PORTFOLIO IOANA TILICEA 2006|2012

PORTFOLIO IOANA TILICEA 2006|2012

full name: Ioana Tiliceadate of birth: 23.11.1987nationality: Romaniane-mail: ioanatilicea@gmail.comphone: +4 0740 035 524

2006-2012Ion Mincu University of Architecture and Urbanism,Faculty of Architecture (M.Arch.)2010-2011IUAV University Venice, Erasmus Programme2002-2006Mihai Viteazul National College, BucharestMihai Viteazul National College, Bucharest2004-2006drawing course with prof. arch. Serban Nitulescu

Romanian | mother tangueEnglish | proficientItalian | goodFrench | goodGerman | beginner

July 2012dissertation entry “Mediation among collisions” for RIBA President’s Medal

November 2011collaborator at the Rehabilitation of Johannes Honterus Courtyard Competition, Brasov, with SYAA and FOR architects

October 2011October 2011co-author at designing the ground public space of the University Square Competition, with SYAA

October 2011co-author at designing the public space around “Ciprian Porumbescu” statue Competition, Brasov, with SYAA, won second place

September 2011project entry “School and public facilities in Padova” was published in project entry “School and public facilities in Padova” was published in IUAV year broshure, group project with Sebastian Cucu and Javier San-chez

July 2011Taking Part workshop, guided by Agency architects and Fram_menti ar-chitets, during which several generational change scenarios (social, spa-tial, virtual) for Laghetto neighbourhood of Vicenza were developped

January 20102 weeks exhibition of the “Mimed City” Urban Research, further details at www.orasulmimat.blogspot.ro

May 2009study trip to the Netherlands, visiting Amsterdam, Roterdam, Utrecht, Almere, Ypenburg, Delft

winning entry for the project competition regarding the contemporary winning entry for the project competition regarding the contemporary approaches in the issue of programming public spaces in Bucharest, initi-ated by non-governmental organization “The Urban Observer”, final-izaed with the above mentioned exhibition

March 2009workshop with lectures guided by Ole Bouman and Nanne de Ru, on “sustainable architecture” in the context of the contemporary collective housing development

April 2008Switzerland study trip, visiting Zurich, Basel, Lucerne, Lugano and St. Gallen

Summer 2005organization and participation at Tara Hategului study trip, studying the organization and participation at Tara Hategului study trip, studying the rural development throughout the area, and the influence of the histori-cal and architectural inheritage upon it and the local communities, part of Floare de Colt College Association

EDUCATION

LANGUAGE SKILLS

TRAINING, COMPETITIONS & AWARDS

RÉSUMÉ

Autocad | proficientPhotoshop CS5 | proficientIllustrator CS5 | goodIn Design CS5 | intermediate3ds Max 2012 | intermediateSketch Up | intermediate

model makingdrawing

September-December 2011intern at SYAA Soare&Yokina Associated Architects, Bucharestwww.syaa.rocollaborated with FOR Architects, Timisoara for a particular competi-tion, November 2011

WORK EXPERIENCE OTHER INTERSTS

COMPUTER SKILLS OTHER SKILLS

theoretical and social approaches in architecturecinemaphotography

The “Essential joys”. Sun, Space and Nature. The study’s theme was to reinterpret the three principles that Le Corbusier considered to govern his projects.The pavilion is inserted in the slope, transforming thus the exhibition in a transitional space towards the lake. The gallery becomes active, de-manding to be crossed and to be experienced together with the park and the lake. PERFUME

PAVILIONMOGOSOAIA

gallery | parklake pavilion uauim 2007

6

PUBLIC|PRIVATE SPACE LIPSCANI

craftwork studioexhibition|movement uauim 2009

12

Everything is an exchange, a connection between spaces and people. It is only through engagement with the moving body that a place’s poten-tial is realized. One’s body can pose questions about domesticity. About the public and the private. About gender and race. Information. Direc-tion. Function.

This means for instance asking explicit questions of architecture. What is the material? Where should I go? How do I get there? How do I get out ? The architecture of the city becomes not a maze, but a stage of possibilities. Walls. Doors. Windows. Words. Courtyards. Glances. Crossroads. Actions.

Iain Borden

14

south facade|north facadecharacteristic sections

15

The approach does not transform the temple into a singular object, but into a symbol hidden in the greater context of Pozzuoli. Thus the sacred space is hidden in the everyday, showing itself outside only through the new campanil.

