Portfolio of Kamyar Movaffagh Vol. 2

To my dearest friend and my muse, Jenny F. Reisz, the sweetest, most compassionate, and most kind hearted person I know, for putting up with me and my mess, and for continuously encouraging me to put together this new volume.

“You’re A Sky Full of Stars.”

— K. M.

A special Thank You, to all of my studio professors and mentors at both The University of Calgary and The University of Oklahoma, for pushing me to my limits and inspiring me to explore new ideas and techniques.

CONTENTS

P 1 2 3 4 5 6 II

RECEDENT

A

NALYSIS

1-8

THE SUPERLOOP

9-19

WALDHAUS STUDIO

20-29

THE SHARD

30-37

MARTIAN LAB

38-45

528 NW 115TH

46-53

ILIAD & ODYSSEY

54-62

KAMYAR MOVAFFAGH Citizenship: United States Phone: (405) 537-2608 email: movaffaghk@gmail.com EDUCATION Master of Architecture Cont.

University of Oklahoma, Norman, OK

2018 – 2020

Master of Architecture University of Calgary, Alberta, Canada

2016 - 2018

Bachelor of Science in Architecture and Biomimicry University of Oklahoma, Norman, OK

2010 - 2015

College of Architecture

School of Architecture

College of Architecture & College of Arts and Sciences RELATIVE WORK EXPERIENCE Architectural Designer and Builder

July 2020 – Current

KM Designs, Oklahoma City, OK Design development, home building, project management.

First KM Designs custom home currently under construction and due to be complete by Fall 2021.

Graduate Assistant

Aug. 2018 – May 2019

Summer Research Assistant

May 2017 – Aug. 2017

Kitchen & Bathroom Design Associate

Apr. 2016 – Aug. 2016

Marketing Assistant and CSR

Apr. 2012 – Apr. 2016

University of Oklahoma, Norman, OK Assisted Professor of Architecture, Dr. Lee Fithian, with teaching and grading course materials.

Laboratory for Integrative Design, University of Calgary, Alberta, Canada One of few selected students dedicated to Robotic & Digital Fabrication and Algorithmic Design.

Lowe’s Companies Inc, Edmond, OK Designed custom kitchens, bathrooms, and closets for customers.

Farmers Insurance, Isaac Akram Agency, Norman, OK Assisted with marketing, phone calls, appointments, generating quotes, handling insurance records, and filing office paperwork.

PROFESSIONAL SKILLS Modeling Rendering Graphic Other

AutoCAD, Revit, Rhinoceros 3D, Grasshopper, Maya, Sketch-Up, Autodesk Recap Lumion, V-Ray Adobe Photoshop, InDesign, Illustrator Residential Construction, Microsoft Office Suites, 3D Printing, Digital Fabrication, Physical Architectural Modeling, Video Animation

AWARDS OU Dean’s Honor Roll OU President’s Honor Roll In-State Scholarship and GA position for one year of study at OU

Spring 2015 Fall 2015 Fall 2018

LANGUAGES English – Fluent Farsi – Fluent

III

PRECEDENT ANALYSIS

3

4

6

7

8

9

1

THE SUPERLOOP CALGARY, AB CANADA RAMSAY DISTRICT

WHAT’S THE NEXT BIG LEAP?

10

THE SUPER L

P

GREATER SITE PLAN

DISTRICT RELATION TO DOWNTOWN A 32,000 SQ-FT Multi-Residential Housing, located on 11 ST SE in the Ramsay district of Calgary, Alberta. This is a very unique site in that it has residential, commercial, and retail zonings all mixed together without any sort of physical boundaries. Train tracks run through the north east edge of the site and the Crossroads Farmers Market is located at the very south east edge.

After noticing a disturbance of noise from the train tracks to the residential zone on the west side of 11 ST, it became clear that new the housing unit would have to address that issue in its design.

Can the form of a building be used as a way to manipulate and deflect sound?

