Cristian Gheorghe Portfolio

22/05/2012

To whom it may concern,

We've had the pleasure to work and collaborate with Mr. Cristian Gheorghe on some ofour projects for the past two years.During this period he has demonstrated a great ability to work either independently oras a part of a team with great creativity and enthusiasm. We've always appreciated hisability to stay focused and meet the deadlines.We are very pleased with Cristian performance and, we believe he would be anoutstanding asset to any architecture office.We give him our highest recommendation.

Arh. Bogdan PopArh. Astrid Rottman

/)v!4~v.www.asdesign9S.ro

Intr. Vladimir Streinu nr. 8, sector 2, Bucuresti, tel/fax: 01-252.28.55, E-mail:[email protected]/40/11117/1995, cod unic R07995590, Cont BCR - Agentia Mosilor R077RNCB5028000025260001

ARCHITECTUREVISUALISATIONS

MORE...VENICEBIENNALE2012CONTOUR POMMARD

HOUSE CONVERS IONtheTWIST

TOKYOn a t i o n a l S TA D I U MC O M P E T I T I O N

DIVEinParisPARISmarketLAB COMPETITION

ARHETIPURI2011TEMPORARYpavilion GEORGEENESCUsquareSEMIFINALIST

theFRAMEDIPLOMAPROJECT 2013-2014DAEGU-GosanCOMMUNITYLibrar y THEATRE STADIUM

PUPPETS&SHADOWS SPOTCENTER

SOMETHINGmoreCOLLABORATIONSCOMPETITIONSSCHOOLprojects

pag. 06 pag. 18 pag. 23 pag. 26 pag. 29 pag. 32 pag. 35 pag. 38 pag. 41 pag. 46

theFRAMEDIPLOMAPROJECT 2013-2014DAEGU-GosanCOMMUNITYLibrar y

DETA I LED&Mod i f i e d f o r T H ED IPLOMAp ro j e c tA SaR E S U LTo faN e wSTUDY

CONCEPT&BAS ICshape - i n c o l l a b o r a t i o n w i t h MENOMENOP IUA r c h i t e c t s f o r D A E G U G o s a n P U B L I C L i b r a r y C o m p e t i t i o n

DAEGULibrary_STREETview @ copyright by GILBERTObonelli

The project is based in Suseong-gu, the south entrance in Daegu, the third biggest city in South Korea. Suseong-gu is a nice, high quality of life residential area, with vast green spaces. This district also acts as a nucleum for administration, economy and education for Daegu, being developed as a polarization center for culture, sport, loisir and tourism.

The site choesen for the Daegu-Gosan Community Library is part of the oldest urban tissue of the district, closeing on the north and east edges the urban island.

The site is bordered on the South, East and West by three low traffic streets and on the North side by a green area that acts as a sound and inimacy barrier between the Library and the high traffic street Dalgubeol. This street connects the site with the center of Daegu City.

The site position is favorable for the easy access of the users, being in ten minutes walking distance from the metro station and just accros the bus station.

Because the building is a Public Library it has an important epresentation role, both for the people and for the city. Thus the shape it is ment to be a modern and dynamic one, that it will make it distinguish from the urban tissue and, why not, become a landmark for that area.

Being adjacent to one of the most circulated roads, it has been decided to create a shape that gives intimacy to the users but also provides a representation space where peope can meet and spend time. Thus, the proposal, offers a representation square, in front of the Library, inwhich nat-ural elements are inserted to create a sound barrier. By lifting up the North side of the building, it opens to the patio, that has a more intimate, more quiet, more mineral ambiance.

The shape also creates a visual axis betwen the main street - Dalgubeol, the representation square in front of the library, the patio and the representation square in front of the church accross the street.

DAEGULibrary_PATIOviewAERIALview

The building acts as a filter between the everyday life dynamics and the space of reclusion, relaxation, study and creation, that the interior space of the Library is.The paviment of the two squares (represenation & patio) it is designed it is designed so that it will collect and bring the people to the patio, as so to the entrance of the Library.

