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IDEAS AND IDEALS |

LAMIAE AMEZIANE

00


IDEAS AND IDEALS |

SELECTED WORK LAMIAE AMEZIANE B. ARCH


[ IDEA ] ‘Some of my thoughts are like images of things, and it is to these alone that the name ‘idea’ properly belongs.’ René Descartes


02

01

PROJECT |

PROJECT |

MIND THE GAP

TWO WORLDS COLLIDE

TYPE |

TYPE |

ARTIST WORK/LIVE

FASHION

PAGE |

PAGE |

006/029

030/059

04

PROJECT |

SOCIETY OF SPECTACLE

TYPE |

SOCCER STADIUM

PAGE | 086/103

(un)SHELTERED

TYPE |

HOMELESS SHELTER

PAGE | 138/151

08

07

PROJECT |

PROJECT |

GASTRONOMY COMPLEX

TYPE |

CULINARY SCHOOL

PAGE | 152/167


03

PROJECT |

URBAN GREEN | URBAN GRID

TYPE |

HOUSING

PAGE | 060/085

06

05

PROJECT |

PROJECT |

COYOTE HILLS VISITORS CENTER

BAM @ THE HIGHLINE

TYPE |

TYPE |

VISITORS CENTER

THEATER

PAGE |

PAGE |

104/121

122/137

09

PROJECT |

PERSONAL WORK

TYPE | ART

PAGE | 168/181


LAMIAE AMEZIANE


MIND THE GAP | Weaving artist spaces into the fringes of gentrified communities

01


DESIGN STATEMENT | The tech community is migrating to SOMA, housing their offices in refurbished warehouses previously occupied by a long living artist community that defined SOMA’s culture. As a result, artists are being displaced. Within this marginalized community, female artists are a more vulnerable minority that is affected more. They fall through the gaps. My thesis project aims to provide a safe space for women artists in SOMA to produce and display their art.

PROJECT LOCATION | San Francisco, California


[ TERRAIN VAGUE ] ‘It is impossible to capture in a single English word or phrase the meaning of terrain vague.’ Ignasi De Sola-Morales A direct translation for terrain vague would mean empty land, as terrain in French stands for land, and vague stands for empty. I see terrain vague as the gaps that exist in the city. The fringes in an urban setting can be as big as an abandoned pier or as small as a left out space under the freeway.


THESIS

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

MIND THE GAP

PROBLEM |

OPPORTUNITY |

RESPONSE |

TECHNIQUE |

01 | San Francisco is one of the most expensive cities in the world

01 | Create and preserve an affordable, vibrant and socially progressive space for women artists

01 | Artist housing for women artists

01 | Peeling layers of the site to enclose artist studio spaces

02 | The heavy tech migration from Silicon Valley to SOMA is exponentially increasing the cost of living 03 | Artists are struggling to survive in a tech dominated world 04 | Most industries are male dominated, making women the fringes of the society

02 | Foster artistic development through opening up to the public 03 | Teach self determination and gender equality 04 | Support social entrepreneurship amongst women through art programs

02 | Public galleries displaying artist residents 03 | Workshops open to young women to cultivate artistic skills

02 | Activating a terrain vague: sites between and underneath the freeway 03 | Creating an opaque shell structure conceptually protecting the artist 04 | Opening up to an active street to engage with the public and expose the artists work

010 011


LAMIAE AMEZIANE

INSTRUCTORS | MINI CHU & PHILLIP RA

DIAGRAM | PRICE OF LIVING 01 | FOOD 02 | TRANSPORTATION 03 | LIVING

01 |

02 |

03 |


THESIS

DIAGRAM | CONCENTRATION MAP WHO IS IN SAN FRANCISCO ? Fortune 500 companies: 01 | Headquartered in San Francisco: 8 02 | Headquartered in the Bay area: 30 03 | 35,603 people work in information technology 04 | $ 185,669 is the average amount a tech employee made in 2017 05 | 35% of the total 9.5 million square feet of office space is leased to tech companies in San Francisco

MIND THE GAP

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09


LAMIAE AMEZIANE

INSTRUCTORS | MINI CHU & PHILLIP RA


THESIS

MIND THE GAP

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

< DIAGRAM | GHOST SHIP FIRE In December 2016, an illegal artist warehouse burned down. The economic backdrop of the tragedy shows how rising rents and fears of eviction can push vulnerable artists in a desperate search for housing to unsafe living arrangements.

014 015


LAMIAE AMEZIANE

INSTRUCTORS | MINI CHU & PHILLIP RA


THESIS

MIND THE GAP

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

< DIAGRAM | WOMEN IN THE GLOBAL ART MARKET San Francisco is a popular destination known for its vibrant and diverse art scene and eclectic mix of architecture, and landmarks. The cityâ&#x20AC;&#x2122;s celebrated cultural legacy is shown through its multiple museums and art galleries. It is home to the countryâ&#x20AC;&#x2122;s oldest ballet, the oldest flower conservatory in North America, and up to 200 world theatre premiers.