IMMEDIATE SITE PLAN

13

SOFT SYSTEMS: “A SYSTEM IS ‘SOFT’ WHEN IT IS FLEXIBLE, ADAPTABLE, AND EVOLVING THROUGH A NETWORK OF ACTIVE INFORMATION OR FEEDBACK LOOPS.” - SANFORD KWINTER

PART 1

SITE AND NOISE ANALYSIS

PART 2

UNIT STUDIES ON SOUND DISPERSION

14

PART 2 CONT. PROGRAM LAYOUT

The idea was that convex surfaces would be the most effective form to disperse noise from the nearby train. A curved floor plan also allowed for sunlight to transition through each section of the unit as the day progresses. Thus the kitchen was placed in the east and the living room was placed in the west with the dining room placed in between. The bedrooms were positioned in the back in order to be isolated from the train and nearby traffic noise. This style of program layout made each room independent of one another, making modularity and limited customization possible. Owners can choose from the program catalogue based on their needs, and each module is then inserted into the structure based on a few rule sets.

ORIGINAL PARTI DIAGRAM

P R O G R A M C A T A L O G U E

P R O G R A M C A T A L O G U E

INSERTION DIAGRAM

ENTRY WAY

VARIATION SCENARIO

DINING

KITCHEN

LIVING ROOM 1

LIVING ROOM 2

MASTER BATH & CLOSET + MINI STUDY

MASTER BEDROOM

PART 3

AGGREGATION OF UNITS P O S S I B L E S C E N A R I O S

15

BEDROOM 1

BEDROOM 2

AXONOMETRIC PROJECTION OF STRUCTURE

MODULAR STRUCTURAL ASSEMBLY Each of the unit’s components are divided into equally sized prefabricated modules and inserted into the structure at the site. The steal framing of the structure itself can also be assembled from prefabricated modular components and welded together at the site. The diagram to the left explains 5 different types of joints that can be used for various parts of the framing. The stacked concrete stairwells and elevator shafts on each side of the building serve as the core of the structure. While the reinforced concrete floor plates extend outwards to serve as a secondary structure in conjunction with the stacked vertical frames, and further supported by the lateral and cross bracings. The final key component of the structure are the C shaped steal beams that are welded underneath the lateral and cross bracings. This piece acts as an adapter for the T-Beams attached to the top of every module of the units.

NW SECTION

16

DININ

ING

FORMAL LIV

ILY

M FA

G

G

N IVI

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BEDROOM 1

Y WA

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MAS

TER

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BED

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Y RT AN EN TR EN TIO A P

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The south loops are larger and can have up to 3 bedrooms and 3 bathrooms per unit, and also with the capacity to have a formal and family living room, a dining room, and a full-sized kitchen.

A maximum of 2200 FT2.

BA TH

DINING FOR

MAL

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HE

C KIT

FA M

ENT

EN

RAN

RT Y

CE BE

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2

FAMLY LIVING

FO

RM

MAS

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TER

TH BA

LIVIN

The South Loops are larger and can have up too three All units with a balcony space regardless of size, and every loop bedrooms andcome three quadrant hasand access to their own green rooftop. Part of the rooftop is bathrooms peralso unit, also paved and shaded for patio tables and chairs, and the other half functions with the capacity to have two living a dining, as a rooms, green-roof.

There is also a communal courtyard on the ground floor. and a full sized kitchen. A maxi-mum of 2200 ft2.

MAS

ER

T AS

M

ED

RB

E AST

BEDROOM 1 P ATIO

The North Loops have the capacity for up to two bed The north loops have the capacity for up to 2 bedrooms and 2 bathrooms, rooms and 2 bathrooms, with with a formal and family living, dining room, and a full-sized kitchen per unit. a formal and family living, 2 dining room, and of a full sized A maximum 1800 FT . kitchen per unit. A maximum of 1800 ft2.