The interior of the Daegu-Gosan Community Library has been thought as a structure of cir-culations and functions that surrrounds the patio. The inimacy of space it’s gradualy provided by the ascending shape of the building from the ground floor that hosts the info center, book searching area, the wardrobe and the infant areas (the most noicy areas) to the second floor that hosts the reading and study areas, and also a small teahouse that are the most quite and intimate. The first floor it si divided in laboratories and group study rooms, and a multimedia area in direct connection with the spaces for childern. The underground floor it is reserved for an exibition area that opens to the multipurpose hall, a coffee-bar and the libraries technical spaces.

Regarding the structure of the Library, it has been choesen a laminated wood structure, made of the exterior walls of the library (the shelves), pillors and reinforced beams with coffered ceiling. The wooden structure has also been choesen for the warm ambiance that it offers to the interior space of the library, by contrast with the temperate and sober exterior image.

Built Roads Pedestrian River Protected green areas Site Limit

The Site area is 2100m2 The extruded volume has about 30 000m3 The building focus on a central patio, an interior landscape for intimacy. Direct visual connection between the main street, the representation square in front of the library, the patio and the square in front of the church.

Built River High permeability Medium permeability Low permeability

Pedestrian street Site Limit

Built Roads Spatii verzi amenajate Spatii verzi neamenajate River

Site Limit Site Limit

Asia

South Korea

Gyeongbuk

Suseong-gu

Siji residential area

Daegu

The internal circulation draws an intimate loop around the patio. The shape of the building facilitates the natural ventilation and the climatisation regardless the season. The roof slope allows a better orientation twords the sun for a more efficient solar energy production in the benefit of the libraries needs. Also an internal and independent sistem is set to collect and recycle the rain water.

The interaction between the different parts of the program respect the needs of intimacy and interdependence, being disposed around the patio.

Religious

Industry + Services / Commerce

Houseing + Services / Commerce

Services & CommerceAdministration

EducationGreen AreasCollective HouseingLow Height Houseing

MetroRoadsRiverCollective Houseing + Green Areas Bus

<10m 25 - 50m10 - 18m

Pedestrian Equipped Pedestrian RiverRaw green areasRoads

Site Limit Education CulturalParking Houses Collective Houseing

Production & Serv. AdministrationReligiousCommerce Ground Floor

Commerce & Serv.

Raw green areas

HealthEquip. Pedestrian RiverGreen areasBuilt Roads Pedestrian

Raw green areas Pedestrian street Bus

Traffic I Traffic II Traffic III Traffic IV Traffic V

Site LimitRiver

Equip. PedestrianBlind alley Green areasBuilt Roads Pedestrian

GROUNDfloorSITEplan

1

FIRSTfloor SECONDfloor UNDERGROUNDfloor

DAEGULibrary_LOBBYarea

SECTIONAA’ SECTIONDD’ SECTIONCC’

DAEGULibrary_COFFEEbar DAEGULibrary_READINGarea

NORTHelevation EASTelevation

SOUTHelevation WESTelevation

SECTION BB’

DETAILEDPlan200m2 HORIZONTALdetailC

VERTICALdetailA VERTICALdetailB

VERTICALdetailC

PLANaxesGF SECTIONaxes ELEVATIONaxes

THEATREPUPPETS&SHADOWS

SCHOOLP R O J E C T

This project is situated in Romania, Bucharest, at the intersection Pictor Artur Verona Street with Jean Louis Calderon Street, across the Gradina Icoanei Park, being part of Casa Universitarilor site. The location has a privileged disposition because of its spatial coordinate in relation with the city’s urban context, but also because of the quality architecture that surrounds it and the richness of the natural environment. The building is placed parallel with Pictor Artur Verona Street, almost centered to the site, thus keeping the vegetation that borders the limits. The main access is situated on Pictor Artur Verona Street, closer to the streets intersection. The theatre consists of three intersected volumes: the main one is a box from which is subtracted the corner that gores the Jean Louis Calderon Street; it has two floors and it is open to the public while the south wing accomodates the administration; the third volume has the shape of a box made of white frosted glass, incorporating the spaces for puppeteers;

SITEplan

GROUNDfloorPlan

The main entrance is emphasized by the strong cut in the prime volume, which generates an ample and protected area in front of it. This gesture is empowered by the use of contrasting materials: white finished concrete and frosted glass for the entrance wall and black Stoverotec glass panels for the side wall and for the ceiling. The black finish can also be seen as a metaphor of the shadow. Combined with the natural shadows left by the ceiling and trees, it plays an important role in creating a theatrical game of light and shadows that leads you to the entrance point.

