ALI BADREDDINE

THIS IS NOT YELLOW.

A L I BA D R E D D I N E A RC HI T ECT U RE P O RT F O LI O 2 0 1 4 -2 0 1 7

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ALI AHMAD BADREDDINE ADDRESS

PO BOX 688 Sharjah, UAE

EMAIL

ali.a.badreddine@hotmail.com b00042666@aus.edu

MOBILE

00971503821993 00971553692964

INSTAGRAM

ali_a_badreddine

LINKEDIN

Ali A. Badreddine

PERSONAL DATE OF BIRTH 22/02/1993 LANGUAGES

NATIONALITY

LEBANESE

ENGLISH/ARABIC

EDUCATION BACHELOR OF ARCHITECTURE

AMERICAN UNIVERSITY OF SHARJAH / 2012 - 2017

MINOR IN MIDDLE EASTERN STUDIES AMERICAN UNIVERSITY OF SHARJAH / 2014 - 2017

ACTIVITIES + PARTICIPATIONS

EXHIBITION: SIX DEGREES EXHIBIT AT DUBAI DESIGN DISTRICT (D3)

PARTICIPATION WITH THE COLLEGE OF ARCHITECTURE, ART & DESIGN GRADUATING CLASS OF 2017 / 23 MAY 2017 - 27 MAY 2017

EXHIBITION: DESIGN HOUSE 2017: CHANGE, COORDINATES + SOMEONE ELSE CURATED BY MOBIUS DESIGN STUDIO / 08 MARCH 2017 - 27 MAY 2017

LONDON NURSERY SCHOOL COMPETITION: NEW EDUCATIONAL CENTER IN GREENWICH ORGANIZED BY AWR COMPETITIONS - ROME / FALL 2015

NATIONAL GEOGRAPHIC MOMENTS COMPETITION PHOTOGRAPHY COMPETITION / THEME: CELEBRATIONS

CENTER FOR THE STUDY OF THE BUILT ENVIRONMENT [CSBE]: CONTEMPORARY ARAB CITY ONLINE COURSE ORGANIZED BY EDRAAK / FALL 2014

WORK EXPERIENCE

ARCHITECTURAL INTERN: AEDAS [DUBAI, UAE] SUMMER INTERNSHIP / JUNE 2015 - JULY 2015

ACADEMIC ACHIEVEMENTS

DEAN’S HONOR LIST: FALL 2014, SPRING 2016, SPRING 2017

SOFTWARE SKILLS

AUTODESK AUTOCAD

RHINOCEROS 3D + V-RAY FOR RHINO

AUTODESK MAYA*

GRASSHOPPER FOR RHINO*

ADOBE PHOTOSHOP

MAXWELL RENDER*

ADOBE ILLUSTRATOR

PIXOLOGIC ZBRUSH 4R7*

ADOBE INDESIGN

PIXOLOGIC SCULPTRIS

ADOBE LIGHTROOM CC*

SKETCHUP*

KEYSHOT 5 * IN PROGRESS

THEORETICAL WORK

MINKA: DWELLINGS OF THE MASSES FALL 2014 / PROFESSOR JOHN MONTAGUE

FROM CÓRDOBA TO GRANADA, ARCHITECTURE OF AL-ANDALUS: EPHEMERAL WITH A LASTING LEGACY FALL 2014 / PROFESSOR JOHN MONTAGUE

ART HISTORY RESEARCH, MICHELANGELO BUONARROTI: TOMB OF GIULIANO DE’ MEDICI (DAY) FALL 2016 / PROFESSOR JOHANNES MARTIN GIESEN

THE MALL, THE MARKET AND THE STREET: A STUDY OF BUILDINGS AND URBAN SPACES IN RELATION TO ADRIAN FORTY’S WORK ON FUNCTION AND ENVIRONMENTAL DETERMINISM FALL 2015 / PROFESSOR JOHN MONTAGUE

