â€œHow much more mysterious and inviting is the street of an old town with its altering realms of darkness and light than are the brightly and evenly lit streets of today! The imagination and daydreaming are stimulated by dim light and shadow. In order to think clearly, the sharpness of vision, has to be suppressed, for thoughts travel with an absent-minded and unfocused gaze. Homogeneous bright light paralyses the imagination in the same way that homogenization of space weakens the experience of being, and wipes away the sense of place. The human eye is most perfectly turned for twilight rather than bright daylight.â€? Juhani Pallasmaa
MOHAMMADQTAISHAT Jordanian, born on 12th April, 1995 firstname.lastname@example.org +962796965279 A goal oriented architect pursuing work in the fields of design, art and planning, particularly through experimentation and metaphors. Striving to utilize passion for architecture and acquired skills in more enhanced designs. Seeking knowledge and experience through learning and participating in different workshops and architectural events. Looking for concepts that are challenging and unique with the ultimate goal to translate them into buildings, spaces and environments that function well, inspire people and make a change.
EDUCATION The University of Jordan
Amman Jordan | April, 2014 - April, 2019 | Bachelor Degree in Architecture
Amman Jordan | May, 2001 - May, 2013 | Jordanian Tawjihi , Scored: 94.7%
EXPERIENCE Freelance Architecture Rendering & design. 2015-Present
IAESTE Intern-ship | Hamadani Architects | Tunisia 2018
WORKSHOPS GeoDesign Hub Workshop. 2018
USAID: Importance of utilizing native species for landscape design workshop. 2018
Amman Resilience Strategy workshop - 100 resilient cities. 2017
COMPUTER SKILLS 2D Drafting, 3D Modelling AUTODESK 3DS MAX AUTODESK REVIT AUTODESK AUTOCAD McNeel RHINOCEROS GOOGLE SKETCHUP PIXOLOGIC ZBRUSH
VISUAL SCRIPTING REVIT - DYNAMO RHINOCEROS - GRASSHOPPER SUBSTANCE DESIGNER
RENDERING & VISUALIZATION VRAY - 3DS MAX UNREAL ENGINE LUMION 9 TWINMOTION ADOBE PHOTOSHOP ADOBE ILLUSTRATOR ADOBE LIGHTROOM ADOBE INDESIGN SUBSTANCE PAINTER
PHYSICAL MODELLING 3D PRINTING AND LASER CUTTING FILE PREPARATION
PERSONAL SKILLS Ability to communicate and effectively interact with people from different ďŹ elds of engineering gained through workshops. Good formal communication skills developed in different volunteering and job roles. Research skills.
DOCUMENTATION MICROSOFT WORD MICROSOFT EXCEL MICROSOFT PROJECT MICROSOFT POWERPOINT
LANGUAGES Arabic: Mother language
English: Fluent spoken and written
This PORTFOLIO is focused on the selected ACADEMIC works carried out through the years of attaining a Bachelorâ€™s in Architecture at the University of Jordan, along side some Personal works , Renderings, Modelling and Competitions participation. VOLUME 1
GRADUATION PROJECT PAGE 3 SUPERVISED BY DR. SALEEM DAHABREH
ORDER IN CHAOS DESIGN STUDIO 4
DESIGN STUDIO 6
PAGE 19 SUPERVISED BY DR. SALEEM DAHABREH
DESIGN STUDIO 5
PAGE 29 COLLABORATION: MOHAMMAD AL RABABA
PAGE 37 SUPERVISED BY DR. SALEEM DAHABREH COLLABORATION: LEEN ISHAQAT
PAGE 45 COLLABORATION: MOHAMMAD AL RABABA
DESIGN STUDIO 3
COUNTRY-SIDE HOUSE DESIGN STUDIO 1 PAGE 55
DESIGN STUDIO 2
COMPETITIONS, MODELLING & RENDERING PERSONAL WORK PAGE 59
The Archive | Graduation Project | Archive
2019 | Supervised by Dr. Saleem Dahabreh
A Vertical exhibition that is a time city gallery and a research centre that acts as an archive and a container of the culture of the city, preserving it from getting lost in the modern society where buildings and humans became a commodity without essence. The archive is going to represent this issue through creating an architectural structure that generates three layers of experiences, the first is how you experience the form and materiality of the building with the rest of the city of Amman, the second is providing a narrative that takes you on a journey through the products and the culture of the city of Amman, and the third is how the building frames the different layers of the city both visually and physically. It will also introduce a notion from the future where architectural language is not a fixed style and a constant, not preconceived, where architecture is the resultant and the consequence of the contextual forces and not just affected by them.