TheThe two main functions of the temple, the religious and the archelogical one, have determined the concept, “decomposal for re-composal” of the layers found in time. Thus the temple proposes four instances of public space. The space of the past materialized in the archelogical per-course, the space of memory found in the narthex of the temple, the re-ligios space found in the baroque part of the church and the everyday space, found in the new courtyards that surround the temple and act as small squares.

The new layers, of translucid marble become light layers, that recom-pose the existing space. RESTORATION

DOME TEMPLEPOZZUOLI

church | museumextension | public space iuav 2010with Sebastian Cucu andBianca Pineda Garciasketches by S. Cucu

18

From boundary to border. From macro to micro intervention.

TheThe target of the project was that of re-establishing the identity of an area of Padova which was considered a boundary between the old and the new part of the city. Our aim was that of transforming this boundary, which separates two entities, into a border, which brings together the two entities, mixing their two identities and thus creating a physical and mental continuity in the present “gap”.

URBAN REGENERATIONPADOVA

residences|schoolpublic space facilitiesiuav 2011with Sebastian Cucu andJavier Sanchez

26

analysiselements that structure different types of public space and offer identity to the site:

prato della valleavancorpo ex foro boariosanta giustina cathedralsanta giustina cathedralmonastery ruinsvelodromepark containing the old city walls

linkingre-organizing circulation:

creating pedestrian links and two squares towards the cathedral and the park

the street towards the park is the street towards the park is limitated only to bus circulation or local traffic

revealing old identity andinserting new identitytwo squares take shape around two squares take shape around the avancorpo and the ruins of the monastery and continue the existing typology of public space found in the old urban tissue

the new buildings closing the the new buildings closing the squares insert public functions in the area from a small museum to bookshops and cafes

re-thinking neighborhood unittwo new areas of residences are created around the school, blend-ing with the existing ones and giving shape to new green spaces or playgrounds

the school acts as a magnet be-tween the existing velodrome and park and the new residences

28

30

b

b

a

a

ground floor plan

elemementary school

maternal school

common activities

sport activities

31

b

b

a

a

first floor plan

Energy. From mechanic to human city.

The study questions the present development of a city situated on water, in this case the industrial port Marghera. Starting with the analysis of two different water cities, Venezia and Rotterdam, the project’s answer is a scenario where the water structures the new city by con-necting all forms of public space.

URBAN STUDYCITY OF WATERMARGHERA

density|structure venezia rotterdamiuav 2011with Sebastian Cucu andDiogo Picciochisketches by S. Cucu

34

40

41

what if water acted as a magnet between the residences and playgrounds strengthening the community?

Between master plan and user plan, between blocks-of-flats and houses, on the spot of a collision of urban orders, the project shall look for a way of dialogue between the totalitarian order and the traditional one. The space between the two ones would not be only built but, especially, filled with a new reality full of recollection and new significance. The changes in the urban landscape would not be done at once, but they would be owing to some con-struction stages and appropriateness of spaces as well. Inter-weaving the new urbanurban reality on the spot of a collision shall represent, in fact, a slow process of stabilization and rendering the direction for some dehumanized spaces in city.

The stake is to become aware of collisions that take place in cities. But also the promotion of the common means that can be used in their recon-cilement.

The stake is to convert boundary into border. Putting together some different urban practices, getting a social, urban, architectural picture that is per-manently changing its physiognomy. Various groups of people at different hours, gathered by joint or divergent interests, buildings of different ages and different conditions, permanent or temporary, common or extraordinary events. The border becomes more than a physical overlapping, it becomes a temporal overlapping.

TheThe stake is to combine different scales, partners and functions. Offering the social, public programs and attracting the investors by small and medium-sized firms.

The stake is a struggle. Between tissue and object where the victory lies in conquering of no party.

The stake is a minimum of architecture. That causes a maximum of activity.

TheThe stake is not to predict but to allow. (Chantal Dräyer : “Le but n’est pas de prédire, mais de permettre”.)

The answer is mediation by fragments. The operation methods with fragments are collage, bricollage and patchwork.

The principles are overlapping, assembling and connecting.