JOURNEY UPON THE WAY TO DIVINE PROXIMITY: SPIRITUAL STATES (AHWAL) & SPIRITUAL STATIONS (MAQAMAT) IN THE SUFI TRADITION AND THEIR ROLE UPON THE SUFI PATH (AL-TARIQ) SPRING 2016 / PROFESSOR MEIS EL-KAISI

FONT FAMILY: DUBAI FONT

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CONTENTS REPLACEMENT, ATONEMENT AND A LAND WHICH HAS FORGIVEN

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INSTITUTE OF ARCHITECTURE + OTHER THINGS

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ELEVATED CITY

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STUDIO ARTS CENTER

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PLAYSURE ISLAND: LONDON NURSERY SCHOOL

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MUWEILAH COMMUNITY CENTER

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MISCELLANEOUS

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SPRING 2017 INSTRUCTOR(S): Professor Michael Hughes + Architect Fernando Menis

REPLACEMENT, ATONEMENT AND A LAND WHICH HAS FORGIVEN

We were both intrigued and frustrated by archaeological centers/ museums as typologies which are static in their representation of the region’s material culture that does not go beyond their exhibitive ambitions. The fact that material culture is confined to exhibition is the reason why a continuous relationship of an arts/crafts tradition between the past and present ceases to exist.

Essentially, an understanding of archaeology within the context of contemporary art development should be derived from an understanding of the processes of material production and not from physical remnants or artifacts of the past. This we believe would create a cultural link that would allow people to view themselves not as distinct entities occupying a specific time frame of human history but as important elements of a great linear projection towards the future of a rich cultural accumulation of traces that define the essence of human existence.

What we propose is a contemporary arts/crafts center grounded in material processes and experimentation and the liberty of intuitive speculation.

It is a place in which people, basically artists/producers, are exposed to the processes of material production, learning those techniques as a foundation which gives them the ability of interpreting their acquired knowledge into a rich and current artistic production/material culture embedded in the material practices of this particular place. Thus we see the artifacts of the past as well as the tools and resources that were used in their production existing in this place not as display or ignored and missed opportunities but as active participants in the role of inspiring the artists through this constant exposure to this rich history of material production aided by an abundance of resources that diversifies the potential outcomes of their experiments.

PROJECT PARTNER: Abdurrahman Baru

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OPPOSITE PAGE: ‘Mleiha’s Sarcophagus’

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’RE PALM

TREE

S

D OF

JUST

ASSU

ME THEY

HEA ING A

ETH SOM IS...

I SEWEONDER WHAT IT

ME

I

S OV

A SE P

HO RE T

A

REE LM T

RE?

HE ER T

LOOK! THERE ARE GOATS OVER THERE!

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SPRING 2015 INSTRUCTOR: Professor Amin al-Saden

INSTITUTE OF ARCHITECTURE + OTHER THINGS

This project engages the idea of porosity as expressed through a series of different forms of openings in walls - the structural system employed in this project. The walls express monumentality and emanate a sense of monolithicism which contrasts with the interior spaces required by the brief, defined by orthogonal volumes that strike through the walls in an expression of porosity of spaces.

The volumes have a quality of lightness in contrast with the density and mass quality of the walls. The introduction of a series of different forms of pores into the walls strengthen the concept of porosity and enhances the experience and appreciation of the quality of the walls while not jeopardizing the structural integrity of the walls and the contrast between the walls and the spaces created. Porosity throughout the walls is defined in terms of porosities of light, vegetation, access, seating spaces as well as views.

The ground level is left open and the programs have been raised at a higher level in order to allow for a freedom of flow along and through the walls.

Such decision provides a space for the visitors to interact with the project even when the institute itself is not open to the public. This defines the project as one that is welcoming and interactive and would provide possibilities of it being used as a place of entertainment that might compete with other recreation centers in the surrounding context. The quality of spatial experience through this project provides an insight as to how this project works to redefine public spaces in an arid and hot climate such as Dubai.