Itâ€™s been a challenge for architects to deal with different, disconnected and fragmented entities of a rich context. For a city like Amman, which serves as an example of this rich context, it contains a lot of different architectural/social/economical layers, and the city became a new entity that is a resultant from the interaction between these different layers that accumulated above each other and it wasnâ€™t just affected by them. Like the city, the buildings should start as a new entity that is also a result of the contextual forces.
Throughout history, ARCHIVES have been important spaces in cities to express the re-connection of our history and culture. Archives have the innate capacity to express themselves as a container, the shell, for a nation’s identity. Archives are not merely an object or a building, but a diffuse and complex condition, integrating memories and images, desires and fears, the past and the present. Today, archives are often perceived as little more than a secular storage for objects and documents. The obsessively functionalized archive has turned too readily legible, too obvious, leaving no opportunity for memory and imagination. An archive cannot be shaped at once; it has its time dimension and continuum, and it is a gradual product of a culture and individual’s adaptation to the world. A reflection on the essence of an archive takes us away from the physical properties of the archive, allowing us to engage issues of identity and memory.
SOLID & VOID
GRIDS & TYPOLOGIES
For this typology of buildings I need a site that is considered a prime location in the city of Amman, a site that a has a potential of a narrative, a site that has access to different types of layers as well as users. And the best site that meets these criteria is Amman Citadel. Where it has different layers of history and access to a huge visual layer that views different typologies in Amman, as well as that it contains one of most distinctive characteristics of the city of Amman which is being a city on mountain ranges.
Because it’s a sensitive historical site, knowing the possible level for intervention is a must, According to a study made my UNESCO and GAM which (Amman is called Amman citadel management plan) it introduces the spaces that can be intervened with according to it there is a possibility in site for intervention at the edge which is the vertical part and small horizontal part. This site gave me the opportunity to create vertical exhibition that frames the city while connecting the local community with the citadel and an opportunity to recreate the archaeological museum that lacks the narrative in a site that is full of layers
VIEW RANGE CIRCULATION PATTERNS
LOCATION AND HISTORICAL LAYERS 7
Analysed at the height of 10 meters above the ground at the position of the archaeological museum, the graph to the right show the vast amount of sites that can be viewed and documented from the site, capturing the skyline and the past and the present and the social movement in a still image.
LAYERS OF ARCHITECTURE: BUILDING WITH THE CITY
1. SITE GRIDS
2. SITE FORCES
Finding the under-laying Grid and proportions behind the site from the different layers or archaeological grids that is embedded within the site and the street that governs the lower entrance to the it.
Finding the underlying forces and the orientation of the entrances to the proposed site that was defined by the ending of the historical tour and the lower entrance for the community.
3. VERTICAL CONNECTION
4. LAYER ONE: HORIZONTAL EXPANSION
Introducing the vertical exhibition that is framing the city and bridging the 24.5 meters gap between local community with the citadel and an opportunity to recreate the archaeological museum that lacks the narrative in a site that is full of layers both visually and physically.
Expanding the first layer of architecture that includes both the modernity of Le Corbusier through the ribbon windows that minimalize the effect in the context and Richard Meier proportions through the placing of massing, while maintaining the Program horizontally on the mountain in respect with the target groups.
5. LAYER TWO: SCULPTING THE MOUNTAIN
6. LAYER THREE: SCULPTING THE SCULPTURE
Sculpting the second layer of architecture which is Tadao Adno play of light and shadow through creating light wells that introduce the light into the interior spaces while materializing the interiors.
Adding the last layer which is the revolution of the de-constructed forms with respect to the site forces and The last notion was how the digital age changed the way architecture is thought of and it was used to respond to the site typology through creating the image of the ruins on the de-constructed facade through the random culling of the stone panels.