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All units also come with a BE DR OO balcony space regarldless M PATIO M1 2 ROO ENTRANCE BED of size. DININ

N. ELEVATION

S. ELEVATION

E. ELEVATION

W. ELEVATION

18

Because this building is modular and all of the units are customizable, the exterior will not always look the same as if it were a full house. It could have many different possibilities based on the occupants’ needs. Here are a few possible scenarios from two different perspectives of what that might look like over time.

Conclusion: Designing a modular building can be approached easily during the conceptual phase, but the underlying values must stay true from the beginning. If later on, other design elements and features are added that undermine the initial concept, then things can get pretty complicated, but can also result in something very interesting if the complications are worked through.

One must learn to define and study all of the various systems and ecosystems that can be found at a site and use that knowledge to drive the design forward. Instead of having a preconceived idea in mind, it’s important to make sure that the design is suited for the site and become one with it, not as a separate entity causing disturbance to various systems.

2

WALDHAUS STUDIO MOORE/NORMAN, OK USA COTE COMPETITION

20

WALDHAUS STUDIO

This project was submitted to the COTE Top 10 Student Competition. The project is designed based on the ten sustainability measures of COTE. These measures are Design for INTEGRATION, COMMUNITY, ECOLOGY, WATER, ECONOMY, ENERGY, WELLNESS, RESOURCES, CHANGE, and DISCOVERY. This project has some main considerations based on the location of the site and regional context. The first one is stacking the masses and having a minimal footprint on the site. This method allows for a storm shelter to be embedded into the ground and for the entire building to be raised off of the flood plain. The second one is minimized wall heights n downward facing slopes. The third is having sloped and flat roofs to break up the massing. The fourth is optimized fenestration with a large south facing inset window in the primary space for optimal solar gain in winter and minimal solar gain in summer.

DESIGN APPROACH & 10 COTE MEASURES DESIGN FOR INTEGRATION

DESIGN FOR COMMUNITY

DESIGN FOR DISCOVERY

DESIGN FOR ECOLOGY

DESIGN FOR CHANGE

innovative

optimal feNestration

DESIGN FOR WATER

DESIGN FOR RESOURCES small footprint

panoramic views

DESIGN FOR ECONOMY

DESIGN FOR WELLNESS DESIGN FOR ENERGY

LESS POLLUTION

SAVES TIME

PREFABRICATION

SAVES RESOURCES

PRECISION CONSTRUCTION

COMPLEX STRUCTURE

LESS WASTE ON SITE

QUALITY CONTROL

23

DESIGN FOR COMMUNITY

N

A school of design that focuses on energy efficiency and resiliency while pushing further the envelope of steel and concrete design and modern architecture. The site is designed with multiple nature paths that can be used by the entire nearby community for biking, running, walking, etc. Extending the path over the creek and to the nearby apartment complex. And further extending another path all the way to the adjacent street to the west to provide an additional access to the greater community approaching from the west.

DESIGN PRINCIPLES

Stepped floors to reduce cut/fill and to elevate the entire building off of the flood plain.

Wall heights minimized on downward facing slopes.

MINIMAL FOOTPRINT + EMBEDDED STORM SHELTER

MINIMIZED WALL HEIGHTS

Large south facing inset windows in primary spaces provide optimal solar gain in winter and minimal solar gain in summer.

OPTIMIZED FENESTRATION

Stepped and sliced roofs to break up massing.

