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PART I IARCHITECTURAL ASSISTANT

CRIST IAN OVID IU DOBJANSCHICV + WORK SAMPLES

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DRAWINGARCHITECTURE

byDobjanschi Cristian Ovidiu

WORK SAMPLE

august ¦ 2014

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CURRICULUM VITAECrist ian Ovid iu Dobjanschi

c.o.dobjanschi@newcast le .ac .uk07584626162

EDUCATION AWARDS/COMPETITIONS

EXPERIENCE

NEWCASTLE UNIVERSITYNewcast le , EnglandMaster of Ar t , Archi tecture and Spat ia l P lanning (MAAPS)

NEWCASTLE UNIVERSITYNewcast le , EnglandArchi tecture Studies MArch

Universi ty of Archi tecture and Urban Design “Ion Mincu”Bucharest , RomaniaUrban Design StudiesBachelor in Urban Design

School of Ar t “Gheorghe Anghel”Drobeta Turnu Sever in , Romania

Crown Design SRLDrobeta Turnu Sever in , RomaniaOwner

ArhAmbient SRLDrobeta Turnu Sever in , RomaniaArchi tecture Ass is tant

Atel ier CAADTimisoara, RomaniaCo-Visual iser

Stonehaugh Timber Pavi l ionFabr icat ion and Construct ion

Stonehaugh Timber Pav i l ionCompet i t ion

Environmenta l Award 2013Newcast le Univers i ty

[UN]Restr ic ted AccessDesign Compet i t ion

Changing the FaceDesign Compet i t ion

U-tec CafeFabr icat ion and Construct ion

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COMPUTER SKILLS

LANGUAGE

English :

French:German:

Romanian:

CAD Sof tware

Autodesk AutocadAutodesk Revi tAutodesk Inventor

3D Design Sof tware

Autodesk 3ds MaxAutodesk Sof t imageCinema 4DSketchUpArchicadRhinoGrasshopper

Graphic Sof tware

Adobe PhotoshopAdobe I l lustratorAdobe InDesign

Motion Sof tware + VJ Sof tware

Adobe Af ter Ef fectsAdobe PremiereProd3 ManagerbadMappervvvvResolume Arena

Fluency IELTS - Internat ional Engl ish Language Test ing System TOEFL - Test of Engl ish as a Fore ign LanguageBeginnerBeginner

F i rs t language

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WORK SAMPLE

DRAWINGARCHITECTURE

6 CURRICULUM VITAE Dobjanschi Cristian

10 MOBIUS PAVILLION A design competition for Stonehaugh Dark Sky Event

16 NAKAGIN CAPSULE TOWER The vitality of matter and the instrumentalisation of life

byDobjanschi Cristian Ovidiu

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“A drawing should be an investiga-tive device, a voyage of discovery, a series of glances into the future.” - Peter Cook

22 APL NEWCASTLE 2050 Spatial Critique. A hyper efficient structure reinterpreting the Newcastle School of Architecture into a production line facility

28 BERLIN PROJECT Re-interpreting MuseumInsel

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The project is a submission for a competition to design a timber pavilion for Stonehaugh village near Kielder. With the help of BIM, para-metric design and laser cutter, I succeed to produce a 1:20 model made of MDF and card to prove the structural credibility and provide a good understanding of shape, lighting and circulation. The design received a lot of appreciation from jury however it was rejected due to budget limit.

MOBIUSPAVILLIONA design competition for Stonehaugh Dark Sky Event.

Mobius PavillionDigital Model. Simulation on real site of the pavilion.

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Mobius Pavilllionfrom left to rightPavillion Base Support, Sandwich Base Support, Plan Footprint

Mobius Pavilllionphysical model, scale 1:20

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Mobius Pavilllionphysical model, scale 1:20

The starting point of the research was a stargazing pavilion, which had an internal competition character. This represented a team work pre-selection of architectural project proposals for a specific event but with a permanent structure. The main purpose was to generate a design and build pavilion for the star gaz-ers and nature watchers in Kielder Forest with the help of Stonehaugh community. Even if the build design is not the one related to the generative design process, Mobius proposal make the aim of this proposal. In designing Mobius the main inspiring elements was driven by the generating idea of creating a complex surface with three main properties: to be formed by one single surface, as an individualistic element but also to transmit a motion character for the users and to be structurally self-sustained. Mobius “is a surface with only one side and only one boundary component. The Mobius strip has the mathematical property of being non-orientable. It can be realized as a ruled surface. It was discovered independently by the German mathematicians August Ferdinand Mobius and Johann Benedict Listing in 1858” (Clifford, 2005). The Mobius strip has several curious properties and one of the most important is that of the continuity and unbreakable entity of it.