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Ground floor

OPPOSITE PAGE Section [Scale 1:100]

First floor

Second floor

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ACCESS / SEATING SPACES

STRUCTURE: WALLS & FREEING GROUND

LIGHT

VEGETATION

OPTIMIZING STRUCTURE & FRAGMENTING PROGRAMS

PROGRAMS

WALLS

INTRODUCING PORES

PROPOSAL

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ARCHITECTURAL DETAILING

Developing an understanding of the details involved in the process of construction.

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FALL 2016 INSTRUCTOR: Professor Greg Watson

ELEVATED CITY

A critique against our failure to build cities with regard to imminent environmental disasters that are threatening coastal cities as a result of the adverse effects of industrialization in the past 250 years on the climate and the subsequent rising of sea levels. Industrialization won’t go away, but we must now react to its consequences and adapt for our own survival and so that the memories from the past won’t be forgotten. It is time to rethink our ways of building cities.

Abu Dhabi – main island, uniform grid, rapid expansion, and infrastructure precedes and awaits the coming of the city. Around Abu Dhabi – several islands, their edge condition gradually reshaped, manipulated – land reclamation has occurred.

A grave mistake has been done by developers and decision makers in building off shore instead of building inland. Climate change need to be taken seriously. Rarely have people throughout the course of history cared for the consequences of their decisions on future generations. Everything seems to be concentrated on working for the moment, and at best, a vision that is usually planned for the next three decades and never beyond that. Erased a portion of the city (why?)

I erased a portion of the city to mark the beginning of the process of reorganizing and redistributing the city in preparation of upcoming decades of gradual increase in sea level that would threaten the islands of Abu Dhabi.

The city, in fact the country’s survival depends on such a precautionary measure.

If the sea level goes up, then we must go up as well. Thus the creation of the Elevated City!

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OPPOSITE PAGE: Abu Dhabi, UAE

View of the city and the vastness beyond

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Approach to the city

Garden of Memories

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0 (m)

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SPRING 2016 INSTRUCTOR: Professor George Newlands

STUDIO ARTS CENTER

This project revolved around the idea of integrating a building that compliments the strong order and plan of the campus but at the same time paves the way for a potential urban expansion that relates the campus to the broader layout of the city of Sharjah.

The organizational approach of this project was to first raise the site to the level of the campus’ plinth thus conforming to the idea of it being an extension of the campus itself. Then the programs of the project were laid on the site and then pushed to one side for the opportunity of creating a landscape and outdoor gathering space on the raised platform. A column system was then introduced to contrast in its verticality and lightness the mass and horizontality of the spaces above.

The introduction of a screen made from tension cables on the eastern and southern facades aid in reducing direct sunlight into the center. In contrast with that, the western and northern facades are clad in stone bricks to express heaviness and a constant gesture of contrast throughout the project in terms of contrast in materiality and formal expression.

PROJECT PARTNER: Farah Zakzak

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30cm 155cm

125cm

C

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A403

40cm

BLANCORONDO GRANITE COMPOSITE SINK

20.40m

ROOF MEMBRANE TO START UNDER COPING

131cm

A403

PROGRESS LIGHTING STATUS POLISHED CHROME STANDARD BATHROOM VANITY LIGHT

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MARBLE COUNTER TOP

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POLYMAX UK STUDDED RUBBER FLOORING

BARRINGTON COMFORT HEIGHT TWO-PIECE ELONGATED

131cm

21.50m

3

392cm

METAL COPING

585cm

65cm

THURSTON PORCELAIN TILE 15CMX 15CM

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CONCRETE FLOORING PANELS 300mmx300mm

GPF TOILET WITH

PRESSURE LITE FLUSHING TECHNOLOGY AND LEFT

1.0

-HAND TRIP

65cm

LEVER

RIGID INSULATION

30cm

FLASHING BLOCKING

SHELF ANGLE STEEL I-BEAM 300mmx600mm

325cm

107cm

62cm

10.20m

96cm

MIRROR

38cm

325cm

METAL DECK HAMBRO STEEL JOIST

103cm

29cm

15.30m

123cm

94cm

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REGAL VANILLA ACCENT MOSAIC TILE 45CMX 4CM