LAYERS OF FRAMING: FRAMING THE CITY Creating four different experiences that is framing the city and framing different typologies with-en it.
OPEN AIR THEATRE
THE CULLED FRAMES RIBBON FRAMES
LAYERS OF SOCIAL INTERACTION THE INTERIOR NARRATIVE Using design elements to provide for different types of social connections.
THE MUSEUM The Archaeological museum offers an important duality: first, it is a cultural activity, and secondly, it is also a leisure activity, often shared with others creating spaces for the visitors to negotiate and reconstruct these spatial dimensions by socially interacting with each other and the context in these spaces through the narrated archaeological museum and the open exhibitions.
THE LIBRARY The library offers a visually connected space that is a network of relationships, creating different levels of openness therefore making social space a home for interactions and exchanges between students, faculty, and staff. Acting as the product of people knowledge.
Creating a semi-private spaces that encourage social life and sense of community through a set of indoor and outdoor Auditoriums that creates a medium for social ties which enhances the flows of ideas and information between individuals.
Introducing th and bridging co dium, a space ucts of the city
THE RESEARCH SPACE
he vertical exhibition that is framing the city community with the site while creating a meto see the city differently and see the prody through the open exhibition spaces.
The research centre offers spaces to generate and develop knowledge through creating a communicative atmosphere, a court yard open to different levels of labs and research spaces, a kind of space that initiates and encourages people to co-operate.
| DESIGN STUDIO 6 | GENERAL HOSPITAL 2017 | Supervised by Dr. Saleem Dahabreh PROJECT DESCRIPTION
How do a constrained building program and its requirements interact with a well-formed design language that has its own generic principles? To pursue this question, this project looks at the hospital building type which has to be designed with the strong formal language of Richard Meier. To begin with Answering the questions “why hospital?” And “why Richard Meier”, On one hand, as a building type, a hospital building is strongly constrained by functional and programmatic requirements. Requirements concern not only the nature, size, furnishing and servicing of individual spaces but also their relationships to one another. In turn, the relationships specified in the design guidance do not bear on local patterns of contiguity or connection alone, but also on the overall organization of the plan. By implication, design freedom is limited. And On the other hand, Richard Meier’s buildings have a clear set of formal characteristics and design themes that can be traced across different projects and building types. These characteristics include a geometrical order that visible in the modules and proportions applied to the structural grid; involving a sense of visual layering arising not only from the transparency of the envelop and the arrangement of successive planes across the visual field but also from the juxtaposition of offset or rotated grids; and the assertion of syntactic centrality, the creation of a pivotal space within the building. 20
| DESIGN STUDIO 6 | GENERAL HOSPITAL 2017
How do a constrained building program and its requirements interact with a well formed design language that has its own generic principles? This question will be pursued with a particular emphasis on the two main aspects: 1. The understanding of a hospital and how it operates 2. The understanding of a well formed language of Richard Meier and his application of the geometrical order to create progression in his buildings through different methodologies.
