Meera Lootah Architectural Portfolio

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ARCHITECTURAL PORTFOLIO MEERA LOOTAH

CURRICULUM VITAE

EDUCATION

The American University of Sharjah

Sharjah, United Arab Emirates

Bachelor of Architecture (Entering fifth year in Fall, 2023)

Greenwood International School

Dubai, United Arab Emirates

ACADEMIC AWARDS

Dean’s List Spring 2020

Dean’s List Spring 2023

Tau Sigma Delta Spring 2023

LANGUAGES

English Arabic

COMPETITIONS

Abu Dhabi Art Pavillion 2022 Competition

Re-housing the Cave Dwellers of Bamiyan

4th Place Honorary Mention

Adobe Photoshop

Indesign

Illustrator

Arcobat

Lightroom

Autodesk

Autocad

Revit

3ds Max

Robert McNeel & Associates

Rhinoceros 3d

Grasshopper

Kuka PRC

MS Office

Word

Powerpoint

Excel

Other

V-Ray

Lumion

Sketchup

Woodwork

Cutting, drilling, sanding, carving, finishing

Metalwork

Cutting, drilling, revittig, bending, powdercoating, Kuka PRC

Lasercutting

Chipboard

Acrylic

Wood

Casting Cement plaster

Painting

Watercolor

Acrylic Gouache

Other 3D Printing

Physical Modelling

Drawing

CONTACT INFORMATION

Meera Lootah

Undergraduate Student | Bachelor of Architecture

The American University of Sharjah

+971 (55)-608-6080

meera.lootah@hotmail.com , g00083926@aus.edu

SHARJAH CENTRE FOR FILM & MEDIA

| ARC402 - ARCHITECTURAL DESIGN STUDIO VI

Pages 3-12

RE-HOUSING THE CAVE DWELLERS OF BAMIYAN

| ARC401 - ARCHITECTURAL DESIGN STUDIO V

Pages 13-16

DESIGN-BUILD HUB

| ARC302 - ARCHITECTURAL DESIGN STUDIO IV

Pages 17-20

AL MAREIJA COMMUNITY CENTER

| ARC202 - ARCHITECTURAL DESIGN STUDIO II

Pages 21-28

THE EXO-SKELETON

| ARC433 - ADVANCED TOPICS IN DIGITAL FABRICA-

Pages 29-32

The intention was to create a centre for film and media that disconnects one from the outside commotion, bringing them in to a world of film, media, and fantasy, and illusion. The centre acts as a dynamic space that allows for public gathering throughout the calender year, as well as allowing for more singular experiences in which people are exposed to an experience based upon light, darkness, sound, acoustics, projection, and performances. The two screening theatres are monolithic, stereotomic masses that have more singular experiences. The theatres are seemingly held above ground by the exoskeleton that wraps around the centre. The other secondary spaces are transparent, and allow for more communal experiences through its exhibition spaces, multi-functional halls, lounge spaces, cafe spaces, as well as outdoor gathering spaces.This project represents an ongoing meeting place for this experience that encourages conversations and dialogue between people. A place of interaction between film enthusiasts and locals that creates a sense of community enrichment.

The proposal aims to create a self-sustaining community through the sculpting of the landscape that integrates agricultural strips and barns in connection with the dwellings. Adobe bricks as the primarily form of material, enables the community to build their houses, brick by brick, instilling a sense of community and belonginess to their homes. Our project hopes to allow the residents to make these houses their homes and emotionally connect to it and regain their sense of pride. Through crafts, agriculture, and animal zones we hope for the refugees to generate their own livelihood. They can then be sold in the market bazaar for further interaction with the outside community. The collective ground has the community center, school, clinic, and stable carved underground with a roofscape above it, which serves as a communal agricultural field.

There are two types of typologies, one of which is the roofscape and the other is the freestanding dwelling. Each have a craft zone that allows refugees to use the space as an opportunity to empower themselves through various crafts. All the dwellings are made of stone foundation, Adobe bricks and clay flooring, however the difference is in the roof. The roofscape allows for more agricultural land on top, and the freestanding roofs maximize the amount of light through its tectonic structure.