FIRSTfloor SECONDfloor THIRDfloor | terace

The images above show how the theatre building is perceived, more precisely, they show the fragmentation of the main facade caused by the tree layer that borders the site. This being the reason why I have choosen to use the two strips of clear and frost glass for the main facade.

puppeteersENTRANCE str.PictorArturVerona

storageENTRANCE

SOUTHfacade

sectionAA’

theFACADE

theMAINfacade

theSOUTHfacade | theWESTfacade

theEASTfacade

thePUPPETEER’Stower

The construction is a composition of three volumes. The main volume is also the largest one, hosting the public spaces while the south wing accommodates the administration. The matte glass box is re-served to the actors and their activities.

The main facade is basically designed of two materials |concrete and glass|, but with different textures of glass: for the ground floor it has been used a layer of clear glass that helps integrating the build-ing into the public space and generates a dialog with the natural environment; the upper floor uses a frosted glass treated with a light pigment layer, which accen-tuate the kinetics of space and lets to be seen only the movement spectrum and the shadows; for emphasizing the main entrance it has been used black Stovero-tec glass as a method of creating the illu-sion of shadow.

and the gallery entrance. The office windows are provided with sliding sun shaders made of a special frosted glass that chages its translucen-cy according to users needs, while for the west facade it has been used a clear glass screen.

The south facade as well as the west fa-cade are the most opaque, receiving small voids only for the office area, the infocenter

The east facade’s most imposing element is the “puppeteer’s tower”, which is box made of medium translucency frosted glass panels. Using this material the public can catch glimpses of puppeteers actions but in the same time it gives intimacy to those inside the glass box.

It is common knowledge that actors of puppets theatre are also called “master puppeteers”. This title places them above all the other theatre actors. Taking this into consideration and also the how they control the puppets from a platform hidden from public eyes, above the main stage, I have felt the need to transmute those ideas into architecture resulting the “puppeteer’s tower”.

STADIUMSPOTCENTER

SCHOOLP R O J E C T

Based on the proposed program for this project, Multifunction Sports Hall, I consider that a large public space that surrounds the construction and accommodates a large number of people is necessary. Taking into con-sideration the shape of the site I was led to liberate by locating the public parking (the largest – 204 parking spaces) and the one for the staff (20 parking spaces) on the narrow side of the trapeze (north), the remaining parking spaces will be located according to the operational needs, in order to ensure a more rapid access to the building. In this way a public space with a 7750 m2 footprint emarges.

The plan presents it’s self as an ellipse, chosen both for the flow of the geometry but also for the quality to differentiate it not only through the build mass, but also through it’s architecture.

While solving the functional aspects, I considered dividing the building into three vertical layers. This way, the ground floor is mostly public free, having reserved an athlete zone, as well as media and VIP spaces, administration and storage; on the opposite side (west) will be shopping stores, recrea-tional facilities and the access for disabled people.

Regarding the first and second floors (public layer) are reserved for spec-tators, except for the private access to the VIP zone (first floor). The first floor is accessed by two main staircases, 12m wide, located towards Barbu Vacarescu street, two secondary staircases in the public zone of the ground floor and a fire escape staircase on the east. The first public floor consists of a large lobby and hosts two large welcome areas for the spectators along with other functions that are necessary for such an architectural program.

The third floor (technical layer) is reserved for the technical equipment and media (on the south side). The building hosts a total of 5800 seats for spectators.