ORDER IN CHAOS
| DESIGN STUDIO 4 |CULTURAL CENTRE 2015 PROJECT DESCRIPTION
RECOGNITION LEARN VRAY BEST OF THE YEAR 2017
Located in the rural areas of northern Amman, the project is an iconic project that allows the surrounding community to interact freely and helps finding a safe environment for the people to develop. The issue of conflicting grids and how it created a lost site made it clear that there was no transition between the site and building. We addressed this issue by creating a shell which would represent the conflict, that surrounds the building and appears to be growing from the site itself in gradation. Which led to the creation of the order in the chaotic conflicting grids in the site. Starting from the quote by (Nietzsche) : â€œThe Generative power of all order is founded in chaos. Humans and buildings are just an orderly arrangement of cells giving rise to body, thoughts and organized actions. Within them. Thousands upon thousands of compounds and reactions and relations. Molecules folding this way and that way, finding their way around on-random juggling and bumping together in which everything that can happen, does happen. Controlling the molecules to only do orderly things. This order is completely emergent from the chaos and randomness but of course one thing influences another and changes the probabilitiesâ€?. Gave the idea of creating a principle for design rather than rule based framework which allows for creative freedom, yet a freedom that respect the site and the human scale. 30
ORDER IN CHAOS
| DESIGN STUDIO 4 |CULTURAL CENTRE 2015
The site is a standard case of what is called to be the lost site, or site x. It has conflicting grids in the way its grid was created, versus the area surrounding it, represented by Ammanâ€™s traditional fabric. It created conflict in between the two, leaving some sites to be a lost site in the way they were on the borders in between those two forces with no clear distinction whatsoever. Having said that, we took this site as an opportunity rather than a constriction. This site, being in the parameters of Amman had the strength of being one of the first sites to be seen when entering city from the north. That has later helped with the connection of our building to the site. Moreover, after studying the surrounding needs and requirements of the local community, weâ€™ve concluded that the element of intellectualism and culture is missing and needs to be recreated
GROUND FLOOR PLAN
MASTER SITE PLAN
ENTRANCE FROM THE WOODS
SOUTH ELEVATION 36
A LV EO LU S | DESIGN STUDIO 5 | SKYSCRAPER 2016 | Supervised by Dr. Saleem Dahabreh & Dr. Deyala al tarawneh PROJECT DESCRIPTION
Located in the heart of the constantly changing city of Amman, the Abdali development Project and its place in a controversial urban setting has raised a numerous issues over the past two decades. In an attempt to examine how locally informed design may differ from global endeavours, an exercise aiming to introduce an additional tower within the project has been suggested. With a subtle analogy on how today’s tall buildings either resemble “pancakes” (Typical floor plates stacks on top one another), or “Refrigerators” (concept of deeper floors neglected any real use of day light and full dependency on artificial light. Thus spaces were air-conditioned to deal with the heat.). The project suggests we embrace the notion of “skyscrapers” as a vertical extension of the city rather than the traditional “tall buildings”, the vertical bridge imply a relationship between the earth and sky where the body of the skyscraper acts as a vertical bridge connecting the city to its aspirations. The Architectural manifestation of this proposal came through the implementation of ching’s transitional spaces principles, rules and typologies throughout the “Alveolus”, which is understood as a small cavity in the lungs, that is essential for the breathing process, to act as the breather for the city. 37
RECOGNITION Cover page for the magazine interiorph Spring edition 2018, 11th issue
A LV EO LU S | DESIGN STUDIO 5 | SKYSCRAPER 2016 Skyscrapers are based on stacks of floors upon each other, connection between them was close to none. This created homogeneity as well since it limited the contact between diverse people. This means that in order to have a responsive successful skyscraper, it has to have a vertical bridge that connects all floors and ensures contact in between in order to maintain the social aspect thatâ€™s naturally existent when you put diverse people in a shared place. MORPHOLOGY
The Library This zone -which contains the library- symbolizes the pure raw knowledge that is objective in itâ€™s information. Itâ€™s the highest rank in the order of Plato and in reflection, the highest and last function in our tower. When one reaches this stage, they reach the highest rank in regards to knowledge. The idea of limitation comes back here in the notion that no matter how much knowledge one can posses, they can never reach the ultimate knowledge, their minds will always be minor in regards to it. That is why some of the strips in the elevation give enclosure to the mass, while others continue vertically.
Ground Floor plan
SKY-GARDENS The need to have a visual connection between the site and context. Because the transition between the two was important, since that does not exist, the decision to create a physical connection that will then give the visual connection that we were targeting. The method was creating physical manipulation by shifting the podium as an result of the force of the boulevard and having a wide public pathway in the void it created. That pathway has the angle of the force weâ€™ve mentioned earlier. This achieves a physical connection and creates, therefore, visual manipulation in the way the site continues along with the axis of the force.
SYNERGISTIC SPACE | DESIGN STUDIO 3 | PHYSICALLY DISABLED COMMUNITY CENTRE 2015 PROJECT DESCRIPTION Located in the suburbs of Amman the project presents a rehabilitation-al space and a recreational space for the physically disabled in the community where they can learn, practice and communicate to be a proper active citizen in the current society the project synergize the physically disabled with the normal people throughout different the spaces in the project to amplify the effect produced by the physically disabled. Synergy: often defined as the combined effect produced by two or more elements which is greater than the sum of each individually. In order to create a medium that offers interaction and connectedness, the boundaries that once segregated the two entities are now converted to a margin that allows for exchange, hence generate a space where human activity is heightened and rich. The concept stems from the main subdivided elements of synergy which are: differentiation and integration, both are interrelated and inseparable. In general It is believed that reality differentiates to integrates into a more complex and a larger wholes.