016 017


LAMIAE AMEZIANE

INSTRUCTORS | MINI CHU & PHILLIP RA


THESIS

MIND THE GAP

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

018 019


LAMIAE AMEZIANE

PLAN | SITE PLAN

INSTRUCTORS | MINI CHU & PHILLIP RA


COURSE NAME

PROJECT TITLE HERE

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09


LAMIAE AMEZIANE

INSTRUCTORS | MINI CHU & PHILLIP RA

VIEW | RESIDENT COURTYARD >

< DIAGRAM | PROGRAM DIAGRAM


LAMIAE AMEZIANE

01 |

INSTRUCTORS | MINI CHU & PHILLIP RA


THESIS

02 | PLAN | 01 | First floor plan 02 | Second floor plan 03 | Third floor plan

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

MIND THE GAP

03 |

024 025


LAMIAE AMEZIANE

INSTRUCTORS | MINI CHU & PHILLIP RA

< DIAGRAM | SECTIONAL RELATIONSHIPS


THESIS

MIND THE GAP

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09


LAMIAE AMEZIANE

INSTRUCTORS | MINI CHU & PHILLIP RA


THESIS

< SECTION | SECTION THROUGH ART STUDIOS

MIND THE GAP

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

028 029


TWO WORLDS COLLIDE | Architecture in motion and structural fashion

02


DESIGN STATEMENT | Solid versus fabric and form versus function are the main themes for this collection that explores what happens when fashion and architecture merge. These looks challenge the solid world of architecture by incorporating fabric. Learning how architectural forms can be assimilated into a garment. Architectural shapes and voluminous structures are integrated into the garments to create designs that are inspired by glass sponges and conceptually representing a protective layer that changes in form and opacity.


[ WORDS FROM THE DESIGNERS ] In the past, I stumbled on a pretty rock, dull on the outside, rich on the inside, and I questioned myself, how can I install an idea of beauty that will grow through time? A Geode thatâ&#x20AC;&#x2122;s how itâ&#x20AC;&#x2122;s called: A spherical rock with hollow cavities lined crystals. These crystals and their very unique colors are a product of time: over millions of years volcanic bubbles harden and water mixed with silica forms the inner layer of these rocks. Today, the origin of our collection is to think that beauty has its own course parallel to our life, and that as we struggle, it creates a shell that will keep our integrity crystallized through time.


LAMIAE AMEZIANE & GARDENIA ZHOU

INSTRUCTORS | ROBERT CURRY & GARY MILLER

OUR STORY | Fashion is not limited to conventional fabric; instead, it can be adapted to fit silhouettes and forms that are created to stand out. To achieve our vision, we used a process that involved a 3-D slicer software for three-dimensional visualization, a laser cut, and a vacuum that is designed to develop precise physical models. Foam, silk gazar, and wool are combined to create designs that are inspired by glass sponges. Although the garments include structured forms, from up close, one can see the use of silk wool and twill wool. Foam is also used to give structure to the 3-D parts of the garments while digital printing techniques are used to print plaids on the 3-D forms.

For me, this collection represents an opportunity to step out of my comfort zone and explore the relationship of solid versus fluid and form versus function while steering away from the idea that architectural structures are limited to buildings. Zhou doesn’t consider this type of sculptural clothing her ‘style’; however, she was attracted to the idea of playing with movement and texture. Designers in our respective fields, Gardenia and I switched roles to build the bridge that connects fashion and architecture.


FASHION THESIS

TWO WORLDS COLLIDE

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

034 035


COURSE NAME

PROJECT TITLE HERE

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

DESCRIPTION | Light purple wool midi dress with asymmetrical wide neck collar and double layered open partial sleeves. Layered dress uses extra boning to hold bell like structure. Neckline is embellished with architectural plaid printed foam piece.

036 037


LAMIAE AMEZIANE & GARDENIA ZHOU

INSTRUCTORS | ROBERT CURRY & GARY MILLER


PROJECT TITLE HERE

038 039


COURSE NAME

PROJECT TITLE HERE

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

DESCRIPTION | Steel gray wool check v-neck sleeveless princess line dress. Blue wool check asymmetrical coat with handmade laser cut architectural right sleeve and handmade 3D triangle stained basswood frame detail. Dark blue tweed coat with exaggerated lapels, asymmetrical right arm hole, right floating sleeve and left side opening.

040 041


LAMIAE AMEZIANE & GARDENIA ZHOU

INSTRUCTORS | ROBERT CURRY & GARY MILLER


042 043


COURSE NAME

PROJECT TITLE HERE

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

DESCRIPTION | Light blue felt rounded shoulder wool dress with raised neckline and floating third sleeve. Handmade 3D marine invertebrate modular architectural shell, emerges from the fake sleeve to become an exaggerated statement piece covering the neckline.

044 045


LAMIAE AMEZIANE & GARDENIA ZHOU

INSTRUCTORS | ROBERT CURRY & GARY MILLER


046 047


COURSE NAME

PROJECT TITLE HERE

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

DESCRIPTION | Mint green check oversized wool jumpsuit with lapels and vented sleeves. Handmade laser cut foam collar attached to 3D basswood frame architectural structure, weaving in printed foam triangles, forming cantilevered building like structure erected from the shoulder.