SLOPED AND FLAT ROOFS

NATURALLY LIT PANORAMIC VIEWS

24

GALLERY WALL SECTION A7

Absorption Coefficient via Checkered Configuration 500 Hz: .252 αn 1000 Hz: .492 αn 2000 Hz: .515 αn

NRC: .3 LIGHTWEIGHT CONCRETE ACOUSTICAL PANELS

25

PHYSICAL SECTION MODEL

PARKING

SHELTER KITCH STUDIO

GALLERY

B2 & B1

G & L1

DROP-OFF

LOBBY BALCONY

L2 VERTICAL CIRCULATION

1. MAIN ENTRY/LOBBY 2. CONFERENCE ROOM 3. KITCHENETTE 4. GALLERY 5. STORM SHELTER/STUDIO 6. STUDIO SPACE 7. PARKING

2

1

7

3

4 5

26

6

SECTION 7

DESIGN FOR WATER An intricate rainwater harvesting pavilion is positioned in the middle of the site with a 3,600-gallon cistern below grade. Rain water is collected and is pumped back to the building’s utility room to be distributed for greywater and landscaping usage.

SECTION D

27

DESIGN FOR ENERGY Integration of PV panels on the slopped rooftop of the gallery, tilted southwards to produce electricity and store them in 4 TESLA Powerwall batteries located in the utility rooms of the gallery and the storm shelter.

The storm shelter has its own independent HVAC and backup electricity systems so that it is not dependent on the main supplies in case of a total loss of power during severe weather.

DESIGN FOR ECOLOGY Approximately 55% of the footprint is recovered by green roofs planted with native grasses. Removal of invasive species like Poison Ivy from the north of the site while leaving the back (south) of the site as is. Creating a gradient canopy from north to south starting with native grasses, then small shrubs and bushes, then short and young trees, and finally the existing mature trees towards the very back (south) of the site.

STRUCTURAL SYSTEM W18X119

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L6 CONFERENCE +13’

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L4 KITCHENETTE -12’

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CON C FOR RETE PIE RS BURR CANTIL EVEL IED 1 0-12’ B E GRA LOW DE

PRECAST BEARING WALLS

28

W 18 X50 W 18 X50 0 X5 18 W

L3 GALLERY -14’

L2 STORM SHELTER -22’

L1 STUDIO SPACE -26’

DESIGN FOR WELLNESS The Waldhaus, following the footsteps of the Bauhaus in Dessau, is intentionally designed to have bright white interior spaces that exude openness, minimalism, and precision to create a sensation of cleanliness and health for its inhabitants with ample amounts of natural light from the south facing panoramic windows.

DESIGN FOR INTEGRATION Minimal footprint with embedded storm shelter. Tiered floor plan approach to reduce cut and fill into the site and to elevate majority of the building off the floodplain.

The main approach to the building is positioned on the far north edge of the site on a built-up plateau to have the most optimal views of the tree line and to have minimal disturbance to the rest of the site from construction vehicles. Glazed elevation facing the south for maximum solar heat gain in the winter.

DESIGN FOR CHANGE The expansion of the pathway across the creek and to 36th Ave NW will not only give greater access to the community, but in the near future, the city of Norman plans to expand its bike lane northwards towards Moore. 36th Ave NW being one of those expansions.

DESIGN FOR RESOURCES Primary materials are steel and concrete, both of which have local factories with a 10 mile radius from the site. All concrete walls of the building are designed to be prefabricated off site and assembled on site.

Prefabrication saves time, resources, produces less waste, and allows for complex and precise structures.

29

3

THE SHARD NORMAN, OK USA UNIVERSITY OF OKLAHOMA BUS STOP

30

THE SHARD

S JENKINS AVE

ASP AVE

This area is one of the two main bus stops on campus, the other being east of Jenkins Ave near the Duck Pond. The existing bus stops at this location are rather small and don’t provide enough shelter for more than a dozen students during extreme weather like cold and rain. Furthermore, they lack to provide an experience. Not to mention they are directly across the stadium and are rather unpleasant to look at.

ELM AVE

The purpose of The Shard was to create an element that experiments with Form, Shadows, and Pathways; and also serves as a place of play and gathering during the rush hours of the day when people are waiting for the bus. Both the top and bottom levels were designed to be maze like and playful.

W. lindsey ST

33

PART 1 SOLID

ORDER , PATH , & PROCESS Physical models are such an important process for designers and architects.

