Heba Mohsen - MArch Application for The Bartlett, UCL

PORTFOLIO Heba Mohsen Application Number: 22122054 MArch Application for The Bartlett School of Architecture heba .y.mohsen@g mail.com

CONTENTS

02

The Cathedral of Resistance The Bartlett, UCL Year 3 preliminar y project, 2019

03

Florida Peak Bartlett Medal & Commendation RIBA President’s Medals Bronze The Bartlett, UCL Year 3 final project, 2020

09

The Architecture of a Body The Bartlett, UCL Year 2 preliminar y and final project, 2019

10

Professional Work Undercover Architecture 2021 onwards

15

Personal Work Ex plorator y drawings and mini-projects 2020 onwards

Academic | Year 3 preliminar y project, 2019

THE DEVIL

THE LOVERS

Fig 1.2

THE HANGED MAN

THE FOOL

THE MAGICIAN

THE TOWER

Fig 1.1

The Cathedral of Resistance This project was formed as a response to a brief based on the science fiction writing of Jules Verne, picking a point within the Verne universe to spring board from, I chose the 1889 novel ‘ The Purchase of the North Pole’. Taking f urther inspiration from John Hejduk’s Masques, an ‘Arctic Tarot’ was developed. This cast of nine characters were then translated into nine structural features to form a mobile unit; roving the Arctic landscape and re-icing the surface.

Figures 1.1: six Arctic Tarot cards 1.2: render of the unit in action 1.3: elevations & plan of the unit

Fig 1.3

02

Academic | Year 3 final project, 2020

The Bartlett Medal & Commendation RIB A President’s Medals Bronze

Fig 2.1

Florida Peak Florida Peak is a hotel, constructed over 421 years on the highest point in Florida, a radioactive g ypsum stack of mining waste. The project provides a speculative look into the role of the architect in the f uture and alternate means of construction. A new building methodolog y which takes the anthropocentric way we live and produce waste is proposed, creating a g ypsum architecture from randomness, devoid of human interaction.

Florida Peak asks how the architectural profession can can transform environmental scars into beacons of hope.

Fig 2.2

Fig 2.3

Fig 2.4

03

Academic | Year 3 final project, 2020

Fig 2.5

Figures 2.1: roof plan 2.2: explorator y models 2.3: plan sketches 2.4: section sketches 2.5: cut plan 2.6: details of cut plan Fig 2.6

04

Academic | Year 3 final project, 2020

The Bartlett Medal & Commendation RIB A President’s Medals Bronze

f loat thold = 5; f loat spifac = 1.05; int outnum; f loat drag = 0.01; int big = 500; ball bodies[] = new ball[ big ]; f loat mX; f loat mY; void setup() { size(900, 450); strokeWeight(1); fill(255, 255, 255); stroke(255, 255, 255, 5); backg round(0, 0, 0); smooth(); for(int i = 0; i < big ; i++) { bodies[i] = new ball(); } }

Fig 2.9

void draw() { if( ke yPressed) { saveFrame(“Focus “ + outnum); outnum++; } if(mousePressed) { backg round(0, 0, 0);

Fig 2.7

mX += 0.3 * (mouseX - mX); mY += 0.3 * (mouseY - mY ); } mX += 0.3 * (mouseX - mX); mY += 0.3 * (mouseY - mY ); for(int i = 0; i < big ; i++) { bodies[i].render(); } }

Fig 2.10

class ball { f loat X; f loat Y; f loat Xv; f loat Yv; f loat pX; f loat pY; f loat w; ball() { X = random(10.); Y = random(10.); w = random(1 / thold, thold); } void render() { if(!mousePressed) { Xv /= spifac; Yv /= spifac; } Xv += drag * (mX - X) * w; Yv += drag * (mY - Y ) * w; X += Xv; Y += Yv; line(X, Y, pX, pY ); pX = X; pY = Y; } }

Fig 2.8

The semi solid nature of a site formed from phosphog ypsum posed an opportunit y to create a building methodolog y that echoes the original mining system which formed the stack. A system of solidif ying semisolid g ypsum through a process of injecting water to create solid g ypsum structures and then mining away the non solidifed parts reveals an architecture dictated entirely by the random path of water droplets. The architect is asked to relinquish control and our high controlled, precision obsessed profession becomes one of suggesting