048 049


LAMIAE AMEZIANE & GARDENIA ZHOU

INSTRUCTORS | ROBERT CURRY & GARY MILLER


050 051


COURSE NAME

PROJECT TITLE HERE

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

DESCRIPTION | Grey plaid wool tube dress connected to architecture wrap top. Foam plaid printed shell top, conceptually represents an armadillo shell, a protective layer that moves with the body. Shell top adapts to the body, moving along with the curves of the body (structure) that wears it.

052 053


LAMIAE AMEZIANE & GARDENIA ZHOU

INSTRUCTORS | ROBERT CURRY & GARY MILLER


054 055


COURSE NAME

PROJECT TITLE HERE

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

DESCRIPTION | Purple wool princess dress, exaggerated structured v neck collar, raised shoulders create a dramatic opening and a vertical neck collar. Bottom petals are handmade wrapped in printed foam strips, modular origami piece detail sewn into the opening of the foam petals.

056 057


LAMIAE AMEZIANE & GARDENIA ZHOU

INSTRUCTORS | ROBERT CURRY & GARY MILLER


058 059


URBAN GREEN | URBAN GRID Knitting Diamond Heights community together

03


DESIGN STATEMENT | This proposal offers a hub for the neighborhood by engaging the residents of Diamond Heights in a more well knitted community and environment, and to weave together the cityâ&#x20AC;&#x2122;s gridded neighborhoods, organically formed topography, and the existing greenery. The programs provided on the site includes middle income housing, and the existing retail stores are refurbished for a more engaging town center.

PROJECT LOCATION | San Francisco, California


COURSE NAME

[ KNITTING ] â&#x20AC;&#x2DC;To make (a garment, fabric, etc.) by interlocking loops of one or more yarns either by hand with knitting needles or by machine.â&#x20AC;&#x2122; I believe that architecture knits communities together.


LAMIAE AMEZIANE

INSTRUCTORS | MINI CHU & PHILLIP RA


COURSE NAME

PROJECT TITLE HERE

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

AERIAL VIEW | THE MEADOW


LAMIAE AMEZIANE

INSTRUCTORS | MINI CHU & PHILLIP RA


ARH 450

URBAN GREEN | URBAN GRID

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

ANALYSIS | SITE CONDITIONS AN ORGANIC EDGE 01 | S  outhern side of the site has a forested like area 02 | Behind the populated green area individual stand alone masses private houses 03 | Steep topography along the southern edge 04 | Very dense green area A RIGID CITY GRID 01 | Eastern side of the site is open to a grand boulevard 02 | Across the boulevard a large residential complex : Avalon at Diamond Heights 03 | Flat terrain along the edge of street 04 | Large neglected open space at entry of residential building

< PLAN | SITE PLAN

066 067


LAMIAE AMEZIANE, PATRICIA HERIYANTHO & FRANCISCO GONZALES

INSTRUCTORS | GOETZ FRANK & STEWART GREEN


ARH 450

URBAN GREEN | URBAN GRID

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

RESPONSE TO SITE CONTEXT | MASSING CONCEPT Organic identity of the site 01 | Smaller masses are placed along the southern edge 02 | Stand alone masses wrap around the massing penetrating the inner courtyard 03 | The park is extended along that edge becoming an urban green space that connects between the park and Diamond Heights BLVD Rigid edge mimicking existing structures 01 | Larger mass is placed along the rigid edge 02 | A plaza is carved out of the mass mirroring the existing open space 03 | The open space takes on a civic plaza identity, this plaza be- comes a new hub deriving itsâ&#x20AC;&#x2122; form from the urban grid nature of the site

068 069


LAMIAE AMEZIANE, PATRICIA HERIYANTHO & FRANCISCO GONZALES

INSTRUCTORS | GOETZ FRANK & STEWART GREEN

RIGID

SOFT

SITE ANALYSIS | ECOLOGY DIAGRAM

SITE ANALYSIS | SITE BOUNDARIES


ARH 450

URBAN GREEN | URBAN GRID

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

VIEWS

SITE ANALYSIS | TOPOGRAPHY DIAGRAM

SITE ANALYSIS | TRAFFIC PATTERNS


LAMIAE AMEZIANE

INSTRUCTORS | MINI CHU & PHILLIP RA


ARH 450

URBAN GREEN | URBAN GRID

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

VIEW | MEADOW PROMENADE >

< PLAN | GROUND FLOOR PLAN

072 073


LAMIAE AMEZIANE, PATRICIA HERIYANTHO & FRANCISCO GONZALES

01|

02|

INSTRUCTORS | GOETZ FRANK & STEWART GREEN

03|

04|

Interlocking Unit 3BD

Int Unit

Interlocking Unit 3BD

Int Unit

TH TH

Cafe

Garage


ARH 450

05|

URBAN GREEN | URBAN GRID

06|

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

07|

DIAGRAM | FORM GENERATION 01| Extrude form of the site 02| Carve out plaza parallel to neighboring building 03| Carve out courtyard center 04| Copy neighboring building 05| Push down to create roof terrace 06| Carve out to free portion of the building 07| Final Form Generated

