Hafsa Syed - BA Architecture Design Portfolio (Year 1)

Design Portfolio Hafsa Saad Syed

Project 1: Ramillies Street Shelter Brief: Design a furniture / sheltering space for the daily users of Ramillies Street using only sheet materials Site Location: Ramillies Street, London, UK

Ramillies Street A narrow lane hidden away beyond a small gap in the tall towering buildings of Oxford Street.

Round the turn I see a space full of people.

But who are these people occupying this inconspicuous area?

As I sit and observe, it is revealed that these are mainly locals of the area.

Locals who have discovered this connection.

When not rushing through the pathway to use it as a shortcut, They sit and enjoy their lunch in the uniquely shaped benches placed at a perfect position just for them.

Amongst the mist of my observation sitting on the benches, I am continuously blinded by intensity bright rays of sunlight, what a unique occurrence in London.

Minutes later my visit is cut short by the pouring of rain on my sketchbook, a not-so unique occurrence.

I take shelter in “The Photographers Gallery�

What an important space.

Sadly hidden away along with the street it belongs to.

Ramillies Street building site

Light Intensity/ Shadow Observation

An interesting and unique observation I made about Ramillies Street was the presence of high sunlight intensity zones at multiple times of the day, despite the site being in between high towering buildings.

Thus I studied and recored the nature of these lit areas and how they change in size and position throughout the day. The challenge was designing a shelter responsive to light rays whose incident angle shifts throughout the day.

Development

My initial concept involved creating a cantilevering structure over a seating area to act as a shelter.

I then decided to extend the sheltering structure across the street to provide shelter to the pedestrians flowing along the space.

I then experimented with the shape of my model to maximize the shelter being provided to pedestrians along the street.

I also continued this structure over the preexisting benches posited at opposite ends of the street instead of having seating integrated into the design.

I further rationalized my model, figuring out how the structure can be simplified to connect it to the ground.

I also experimented with different materials that can be placed on the panels of the structure.

Final Model

Collage and Material Analysis

The use of sheet materials minimizes the area in contact with the ground, allowing minimal obstruction of the pedestrians’ path, not disrupting the flow of people in Ramillies street.

Semi Translucent Acrylic Plastic: -Affordable, thus used for largest quantity of proposal

Mirror: -Provides a spacious feel when user in within the enclosed tunnel -Promotes user to interact with the instillation.

Refractive Prism Sheets: -Refract light to produce patterns on the floor -Attract photographers to “The Photographers Gallery”

Solar Cell Panel: -Stores light energy incident on the panel during the day, emitting it at night to illuminate the low lit walkway

Glass sheets: -Allow direct sunlight to reach seating area

The angled positioning of the light dependent panels allows them to carry out their effect , despite light rays falling at different angles throughout the day.

Project 2: Folkestone, Food Shack Brief: Propose a food type and design a temporary food shack for the chosen cuisine.

Site Location: Folkestone, Kent, UK

“The Stade� Harbor, Right at the edge of a little art town called Folkestone, Walking along the streets of this town, I notice one colorful building after the other, Scattered through the town like flower petals, As if guiding me through the town.

I see one art instillation and within minutes I see another, The laughter of children adding life to the atmosphere.

Once I reach the end, the harbor, I am met with the view of the dock.

However, Where is the color?

And where are the children?

Where has the essence of this colorful jolly town gone?

Building Site

Food Shack Product

Children Facilities Proximity

3 MIN (0.2 mile)

4 MIN (0.3 mile) 3 MIN (0.2 mile)

1. The Drying Ground Playground

3 MIN (0.2 mile)

2. St Peters C Of E Primary School

5 MIN (0.3 mile)

3. Smart Pants Nursery

9 MIN (0.5 mile)

Roads Water Children Facility Site

4. The Creative Quarter (Activies Centre)

5. The Quarter House (Activities Centre)

6. Children’s Party Place Shop

After researching and insuring that my main target audience are at a reasonable proximity to the site, The cuisine I proposed was edible flower salads.

The edible flowers were incorporated to attract children. Also, in order to minimize cost, the fruits and vegetables were grown on site.

I decided to design a shack where children can interact with the surfaces of the building.

Object Exploration and Precedent Study

Found Objects

Precedent in Folkestone

“The Clearing�

Folkestone Triennial Visitor Centre, Miles Bay Branching structures designed to create the feeling of Gothic tree like forms The human response is to gather in the clearing between the surrounding forms.

The connections of the structure symbolize how Folkestone was a connection port to France.

Model Development

Inspired by the networking nature of my found objects, I designed a food shack where the user would enter to be surrounded by the branching structures.

However, the shape of the shack and the colour incorporated in the seating area would guide the user through the space, from the garden to the seating location, a simple passageway.