In the case of this particular model, instead of going straight from a digital model to physical using a laser cutter, CNC, or 3D printing like usual, a more traditional method of model making was taken using a chisel, hammer, and band saw.

34

PART 2 SKIN

2.0

3.0

4.0

1.1

2.1

3.1

4.1

1.2

2.2

3.2

4.2

ORDER

PHYSICAL MODEL

PROCESS

1.0

35

36

“

In order to give meaning to the world, one has to feel oneself involved in what he frames. This attitude requires concentration, a discipline of mind, sensitivity, and a sense of geometry.

- Henri Cartier-Bresson

Our public spaces must not be solely of function but also inspiration and an invitation to become part of a community. As human beings, we do not exist to be bored and isolated. The traditional bus stop at this location fails to stimulate our senses in a fulfilling way and encourage connection between community members. The trade-off to our fast-paced tech world is that we lack the patience to enjoy simply existing. By intentionally incorporating playful design, skyward lines, and peek-a-boo moments into this structure, we create a space that beckons the child in all of us to come out and play.

37

”

4

MARTIAN LAB MARS

38

MARTIAN LAB

EFFICIENCY OF DOMES Reason 1 that domes are efficient is because the ambient airflow inside a dome is continuous, with no stagnant corners, requiring less energy to circulate air and maintain even temperatures. About 30% less energy than conventional buildings.

Less surface area makes these buildings less susceptible to temperature changes, and thus inexpensive to heat and cool as compared to rectangular homes. The aerodynamic exterior means cold and warm air flows around the structure instead of forcing its way into the interior.

CORRECT TRILATERATION

INCORRECT TRILATERATION

PLATEAU’S LAWS Plateau’s laws describe the structure of soap films. These laws were formulated in the 19th C. by Belgian physicist Joseph Plateau from his experimental observations. Many patterns in nature are based on foams obeying these laws. The 1st law states that soap films are made of entire smooth surfaces and the mean curvature of a portion of soap film is constant on any point on the same piece of soap film. The 2nd law states that soap films always meet in threes along an edge and they do so at an angle of across 120°. And the 3rd law states that these edges meet in fours at a vertex, and they do so at a solid angle of across 109.47° (the tetrahedral angle). Any configuration other than those of Plateau’s Laws are unstable an the film will quickly tend to rearrange itself to conform to these laws or burst.

1st

2nd

3rd

BUBBLE STUDIES

Reason 2 being the high volume-to-surface area ratio, requiring less building materials to enclose more space. The sphere has 30% less surface area per volume enclosed than any other shape. The geodesic dome combines the inherent stability of triangles with the advantageous volume -to-surface-area ratio of a sphere. The larger the dome, the more efficient it becomes.

INITIAL CONCEPTUAL STRUCTURE W/O THE USE OF GRASSHOPPER

The geodesic dome is the lightest, strongest, and most cost-effective structure ever devised. It is able to cover more space without internal supports than any other enclosure, which makes them perfect for building enclosures on other terrestrial planets.

Combining multiple geodesic domes of various sizes becomes very complicated to design manually without the use of advanced mathematics. That’s where Grasshopper comes into play. Setting up a proper grasshopper script allows for limitless possibilities on size and number of domes to merge together like bubbles using simple algorithms.

Below is sections of the script put together to computationally design the geodesic portion of the structure. The garage, entry room, air lock, and interior partition walls were designed manually and attached later.

RADIUS OF SPHERES

FINAL FORM ISO-SURFACE --> POLYGONAL MESH ALGORITHM

MESH REFINEMENT

HALLWAY

2ND MESH REFINEMENT

FRAME OUTPUT

GLASS OUTPUT

SECTION B

42

FRONT ELEVATION

RIGHT ELEVATION

REAR ELEVATION

LEFT ELEVATION

43

SECTION A

44

AXONOMETRIC PROJECTION OF STRUCTURE

Triangles are the strongest geometry because they have fixed angles.