SECTION | SECTION ELEVATION


LAMIAE AMEZIANE, PATRICIA HERIYANTHO & FRANCISCO GONZALES

INSTRUCTORS | GOETZ FRANK & STEWART GREEN

FLOOR PLANS | UNIT PLANS > 01| Town House 02| Work Live 03| 2BD Interlocking Unit 04| 3BD Unit Bottom Unit : First Floor Top Unit : Second Floor

< VIEW | DIAMOND HEIGHTS PUBLIC PLAZA


ARH 450

URBAN GREEN | URBAN GRID

02|

03|

01|

04|

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

076 077


01

02

03


ARH 450

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

URBAN GREEN | URBAN GRID

< SECTION | WALL SECTION 6 FEET 1/2” TEMPERED GLASS WALL

STAINLESS STEEL DOUBLE SIDED RAILING POST INSULATION METAL STUDS AT 16” O.C.

METAL FLASHING WATERPROOF MEMBANE 2” THERMAFIBER INSULATION

1” AIR GAP

METAL TRACK LIGHT WEIGHT CONCRETE DECK

VERTICAL FURRING HAT CHANNEL WOOD SIDING,WEST RED CEDAR, STAINED 4 1/2” CLT (3PLY)

7 1/2” CLT (5PLY)

3 5/8”

6” FLOATING SLAB STONE FILTER FABRIC GARDENEDGE METAL EDGING TO CONTAIN THE TRAYS

INSTAGREEN TRAY INSTAGREEN TRAY GROWING MEDIA TRAY FABRIC STONE FILTER FABRIC DOW STYROFOAM INSULATION ROOT STOP HYDROFLEX PROTECTION SHEET MONOLITHIC MEMBRANE 7 1/2” CLT (5PLY)

2’-00” 1/4” OPEN JOINT, TYP. BEVELED EDGE

5/8” GYPSUM BOARD

9” PT. CONC. SLAB

DETAIL | 01 | ROOF TERRACE DETAIL >

078 079


LAMIAE AMEZIANE, PATRICIA HERIYANTHO & FRANCISCO GONZALES

INSTRUCTORS | GOETZ FRANK & STEWART GREEN

DETAILS | 02 | METAL STUD AND CONCRETE FLOOR DETAIL 03 | GLASS BALCONY DETAIL >

< MODEL | WALL SECTION DETAIL MODEL


ARH 450

URBAN GREEN | URBAN GRID

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

3 5/8”

INTERIOR INSULATION 5/8” GYPSUM BOARD METAL STUDS AT 16” O.C. METAL TRACK LIGHT WEIGHT CONCRETE DECK

EXTERIOR VERTICAL FURRING HAT CHANNEL WATERPROOF MEMBANE

42” TEMPERED GLASS GUARD RAIL

TEMPERED SLIDING GLASS DOORS

CEMENTITIOUS FIBRE BOARD CONC. PAVER

2” X 6” WOOD DECK

3/4” WOOD FLOOR 2” SELF LEV. GYP CRETE

2’-6 1/2”

3/4” ACOUSTICAL MAT PT.CONC. TRANSFER SLAB

STAINLESS STEEL STANDOFF BOLT GLASS ANCHOR

RESILIENT FURRING 9” PT. CONC. SLAB

2” THERMAFIBER INSULATION VERTICAL FURRING HAT CHANNEL WOOD SIDING,WEST RED CEDAR, STAINED

5/8” GYPSUM BOARD


LAMIAE AMEZIANE


ARH 450

< VIEW | ROOF TERRACE

URBAN GREEN | URBAN GRID

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

082 083


Solar Inverter

TREATED WATER TANK

COLLECTION TANK

AC DC

Distribution Panel

Electrical Loads

Back to Grid

GREYWATER SYSTEM

PHOTOVOLTAIC PANELS


Plants and shrubs filter the stormwater

GAS

Stormwater runoff from paved surfaces enter the bioswale

Small rocks further filter the water

Excess stormwater goes into sewer systems

COLD WATER

SOLAR THERMAL COLLECTOR

STORMWATER SYSTEM


SOCIETY OF SPECTACLE | Building a soccer stadium for the San Francisco Deltas

04


DESIGN STATEMENT | Soccer stadiums usually focus on delivering an ultimate sport spectacle that offers an experience directly related to the game of soccer. This proposal introduces non-athletic activities that create a contrast with the game of soccer. The project is about shaping a new kind of spectacle through mixing diverse groups of users. This spectacle happens throughout the project when two different programs overlap creating an interaction zone. In response to the interest points in the site, a farmers market, an acrobatics school and an interactive theater are proposed to attract the site users.

PROJECT LOCATION | San Francisco, California


[ SPECTACLE ] ‘A visually striking performance or display.’ I believe that architecture is a spectacle.