In terms of design the volume was generated by a twisting regular rectangle with small angle variations along a given circle. Furthermore, this produced an enclosed volume with 180 twisted regular rectangle frames separated by sliced voids. In order to achieve the above mentioned pavilion, one side of four from each rectangle frame was removed to mark the continuity between input and output of the design,

emphasized at the same time was the complexity of the structure. Generating this computational, by algorithms using defined parameters helped structure the construction methodology but also to finalize more easily the final form of the design. The main approach for the design in terms of rationalization method was the co-rationalization. The purpose was to generate a construction design where the structural system inter-acts directly with the shape of the building.

The final designed used for fabrication via CNC milling machine needed to operate for 180 wood-en frames with the right specification of 3000/3000 mm. Each frame is designed to be composed out from 3 straight wood components with 3000/100/50 mm dimensions and joined with metal elements and brackets each three to constitute a frame. All frames are connected by 15 metal wires that are positioned along a specific series of curves that pass in the middle of each frame components. Each frame is connected by a threaded rod by a specific variable spacer.

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Mobius Pavilllionfrom top to bottom: Elevation - East, West, NorthSection - 00, 01, 02

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Mobius Pavillliontop, bottom: physical model, scale 1:20

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THE VITALITY OF MATTER AND THE INSTRU-MENTALISATION OF LIFE

Some architects think about detail design separately from scheme design, parcelling them up as distinct activities. This separation is instituted in the organisational structures of some offices, where separate teams work on the ‘concept’ and ‘production’ phases of a job. This project aims to challenge this dangerous distinction between ‘concept’ and ‘production’, between ‘design’ and ‘technology’. It proposes, instead, that detail is the microcosm of an archi-tectural idea; that rich architecture contains an idea or ideas which pervade the proposal from site to strategy to fabric to environment to detail. Marco Frascari writes of the ‘Tell-the-Tale-Detail’. Thinking of Carlo Scarpa’s work, he argues that a detail should embody the whole. It should have narrative content. It should tell a story – about how architecture is, about how the world is (or should be). Looking closely at the details of buildings can tell us a lot about the values, attitudes, and priorities of the culture in which they were produced.

Nakagin Capsule Tower Re-invented, The new design encapsulate all three metabolism paradigms. View to the main platform that connect the two towers.

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Eastern Preservation Concept - 東部保全コンセプト

01_sequence 02_sequence 03_sequence 04_sequence 05_sequence

Metabolism Paradigms 3 Phase Concepttop, from left to right: Megastructure Paradigm, Group Form Paradigm, Ruins Paradigm.

Megastructure Idiom: The principle of megastructure paradigm is that the internal organization is prioritizing the major structure over the individual ones.

Group Form Idiom: Individual units define the whole. Determine the general charac-ter of the assembly. Allows the assembly to grow and renew itself without affecting its general character.

Conservation Attitude Conceptbottom: Eastern Conservation Typology

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Western Preservation Concept - 西部保全コンセプト

01_sequence 02_sequence 03_sequence 04_sequence 05_sequence

Conservation Attitude Conceptbottom: Western Conservation Typology

Each stage of the development emerged from the pattern set by the previous design. Each stage remains complete in its own form. Group form establish the relationship between part and whole, small and large, house and city.

Ruins Idiom: Contradicts the Metabolism optimistic views that the development of a city is a continous process; urban growth and tranformability are less predictable. Ruins paradigm was first established and embraced by Metabolism Group in 1962 with Isozaki’s Incubation Process and it’s emphasizing the destructive/constructive metamorphosis.

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Social Event Spaces

Three main teraces that connects the two fero-concrete shafts and consequintly the activities and functions of the building generates a vibrant environment.

Management Offices

In the middle and left top part of the building are situated around 30 offices. Most of the shops and, galleries, hotel man-agement staff is located here.

Gallery & Exposition Spaces

Galleries are located in the middle part of the building right above one of the main platforms that connect the two shafts.

Adittional Circulation System

An additional circulation system has been add to the Nakagin Capsule Tower in order to per-mit a much more easy flexibility and accesibulity for the new functions and activities.

Hotel

37 hotel rooms are located in the right top part of Nakagin. The position emphasize not only nice panorama but also the easy accesibility to all functions and activities of the Tower.