DOOR WITH GRAB HANDLE FOR DISABLED TO OPEN WITH EASE

DROP CEILING PANEL CEDAR WOOD 1500mmx1250mm

FIXED GLASS WINDOW METAL ENCASEMENT

VAPOR RETARDER GYPSUM BOARD BATT INSULATION LIMESTONE PANELS

STEEL STUD WALL VINYL BASE WOOD FLOORING

0.00m

REINFORCED CONCRETE SLAB ON GRADE 100(mm) GRAVEL EARTH RIGID INSULATION CONCRETE FOUNDATION WALL CONCRETE FOOTING DRAIN PIPE

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FALL 2015 INSTRUCTOR: Professor Dr. Rafael E. Pizarro

PLAYSURE ISLAND / LONDON NURSERY SCHOOL

This competition has allowed for the opportunity to rethink about the process of design through the eyes of a demographic that is unusual for it to be a regular client for designers and architects. To have a competition to design a nursery or pre-school for a number of children in London brings into mind a city that is changing constantly.

Its social fabric is gradually becoming enriched with faces from different parts of the world. This in many cases becomes an issue that causes inevitable tension between groups of people from different cultures trying to make odds meet in a large city such as London. What makes the idea of a design for a nursery interesting is that such a typology is usually overlooked by designers and architects. However, if the mind of the architect involves an understanding that is much broader in terms of social development and the nurturing of an environment that promotes an understanding of the principles of humanity, then the nursery becomes a typology of great importance.

The concept behind Playsure Island is, although based on the idea of a collage of playgrounds to give the feeling that a child is in a large play area, deeply rooted in the imagination of a child when hearing stories of sailors and pirates roaming around the seas in search of more than just wealth and glory, but actually freedom. Freedom is a right that should not be robbed from any child and so the idea that a child can let loose of their imagination in a nursery that allows for that to occur is a step forward into relating ideas to reality. Roaming the seas involves a sense of non-attachment to any culture identity and more of a sense of unity between cultures and identity and that is the driving force behind this project.

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ROOF

C ORRUGATED STEEL ROOF SHEETING

15mm T&G EC Oply

24cm

45mm TIMBER BATTENS WITH FIXING SC REWS

75mm ANTIC ON ROOFING BLANKET FIBRETEX 650 ROC KWOOL OVERSIZED TO C OMPRESS INTO ROOF C ORRUGATIONS

58cm

FLEXIBLE FIRE GRADE SEALANT BMT METAL ANGLE 16mm MOISTURE RESISTANT FIRE GRADE PLASTERBOARD

72cm

TIMBER FASC IA ROOF STRUC TURE

GLASS PANE

600cm

BATT INSULATION STEEL STUD WALL

VINYL BASE

C ERAMIC TILES

MORTAR BED C LEAVAGE MEMBRANE

140cm

STEEL STRUC TURAL C OLUMNBOLTED WITH METAL PLATE TO C ONC RETE C OLUMN FOOTING

REINFORC ED C ONC RETE C OLUMN FOUNDATION

30cm

170cm

135cm

30cm

70cm

770cm

C OLUMNS & FLOOR BEAM STRUC TURE

150cm

80cm

PLASTER WALL BOARD

C ONC RETE FOOTING

C ONNEC TION TO THE GROUND

UNIT STRUC TURE EXPLODED AXONOMETRIC

SC ALE 1: 20

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SOUTH ELEVATION

EAST ELEVATION

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WEST ELEVATION

NORTH ELEVATION

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LONG SECTION A-A’

LONG SECTION B-B’

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FALL 2014 INSTRUCTOR: Professor Cristiano Luchetti

MUWEILAH COMMUNITY CENTER

An invitation to design a new community center serving the underdeveloped residential/commercial area near the university city opposite the recently de- commissioned Muweilah military camp in suburban Sharjah.

The concept is derived from the desire to design a community center that would reflect the ideal of the architect being a social engineer. The community center came as a need for the residents and visitors of this area for a place that would behave as the social nucleus around which they would gather. This would give the community center an im­portant value as a catalyst for social gathering.

