Masters Degree Portfolio_BIArch 2011-12

1. PRITAM LENKA
BARCELONA INSTITUTE OF ARCHITECTURE
MASTERS OF ARCHITECTURE, 2012
DESIGN PORTFOLIO
2011/12
p.lenka@biarch.eu
[untitled]

2. 01-07 Studios
Core Design Studio_VerticalScapes
08-12
Short Design Studio_Spectral Process
13-15 Seminars
Building Structures
16-19
Large Structure Typologies
20-21
Digital Culture
22-24 Workshops
Productive Land Program
25-26
Registering Landscapes of Uncertainty
[contents]

3. Studio_Verticalscapes. Instructors : Inaki Abalos,
Sports Village, Madrid Renata Sentkiewicz
The studio project consisted in the
design of a thermodynamic entity of
mixed ude in a specific climatic
condition(in this case Madrid). The
entity was based on the optimization
of its energetic transfer in relation to
climate and to its programmatic
mixture according to the following
steps:
?Creation of a thermodynamic mixer
with a fixed residential program of
5000 sqm and the other programs
defined in order to achieve an
energetic balance near of or equal to
zero.
Defining the spatial organization
?
according to climatic parameters and
natural energy sources.
? internal or external artificial
Using
sources of energy and determining
transmission cycles as well as spatial
devices dedicated to distribution and
storage of energy.
Determining
? basic aggregation
system keeping in mind internal
organization as energy optimization.
Finally, forming an architectural
?
proposal in coherence with spatial,
structural, material and productive
terms.
[pg.1 of 26]
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10. Studio_Spectral Process. Instructors : Philippe Rahm,
Sports Complex, Barcelona Renata Sentkiewicz
The spectral method of our
architecture is no longer to work with
the tectonic, but rather to decompose,
disintegrate, and crumble it into a
multitude of microscopic particles of
heat, vapor and light disunited from
their whole, atomized. The space is no
longer a visible, solid and tactile
macroscopic block, instead it expands
itself, diffracts, and opens to the
infinitely small and the invisible. One
of the key points of the contemporary
meteorological architecture comes
from the Impressionism painting of the
19th century. It is the notion of
dissociation, decomposition, analysis,
We proceed by decomposition,
dissociation of the “whole” in elements
and then re-compose it, but with a
certain number of components,
according to other hierarchies,
updated priorities, and new needs.
Instead of gestalt which opposes a
holistic view by stating that “the
whole is different and not reducible to
the sum of its parts”, we postulate
that the isolated parts are more
interesting than the whole
[pg.8 of 26]
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15. Seminar_Building Structure. Instructors : Augusti Obiol,
Alternative structure of the roof of- Cecilia Obiol,
Porto Alegre Market by Eladio Dieste(1972) Guillem Baraut
_(with Shuva Chowdhury)
The rapid and overwhelming evolution
experienced by building technologies
in the last decades as well as the
multiple findings and improvements in
construction materials have shifted
and complicated the traditional tasks
entrusted to the Architects.
This seminar provided sufficient
background to formulate specific,
valid and efficient proposals in every
field. the 2 stages of the seminar
were:
to basically learn geometrical
approach to framework performance.
and secondly, getting familiar with the
primary concepts of structural design,
such as structural efficiency, pre-
loading strategies and elementary
structural types.
the problem of modification of the
Porto Alegro Market s roof was to
understand the technological
component of the architectonic
project and skillfully detect and
determine the most reasonable
solution - one that can end up being
more appropriate and efficient.
[pg.13 of 26]
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16. Introduction
The roof is needed to cover the whole market of 280 m overall-length
and 47 m width, with the consideration of allowing light inside. For the
planned architectural design, we have used structural steel which can
lead to an efficient and economic solution.
Basic ideas
The main elements of our roof structure constitutes
· 20 steel beams running from one end to the other end along the
width at 14 metres centre-to centre.
· Supported at one end by 4 steel members, which form a trapezoidal
form.
· supports are further strengthened by horizontal steel
These
members (sort of a bracing) which hold the trapezoid in position.
· main beam then supports a 3-d truss of a maximum horizontal
The
span of 7 meters at the centre and diminishes at the end points.
· roof also has horizontal steel bracing or framing to make sure
The
that the load of the roofing material is transferred to the 3-d truss
members and then to the main beam-to make the roof act
effectively.
· profile of the roof ends in a curve to form a wall, and replaces
The
the existing wall in the design.
· curve profile of the wall is made up by the bracing which is
The
supported by the column, in place of the old wall.
PORTO ALEGRE MARKET -
EXISTING VIEWS
THE 3D TRUSS
Flow of forces
According to the geometry of the secondary structure, the horizontal
connectors in the roof transfer the load of the roof members to the truss.
The 3-d truss, in turn help in transmitting these vertical loads
respectively to the main thick beam which then transfers it load at its
end supports.
CONCEPTUAL SKETCH OF ROOF TO ALTER ITS FORM. DIGITAL IMAGE OF THE 3D TRUSS WHICH
PLACED OVER THE MAIN BEAM WILL
ELEVATE THE ROOF AND ALLOW LIGHT
DETAIL -A
[pg.14 of 26]