SYNERGISTIC SPACE | DESIGN STUDIO 3 | PHYSICALLY DISABLED COMMUNITY CENTRE 2015 The project creates a home-like atmosphere , an Access to a positive outdoor space and a transition between indoor and outdoor spaces add a new dimension of interaction between users - users and users-nature, by creating an inviting outdoor space that draws people attention through common experience in the space, which becomes a place for restoration, production and independence. The space in connected to people in a way that is uniquely healing in its essence and it has no social, cultural and ethic boundaries. MORPHOLOGY
1. Site Zoning
2. Two main entities differentiated based on needs
3. Integration and Overlapping
4. Circulation patterns with respect To context and views.
5. Passive ventilation and lighting
6. Facade Systems
PANORAMIC MUSEUM | DESIGN STUDIO 2 | AJLOUN PANORAMIC MUSEUM
PROJECT DESCRIPTION Ajloun panoramic museum is a project that projects the historical sequence of events on the user through the movement of between the abstracted walls and the reflections of light and shadows throughout the journey in the space with respect to the historical and contextual views to create a proper presentation for the area surrounding the project. Designed with the idea of projection makes perception, where our perception is caused from a without and with-en factors but its triggered from the external context that transmit information to our bodies and our brains, that causes us to feel and sense the space around us.
COUNTRY SIDEHOUSE | DESIGN STUDIO 1 | HILL HOUSE
PROJECT DESCRIPTION Set in an imaginary setting, the country side hill house is a project that represents a getaway for a small family of four, enhancing the in interaction with nature through a modern architecture that reacts to the surrounding environment.
COUNTRY-SIDE HOUSE | DESIGN STUDIO 1 | HILL HOUSE
Liberty Museum Newyork Archasm’s concept based competition Top 50 - short listed Objects are to transient while timeless and placeless concepts like liberty are never. For a concept conservatory museum, seeking to understand liberty will always lead to a definition, and defining liberty makes it no longer liberal. While trying to define it by a contradictory isn’t possible; racism, oppression, inequity, tyranny and many refer to the absence of liberty but no clear antithesis. Getting out from the dilemma of definitions requires invoicing “Liberty” to an origin, an abstract word that simultaneously indicates it or indicates its absence.
Referring to the external forces applied to actions against the will of something, Determinism is a clear antithesis of the basic term “free will “, which is the foundation of subsequent concepts like freedom and liberty. With regard to our design approach, reflected in two phases, Determinism could create a contrasting effect that tackles the trammels of realization liberty principal in order to raise awareness. The first phase shows the power of site constituents on contextually forming museum’s body , The second reflects how architectural elements manipulates user’s experience of how to move, what to see and how to interact.
Phase 2 Museum’s concept conservatory volume contains visually connected platforms that hold changeable vessels; a deterministic elements that embodies artworks in different forms, Users must interact with in a certain way, to unlock what’s inside, restricting user’s choices . Absence of liberty was presented throughout human history, but there were always unpredictable motives and consequences, addressing this; each platform is connecting to a “Gap” where artworks can be exhibited freely, gaps are also interlocking the platforms with back hidden circulation. All artworks must be presented in clusters, each cluster consisting of interconnected objects that represent one coherent story.
BURNHAM PAVILION BY ZAHA HADID MODELLING & RENDERING
PIERRES VIVES BY ZAHA HADID
MODELLING & RENDERING
MODELLING & RENDERING 67
INTERIOR & EXTERIOR RENDERS MODELLING & RENDERING
A goal oriented architect pursing work in the fields of design, art and planning, particularly through experimentation and metaphors. Strivi...
Published on Dec 30, 2018
A goal oriented architect pursing work in the fields of design, art and planning, particularly through experimentation and metaphors. Strivi...