LAMIAE AMEZIANE

INSTRUCTORS | MINI CHU & PHILLIP RA


ARH 410

SOCIETY OF SPECTACLE

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

< RENDER | SAN FRANCISCO DELTAS IN KEZAR STADIUM

COLLAGE | PROGRAM AGENDA > 090 091


LAMIAE AMEZIANE

INSTRUCTOR | KAREN SEONG


ARH 410

SOCIETY OF SPECTACLE

RESTING

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

DINING

SHOPPING

< DIAGRAM | SITE ANALYSIS Art practice/ Exhibition Local retail Franchise Main circulation path Green zones boundaries Axis of activity Site boundaries

^ PROGRAM AGENDA | FARMERS MARKET The working market acts as: 01 | market landscape 02 | market neighborhood 03 | market promenade Goal: Activating the site by attracting users that may be completely foreign to soccer

092 093


LAMIAE AMEZIANE

INSTRUCTOR | KAREN SEONG

< PROGRAM AGENDA | ACROBATICS SCHOOL + INTERACTIVE THEATER Interactive theater | ACTIVE | ENGAGING | TRANSCENDENT 01 | Proximity between audience and production 02 | Direct relationship between performer and spectator Soccer game | ACTIVE | FOCUSED | ENERGETIC 01 | Distance between audience and production 02 | No relationship between player and spectator


ARH 410

SOCIETY OF SPECTACLE

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

< DIAGRAM | STRUCTURAL + ARCHITECTURAL EXPRESSION

01 |

01 | Farmers Market ­Thin concrete shell sitting atop slender steel columns | Modest structure serves as a simple shading device

02 |

02 | Acrobatics School Thick concrete wall becomes roof canopy | Dynamic roof geometry accommodates height change

03 |

03 | Interactive Theater Massive concrete structure transitions from wall to roof, to wall to floor | Continuous structure implies wrapping

04 |

04 | Hybrid: School + Theater 3 in 1 condition: Thick wall becomes cantilevering roof | Thin concrete shell acts as a bridge | Thick wall hugs interior light mass

094 095


LAMIAE AMEZIANE

INSTRUCTOR | KAREN SEONG


ARH 410

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

SOCIETY OF SPECTACLE

PLAN | STRUCTURAL PLANS > 01 | FARMERS MARKET 8” Concrete roof | 6” Steel columns | Roof canopy acts as shading for seating 02 | THEATER Varying concrete roof thickness between 8” and 14” | Mixture of steel columns and concrete shear walls | Irregular distribution of 6” diameter columns

< PLAN | SITE PLAN

01 |

02 |

096 097


LAMIAE AMEZIANE

INSTRUCTOR | KAREN SEONG


ARH 410

SOCIETY OF SPECTACLE

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

SECTION | CROSS SECTION THROUGH INTERACTIVE THEATER


LAMIAE AMEZIANE

INSTRUCTORS | MINI CHU & PHILLIP RA


COURSE NAME

PROJECT TITLE HERE

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09


ARH 410

< MODEL | SITE MODEL

SOCIETY OF SPECTACLE

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

102 103


COYOTE HILLS VISITORS CENTER | Connecting architecture to nature through a building that decays

05


DESIGN STATEMENT | The division between the wetland and the dry land is very distinct. This proposal connects the two through a building that reacts in a similar manner as the wetland in the site. It explores the idea of a linear piece that gradually transforms while reaching out to the marsh. It starts as a solid mass that gradually opens up becoming a more open public mass as it cantilevers on top of the marsh. The progression happens when the level of privacy changes. The private programs are located in a totally solid mass that starts opening up to host more public programs. The volume opens up when the programs become totally public and becomes a pier that cantilevers above the marsh on one side, and digs into the marsh on the other side. PROJECT LOCATION | Fremont, California


[ DECAY ] â&#x20AC;&#x2DC;Rot or decompose through the action of bacteria and fungi.â&#x20AC;&#x2122; I believe that architecture decays, blending in with nature.


LAMIAE AMEZIANE

INSTRUCTORS | MINI CHU & PHILLIP RA


ARH 350

COYOTE HILLS VISITORS CENTER

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

PHOTOS | SITE PHOTOS > Coyote Hills National Park Natural park located near the city of Fremont. It is very popular among different groups of people for the different activities it offers. The most popular attractions are bicycling, jogging and picnicking. People also come to explore the variety of botanical and animal species that the park has to offer. Coyote Hills, as its name describes, has a series of hills that are very popular among hikers. The park also encloses a large area of wetlands.

< DIAGRAM | INITIAL CONCEPT

108 109


LAMIAE AMEZIANE

INSTRUCTORS | MINI CHU & PHILLIP RA


COURSE NAME

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

< PLAN | SITE PLAN BUILDING AS A MARSH 01 |The building acts like a marsh, the transitional area from terrestrial to aquatic environment. 02 | Integration of a long skinny wall that represents a vertical marsh, this wall has a double layering. An inner shell hosts a water feature that represents the water level during a flood on the marsh and the outer shell represents the marsh plants that inhabit it. 03 | Integration of a pier feature that extends and cantilevers above the marsh allows the visitor to experience the marsh in an exterior setting.