OverlappingOverlapping the programs brings diversity and mixture in a monolithic assem-bly and the overlapping of events shall contribute to activating, using and, finally, its appropriateness.The assembling of some neglected spaces by intuitive, „ad-hoc” methods of „bricoleur” users becomes more than an individual ges-ture of „do it yourself”. It becomes a conscious act of urban practice and social involvement in solving the problems of city. The ephemeral installations of using different spaces become incubators of informal urbanism. Connecting the pro-grams, the activities, the events and the existing fragments „dissolves” the tissue and the object, the good and the evil, it shades away the fracture between the beautiful and the ugly, it converts the white and the black into grey nuances es-tablishing a global equilibrium between them.

The result is a system. An archipelago of places, more or less specialized, that re-defines a qualitative ratio between the public space and the private one behind the curtain of socialist blocks-of-flats.

Its construction is a process. By the multiple relations established, the net-work would become texture and, then, the texture would become a new type of weaving, in conditions in which it would be appropriated by the agents that interact with the system.

KINDERGARDEN AND COMMUNITYCENTERurban activationgraduation projectuauim 2012

advisor Ph.D. arch. Ștefan Ghenciulescu

42

43

“Beyond the square, piazza and avenue, cities need hidden spaces, and brutally exposed spaces, rough spaces, and smooth spaces, loud spaces and silent spaces, exciting spaces and calm spaces. Cities need spaces in which people re-member, think, experience, contest, struggle, appropriate, get scared, fall in struggle, appropriate, get scared, fall in love, make tings, lose things and gener-

ally become themselves.”

Iain Borden

47

south elevation

A A

B B

C

C

48

C-C section

east elevation

first floor plan

49

A-A section

B-B section

second floor plan third floor plan

The main elements that shape the public space around the statue of Romaninan’s composer Ciprian Porumbescu are: the “concrete stage”, the statue, the ambivalent lightning element whose shadow becomes a musical note, the green fence that backgrounds the whole picture and the existing tree.ThusThus the statue becomes a character present in the city, and the new platform a stage open to his audience. The scenario is completed in rather a symbolical manner through the other elements. The lightning “musical note” stands for the entire life of the artist, whose shadow re-volves around the stage all day long, and, by night, becomes a symbol for his first composition, “Wanning Crescent”.

CIPRIAN PORUMBESCUBRASOV

competition second prizepublic space design with syaa 2011

54

60

WORKSHOPTAKING PARTVICENZA

generational changescenarios agengy|fram_menti iuav 2011

We constantly mark the spaces we live in, besides using them; appro-priation starts from our homes, our most intimate spaces. We put next to our homes objects that we build, to whom we relate.

A home does not imply only a building, but also the ground on which it is erected. We are constantly acting outside our homes, defining public space through our actions. The stairs of a building can become a stage for skateboarders, a refuge for children or a shadowed outside reading room for the aged.

BuildingBuilding scenarios on site is a starting point for building bridges, relations, for showing various people whom we encountered in laghetto that they could feel at ease in their neighbourhood just as they do in their homes. Some chairs, pencils, candy or a glass of water can sometimes change our percption of spaces, turning them into places.

WhatWhat could happen starting from Giorgia’s drawing? What would heppen if she shared this idea with her friends on the way to school? What if, ten years from now, coming back home, instead of the dark ga-rages, she found a ballroom or an open air cinema?

And what if, in a few more years, Giorgia’s wall became the neighbours’ wass? A stage that they build together in time, constantly changing its identity. What if the children’s junkyard playground became a space of events? And may be, one day. the abandoned space that we found will be taken over by the dancing community and would host dinners and films and group photographs?

“I could see the panorama of Bucharest to its farthest limit; all was frozen under the clouds: the group of old houses with pantiled roofs, fanlights, skylights and massive oak doors, and further away some huge, greyish many-windowed buildings and then the downtown block on which the advertisement for Gallus paint like a blue globe stood at the Victoria store, and to the left the Firemen Tower, the arched-lined blocks along Ştefan cel Mare Road and very far, far-away, there was the thermal power-plant with its gigantic chimneys from whichwhich oakum-like ropes of steam wound off. Everything was being filtered through the restless leafage of poplars and hornbeams whose light green or emerald green or dark green peaks rose on and off through buildings.” writer Mircea Cărtărescu “Nostalgia”

The starting point of this dissertation lies in an ordinary urban frame that one comes across in Bucharest. The main scenes of these pictures are collisions between two major urban orders that shape up the city: the traditional order and the totalitarian one. In most cases these conflicts take the physical shape of a void in the city that authorities usually disre-gard and are eager to transform rapidly in a new built ensemble. Thus the gap is easily filled and the picture changes its physiognomy, still, it re-mainsmains motionless and rigid; the boundary is still there, but in a different way.