The freestanding dwellings, each compound has animal passages on the sides that leads into a garden that is then controlled through a sluice gate. The wall on the north is made of thick haybale that’s thermally insulated and protected with polycarbonate on the exterior. The tandoor on the north wall is a source of heat that keeps the dwellings warm. The thatch roof acts as an insulative material that traps heat through pockets of air. The metal sheet is also efficient in protecting the adobe bricks from rain and snow. And lastly, the skylight is angled to maximize the winter sun.

RE-HOUSING THE CAVE DWELLERS OF BAMIYAN

CRAFT VILLAGE

SITE PLAN

The proposal aims to create a selfsustaining community through the sculpting of the landscape that integrates agricultural strips and barns in connection with the dwellings. Adobe bricks as the primarily form of material, enables the community to build their houses, brick by brick, instilling a sense of brotherhood and belonginess to their homes. Our project hopes to allow the residents to make these houses their homes and emotionally connect to it and regain their sense of pride. Through crafts, agriculture, and animal zones we hope for the refugees to generate their own livelihood. They can then be sold in the market bazaar for further interaction with the outside community.

1:1000

The gutter and cistern systems enable harvesting of collected rainwater, while the pit in latrines collects waste for agricultural fertilizer. The agricultural strips and water channels weave with the dwellings and communal spaces. The collective ground has the community center, school, clinic, and stable carved underground with a roofscape above it, which serves as a communal agricultural field. A reminiscence of a cave is created through a subtractive form of dwelling. This ground contains agricultural plants such as wheat and corn, and the flow of the agricultural strips allows the animals to roam freely. Pre-community of the collective ground is used as a harvest place for bamboo and necessary material for the housing roofs, and post community it would allow for the marketplace. This market (Bazaar) is near the road sells local things as a source of income for the dwellers. The mosque is underground to disconnect from the busy hustle of the inhabitants and serves as a place of connection and reflection. The Qibla is the highpoint node of the site. In the dwellings, there are two types of typologies.

In the dwellings, there are two types of typologies, one of which is the roofscape and the other is the freestanding dwelling. All the dwellings are oriented towards the south to maximize the amount of sun that enters the dwellings. They each have a craft zone that allows refugees to use the space as an opportunity to empower themselves through various crafts. All the dwellings are made of stone foundation, Adobe bricks and clay flooring, however the difference is in the roof. So, the roofscape allows for more agricultural land on top, and the freestanding roofs maximize the amount of light through its tectonic structure.

HOUSING

GROUP CODE: 4C-ARC COMMUNAL

The wastes are accumulated in the pit which is later removed and used as manure for the agricultural strips. Vents split system allow ventilation, and the other part has a mesh at the top which traps flies within the vent which further falls into the pit.

The intention was to create an interaction learning environment with a fabrication lab, studios and lounge spaces that would be an extension of the College of Art, Architecture, and Design in the American University of Sharjah. The design-build hub disconnects one from the outside commotion, and the first and second floors hold spaces that requires students to work in silence, elevated from the busy fabrication lab on the ground floor yet still visually connected to it.

Beginning with 3 massive volumes out of rammed earth that goes up to floors, bridges are there created to connect between the College of Art, Architecture and Design and the design-build hub along an axis that separates the vertical circulation core and the fabrication lab. There is a contrast between heavy and light within the project, with the more intimate spaces being more tectonic with sawtooth skylight roofs facing North that allow indirect light as well as natural ventilation into the space. Areesh was then used as a skin to filter light as it’s a locally sourced material.

There is also a sense of voyeurism between the inside and outside. Additionally, within the project itself is a sense of visual continuity between the different levels where students could overlook the work going on on the ground floor, treating the space as a learning device.

Design-Build Hub

ARC 302 Spring 2022 Meera Lootah | Professor Castillo

The intention is to create an interactive learning environment in which the fab lab is the most dominant space, with the spaces, overlooking the activity on the ground floor. The students are disconnected from the outside commotion, and then the first and second floors hold spaces that require students to work in silence are elevated from the busy fab lab but still visually connected to it. There is a contrast between heavy and light within the project with the more intimate, quieter spaces being more tectonic with sawtooth skylight roofs facing North that allow indirect light as well as natural ventilation into the space. Areesh was used in order to screen light, as it's a locally sourced material.Additionally, within the project itself is a sense of visual continuity between the different levels where students could overlook the work going on on the ground floor, treating the space as a learning device.