Figures 2.7; concept section 2.8: running code to simulate random paths of water droplets 2.9: instructions for the infrastructure to inject into the g ypsum landscape 2.10: resulting water paths from these instructions 2.11: testing solidif ying structures through injecting water into g ypsum 2.12: close ups of above drawings 2.13: basic code to simmulate the random movement of water

Fig 2.11

Fig 2.12

Fig 2.13

05

Academic | Year 3 final project, 2020

Fig 2.14

Fig 2.17

Fig 2.15 Fig 2.18

Fig 2.16

To facilitate a building method from randomness over 421 years, a new infrastructure is created. On a grid of rails sits an arrangement of four ‘needles’ each with their own water supply and controlled by a pulley. The needles move in sucession across the landscape injecting water into the g ypsum as they move. Like a giant 3D printer the infrastructure moves across the landscape and our highly controlled profession becomes one of suggesting. In 421 years when construction is complete will anyone even remember who started the infrastructures journey?

Figures 2.14: the infrastructure placed in the landscape 2.15: construction detail 2.16: the needles injecting into the landscape 2.17: winch technical drawing 2.18: pulle y and needle 2.19: hydraulic arm detail 2.20: needle technical drawing

Fig 2.19

Fig 2.20

06

The Bartlett Medal & Commendation RIB A President’s Medals Bronze

Academic | Year 3 final project, 2020

Fig 2.21

Fig 2.22

Figures 2.21: completed building ke y moments 2.22: isometric view of the completed building and infrastructure 2.23: long and short sections 2.24: section details

07

Academic | Year 3 final project, 2020

Fig 2.23

Fig 2.24

08

Academic | Year2 preliminar y and final project, 2019

Fig 3.1

Fig 3.2

Fig 3.3

Fig 3.4

The Architecture of a Body Born from initial investigative inquries in casting using plaster, wax, latex and pig, these investigations culminated in the design of a bathhouse, where the water is heated by the cremation of the dead. The project proposes a cemeter y which defies the standard notions of spaces for morning, taking the cultural taboo of death and creating fluid, sumudged spaces which mediate life and death. Death is given a tangible entit y, and her body is this building. The interior of the cemeter y is dressed in water soluble fabrics, which deteriorate with the c ycle of the moon.

The dance of Eros and Thanatos or sex and death is explored with this project, as we confront the complexit y of the links bet ween taking death, and receving life

Figures 3.1: long elevation 3.2 - 3.4: casting a pig in wax and plaster 3.5: section of interior drawing 3.6: ‘a woman is a window’

Fig 3.6

09

ations

NOTES - GE

Internal Elevation Legend BY: NL Professional | ChurchAPPROVED in Byron Bay, Undercover Architecture, 2021-2022 Dimmable: 1 Gang

DATE: 19/10/21

1.

2.

Dimmable: 3 Gang

ONSITE

Joinery c to be con

Dimmable: 2 Gang

LIGHTIN

- Read al specifica Dimmable: 4 Gang

- Verify a with Arch

- Refer a

Preset Control Plate

3.

5 AMP Socket

JOINERY

Carcass: Shaver Socket

TV

-18mm M unless ot - Doors in

Lutron/Crestron/Control 4 System

Adjustab

Television Outlet (By Supplier)

- Moistur Veneered -Adjustab

Fixed Sh USB

CAT-6

USB Combination

- Moistur Veneered -Conceal

RJ45 Socket combination for CAT-6

Hanging

- To be in

USB Quad Combination

Handles

CL

REV. F - Internal boxing out to illuminated mirror cabinet at high level to conceal extractor duct from cloakroom.

CL 200

FCL +2140

E.Q

900

E.Q

L0.05/J-01

CL

250

0.05/SA-01 E.Q

DOOR +1981

PANIC

C-03

ALARM

- Drawers Plywood.

- MR MD bottoms.

-Solid Wo MDF/MR - Oiled / S otherwise - Drawers runners u

L0.05/J-03

Door Entry Handset with Screen

Hinges:

Alarm Panic Button (To match light controller)

- Hinges

Finishes:

ALARM

Alarm Control Panel

- For join

C-03 L0.05/J-01

A

Work Top

PIR for Alarm

- For Sto Joinery S

80

E.Q

30

SOCKETS E.Q

340

E.Q

2075

250

Drawers:

13 AMP Double Socket with USB VIDEO ENTRY

390

CL

+1981

- Refer to

Fused & Switched Spur Unit

13 AMP Double Socket

650

DOOR

C-03

E.Q E.Q

900

REV. F Main contractor to supply fabrication drawings for full Illuminated mirror cabinet following workshop meeting

Amina Invisible Speaker: Plaster In

+1200

L0.05/SA-02

340

V. F - Shower m to be hidden ceiling in order create ceiling ounted shower, per nversation on e 9/11/21

FCL +2140

FUSE

L0.05/SA-02

150

Thermostat Control Plate Elevation

L0.05/SA-07 TEMP.