In this development model, I simplified the branching structures framing the passageway of the shack.

I explored how different zones/ panels can be created throughout the structure by using rods that are connecting at a point and are positioned at different angles.

In this development model, I further rationalized the branching structure and posited different materials on different panels, each panel housing a different plant type.

I also explored sharper angles throughout the structure and altered the heights of the panels to carry out different functions.

In this final development model, the branching structure has been fully simplified, with each panel having a use and purpose.

The angles and positioning of the panels have been adjusted according to the sunlight and rain each one will receive.

Most supporting beams have been angled outward to maximize space within the shack.

Plant Position Analysis

Light Intensity Received by Panel

Plant Light Intensty Requirement

Plant Rain Water Requirement

Plant Grown on Respective Panel

Kale Kale has been positioned at the south side of the shack due to its high requirement for both rain and light intensity.

It is given a long thin panel since its plant grows as vines.

High Light Intensity Medium Light Intensity Low Light Intensity

Lettuce Lettuce is located at the south side of the shack since it needs hight light intensity to thrive.

It has also been given the largest panel as the size of its plant is largest.

Basil Basil is located at the south side of the shack since it needs hight light intensity to thrive.

Chili

Tomato

Chili has been positioned on the roof panel, so it is exposed to maximum light intensity as well as rainfall.

Since chili is the only vegetable unsuitable for children, it is located high up where only adults may reach.

Tomato have been positioned on the north side of the shack, where they do not receive direct sunlight, and only get sunlight 5 hours a day, when it passes through the glass panel posited on the roof to the west of the plant.

Flowers Flowers are positioned on the inside of the shack, in the shade, sheltered from both the sun and the wind since they require minimal exposure to both these elements.

Final Model

Interior Collage

Key Image

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1 Customer takes a bowl and a pair of scissors hanging on the net (children scissors on the bottom and sharper adult scissors at a higher location) 2 Customer cuts their own vegetables 3 Customer cuts edible flower into the salad 4 Customer sits and enjoys the view of Folkestone harbor from the glass panels 5 Customer puts uneaten food into the compost bin 6 Customer washes their own bowl and hangs it back up in original position for next customer to use

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Technical Drawings

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Material Analysis

Material

Availability On site

Function

Fish Net: Used as a base for the plants to grow on top of

Metal Grid: Metal grid is sturdy enough to be used to hang the shacks’ utensils.

The gaps in the mesh allow the wet bowls to dry quicker for the next person to use.

Timber Rods: The exposed timber framework inspired by “The Clearing�, an art triennial exhibition in Folkestone, gives the appearance of a branching tree like structure

Glass Panels: Glass panels positioned around the seating area allow users to enjoy the view of the harbor

Coloured Panels: Coloured panels attract children, the target audience, to the shack The colour yellow and blue are chosen inspired by the pastel buildings in Folkestone and represent the sunlight and water symbolizing the process of planting.

Project 3: Dalston,

Artist Studio

Brief: Design a work, live, exhibition unit for an artist of your choice, living with an apprentice Site Location: Ridley Road, Dalston, Hackney, UK

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5PM

8PM

Ridley Road Market, Walking along this road, overwhelmed with markets, stalls, noises and smells of all kinds, A sea of haphazard people moving in all directions along the same wide, long space.

A stall owner throws away his scrap materials His neighbor picks them up to construct his own market, Reflecting a sense of unspoken coexistence between the market and the people who occupy it.

As the clock turns and the color of the sky changes, So does the atmosphere of the market, Shoppers go home and owner pack up their things, creating a different type of hustle As hours pass the market is closed off and empty, showing no signs of life.

The small road at the center of Hackney, London, a transformation space, following a cyclic pattern from day to night.

Building Site

Ridley the Life Ridley Road Road day in Day in the

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Ridley Road Atmosphere Transition

I observed upon entering Ridley road from the west side, that the atmosphere of the road consists of crowds of people, trash on the floor and endless colorful elements west stalls. such as fruits and market However, walking down the street, approaching building site, the atmosphere shifts, consisting mostly of the market’s equipment and storage facilities, reflecting a more industrial atmosphere.

It was a gradual but noticeable transition. Both these seemingly opposite atmospheres coexist along the same road.

Overground Station Site Domestic Market Atmosphere Industrial Atmosphere

Craftsman Environment

Client: Gnasher, Spray Paint Artist “I’m covered in spray paint, acrylic and emulsion and I wouldn’t have it any other way”-Gnasher “Why organize anything when it’s all gonna get messed back up anyways. Storage is a waste of money if you ask me”-Gnasher

An interesting element evident throughout my artist’s existing work spaces was the usage of countless industrial equipments such as ladders, and trolleys made of reflective yet monotone metal. These metallic scaffolding like equipments accumulate paints splatters of different sizes and colors over time, giving his equipment a textured look and adding an element of personality and exclusivity to these otherwise commonly found equipment.