More than raising awareness of the collisions that take place in the city, the stake of this study is to find possible mediation methods among such collisions that would transform boundaries into borders. The latter would become places to be crossed and experienced, that would con-sequently allow a flexible and dynamic liaison between the different urban orders.

From particular to generic it is obvious that such collisions exist and have existed in almost every city that has undergone very different or brutal changes on a social, urban and architectural level. Starting from the re-flection of authors such as Colin Rowe and Fred Koetter, accompanied by other contemporary critiques, the three methods here proposed for debate are collage, bricolage and patchwork, all of which operate with fragments. Either through superimposition, assemblage or connection of variousvarious fragments, all of them are ways of interweaving a nuanced grey reality in a black-and-white context. This type of “fragmentary work” be-comes a flexible approach of dealing with contradicting urban orders based on a permanent shift from master plan to user plan. The result is a process of both inserting new identities and re-qualifying what is al-ready there.

However, the topic remains open-ended, to be tested in the diploma project. In the end, all the methods here mentioned do not claim the ca-pability of clearly predicting new urban pictures, but rather try to permit their unfolding. As Chantal Dräyer said, “the stake is not to predict but to allow.”

MEDIATIONAMONG COLLISIONS

theoretical research dissertation uauim 2012

advisor Ph.D. arch. Ștefan Ghenciulescu

64

ESSAY PLAN

4. Collage4.1 On collageSituations in which collage develops differ from the artistic to archi-tectural levels. The common idea is “to lure” some fragments from their own contexts and give them new meanings once they over-lap in a different context.

4.2 Collage, from technique to method Though initially collage could be thought as a compositional techThough initially collage could be thought as a compositional tech-nique, in the contemporary framework it becomes a real design method of superimposing programmes and events; thus, from physical or spatial superimposition, it turns into temporal ones. From reconciling strategies to processes that render the daily life a new quality, the collage becomes “an urban picture” through which various fragments and urban or social realities are reinstated into the city. into the city.

4.3 Retroactive Urbanization. Case studyThe retroactive urbanization of Bijlmer neighbourhood proposed by OMA studio justifies the use of collage as a means of urban re-generation. By superimposing programmes one brings diversity and mixture back into a monolith-like ensemble, while the super-imposition of events contributes to its activation, use, and, finally, its appropriation.

1. Fabric and object.

By vacillating between daily and specialized views, the articulation of multiple definitions of the two terms aims at confining and syn-thesizing their key features. The result is a complementary and an-tithetical picture, a figure-background binomial and a debate on multiplication and singularity. 2. „De l’ilôt à la barre” – „De la barre à l’ilôt? The present study is more than a historic research on the disaggreThe present study is more than a historic research on the disaggre-gation process of the traditional island. Between fabric and object, between equilibrium and collision, there has always been a process of negotiation which is here illustrated by spatial and social sce-narios gathered into a sort of “chart” of urban practices in-between two moments in time. What is more, the rhetoric reflec-tion couched in the quoted title is a sort of “footbridge” towards the essay content which tries to answer the question regarding the reversibility of the transformation from fabric into object, without its being mere morphological imitation.

3. Mediation through fragments. My appeal to Colin Rowe and Fred Koetter’s critique on “collision city” is the fundamental argument to support the operation with fragments proposed in this essay as the common stem of the me-diation methods of urban collisions. Fragmentary work is not tan-tamount to fragmented vision; quite the opposite, it announces ac-commodation strategies and co-existence among objects and tex-tures through maximum flexibility.

PART I PART II

66

5. Bricolage5.1 On bricolageThe game of the bricoleur who appeals to “ad-hoc” materials and tools and whose rules consist in “working with whatever at hand” is, in fact, a process through which new utility and meaning are given back to some interstitial situations once disregarded.

5.2 Bricolage, from metaphor to method 5.2 Bricolage, from metaphor to method More than just a “do-it-yourself” gesture, the bricolage becomes an act of urban awareness and social involvement into finding solu-tions for the city problems; it is a “manifesto-like-method” able to mediate collisions within the contemporary city through which the “bicoleurs” participating into the problem-solving can appropriate the disregarded.