17. SECTIONS AND CONCEPTUAL 3DS
DETAIL OF A 3D TRUSS WHICH WHEN PLACED R O O F O V E RV I E W
OVER THE MAIN BEAM WILL ACT AS A
MEMBER FOR ELEVATING THE ROOF AND
A L L O W I N G L I G H T
DETAIL -PINNED BASED DETAIL AT THE MAST
FROM WHERE 2 MEMBERS ORIGINATE ON
O N E S I D E .
DETAIL OF THE TRAPEZODIAL SUPPORT
DETAIL OF JOINERY AT ROOF
DETAIL OF CURVED WALL WITH GLASS
[pg.15 of 26]

18. Seminar_Large Structures. Instructors : Augusti Obiol,
High Rise of 70 floors. Alicia Huguet,
(_with Olga Romanova) Guillem Baraut
The buildings with few stories and
short spans allow for a great variety
of different possibilities at the time
of designing their frameworks; as the
number of floors or the span length
grow, the solution for each specific
case needs to be much more accurate
and uni-vocal. So, in the case of high
rise buildings this is achieved by
increasing the stiffness of specific
structure components and
progressively moving them to the
perimeter as the number of levels
grows.
This seminar aimed to an approach to
these domains based on the
combination of analysis and induction,
which is integrated by a sequence that
wonders about what, how, why and
where. Specifically, the seminar
established the key concepts of the
problem to be solved, to follow
showing the different possible
solutions out of any context; from
that point on, it was needed to
research the connections between
each specific problem and each specific
solution; following, a series of Case
Studies that were investigated with
the purpose of identifying the nature
of the structure that the architect
and the engineer designed for each of
them.
This scheme was then applies to both
high rise and large span buildings.
[pg.16 of 26]
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22. Seminar_Digital Culture. Instructor : Juanjo Castellon
(_with Sally Habib, Omaya Malaeb, Kristina Ukhina)
Digital design methods can be
differentiated into parametric and
algorithmic design approaches. As
methods of computability they are
part of the spectra that marks an
extension of traditional non-digital
design methods. The architectural
utilization of these digital methods is
based on the description of shapes by
means of NURBS geometry. The
firstpart was to explore the
evolution of the architectural
paradigm from the analog to the
digital by means of case studies. In
addition, the NURBS-modeler
Rhinoceros was be introduced as
software environment for parametric
and algorithmic design.
The appearance of parametric tools
represents a shift in the traditional
way of thinking architecture. It
enables the interaction, in the design
process, between two scales, global
and local, and the application of
variation versus repetition. According
to that, the later part was focused in
the introduction of Grasshopper as
parametric design software tool and
the understanding of how to
incorporate variation and geometric
control into the design process by
designing a chirungito in the beach of
Barceloneta.
[pg.20 of 26]
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24. Workshop_Productive Land Program Instructor : Maria Buhigas,
Tordera s Geothermal desalination plant and Brine Bath Marc Montlleo,
(_with Anna Alivio, Bechara Malkoun) Anna Viader,
Andres Flajszer
The Productive Land Program (PLP) is
oriented to research on and think over
the productive and energetic
capacities of the non-urban land as its
way to become economically and
socially sustainable within
metropolitan areas. The current social
framework is determined by the
financial and political crisis, -i.e.
economic deflation, breakdown of
public protectionism, redefine the
concept of private engagement, and
the urge to find economies of
subsistence. As a response to the
current economic and political context,
we avoided design strategies that
take into account actions supported,
promoted or managed by
governmental policies. Instead, we will
focus on design strategies which can
engage the private sector to be
developed.To successfully fulfill the
course’s main goal, we worked only in
assigned places where the land still
keeps a potential for production.
Therefore, we skipped both highly
urbanized areas and rural areas, and
concentrated on the fringe of the
Barcelona’s Metropolitan Area. The
basic idea was to develop a strategy
that identifies the resources and
defines the design solutions to
produce self-sufficient interventions
on the proposed sites, making them
profitable guaranteeing to keep its
natural condition (non-urban).
[pg.22 of 26]
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27. Workshop_Registering Landscapes of Uncertainty Instructor : Toni Girones,
Carles Enrich
A trip on which the memory of each
team member and their places of origin
establishes analogous relations
between different moments.
A trip that serves as a platform for
interchange, materializing in a series
of registers that settle into a map of
diverse identities and a critical
conscience that allows us to recover
humanization as opposed to the single
course of globalization.
This workshop consists in recording
and producing cartographic material
to reveal other realities that underlie
the urban routine, based on the
experiences of a three-day journey
walking along the course of a river as
it moves towards the sea, plus four
days of reproducing the collected
material in the workshop.
[pg.25 of 26]
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29. I don't want to be interesting. I want to be good.
-Ludwig Mies van der Rohe.