. Concept collage 4. Diagramatic explanation of projection concept
1822
*
1837
Plate I
Plate II
New Picture Room
Collonade
4’
3’
1’
2’
Library
Plate III
Breakfast room
Dome
Library
Monument Court
Collonade
2’
4 3 4 3 2
2 1
3’ 4’
Sight of illustion
1’
2
2
1 2’ 1
1’
1
4 1
3
2
Sight of illustion
Dome
1 4
2 3
1
Sight of vision 2
1 2
2
1
1’ 1
2
2’
1’
2 1
2’
1
2
3 4
5
6
7
8
9 10
11
Propping column, detail section 1. Masonry structure(part of the dome) 2. Steel anchors in masonry structure 3. Junction between steel beam and concrete 'oor' slab 4. Overlapped beam to beam connection, bolted, provided with stiffeners for transffering larger vertical load 5. Stiffeners to avoid beam curving under the load 6. Circular hollow section column wit peripheral gussets 7. Propping main shaft 8. Adjustable pivot end 9. Threaded bars 10. Transffering tensile into concrete foundation via anchor plate. The force is transffered by the way of bearing 11. Shear cinnectors made from I-sections
III. Education center for sustainable wood construction Da Nang, Vietnam
Education center for sustainable wood construction, Da Nang, Vietnam
Final proposal: sections
spring 2018
The project focuses on sustainable timber structure, a big scale hall that would accomodate construction workshop space along with archive and administration ofďŹ ce. The speciďŹ c subtropical climate of Vietnamese city as well as its high exposure to solar radiation and typhoons creates challanges of additional protections in terms of the structure which needs to both respond to problems related to ventillation of the structure (permeability to wind) but in the same time be water resistence as well as strong enough to resist stron typhoon winds.
Tree layout on the site scale 1:1000
Large trees up to 25m height (oaks, pines, lianas)
Shrubs and bushes up to 10m height (brushwood)
Grassy area up to 1m height (brushwood, cogon grass)
5200 4250
2500 1600
G.F 0
G.F -3200
SECTION AA Scale 1: 100
4250
2500 1600
G.F 0 G.F -180
G.F -2500 G.F - 3200
SECTION BB Scale 1: 100
[kWh/ m2]
[C’]
6.00
100
5.66
37.40 34.59
5.32
12 AM
31.78
4.98
28.97 6 PM
4.64
26.16 23.35
12 PM
4.30 3.96
17.73 14.92
6 AM
12.11
3.62
< 9.30
12 AM
3.28
Jan
Feb
Mar
April
May
June
July
Aug
Sep
Oct
Nov
Dec
2.94 < 2.60
Temperature
Underheated period Radiation analysis Da Nang 1 Jan 1:00 - 31 Mar 24:00
[kWh/ m2]
[%]
6.00
100 94.10
5.66
87.20 12 AM
5.32
80.30 73.40
4.98
6 PM
66.50
4.64
59.60 12 PM
4.30 3.96
6 AM
3.62
12 AM
3.28
52.70 45.80 38.90 < 32.00 Jan
Feb
Mar
April
May
June
July
Aug
Sep
Oct
Nov
Dec
2.94
Humidity
< 2.60
Overheated period Radiation analysis Da Nang 1 Apr 1:00 - 31 Oct 24:00
[kWh/ m2]
winter wind
6.00 5.66
Typhoons As a cause of southeast typhoons striking mainly between June and December, extensive demage can be caused by wind and rainfall as well as secondary effects such as storms, surge and landslides
5.32 4.98 4.64 4.30 3.96 3.62
summer wind
3.28 2.94 < 2.60
Underheated period
typhoon
Radiation analysis Da Nang 1 Sep 1:00 - 31 Dec 24:00
Jan
Feb
Mar
Apr
May
Cooling period
June
July
Aug
Overheated period
wind direction
temperature
typhoon threat
Sept
Oct
Nov Cooling period
humidity
precipitaion
Climatic characterisation of the region- Da Nang, diagram
Dec
External elevation acts like an envelope to the building which main aim is to collect the solar radiation, which released in the evening into the corrdior does not affect the inner part- workshop Inner elevation shows the structure and perforated brick wall which allows cross ventillation through the building
Education center for sustainable wood construction Da Nang, Vietnam
Final proposal: sections
Elevation BB Scale 1:20
Section/ Elevation AA Scale 1:20
Structure bay diagram showing primary, secondary and roof support structure
Primary structure reiforced brick column (2,5 brick width), glulaminated, three pin arch diagonal rafters
120 360
240
120
80
409
365
240
80
Secondary structure diagonal timber struts timber beam
80
80
Roof support structure timber roof joints timber ridge beam
5200
320 120
120
4250
120
80 120 80 120
2500 1600
G.F 0
G.F -3200
14 15
5 4 3 1 2
13
12 11 Elevation BB Scale 1:50
1. Roof supporting rafters, 80x120 2. Drainage 3. Plywood roof sheeting 4. Moisture barrier 5. Fibre concrete roof tiles Main structure construction 6. Reinforcing bars 7. Concrete reinforced clay brick column with supporting bat 8. Arch base detail with end plate and transverse stiffeners 9. Stell plate 10. Steel bolts 11. Glulam three pin arch, 240x 360 12. Rafters, 80x 120 13. Struts, 80x 80 14. Top chord beam, 360x 240 15. Bolts Wall construction 16. 240x 125 clay bricks in ďŹ&#x201A;emish bond 17. Clay brick pier 18. 240x 125 clay bricks in english bond
9 10 8
16 17
18 7
19 20 21 6
22 23 24
25 26 27
Section/ Elevation AA Scale 1:50 Detail, section shows south exposed part of the building. In order to protect the most affected by the solar radiation, glare as well as the typhoon facade, double walkway layers the light coming into the space
Roof construction
Floor & foundation construction 19. Stone tiles 20. Mortar bed 21. DPC- damp proof course 22. Concrete slab 23. Vapour bareer 24. Gravel bed 25. Rigid insulation 26. Structural concrete wall 27. Concrete footing
IV.