Ridley Road Scrap Materials

Ridley Road: Scrap Materials

Ridley Road: Scrap Materials

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1 Wooden Panel to for grafiit base

1 Wooden Panel to for grafiit base

4 Scrap fabric for grafittiW base

3 Frame ot slot canvas into

2 Wooden Canvas to use as canvas

3 Frame ot slot canvas into

2 Wooden Canvas to use as canvas

5 Scrap plaster board and wooden pallets 4 Scrap fabric for grafittiW base

Since my artist and his apprentice will be scavenging through the market to locate collect textures to glue on to wooden canvas bases, I recorded some of the scrap materials and potential equipment that my artist would use, all found through out Ridley Road, usually as free scrap material available for the public to use. Using local materials will allow my artist to experiment with different materials and wall types whilst maintaining the idea of using local surfaces of the environment to paint on rather than a simple canvas.

6 Pattered Fabirc for grafitti base

6 Pattered Fabirc for grafitti base

7 Wooden Canvas for graffiti base

8 Wooden Crates for storgae

7 Wooden Canvas for graffiti base

9 Trolly to transport materials

8 Wooden Crates for storgae

9 Trolly to transport materials 1. Scrap Fabric may be used as a base for graffiti art

1. Scrap Fabric may be used as a base for graffiti art

5 Scrap plaster board and wooden pallets I proposed that the artist’s apprentice can scavenger through the market to collect textures and glue Since artist and his apprentice willartist can themmy onto wooden canvases, that the bethen scavenging paint on.through the market to

locate collect textures to glue on to Thus, I recorded someI of the scrapsome materials and wooden canvas bases, recorded potential equipment that my artist would use, all of the scrap materials and potential found through out Ridley Road, usually as equipment that my artist would use, all free scrap materials available for the public to take. found through out Ridley Road, usually as free scrap material available for the Using local materials will allow my artist to experipublic use.different Using local materials menttowith wall types whilstwill maintaining the allow my artist to experiment with difidea of using local surfaces of the environment to ferent typescanvas, whilstsince my spray paintmaterials on, rather and thanwall a simple maintaining ideatoofpaint using paint artistthe wishes onlocal surfaces that capture the context a place. surfaces of theofenvironment to paint on rather than a simple canvas.

Concept Development

Experimenting and replicating the different paint dripping techniques used by my artist lead me to explore how dripping paint can be integrated into a building’s facade. Most Importantly, how it may be used as a structural element to hold up the first floor of a building.

Ontario College of Art & Design, Alsop Architects,Toronto, 2004

This method allows the roof to be held up without permanently attached to any wall.

The circulation core is the central focus of the new Entrance Hall.

The absence of enclosing walls throughout the ground floor potentially promotes ventilation, provides ease of accessibility for my artist’s large-scale equipment and encourages the flow of the public into the building

Raising the building above the ground created a new outdoor public space and also improved pedestrian circulation in the area.

Also interesting is how the absence of exterior walls under the ground floor allows the top floor of the building to extend its boundaries above its neighboring buildings.

The building is held up by multiple thick rods, and secured to the ground with concrete connections embedded underground to hold up the heavy top floors.

Development

I explored the incorporation of a closed facade floating over seemingly open space.

However this model allowed me to observed the lack of sunlight caused to the ground floor if a vertically high extruded ceiling panel was to be positioned to the south of the building.

In addition, there is a constraint in circulation on the ground floor due to the high density of the supporting beams.

The roof panels of the south side of the buildings are now lower in height and sloping downwards to increase the intensity of light entering the center of the building.

Safety shutters have also been installed on both ends of the building, diminishing the need for closed storage rooms and providing a method of closing up the open building.

I divided the living space for my artist into separated rooms, but all connected together, following the daily routine of my artist whilst maintaining an abstract and geometric floor plan inspired by the artist’s random paint splatters.

The garden floor is extended above the rest to maximize the sunlight reaching the garden

I was inspired by replicating deconstructivist architecture style which lacks symmetry or regulation yet maintains functionality.

I further explored incorporating randomness into the floor plan and increasing irregularity of shapes to the elevation.

Final Model

Model Modelin context in Context

Experimentation: Texture On Metal

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Inspired paint splatters, I decided to replicate this effect onto metal using hammering techniques, adding an element of my artists creativity to the industrial facade. The abstractness of the indents produced was quite unique, each singular dot was different in nature from the other.