Generative Diagram

Site Analysis

Sustainability + Sectional Perspective

Renders

Structural Diagram

The project explores the idea of creating an experience in which one meanders through spaces that compress and expand vertically and horizontally. As the two spatial conditions of compression and expanson meet, there is also a transition between the stereotomic and tectonic elements, letting in light as well as creting a sense of voyeurism. The bath-related programs take place on the upper level where the voyeuristic element is manifested through the modular mashrabiya system as one may look out on the activity outside while remaining concealed.

There is also a relationship between the stereotomic and tectonic elements, in which the masonry units is a delicate material that infills between the thick stereotomic massings of the project. As one passes through the entrance, between the perforated masonry units, they catch glimpses of what happens within the volumes, from the users of the baths and saunas moving up and down the stairs, to the activity of the staff members at the administration spaces.

The bath-related programs all take place on level 01, which is a more enclosed and meditative space, only letting in dappled light. The baths have two spatial conditions, compression and expansion, in which the expansive pool is more shallow, and users may sit and walk throug hte water. The other condition of compression is when one moves through a cooler, tigher space.

ARC202 | AL MAREIJA COMMUNITY CENTER

ARC202 | AL MAREIJA COMMUNITY CENTER

ARC202 | AL MAREIJA COMMUNITY CENTER Section FF

Meera Lootah g00083926

Prof. Tania Ursomarzo

The concept behind this project was to utilize the KUKA PRC system to design a pin-up structure.The exo-skeleton is bent in a fluid and dynamic pattern across a set number of modules. This dynamic motion came from the fluttering of a birds wings and the positions at a given instance during flight. The motion is seen as an echo when looked at from different positions and gives the sculpture its dynamic nature while being locked in motion. In order to achieve this deviation, a virtual framework was built as a grid that had fixated points which gradually shifted across the modules and from there lines were drawn in relation to the moment. The strategy for the pin-up structure was to create the frames that would then use panels of 4mm acrylic sheets with pin-hole points at standard paper size locations. The overhead connection is then dealt with using 3d-printed connections and zipties to suspend and stabilize the skeleton onto the ceiling.

THE EXO-SKELETON

THE EXO-SKELETON

F22: ARC 433: ADVANCED DIGITAL FABRICATION

F22: ARC 433: ADVANCED DIGITAL FABRICATION

THE EXO-SKELETON F22: ARC 433: ADVANCED DIGITAL FABRICATION

CONCEPT

CONCEPT

The throught behind this project was to utilize the KUKA prc system to bend a fluid pattern across a set number of modules. This fluid motion came from the fluttering of a birds wings and the positions at a given instance during flight. The motion is seen as an echo when looked at from different positions and gives the sculpture its dynamic nature while being locked in motion. In order to achieve this deviation a virtual framework was built as a grid that had fixated points which gradually shifted across the modules and from there lines were drawn in relation to the moment

The throught behind this project was to utilize the KUKA prc system to bend a fluid pattern across a set number of modules. This fluid motion came from the fluttering of a birds wings and the positions at a given instance during flight. The motion is seen as an echo when looked at from different positions and gives the sculpture its dynamic nature while being locked in motion. In order to achieve this deviation a virtual framework was built as a grid that had fixated points which gradually shifted across the modules and from there lines were drawn in relation to the moment

The throught behind this project was to utilize the KUKA prc system to bend a fluid pattern across a set number of modules. This fluid motion came from the fluttering of a birds wings and the positions at a given instance during flight. The motion is seen as an echo when looked at from different positions and gives the sculpture its dynamic nature while being locked in motion. In order to achieve this deviation a virtual framework was built as a grid that had fixated points which gradually shifted across the modules and from there lines were drawn in relation to the moment

The strategy for the board is to use 4mm acyrlic sheets that have an etched grid with pin hole points at standard paper size locations.

The strategy for the board is to use 4mm acyrlic sheets that have an etched grid with pin hole points at standard paper size locations.

The strategy for the board is to use 4mm acyrlic sheets that have an etched grid with pin hole points at standard paper size

OVERHEAD CONNECTION

3D printed connection and zip ties to suspend and stabilize the overhead skeleton and reinforcment on the ceiling

Using 3D printed connection and zip ties to suspend and stabilize the overhead skeleton and reinforcment on the ceiling

Using 3D printed connection and zip ties to suspend and stabilize the overhead skeleton and reinforcment on the ceiling

CONTEXT

locations.