110 111


LAMIAE AMEZIANE

INSTRUCTORS | MINI CHU & PHILLIP RA


ARH 350

COYOTE HILLS VISITORS CENTER

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

< VIEW | EXHIBITION SPACE BUILDING AS A MARSH 01 | Integration of a long skinny gap between the floor and the wall to allow the visitor to notice the transition from dry to wet land. 02 | Sharp zoning of the programs based on their privacy level and interior grouping method replicating the zoning of plants in the marsh. 03 | The transition in opacity is represented programmatically and on the outer shell. The skin of the building is inspired by the marsh during drought. It separates itself from the building and acts as a separate entity that changes in opacity as it digs into the marsh. It is rooted to the soil and uses a material that is adapted to live in a flooded zone. 112 113


LAMIAE AMEZIANE

INSTRUCTORS | MINI CHU & PHILLIP RA

10

09

08 07

06 05

04

03 00

02 01

11


COURSE NAME

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

< PLAN | FLOOR PLAN 00 01 02 03 04 05 06 07 08 09 10 11

| | | | | | | | | | | |

Picnic Area Trash Room Mechanical Room Bathroom Storage Office Naturalist Station Bathroom Conference Room Lab Cafe + Library Display Area

114 115


LAMIAE AMEZIANE

INSTRUCTORS | LISE BARRIERE & JOSEPH KING


ARH 350

COYOTE HILLS VISITORS CENTER

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

< SECTION | LONG SECTION


LAMIAE AMEZIANE

INSTRUCTORS | LISE BARRIERE & JOSEPH KING

< MODEL | WALL SECTION

DETAIL | WALL SECTION >


ARH 350

COYOTE HILLS VISITORS CENTER

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

118 119


LAMIAE AMEZIANE

INSTRUCTORS | LISE BARRIERE & JOSEPH KING


ARH 350

COYOTE HILLS VISITORS CENTER

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

MODEL | STRUCTURAL MODEL >

< MODEL | FINAL MODEL 120 121


BAM @ THE HIGHLINE | Building a theater by the Highline for the Brooklyn Academy of Music

06


DESIGN STATEMENT | This project explores the Highline as a void in the city of New York. This void leaks into the building on the Highline level. The void grows into the building as triangulated framework that expands vertically into the building. This triangulated surface represents the circulation from the Highline into the building. By bringing a similar experience that one encounters while walking down the Highline into the inside of the building, the theater, along with other program spaces become the solids in contrast with the triangulated void that forms the circulation. Vertically, the building starts as a more enclosed mass and as it lines up with the Highline, it gradually transforms into a more open and public based experience.

PROJECT LOCATION | Manhattan, New York


[ VOID ] â&#x20AC;&#x2DC;A completely empty space.â&#x20AC;&#x2122; I believe that architecture gives purpose and meaning to void spaces.


LAMIAE AMEZIANE

INSTRUCTOR | CAROL BUHRMANN

DRAWING | PAINTING ANALYSIS > 01 02 03 04 05

| | | | |

Curvatures and lines Surfaces and forms Focal points Division of planes Light distribution


ARH 310

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01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

BAM @ THE HIGHLINE

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126 127


LAMIAE AMEZIANE

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INSTRUCTOR | CAROL BUHRMANN

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MODELS | CONCEPT MODELS 01 | Major intersection points 02 | Warping of mass 03 | Direction of movement 04 | Three concepts combined 05 | Final concept model: Two bodies outgrow an inner body that uses a different formal expression | The framework defines a void


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128 129


LAMIAE AMEZIANE

INSTRUCTOR | CAROL BUHRMANN

ANALYSIS | PENCIL DRAWING >

< MODEL | ANALYTICAL SITE MODEL


COURSE NAME

PROJECT TITLE HERE

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Site Model Analysis


LAMIAE AMEZIANE

01 |

INSTRUCTOR | CAROL BUHRMANN

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ARH 310

BAM @ THE HIGHLINE

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COLLAGE | VIGNETTES 01 | Triangulated mass leaks into 10th Ave 02 | Extension of framework into the Highline hotel 03 | Overlapping existing Highline with conceptual framework 04 | Proposing triangulated structures between city blocks 05 | Triangulated structure overtaking Manhattan

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132 133


LAMIAE AMEZIANE

INSTRUCTORS | MINI CHU & PHILLIP RA


COURSE NAME

PROJECT TITLE HERE

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

PLAN | THIRD FLOOR PLAN

134 135


LAMIAE AMEZIANE

INSTRUCTORS | MINI CHU & PHILLIP RA


COURSE NAME

PROJECT TITLE HERE

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

SECTION | LONG SECTION

136 137


(un)SHELTERED | Supporting the homeless through dance therapy

07


DESIGN STATEMENT | Communal homeless shelter open to workers in the sex industry. It is a space where they can eat, sleep and have free therapy. The center uses a dance therapy program to help these individuals improve their body image and regain their self esteem. It is a safe space to express who you truly are, a space where you can achieve emotional and physical integration. The dance therapy programs are open to the public to try and create a bond between this marginalized part of the society and the outside community.