The volumes of spaces are divided into four zones. The larger functions are pushed back to free up space for a larger area for social gathering.

The public space gradually rises up to merge with the facade. The analogy of the merging is shown by raising the land and creating canopies above the public space to provide shade. The panels are of different sizes. Some are for ventilation, some are for framing views.

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The volume of spaces is divided into four zones. The larger functions are pushed back depending on their required area thus creating a gradual recession. The smaller functions are pushed forwards to create a contrast between it and the larger functions.

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The public space gradually rises and is merged with a facade that moves upwards covering the larger functions. To provide shading for the public space, the analogy of the merging is shown by raising the land and creating canopies above the public space. The facade is transformed into rows of panels.

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The facade’s panels are of different widths. Some are filled with horizontal rows of terracotta beams while some are left open to allow ventilation and the framing of views not to mention. The idea that the facade is not just a light screen. The same treatment is done to the canopies.

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17.50 m

14.10 m

3.85 m

0.45 m

Section A-A’

17.50 m

14.10 m

8.60 m

3.85 m

0.95 m 0.45 m

Section B-B’

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The following is a compilation of work produced at different periods of time during my academic career and as part of a diverse range of courses.

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MISCELLANEOUS

MECHANICAL COMPOSITIONS: The works above revolve around the idea of organizing architectural and mechanical elements into a unified single compositional entity.

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INSTRUCTOR: Professor George Katodrytis

LEFT: Modeling entities that demarcate the line between the mechanical and the natural.

RIGHT: Using methods of modeling to generate an architectural and urbandriven composition.

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INFORMAL PUBLIC SPACES

A CRICKET MATCH IN THE CITY:

THE INTERCHANGE AS A SOCIAL AND URBAN PHENOMENON

The city of Sharjah has a diverse population that is distributed around the city based on factors that include country of origin, financial status, professional level and so on. Each of these demographics makes use of their daily lives in a different manner and so is the use and the way they spend their past time. In the context of this urban analysis on informal public spaces, the focus narrows down to the demographic of laborers, predominantly middle-aged single men from the south Asian continent, who spend their past time in recreational and sports activities that see them occupy empty slots and spaces to make use of as a reinterpretation of the original fields used in those sports. Among those sports is cricket, which is very popular to the extent that Sharjah has its own cricket stadium which occasionally hosts international competitions that bring in teams and excited crowds in a moment of celebration.

Unfortunately, the lack of designed public spaces to host such activities on the level of the neighborhood is what has driven people to make use of spaces such as the interchange, which at times end up being irrigated thus depriving people from yet another space that breaks the total control on the aspect of public life that is promoted by the rules and regulations of the municipality of the city/emirate.

My research poster was then selected to be exhibited as part of the exhibition titled ‘DESIGN HOUSE 2017: CHANGE, COORDINATES + SOMEONE ELSE’ Curated by Mobius Design Studio / 08 MARCH 2017 - 27 MAY 2017 / Venue: 1971 - Design Space, The Flag Island, Sharjah, United Arab Emirates

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INSTRUCTOR: Professor Cristiano Luchetti

TOP LEFT: Mapping project involving the spying on a colleague on his trip to Singapore. The map was accompanied by a short film that showcased the dual actions of the spy and the one who was spied on.

BOTTOM LEFT: Mapping project involved the documentation of the area of Jazirat al-Hamra in Ras al-Khaimah the recreation of this map through memory and the overlay and choice of what information to represent. The final map was produced through the process of printmaking and copper plate engraving.

ABOVE: Images from Jazirat al-Hamra, Ras al-Khaimah, UAE

INSTRUCTOR: Professor John P. Montague 70

Thank You.

ALI BADREDDINE ADDRESS

PO BOX 688 SHARJAH, UAE

EMAIL

ali.a.badreddine@hotmail.com / b00042666@aus.edu

MOBILE

00971503821993 / 00971553692964

INSTAGRAM

ali_a_badreddine