What program could fit in Ginza? As mentioned before Ginza is an upper-class area, with head offices of big corporations, exclusive shopes, small galleries and fancy restaurants and cafe. The nakagin capsule Tower could not become a standard office building, which would require common rooms, meeting areas, cafeterias, etc., not 140 one-man offices. As Ginza is one of the main business areas in Tokyo, this could be a possibility. This would not allow the public into the building. If renovated, ules may keep their original use -small apartments. This would wlaso not allow the public into the building. Due to the high land prices public functions such as schools, hospitals, elderly homes, etc., would not be able to afford it, or they would most likely not be willing to pay the price. A shoe salesman bought a capsule in 1973 and used it as a showroom. The capsules could be utilized as showrooms or small stores. This would fir Ginza area, and it would allow the public access into the building.

Nakagin Capsule Tower will be an exclusive shopping center with two exhibition galleries, management offices and a hotel. By taking advantage of the recent trends the significant architecture can attract customers and compete with giant labels in Ginza. It is common for all buildings in Tokyo to have several purposes.

Galleries & Offices

Some of the problems concerning circulation will be solved by placing the least crowd provoking functions in the top part of the building. Above the shops and showrooms there will be hotel rooms in the right toweraround 40 ; and small management offices in the left tower for the staff. Another interventions will be by adding a circulation system in the north part of the building with one staircaseand two high capacity elevators. This circulation system will be connected with the tower by three bridges to the already existent decks.

top: design proposal axonometric view

right: design proposal detail over the platform

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APL NEWCASTLE

2050

SPATIAL CRITIQUE. A HYPER EFFICIENT STRUCTURE, REINTERPRETING THE NEWCASTLE SCHOOL OF ARCHITECTURE INTO A PRODUCTION LINE FACILITY

regular dayAXONOMETRIC VIEW

APL Newcastle 2050

above: New School of Architecture in a regular day. All the machines are open, used by the students in a more efficient way. This works as a production line,

with customised circulation and activities for each student and staff member.

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permanent structure & main circulation systemAXONOMETRIC VIEW

APL Newcastle 2050

review day _stage I_ 24.04.2014AXONOMETRIC VIEW

APL Newcastle 2050

review day _stage II_ 07.05.2014AXONOMETRIC VIEW

APL Newcastle 2050

review day _stage III_ 14.05.2014AXONOMETRIC VIEW

APL Newcastle 2050

Newcastle APL 2050 activitites are presented in 8 different stages in order to fully understand the potential and the operability of the machine. All 8 stages are characterized by the type of activities enterprised by the users: bank holiday, closed structure, permanent structure and circulation system, regular day, stage I review day, stage II review day, stage III review day and stage VI review day. The fully operability module works as an assembly line where each stage is designed to operate as a production line. The school be-come the factory and students the product. Each stage has his own circulation and independency from others. Newcastle APL 2050 can accomodate the same number of students (500) as the original Newcastle Architecture Department do in the present but occupying less space (aproximatly 27%) out of its original volume. This has been achieved by two major factors:

1. Using machines (advanced mechanical prototypes) that will fold and unfold generating an usable surface where the users can enterprise their daily activities. Machines, when unfolded, can generate till 1000% more space out of its original volume (folded). Each machine is programed to work as: studio, crit room, office, workshop, print room, toilet, etc. There are around 130 machines. Each machine is fully independent and it is designed to clip on the permanent structure which defines the whole assembly.

2. In the new design, the social realm has been completly removed. Trying to simulate an assembly line environment where the school

works as a factory and the students as a product, there is no need of social spaces because of the hiper efficiency demand that exist in every production line environment. The new design process is designed to work after this scheme: studio - print room - workshop - crit room. Each student will create his work in the assigned stu-dio, printing how work in the printing room, creating his physical models in the workshop and reviewing his project in from of staff members in the crit room. There are 4 studios in the Newcastle APL 2050: stage I, stage II, stage III, stage VI. Stage I and II will share 2 crit rooms alternativly. Stage III and stage VI will also share 2 crit rooms alternativly.

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perspective_main entrance

perspective_printing room & second floor offices

Newcastle APL 2050Interior perspective of the production line environment. above: second floor offices and printing room right: the main entrance in the building

Newcastle APL 2050 is characterized by a completly authomatised environment where all the space is orga-nized and composed fully ergonomically efficient. The environment is molded for users.

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top: d projection mapping is a audio-visual technique used in order for the viewer to perceive another dimension or reality that the one that phisycally exist. This proccess can be achieved by overlaping

another reality, that is manipulated via different softwares and match it to the existing reality.