The volumetric of the building was dictated both by the desire to maintain a fluid form not only in plan but also spatially, as well as the functional consideration, such as the construction of the moast terraces on the long sides, in order to offer a better visibility. The building’s skin consists of two layers of Baro EcoCast panels, made from an acrylic sheet in which circular photovoltaic panels are inserted, thus obtaining the design of the façade, filtered natural light inside the building, thermal efficiency due to the double façade as well as energy cost recovery. SITEPlan

GROUNDfloor SECONDfloor THIRDfloorFIRSTfloor

DIVEinParisPARISmarketLAB COMPETITION

CASSANDRAP O PALEXANDRA E P U R E

CR IST IANG H E O R G H E

ALEXANDRAA N T O N E S C U

The Market Lab was imagined as a landmadk, that building heihjt in Paris, would rise at the general build-ing height in Paris, making it’s way through surface out of the city, crouw, ordinary...It’s energy comes from the streel level, left free for the people and their activ-ities. They rapidly ascend to the top, get a last glimpse of the city’s skyline from the mirador bar, then lean back into the city, slowly diving into a spatial and culinary experience. With little chance of seeing outside, sub-merged into Paris, they meet some strange periscopes that show them constantly the main attractions around the area - Notre Dame Cathedral, Tour Eiffel and Palais Luxemburg.

Using a mirror screen for the kitchen, emphasises the interior space fluidi-ty and creates an infinite reflection of it. The screen allows the chefs to have visual contact with the guests and in the same time keeps the intimacy of the chef artist. longitudinalSECTION

SITEplan

dive in PARIS

1stfloor 2nd|4thfloor BARfloor TERACE|miradorBARfloor

NORTHfacadeSOUTHfacade WESTfacadeEASTfacade

the public accesses the building using the elevators from the ground floor public space, commencing their culinary journey

ARHETIPURI2011TEMPORARYpavilion GEORGEENESCUsquareSEMIFINALIST

CASSANDRAP O PCR IST IANG H E O R G H E

Remove the cars from the site --> the void begins to breath, to be alive, it gets humanized.

The empty space (the void) is left only with its outline (boundary) as its only tool. The void itself has the means to create its own identity (so it does not receive one implemented from the exterior) and to discover its relation with the city. Its first reaction is the need to protect itself and to take a shy glance at the exterior (the city). In order to create this interior sheded feeling, the virtual outline of the void becomes tangible by using a curtain. Thereby the void is no longer just an empty space, it becomes a place. This statute facilitates the exchange of looks between the city, which is now aware of the protected space, and this place. The curtain is diaphanous enough, permiting to one to be observed by the other and the other way around. This constant interaction makes the place conscious about the fact that it can not leave by itself. It is waiting for the city to wish to find out more about it.

While approaching it, the curtain becomes less and less visible, invinting the people to get into easily. Being inside, the human becomes acquainted with the place and observes its universe. The interior space passes its state to the people on, making them look at the exterior with different eyes. Still an outdoor space, the noise is partly absorbed by the curtain, so one can enjoy a quieter place than the angry city. The human becomes aware of the private nature assigned to this public space. This makes him think that he can use this space in other ways than usual. Due to the protected feeling, the man begins to furnish the space with activities (comfortable coexistence between human and space). This whole time, the place keeps a curious eye on the exterior, has a constant desire to discern the vibration of the city, the shadows behind the curtain.

This interior space, the place, invites the city (during the whole year) to know it, to inhabit it. With the help of the people it is looking for an identity in order to become a strong space, to have personality and to be highly irreplaceable by an implemented image.Maybe sometimes the public space has to discover itself at first.

SITEplan

1. 4.

2. 5.

3. 6.

VENICEBIENNALE2012CONTOUR

CASSANDRAP O P

ASTR IDR O T T M A N & ASD E S I G N 9 5

“COMMONground ”

ALEXANDRAA N T O N E S C U

CR IST IANG H E O R G H E

plan pavilion sc. 1:100

sectiune longitudinala pavilion sc. 1:100

perspectiva aeriana pavilion

sectiune transversala pavilion sc. 1:100

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detaliu trafor metalic sc.1:10 50x50 cm

contour

The installation proposed for fitting out the pavilion is a scenographic vision illustrating the Bienniale theme

The Venice Biennale of Architecture is a celebration of architectural culture which takes place every other year, and with relation to this years theme, the expositional space can globally be seen as a Common Ground of the architectural trade.