I observed how changing a variety of factors but keeping others constant would effect the features of the texture produced, allowing me to conclude which sample would be most suitable as a part of the building’s facade.

One that mimicked paint splatter the most and was most responsive to light.

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Aluminium with mdf base, 1 strik

Experimentation: Concentric Ring Texture

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I then experimented with another hand crafted texture but one that involved more of an industrial process, to produce a texture that reacts with its environment in terms of light reflectiveness. The circular shape also symbolizes the cyclic nature of the market and craftsman lifestyle. Since this texture is the most light reflective, it was positioned on the building’s facade accordingly.

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Experimentation: Geometric Structure

I then explored welded shapes and geometry to get a sense of the properties of these structures. I welded a geometric shape made of squares bent at the edges to give a triangular opening.

The harsh angles of the structure combined with the usage of metal resulted in the formation of intense shadows and light reflection.

This inspired me to not restrict the design of my proposal to triangles but also use irregular shapes to formulate my exterior.

I also added triangles overselling the ground floor of my design, to cause high light zones on the ground floor.

Exterior Atmosphere

Interior Atmosphere

Ground Floor Access

Path of people:

Path of single height trolley:

Path of double height trolley:

The entire ground floor promotes the flow of people throughout the space,with the stairs and connecting poles’ heights and distance adjusted to minimize passageway blockage

The 2300 mm high trolleys can pass throughout the open space, with the only blockages being the space in between the rods connecting to the floor.

The top pair of stairs have been arranged at specific angles, that allow the 4600 mm high trolleys to have a narrow but still passable path to move and turn when moving down the building.

Blockage Component experiencing narrow space

Key sections Scale: 1:20

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3 Steel Frame 4 Thermal Insulation 5 20 mm Aluminum (Textured) Sheet 6 Steel Join 7 Steel 8 White Plaster Board

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Ground Floor: DAY PLAN

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Day Plan

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Artist’s Trolleys Trolley from the Market Trolley from the market used for carrying scrap materials Trolley used by apprentice to glue on textures to canvas Trolley used as area for painter to spray on Geometric shelter used as indoor spray booth in the day time

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Shoppers and trolleys from the market flow into the building and occupy the space, making it like an extension of Ridley Road

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Ground Floor: NIGHT PLAN

Night NightPlan Plan

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Trolleys link together to form a gate Geometric shelter with corrugated shutter used as storage space for extra security

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During night time, similar to the market, the studio is closed off.

Trolleys borrowed from the market are pushed out.

Artist’s Trolleys Trolley from the Market

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First Floor

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First Floor Plan

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Many furniture pieces have been custom made for the client, following the geometric shape of the building.

However, the shape of the trolleys is maintained and embraced and a domestic function has been given to them.

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1 Trolley transformed into a bed frame 2 Trolley transformed into laundry hub 3 Trolley transformed into a kitchenette

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The private garden is positioned on the top floor, away from the painting hub since my artist prefers to garden in solidarity and away from the fumes of the spray, at the end of a long day.

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Third Floor

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Second Floor Plan

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10M 10M

Roof Plan

4

5

2 3 1

1 Paint splatter textured metal positioned on paint booth’s exterior 2 Wood textured metal positioned on garden’s exterior 3 Permeable ventilating screen positioned above garden 4 Creative and playful metal texture positioned above artist main living spaces 5 Concentric ring texture posited at the core of the structure

11

22

33

44

55

N

00 N

5

Incorporating metal textures that hint the activity occurring withing the space allow the industrial atmosphere of the exterior to be maintained whilst incorporating the artist’s interest in symbolism and transparency.

Scale 1:100

10M 10M

Section

00

11

22

33 Scale 1:50

44

5M 5M

Key Image

3

1

A

B

Client, User Time-line Spray Paint Artist Staff Public from the Market

A Shopper from the market collects scrap materials B Market shopper attracted to building due to light reflections C Market shopper donating scrap material for artist to use as painting base D Painter’s apprentice collects and organizes the scraps and glues them onto the movable trolleys found in Ridley Road market

E Spray painter paints on canvas “walls” and uses the ground and the trolleys’ preexisting shelving as the workstation

F Work and exhibition occurring in the same open space, a private property but public space

C

2

D D

E

F

Metal Facade

1 Paint splatter metal texture positioned at entrance, to attract viewers by the light reflections.

2 Concentric ring metal texture positioned at the center of the building to reflect maximum amount of sunlight into the covered space, resulting in a high light intensity zone.

3 Angular geometric shape of the structure allows light to be reflected into the building by bouncing of surfaces arranged at specific angles

The ground floor experiences both extremely high and low light intensity zones, allowing the artist to choose which light condition he feels like working in.

00

11

22

33

44

55 Scale 1:100

10M 10M