SKELETON+REINFORCMENT

SKELETON+REINFORCMENT

REINFORCEMENT: EXPLODED AXON AND PARALLEL CONNECTION

REINFORCEMENT: EXPLODED AXON AND PARALLEL CONNECTION

REINFORCEMENT: EXPLODED AXON AND PARALLEL CONNECTION

CHALLENGES:

Fabricating issues:

CHALLENGES:

CHALLENGES:

Fabricating issues:

Fabricating issues:

. The difference in tolerance of things in rhino vs real life, ex: placement on the ground and top, things move and shift.

Design issues:

The difference in tolerance of things in rhino vs real life, ex: placement on the ground and top, things move and shift.

Design issues:

1. The difference in tolerance of things in rhino vs real life, ex: placement on the ground and top, things move and shift.

. When zip tieing things still slip and slide on top of each other and shift.

Design issues:

1 Since the geometry of the module being complicated, it was hard to find rules for pipe length and bends sequence. Pipes are either too long or too short sometimes we have to recut them.

1. Since the geometry of the module being complicated, it was hard to find rules for pipe length and bends sequence. Pipes are either too long or too short sometimes we have to recut them.

1 Since the geometry of the module being complicated, it was hard to find rules for pipe length and bends sequence. Pipes are either too long or too short sometimes we have to recut them.

When zip tieing things still slip and slide on top of each other and shift.

2. When zip tieing things still slip and slide on top of each other and shift.

2 It was challenging to find ways to reinforce the module and make it rigid and not weak as the module’s geometry contains very few rules.

. While dry fitting, it was hard to find the actual position of where things meet in space.

While dry fitting, it was hard to find the actual position of where things meet in space.

2. It was challenging to find ways to reinforce the module and make it rigid and not weak as the module’s geometry contains very few rules.

2 It was challenging to find ways to reinforce the module and make it rigid and not weak as the module’s geometry contains very few rules.

3. While dry fitting, it was hard to find the actual position of where things meet in space.

. At first we didn’t grasp that challenge of reinforcement splits until we actually dry fit

At first we didn’t grasp that challenge of reinforcement splits until we actually dry fit

4. At first we didn’t grasp that challenge reinforcement splits until we actually dry fit them.

3 The reinforcement was challenging because it has to be structurally supporting the module and it has to be bend through the robot. It was hard to check the splits for all before outputting to the file.

3. The reinforcement was challenging because it has to be structurally supporting the module and it has to be bend through the robot. It was hard to check the splits for all before outputting to the file.

3 The reinforcement was challenging because it has to be structurally supporting the module and it has to be bend through the robot. It was hard to check the splits for all before outputting to the file.

. When the pipes came back from powder coaters, parts needed to be filed to make

When the pipes came back from powder coaters, parts needed to be filed to make

5. When the pipes came back from powder coaters, parts needed to be filed to make things fit.

. Since it’s a team project we sometimes find it hard to compromise with each other’s

Since it’s a team project we sometimes find it hard to compromise with each other’s

4 It was challenging to maintain hierarchy between skeleton module and reinforcement and pin up.

4. It was challenging to maintain hierarchy between skeleton module and reinforcement and pin up.

4 It was challenging to maintain hierarchy between skeleton module and reinforcement and pin up.

6. Since it’s a team project we sometimes find it hard to compromise with each other’s schedule.

. There are potential safety issues when assembling reinforcement and the skeleton module weren’t attached. The pipes above our heads fell.

There are potential safety issues when assembling reinforcement and the skeleton module weren’t attached. The pipes above our heads fell.

7. There are potential safety issues when assembling reinforcement and the skeleton module weren’t attached. pipes above our heads fell.

5 Pin up strategy has been challenging since the start, acyrlic or opaque, showing or hiding internal guts of contruct, hole size in board, finding the pin location, attacthing a heavy acyrlic

5. Pin up strategy has been challenging since the start, acyrlic or opaque, showing or hiding internal guts of contruct, hole size in board, finding the pin location, attacthing a heavy acyrlic

5 Pin up strategy has been challenging since the start, acyrlic or opaque, showing or hiding internal guts of contruct, hole size in board, finding the pin location, attacthing a heavy acyrlic

ARCHITECTURAL PORTFOLIO MEERA LOOTAH