Apply pressure to one edge of a triangle, and that force is evenly distributed to the other two side. Combine spheres and triangles, and you get geodesic spheres; a very durable and economical 3-dimensional structure. It becomes proportionally lighter and stronger the larger it is. The geodesic dome is a breakthrough in shelter, not only in terms of cost-effectiveness, but also in ease of construction and energy efficiency.

The cascading distribution of pressure between the triangles is how geodesic domes efficiently distribute stress along the entire structure, much like the shell of an egg. And it just so happens that pentagons and hexagons can be neatly divided into triangles, the foundation of geodesic domes, so they are also exceedingly strong.

45

5

528 NW 115TH OKLAHOMA CITY, OK USA UNDER CONSTRUCTION (EST. FALL 2021)

46

528 NW 115TH

This house is my first real built project as an Architectural Designer.

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49

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

R E D N E R V S R E A L I T Y

53

6

ILIAD & ODYSSEY

THE GALACTIC FRONTIER

54

THE ILIAD - STEALTH BOMBER

1.

2.

3.

4. Repeat on all four sides.

6. Using creases, fold bottom point of model. Repeat on all four sides.

5. Make creases then open. Repeat on all four sides

7. Repeat on all four sides.

9. Repeat on all four sides.

8.

10. Twist down petals on all four sides to complete Lily

Side elevation enlarged to show detail.

11. Shape into a Fleur-de-lis.

Rear petal: flat & upright Side petals: twist down

12. Fold side petals inwards and anlged down at a 35°.

Peal open front petal.

13. Fold down front petal from its base.

14. Push sides inward to open cavity and tilt wings upward.

12m40 / 40’8” SIDE

FRONT

40m / 131’3” 7m8 / 25’7”

5m45 / 17’11”

30m65 / 100’7”

5m34 / 17’6” SECTION 6m65 / 21’10”

TOP

57

A design in the mind is merely half-designed; only in building and modifying physical models can ideas fully come to life. The refinement of a concept for both form and function takes place in tactile, explorative building, a process shaped as much by childlike curiosity as creative vision. This is true for the most mundane and the most abstract concepts alike. A perfect representation of the latter, the Iliad is inspired by the crisp lines and organic unfurling petals of an origami lily. It embodies a harmonious marriage of personal interest in aviation and passion for precision design, both of which are illuminated in this project in each of its iterations through origami as a dynamic model building technique.

58

THE ODYSSEY - STARSHIP

SUBJECT:

THE ODYSSEY STARSHIP

STARSHIP 

SCALE:

DESIGNATION:

YEAR:

DESIGN:

1"/40M

2220

EXPLORER 001

WARP DRIVE

SECONDARY DECK

PREMIUM DECK

HANGER DECK

PRIMARY DECK

NEGATIVE ENERGY REACTOR

BRIDGE

90M

TURBOJET ENGINE CONFIGURATION

TOP 120m

360° 22M

94M

19.7M

13.7M

FRONT

16M

61

SIDE

39M

+ Expansion

All objects wrap spacetime. By just existing, you create an indent in the fabric of spacetime. The bigger the object, the bigger the indent. In 1994, Mexican physicist Miguel Alcubierre proposed a method of stretching space in a wave which would in theory cause the fabric of space ahead of a spacecraft to contract and the space behind it to expand pushing the ship forward at higher than light speed. The generated warp bubble would move spacetime around the spacecraft, effectively repositioning it without the spacecraft having to move with respect to its local frame of reference.

Nothing locally exceeds the speed of light, but space can contract and expand at any speed. However, spacetime is incredibly stiff, so to create the expansion and contraction effect in a useful manner in order to reach interstellar destinations in reasonable time periods would require a lot of energy and would need negative matter to expand spacetime. We know negative matter exists, we just don’t know yet how to harvest it.

Contraction _

62

63