S-04

L0.05/SA-03

SENSOR

Temperature Sensor

L0.05/SA-06

900

L0.05/J-02

CL

650

650

550

S-04

1150

950

1100

Fig 4.1

L0.05/SA-03

550

S-04

T-03 L0.05/J-02

S-04

L0.05/SA-08 L0.05/SA-05

B FINISHES

L0.05/SA-04

S-04.

REV. F - Shower cubicle to be clad in marble to match floor and vanity counter top

FFL +0

350

350

T-03 S-04

C-03.

500

FFL +0

329

T-03.

650 G eberit D F W C O m e12 H 82 90/110 D E

2230

Tile Inset Linear Shower Drain to Main Contractors design.

Preferably full length of shower i.e. 900mm and accent finishes to match shower sanitary ware.

1668

DETAIL 1 407

2

1300

1300

CL

CL

368

CL

ELEVATION A

3

1:25@A1 or 1:50@A3

C JOINERY

ELEVATION B 1:25@A1 or 1:50@A3

L0.05/J-01.

Fall to Linear Shower Drain to be set at 1:80

L0.05/J-02.

L0.05/J-03.

DETAIL 2 407

D SANITAR REV. F - Shower cubicle to be clad in marble to match floor and vanity counter top

CL

FCL +2140

REV. F - Internal boxing out to illuminated mirror cabinet at high level to conceal extractor duct from cloakroom.

REV. F - Shower arm to be hidden in ceiling in order to create ceiling mounted shower, as per conversation on site 9/11/21

FCL +2140

L0.05/SA-01.

L0.05/SA-02.

7

L0.05/SA-01

DOOR

+1981

CL

DOOR

950

520

C-03

tions be rence to

ission of use. No the use or

L0.05/SA-08.

L0.05/SA-09.

250

550

L0.05/J-02

950

950

L0.05/SA-08

S-04

S-04

Fig 4.3

Fig 4.4

350

650

awing or rd party d.

L0.05/SA-07.

L0.05/SA-03

L0.05/SA-07

Fig 4.2

L0.05/SA-06.

L0.05/SA-02

L0.05/SA-06

L0.05/SA-04

L0.05/SA-05.

Existing steel beams

IP Rated downlights to be installed either side of beams rationally set-out as per 330 Lighting & Electrics Plan

L0.05/J-01

30

L0.05/SA-01

150

w

L0.05/SA-04.

REV. F - Inclusion of towel hook

340

610

2075

450

500

450

250

30

250

L0.05/J-03

L0.05/SA-03.

Suspended ceiling to be installed tight to underside of existing steel beams

L0.05/SA-09

250

650

C-03

REV. F - Shower arm to be hidden in ceiling in order to create ceiling mounted shower, as per conversation on site 9/11/21

1:5@A1 or 1:10@A3

REV. F - Shower cubicle to be clad in marble to match floor and vanity counter top

+1981

C-03

DETAIL 1

G eberit D F W C O m e12 H 82 90/110 D E

940

FFL +0

FFL +0

771

500

Cabling to be chased through walls either side of steel beams if possible rather than brought across ceiling void

2211 1668

1300

CL Work in Practice ELEVATION C 5 1:25@A1 or 1:50@A3 Part I Architectural Assistant - Undercover Architecture, London

Undercover have been restoring one of the oldest churches in Byron Bay and building a guest house behind to act as a wedding venue. I have produced elevations and schedules for this project, and also looked into traditional Key: building techniques and the local vernacular of the area. I researched into craf tspeople for partnerships and local suppliers in order to thoroughly embedd the project within the local sphere. Addtionally I have produced progress and informational booklets to provide investors into the project.