5.3 Jacques Tati: scenographic bricolage. Case study5.3 Jacques Tati: scenographic bricolage. Case studyIf we come to accept bricolage as an “ad-hoc”, purely intuitive If we come to accept bricolage as an “ad-hoc”, purely intuitive method to appropriate spaces, then the film “Mon Oncle” di-rected by Jacques Tati could be seen as an allegory of bricolage that marks in an atypical way the simple means to dismantle, as-semble or appropriate certain spaces. What is at stake here is both the awareness of collisions that take place in cities and the promotion of simple means to reconcile them.

6. Patchwork6.1 On patchworkHaving been easily assimilated in various situations, from micro-insertions to macro-metropolitan visions, the “fragmentary work” is used primarily on the urban level and thus becomes a network that interweaves various city realities.

6.2 Patchwork, from weaving to method By weaving programmes, activities and events together with the existent fragments, the method of fragmentary work “dissolves” both the fabric and object, good and evil, and blurs the fracture be-tween loveliness and ugliness, turns white and black into shades of grey, and finally reaches a global balance.

6.3 Space block: the Hanoi Model. Case studyThe “space block Hanoi model” is a study undertaken by Kazuhiro Kojima, being a typical example of “fragmentary work” that starts from fragments, sets them to work and inserts new ones resulting in a minimum of architecture that triggers a maximum of activity.

7. Bucharest: collision behind the boulevard. Case study

Behind the block fronts along the capital’s major thoroughfares, one can see the effects of the communist efforts to replace the traditional order with the totalitarian one. This fact is obvious in terms of spatial, social, and architectural quality of both “the public space” that resulted from such collisions and the private one.

8. Mediation by connection and activation. 8. Mediation by connection and activation. Owing to its position, evocative value and sizable physical dimenOwing to its position, evocative value and sizable physical dimen-sion, the site of the diploma project becomes a catalyst capable of mediating the two urban orders. By applying the method of frag-mentary work to this context one can reach an archipelago of more or less specialized places that re-define a quality relationship between the public and private spaces hidden behind the curtain of the socialist blocks of flats.

9. Shades of grey between black and white. The shades of grey that make black-and-while contexts fade away through the three methods already referred to, could be inter-preted as a metaphor of interdisciplinary approaches, historic ex-perience, theoretical discourses and practical applications to the detriment of building for the sake of solving rapidly a problem of the city.

Illustration source

sketch by Léon Krier – Drawings of planning principles and public sphere; in “The blind spot”; Architectural Positions. Architecture, Modernity and Public Sphere, SUN Publishers, Amsterdam, 2009.

sketch by Saul Steinberg – “Paper Building”,http://archiveofaffinities.tumblr.com/post/11791953629/saul-steinberg-graph-paper-building-1950

sketch by Léon Krier – Drawings of planning principles and public sketch by Léon Krier – Drawings of planning principles and public sphere; in “The blind spot”; Architectural Positions. Architecture, Modernity and Public Sphere, SUN Publishers, Amsterdam, 2009.

sketch for Jacques Tati’s Mon Oncle film , in Jacques Tati Agenda, Plaizier Publishing, Brussels, 2011.

sketch by Saul Steinberg – “The family of man”,http://therepublicofless.wordpress.com/category/drawing/page/3/

PART II PART III

67

BuBucharest Stories is a metaphor which stands for the experiences each of us has within the city and therefore the meanings we re-code in differ-ent spaces due to these encounters. We have structured our approach in three categories of ideas that we tried to develop throughout our ex-ploration: remembering | stories | memory of space, traces | identity | appropriation of space and activities | moving body | experience of space.

BUCHARESTSTORIES

urban|social researchpublic space 2009text ioana tiliceasketches alina panait

w h y ?

TheThe way in which we chose to “ap-proach the city” was not easy, but may be the hardest decision has been that of answering the question “Why are we doing this?”. The answer did not come to us easily, but after many attempts to understand whatwhat exactly are we looking for and what is the purpose of our searches. And this is the catch, there is nothing exactly.

The city is not exactly as planned, is not exactly the same for everyone, it is not exactly beautiful, nor ugly, it could be just as we make it. We real-ized that every one of us was living in his own city, with his own image of it, each of us with his own desires, hopehopes, frustrations or fears. How-ever the city is just one and beside us another 2 million people, each with his own micro-architecture. There-fore we chose to prove how every one of us “is building” the city, how every memory, experience, or walk can reduce spatial indifference and create instead places.

68