PROJECT LOCATION | San Francisco, California


[ SHELTER ] â&#x20AC;&#x2DC;A place giving temporary protection from bad weather or danger.â&#x20AC;&#x2122; I believe that the primary goal of architecture is to provide humans with shelter.


LAMIAE AMEZIANE

INSTRUCTORS | MINI CHU & PHILLIP RA


ARH 250

(un)SHELTERED

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

< VIEW | AERIAL VIEW The goals of this space is to provide protection, integration, rebuild confidence, develop mobility and open to the community. The dance therapy studios introduce a new formal language; triangulation.

142 143


INSTRUCTORS | MINI CHU & PHILLIP RA

SECTION | LONG SECTION THROUGH DANCE STUDIOS The dance studios reside in three masses that rotate vertically then join into the larger mass where the homeless shelter is. The two programs are foreign to each other and are separate from one another, when they merge together the triangulation which represents the act of dancing expands into the rest of the building. This marks the moment where the building connects the residents with the community.


COURSE NAME

PROJECT TITLE HERE

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09


LAMIAE AMEZIANE

INSTRUCTORS | MINI CHU & PHILLIP RA


ARH 250

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

(un)SHELTERED

SECTION + ELEVATION | 01 | SOUTH ELEVATION 02 | CROSS SECTION

01 |

< PLAN | SITE PLAN

02 |

146 147


LAMIAE AMEZIANE

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INSTRUCTORS | DORON SERBAN & SAMEENA SITABKHAN

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03 |

< PLAN | 01 | FIRST FLOOR PLAN 02 | SECOND FLOOR PLAN 03 | FOURTH FLOOR PLAN 04 | PHYSICAL MODEL


04 |


LAMIAE AMEZIANE

INSTRUCTORS | DORON SERBAN & SAMEENA SITABKHAN

01 | PHYSICAL MODEL 02 | SITE DEPLOYMENT DIAGRAM 03 | FLOOR PLAN

01 |


ARH 250

(un)SHELTERED

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

IGSU | INDIVIDUAL GUERRILLA SLEEPING UNIT MOBILITY | SAFETY This prototype assists the homeless at a smaller scale. This design provides the individual with the comfort of a bed inside a small fold-able unit that can be attached to a bike. This design allows the person to move their sleeping unit to different parts of the city, enabling them to park and rest at their convenience.

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150 151


GASTRONOMIC ART COMPLEX | Creating a hub in Jack London Square

08


DESIGN STATEMENT | Skin is formed through the process of coagulation, the process where liquid substances harden over time. Through our earlier encounter with the Yogurt Ravioli recipe, the liquid compound created its own protective layer as it was dropped into water. The thickening of the outer layer resulted in a gel-like shell, holding its liquid counterpart safely inside. Through this understanding of the concept of skins, the gastronomic complex inherits outer shells to enclose program spaces while defining certain programs through the peeling of skins. The circulation and movement through space will be denoted by the behavior of the peeling of skin; dividing paths and branch out routes throughout the complex.

PROJECT LOCATION | Oakland, California


[ SKIN ] â&#x20AC;&#x2DC;The thin layer of tissue forming the natural outer covering of the body of a person or animal.â&#x20AC;&#x2122; I believe that skin is an integral part of architecture as it is the barrier that creates shelter between the inside and the outside.


LAMIAE AMEZIANE

INSTRUCTORS | MINI CHU & PHILLIP RA


ARH 210

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GASTRONOMIC ART COMPLEX Intensity of sunlight 100%

Surface twist

90% Excessive hairgrowth

Compression of the cartilage

80% Womb 70%

60%

50%

40%

30%

20% Inflation of skin 10%

Intensity of population

100%

90%

80%

70%

60%

50%

40%

30%

20%

0%

10%

20%

30%

40%

50%

60%

70%

80%

90%

100%

10%

20%

30%

40%

Anterior curvature

50%

60%

70% Linear evolution 80%

ANALYSIS | COMPONENT DEVELOPMENT

90%

100%

156 157


LAMIAE AMEZIANE, YU HSIN LI & CHAYAKORN SATHAWARINTU

INSTRUCTOR | ALEXANDRA NEYMAN


ARH 210

GASTRONOMIC ART COMPLEX

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VIEW | INTERIOR EXHIBITION >

< EXPERIMENT | YOGURT RAVIOLI BREAKING | BLOCKING | DETACHING 01 | If the ratio of the yogurt to milk mixture is incorrect the skin is not able to maintain its form. 02 | If the yogurt ravioli is removed too quickly from the sodium alginate water, the 158 159


LAMIAE AMEZIANE

INSTRUCTORS | MINI CHU & PHILLIP RA


ARH 210

GASTRONOMIC ART COMPLEX

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< PLAN | SITE PLAN Jack London Square is an entertainment and business area across the harbor, opposing the industrial stretch of Alameda. The site itself has its own beauty, combining industrial equipments with the natural environment. To compliment the busy life of the site, the gastronomy complex hosts numerous hybrid spaces that would coexist with one another. Keeping the diversity of the square in mind, the complex aims to increase the cultural importance of art, food and business. With extra amenities that accommodate fitness fanatics, the complex aims to become the hub of Oakland. 160 161