3d Projection Mapping - Primer Concept

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section _ main entrance crit room gallery crit room 2 studio stage I studio stage II second floor offices

73% of the original volume

Newcastle APL 2050bottom: Section through the Newcastle APL 2050 proposal showing the main activities and the machine operability.

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73% of the original volume

Newcastle APL 2050top: Fully integrated volume on the existing site of the architecture department. The original Edwrdian facade is remaining intact, everything else is changed / removed.

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In Berlin, since 1989, the city authorities – led by former city architect Hans Stimman – have sought to replicate the city’s pre-1939 urban structure and rebuild neo-classical landmarks. They have progres-sively erased GDR modernism in order to restore a sense of continuity with the pre-war city. Located in East Germany during the Cold War, the Island was the site of the parliament building of the Socialist state: the bronze-glazed Palast der Republik, completed in 1974 and demol-ished – controversially – in 2008 to make way for a reconstruction of the Prussian palace, or Stadtschloss, which stood on its site before 1945. They have been deleting the recent past in favour of a selective image of an older past, unapologetically promoting one distinctive set of values over others. Museum Island, or the Museumsinsel, is arguably the epicen-tre of this process. The fascinating complications of Berlin’s contested past are concentrated here. Situated on the river Spree, it has become a barometer of political, urban and architectural history. Museum Island’s partial destruction in the final battle for the city in April 1945 symbolised the demise of the Nazi state. This destruction, for some, also represented the final demise of the Enlightenment values that had been represented by its nineteenth century neo-classical archi-tecture, most famously represented by the Altes Museum designed by Karl Friedrich Schinkel (1828); a building once celebrated as a totem of European civilisation and which served as inspiration to modernists such as James Stirling. Re-imagine the Museumsinsel, making new proposals about its future, interpreting its past and considering its unusual and symbolic role as an epicentre of what might be described as the ‘museumification’ of the European historic city centre. To do this, we will consider the Muse-umsinsel as a distinct entity, separate from but intertwined with Berlin in the same way that a museum creates and curates its own environment delineated from – but connected to – the surrounding city.

BERLINPROJECT

Berliner Domleft: image from Symposium animation show-ing the evolution of Berliner Dom.

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MuseumInseltop: Digital Model. Re-Interpreting assembly of the MuseumInsel. The dominance of the Berline Dom.

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MuseumInselbottom, from left to right: existing buildings, main proposal over the island with all the fragments, main framework / fragments support system.

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Berliner Domtop: deconstruct Berliner Dom. Axono-metric view with all components and ornaments.

Berliner Dom Morphologyright: The historic evolution of the Ber-liner Dom. After each stage the Dom was completly destroyed abd build up again.

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gothic 00

gothic 01

gothic 02

gothic 03

gothic 04

baroque 00

baroque 01

baroque 02

baroque 03

baroque 04

baroque, neo-renaissance innuence 00

baroque, neo-renaissance innuence 01

baroque, neo-renaissance innuence 02

baroque, neo-renaissance innuence 03

baroque, neo-renaissance innuence 04

neo-classical 00

neo-classical 01

neo-classical 02

neo-classical 03

neo-classical 04

current form 00

current form 01

current form 02

current form 03

current form 04

In curating Museum Insel, the starting concept was the para-digm between preservation (conservation) and evolution. Each building has its own path, evolution or morphology, growing from something small in the beginning, adding constantly elements to it. (ex: Agia Sophia)The question is, when do we stop doing this, adding elements?

Berliner Dom known 5 phases before its final shape which is now located in Museum Insel. Each of them, consistantly different from each other in terms of architectural style, size, composition. Mainly this vary not as much as for economical situation but for its purpose. In the beginning Berliner Dom was a normal perish, an isolated small construc-tion. The main purpose was to serve the surrounding houses. Its final shape its imposing, grandour. The architect design it like that, to become a new symbol of Berlin in 1911.

What if Berliner Dom will still be in a phase of expansion and each 100 years will be completely removed, leave behind a new more imposing and more grandour building. How it will look in 500 years from now on? I made this supposition and based on the Berliner Dom Mor-phology, the new cathedral will ocupy the whole Island. The configuration of it will respect the actual configuration of the church. The main body is located where the Altes Museum is and the park in front of the existent Berliner Dom. The main entrance will be located in front of the Stadtschl-los Museum, The Altar will be located where the Body Museum is. The new “topography” of the island will clash with the old one. Most of the new construction will have an impermanence state which mean that will be replace according to the needs.

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THANK YOU

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