8.1
17.1 17.1
Westbourne Grove allotments restoration project: a farm to cultivate and share
17.1
13.7 8.1
10.2
15.4
8.1
6.4
12.3
13.8
8.1
11.2
18.2 8.4
8.4
18.2
autumn 2017
7.8
8.4
6
Site forestation
The main concept of the project is to restore the strength of the past Westbourne Grove community by integrating three groups of users that create a unique character of the neighborhood: ethnically diverse permanent inhabitants, boat dwellers as well as passers-by. The project attempts to bring together user groups by translating the art of tea drinking into architectural spaces of togetherness and bonding through tea cultivation as well as a common act of sharing and exchanging in the calming atmosphere associated with the beverage among all cultures and age groups. The program is concentrated around three main spaces: tea farm, workshop, and tea house, representing three main aspects of tea drinking, consecutively growth, respect, sharing and gathering. The complex takes full advantage of the nearby canal, inviting water onto the site in the form of waterscapes that help to organize the spaces.
TRUNK LOCATION
7.8
TREE HEIGHT
CROWN RANGE
Permanent Westbourne Grove inhabitants
Strong sense of community
Referencing the past There has always been a strong sense of community in Westbourne Green. The community was thriving in the 1930s, 40s and 50s. However, the area soon encountered the problem of overcrowded and dense housing which led to poor living conditions. As a result, the clearance of the neighborhood took place and the new tenants were brought in, in order to ďŹ ll the new housing blocks that took place of old streets of houses.
PINE
MAPLE
Transient
Passers- by
OAK
BIRTC
ASH
POPLAR
CHESNUT
Boat- dwellers
Neglected community
1960s slums clearence/ poople displacement
02 100 ^C
PROCCESING steaming leaves for 1-2 minutes
kneading of steamed leaves in a cloth to curls and tight them up
oxidatation of curled leaves
heating leaves by frying or baking
5 6
8
7
10
11
9
12
15
15
13 4
1
14
3
2
15 15
16
17
Programme: 1. Compost collecting spot 2. Water tank 3. Tools storage 4. Tea plants beds 5. Toilets 6. Disabled toilet 7. Storage 8. Workshop- steaming 9. Workshop- kneading
10. Workshop- oxidation 11. Workshop- Frying 12. Staff office 13. Waterspace 14. Sheltered arcade 15. Tea house 16. Mooring 17. Boat drop- off/ pickup point
GF Plan scale 1:100 @A2
Meaningful farm Westbourne Grove
Cross section
West Elevation
Program Tea plantation, Storage, Composting bins, Workshop, Staff office, Toilet, Storage, Sheltered arcade, Tea houses x 4, Kitchenettes, Waterscapes, Mooring pick up/ drop off point for boats
Tea farm
Workshop
Cross section scale 1:100
Gathering
G.F 3840 G.F 3200 G.F 2600
G.F 0 G.F -500
Longitudinal section scale 1:100 Composting Tools station storage
Sitting stairs in the tree shade
Workshop space
Waterspace with the space to sit
Staff office
Tea hut
Waterscape with the space to sit
G.F -300
G.F -300
V. Rebecca Horn house and studio spring 2017
SITE
BODY EXTENSION
MARKET
SURREALISM GIFFIN SQUERE
EYE EXTENSIONS MARKET
GIFFIN SQUERE
The project is based on the concept of observation and the surrealistic spirit of Horn's artwork. The main source of inspiration comes from observing other people's behavior, their movement, and acting- this is the tool Horn uses to create her art pieces. The driving force of the scheme can be considered, the series of movable windows that creates the image of the building as a creature, weird fortress, standing on the crossroad of most important public squares in the area. The living space was raised to the 1st floor level in response to privacy requirements for the client- the artist. The ground floor with its curved structure, shaped like a roof of lower groud exhibition space as well as already existing ramp extension, forms a public space and sitting area opening onto the Giffin Square. Maquette project The sculpture made out of feathers and cotton ribbons was inspired by Horn's creative output. The piece was designed and manufactured in order to further understand the creative process that stands behind the artist's art collection. My work dwells on a question of intimacy and levels within a romantic relationship. The tension and slow introduction of lovers is symbolized by three feathery wings covering three intimate parts of a person's face, relating in the same time to three senses: sight, smell and sense of taste. Lovers reveal part by part to each other, tickled by soft feathers.
PUBLIC SPACE
FINAL PROPOSAL
Movable window maquette made out of set of syringes and rubber pipes to show conceptual idea of 'eye' extension mechanism
Axonometric building's explanation showing the location of observation points in the house, allowing the client to look closely into the sourrounding area
6
5
7
4
3
2
1 N
REBBECA HORN HOUSE & STUDIO SECOND FLOOR PLAN
0
1
2
1.OBSERVATORY 2. LIVING ROOM 3.KITCHEN 4.OBSERVATORY & GARDEN 5.BEDROOM 6.BATHROOM 7.WC/ WASHROOM 3 4 5m