LAMIAE AMEZIANE, YU HSIN LI & CHAYAKORN SATHAWARINTU

INSTRUCTOR | ALEXANDRA NEYMAN


ARH 210

GASTRONOMIC ART COMPLEX

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

ANALYSIS | PHYSICAL MODEL

162 163


LAMIAE AMEZIANE, YU HSIN LI & CHAYAKORN SATHAWARINTU

INSTRUCTOR | ALEXANDRA NEYMAN

VIEW | OUTDOOR PROMENADE >

02 |

< PLAN | FLOOR PLAN 01 |

01 | SECOND FLOOR PLAN 02 | THIRD FLOOR PLAN


ARH 210

GASTRONOMIC ART COMPLEX

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

164 165


LAMIAE AMEZIANE, YU HSIN LI & CHAYAKORN SATHAWARINTU

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INSTRUCTOR | ALEXANDRA NEYMAN


ARH 210

GASTRONOMIC ART COMPLEX

01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

ANALYSIS | 01 | 100 MAYA MODELS 02 | CROSS SECTION

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PERSONAL WORK |

09


PROJECT TYPES | 01 02 03 04

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ANAMORPHIC PROJECTION FURNITURE DESIGN BLOG HAND DRAWING


[ ART ] ‘The expression or application of human creative skill and imagination, typically in a visual form such as painting or sculpture, producing works to be appreciated primarily for their beauty or emotional power.’

[ ARCHITECT ] ‘Design and make.’ I believe that an architect is a global thinker, an interdisciplinary designer and a creative maker.


LAMIAE AMEZIANE


01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

ANAMORPHIC PROJECTION | Creating an optical illusion by painting a 2D surface with a strong light and dark contrast within a primary color; blue, to create depth and give the viewer a 3D feeling. Some blues are more saturated they appear brighter and further, while others are desaturated they appear darker and closer.

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01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

WARPED CHAIR | I wanted to create a chair that grabs the usersâ&#x20AC;&#x2122; attention. It looks unbalanced as the thin metal tube creates a contrast with the wood slab. The chair combines three different materials; lath wood, metal and acrylic used as an armrest. The goal is to create a strong differentiation between materials creating a strong contrast between light and heavy, achieving the distorted effect.


LAMIAE AMEZIANE

BLOG | WEARABLE SPACES Exploring the overlap between two important fields of design, architecture and fashion. This blog focuses in the relationship between the two, providing examples of architecture inspired fashion and fashion inspired architecture.


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LAMIAE AMEZIANE


01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

DRAWING | STILL LIFE This features a series of hand drawing techniques: - Charcoal still life drawing - Pencil drafting of case study - Pen sketches 178 179


LAMIAE AMEZIANE


01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09

180 181


[ IDEAL ] ‘The ideal is in the formal arrangement, the relationship to the city, the use of materials that are available to me. That’s where I say our powers are limited.’ Frank Gehry


ACKNOWLEDGMENTS | Thank you to all my friends and family for pushing me this far, this journey would not have been possible without your constant support. FAMILY | I would like to express my deepest gratitude to my dad who always believed in me and taught me how to be a strong independent woman. Your unconditional love and support is what pushes me to better myself everyday. I would also like to thank my mom and my incredibly inspiring sisters, Mouna, Aya, Fatima and Loubna, for always being there for me.

FRIENDS | A special thank you to my best friends Chayakorn and Imelda who made San Francisco feel like home. Through laughs and tears, you were always by my side, supporting me mentally and emotionally. My success in architecture school relies heavily on you guys, today I consider you like family. Vish, I feel extremely grateful to have you by my side. You are the most joyful and the kindest person I know, you are a very special person to me and I can never thank you enough for constantly making me happy. I would also like to thank my friends from architecture school, Cindy, Rhony, Sofiane, Kathleen, Werner, Verna, Wendy, Hussein and Juliana for going through this journey together, standing up from failures and celebrating successes together.

FACULTY | First and foremost, I cannot begin to express my thanks to Phil Hamlett, who provided me with the best guidance I can ask for in the design of this portfolio. I would also like to thank my directors, Jennifer Asselstine and Karen Seong for their continuous support throughout this journey. Mini Chu and Phillip Ra who helped me tremendously throughout my thesis year that was full of obstacles and challenges. You took the time to listen to me, let me express myself and always pushed me to become a better designer. This journey would not have been possible without the support and nurturing of my other faculty; Carol Buhrmann, Doron Serban, Lise Barriere, Joseph King and Braden Engel. Today, I am extremely thankful for all the talented and inspiring people around me, I would not be here without you all.


COLOPHON | 01 | SCHOOL Academy of Art University | School of Architecture 02 | STUDENT Lamiae Ameziane San Francisco, California larchezian.com

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IDEAS AND IDEALS  

A design portfolio by Lamiae Ameziane

IDEAS AND IDEALS  

A design portfolio by Lamiae Ameziane