After going through most of the exposition ( Romania’s Pavilion being situated towards the end of the visiting route of the exposition) the visitor is apparently stopped by an obstacle, a wall which separately defines two visual perceptions. The first one, from the central space, is clear, representing the world one has already visited, the world already known which shares a common language with the visitor, while the second one, beyond the first, influences the visitor in the sense that if one enters, one can visualize his own universe only through the filter represented by the dividing wall. But if this space (the installation ) is materialized and is configured with spatial contours of CG s, is it not up to those who designed it to also define and model the major contour as well? Does one not get to decide what to gets to be seen from the outside?

The wall, symbol of the contour, is a fretwork in which keyholes are cut out. The visitor can visualize the two spaces as a simple observer, separately accessing the two spaces through the two doors and leaving, or he can take a key out of the wall leaving an open space-hole (opening a virtual door which he then leaves open), thus contributing to defining and modeling this visual hurdle and ensuring that, in the end, the two different perceptions blend in together.

The natural light, present in the central space and absent in the perimetric one, contributes to differentiating the two perceptions.

The chairs placed one facing another are symbols of human interactions which are the starting point for architecture in defining the built environment (CG of the architectural trade).Starting from the theme of the Biennale, as it was presented by David Chipperfield, we have opted for a solution which is universally valid for the trade, and not for an analysis of the theme within the specific Romanian context.





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contour





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theTWISTTOKYOn a t i o n a l S TA D I U MC O M P E T I T I O N

PA RT o fMENOMENOP IU a r c h i t e c t s d e s i g nTEAM

my INPUT:i n vo l v emen t i n t he concep t o f t he p ro j ec t : shape and

how i t i n t e r ac t s w i t h t he su r r ound i ngsi n vo l vemen t i n t he p roduc t i on o f t he v i sua l p r esen t a t i on

o f t he p ro j ec t : 3D Mode l , Rende r s , Facades

The Stadium is ment to be an excellence tool for the public and for all its participants. Its architecture connects gardens, squares, covered pedestrian streets, gathering spaces and induce new urban comportaments.

Designed as a city fragment, not only as a sport equipment, the stadium is an attractor: innovative and generator of vitality. It is expanding in order to better reach users requirements: proximity, diversity, accessibility. It became a district, naturally sustainable and ecological.

The stadium concept, unlike other conventional stadiums, is an eliptical spiral which is gradually unrolling and forming the built space with a slope of 2%, serving the 80 000 places (with a visibility angle that grows from 20% in the bottom part to 45% at the top part of the gradens) This disposition aims to offer to the public a perfect visibility from all the gradens.

my INPUT:i n vo l v emen t i n t he concep t o f t he p ro j ec t : f acade p roposa l

and i t e r i o r amb i ancep roduc t i on o f t he v i sua l p r esen t a t i on f o r t he c l i e n t : 3D

Mode l , Rende r s , Facades , P l ans and Sec t i ons

PA RT o fMENOMENOP IU a r c h i t e c t s d e s i g nTEAM

POMMARDHOUSE CONVERS ION

The project is based in Pommard, a nice and quiet village in France. The client asked for the conversion of an old house into a renting facility with common living space and five matrimonial bedrooms.

The approach of the project was to keep and clean the main structural walls, letting the brick apparent. The intervention is marked by contrast of materials. The rooms are sus-pended in a dynamic way over the living area, letting the light from the roof wash the white boxes inwhich the dormitories are established. The living area opens to the back courtyard where the swimming pool is placed in an intimate ambiance.

ARCHITECTUREVISUALISATIONS

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Sauslamp has been especially designed for the use in OFIS Arhitekti’s 180 student apartments located in Paris, France. The unique design incorporates a simple modular formation which is secured with rotational joints to form a bendable structure. These joints allow the user to adjust and bend the lamp into various positions according to their own preference. The flexible design is featured also in various scales, ranging from desk to street lamps and each piece can also be adapted with an added opal plexi cover to create additional diffuse light if required. The light is constructed from carbon fibre modules secured with steel rota-tional joints and uses energy saving light bulbs to coincide with the buildings energy efficient concept.

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Cristian Gheorghe Portfolio

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