CL 6

ELEVATION D

8

1:25@A1 or 1:50@A3

DETAIL 2 1:10@A1 or 1:20@A3

General Notes:

Project 34D Cranley Gardens

Client Nicholas Lykiardopulo

Figures 4.1: proposed elevations 4.2 & 4.3: concept sketches 4.4: bathroom f loor and light detail 4.5: proposed window schedule

Sheet Title 0

1

3

2

5 Metres

0

250

500

1250

2500 Millimetres

Fig 4.5

Proposed En-Suite Elevations

Date November 2021

10

12a Church Row Hampstead

Professional | Private home in Hampstead, Undercover Architecture, 2021-2022

Fig 5.2

Basement View Design Features

Fig 5.1

Work in Practice Part I Architectural Assistant - Undercover Architecture, London Undercover were invited to pitch for a project in Hampstead, a single family home worth approx £15 million. I worked in a team with another part I and a part II for around 8 weeks, we pitched both a new build and an extension scheme. I worked mostly on graphics, using photoshop and hand drawing. I also assisted in 3D modelling the site. Undercover won this bid and I evenutally drew up proposed GAs for the extension scheme in plan and elevation af ter this bid was won. I took these proposed plan from my own hand sketches to scaled drawings in Vector works. This project is currently in Stage 2/3 and we are putting in a pre-planning app this month.

Fig 5.3

Figures 5.1: interior concept sketches, worked on in collaboration with part II 5.2: photoshop visualisations of proposal 5.3: sketch section 5.4 & 5.5: context maps 5.6: massing diagrams 5.7 & 5.8: photoshop visualisations of extension scheme 5.9 & 5.10: proposed GA plans

Fig 5.4

Fig 5.5

Fig 5.6

11

Professional | Private home in Hampstead, Undercover Architecture, 2021-2022

Fig 5.7

Fig 5.8

Fig 5.9

Fig 5.10

12

Professional | Grade II Listed Apartment, Undercover Architecture, 2021-2022

Fig 6.1

Fig 6.4

Fig 6.2

Work in Practice Part I Architectural Assistant - Undercover Architecture, London Whilst at Undercover I have been mainly involved in the renovation and ref urbishment of a Grade II listed, t wo bedroom apartment in Kensington. This project is currently on site and I am overseeing the project, being the point of contact for the contractors, client and consultants if any issues arrise. Under the super vision of Undercover’s associate architect, I issued construction drawing packs to the contractors for construction and joiner y drawings for the fabricators.

Undercover Architecture are contract admin for this project and I have draf ted a number of contract admin documents also.

Fig 6.3

13

Professional | Grade II Listed Apartment, Undercover Architecture, 2021-2022

Fig 6.5

Fig 6.6

Fig 6.7

Fig 6.9

Figures 6.1: first f loor plan, worked on in collaboration with the project architect 6.2: office elevations 6.3: kitchen elevations 6.4: details of drawings 6.5: site progress photos Fig 6.8

6.6: office joiner y fabrication drawings 6.7: decorative moulding schedule 6.8: proposed entrance joiner y fabrication drawings 6.9: schedule excer pt

14

Personal | Exploring relationships between time and space, 2021-2022

Fig 7.1

The Shape of Time Traditional architectural drawings, the plan, the section and the elevation show us the shape of a building in space. However, in the realm of physics, time and space are one four dimensional manifold and intrinsically linked, one cannot exist or be expressed without the other. The architecture world is yet to adopt this philosophy. We represent the shape of a building in space but never time. These thinking sketches and drawings show my experimental thoughts on the shape and location of my childhood home in time, and how the home would manifest itself and grow out of the lens of time not space. The process of using drawing as a means to interrogate and record a process is important before I reach just a means of representation.

Figures 7.1: thinking about how a building forms a shape in time and manipulates the fabric of time similar to the fabric of the cit y 7.2: details of recording the location of building features on the elevation of time 7.3: details 7.4: representative perspective drawing of a cit y space without time (in progress)

Fig 7.2

15

Personal | Exploring relationships between time and space, 2021-2022

Fig 7.3

A Land Beyond Time / The Only Moment is Now (work in progress) Developing from my thoughts, explored through experimental drawings, I wanted to express these ideas in a more representitive way. This drawing shows how a cit y would be if we were to get rid of the concept of time - no one ages, food doesn’t rot, no one is ‘late’, plants don’t die, but space no longer makes sense. This non-sensical labr yinth of a cit y scape explans how space exists in four dimensions and removing the fourth dimension of time causes the qualities of space as we know it to change.

Similarly as if we were to remove the dimension of width for example. All four dimensions create space as we know it.

Fig 7.4

16