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ARABESQUE

TO A POET

DEFORMATION

PHOTOGRAPHY - WRITING

STUDIO WORK

LANTERNA SHOPHOUSE

MEDIA - COMPOSITION - CONSTRUCTION

START OFF WITH A SQUARE AND PLACE A SMALLER SQUARE (10% SIZE OF ORIGINAL) IIN THE CENTER. ROTATE THE INTERIOR SQURE. JOIN THE CORNERS OR BOTH SQUARES WITH LINES. TILE IN A GRID AND INCREASE THE SIZE OF THE INSIDE SQUARE BY 10 PERCENT AS YOU GO.

+10% SIZE INCREASE

HUMAN PAPER KITES

THE DECK CHALLENGE

BIOMIMICRY

SPACE BASE MANTEL PIECE

ARYA


[3]

spatial relations

program interconnectivity

zones

structural systems

spatial enclosure

hierarchical grid


LANTERN - A SHOPHOUSE LOCATION // DALSTON, LONDON, UNITED KINGDOM FOCUS // UNDERSTAND AND DESIGN TO SUPPORT THE LIVE/WORK CONDITION AN ICONIC LANDMARK THAT LIGHTS UP THE ALREADY VIBRANT GILLETT SQUARE OF DALSTONLONDON. THE DESIGN TREATS THE END CONDITION OF THE SERIES OF VICTORIAN ROW HOUSES BY STANDING TALL AND MARKING THE CORNER OF THE TRADITIONAL BRADBURY STREET AND GILLETT SQUARE. THE TYPICAL WORK/LIVE DYNAMIC OF THE AREA IS EXPRESSED AND CARRIED THROUGH, PROVIDING THE AREA WITH A NEW INSTRUMENT SHOP THAT CATERS FOR THE BUSY MUSIC SCENE PRESENT, AND TWO FLATS ABOVE, ONE CONNECTED TO THE SHOP AND THE OTHER ONE INDEPENDENT. A DIVERSE COMMUNITY HAS MADE OF THE SQUARE, A MAIN EVENT AND THE BUILDING RESPONDS TO THAT BY FOLDING THE VERNACULAR AND THE CONTEMPORARY TO CREATE AND URBAN FABRIC THAT CHARACTERIZES DALSTON AND THE GENERAL BOROUGH OF HACKNEY.

1. DIvision

2. isolation

3.Response to context

4. shaping

5. scaling

6. Parti


Kin gs lan d Hi gh str ee t

Bo ley oad nr

LONDON

Gillett square

Brad bury stre et


south facing elevation scale 1:250

west facing elevation scale 1:250

north facing elevation scale 1:250


ground floor - instrument shop scale 1:200

first floor - flat 1 scale 1:200


second floor - flat 2 scale 1:200

second floor loft - flat 2 scale 1:200


section AA scale 1:200

B

A

A B

section BB scale 1:200


furniture

STUA NUBE ARMCHAIR

JESUS AND JON GARSCA

2008

HANS WEGNER WEGNER WISHBONE CHAIR 1951

SANTA AND COLE TMM BY MIGUEL MILA 1961

INVISIBLE TABLE KATRELL CRYSTAL COLOR

CREDANZA- SIDEBOARD AND TRAY ONE COLLECTION FINN JUHL 1955

AREN JACOBSEN EGG CHAIR 1958

MAGNOLIA PENDANT LIGHT AUTOBAN 2005

DARLING NEW TOILET DURAVIT #254509 SIEGET DESIGN

FREESTANDING BATH MIXER VOLA- FS1


FLASHING CONCRETE BLOC EXTERIOR FINISH DOUBLE TOP PLATE BRICK EXTERIOR

BRICK VENEER INTERIOR FINISH PLYWOOD SIDING 1” AIR GAP WITH MOISTURE BARRIER 2X6 LIGHT WOOD FRAME WITH SHEEPWOOL INSULATION

3/8” HARDWOOD FLOOR FINISH 2X6 FLOOR JOISTS WITH SHEEPWOOL INSULATION SUBFLOORING 4X6 EXPOSED WOOD BEAM 1/2” TEMPERED GLASS 1X1 STEEL CHANEL WITH RUBBER SOLE PLATE ANCHOR BOLT RIDGIDE INSULATION SLAB ON GRADE

EASTERN WALL SECTION


OFF ICE D

Changing Rooms Reception Therapy Bath Cafe Terraces Pool Sunbathing

C

Cafe

Terraces BathChanging Rooms Reception North

North

Summer Solstice

Terraces

Cafe

Reception NORTH

SOCIAL SOUTH

Program Placement according to Sunlight

Spatialy Related Activities

Pool PERSONAL

North

Sunbathing

SPATIAL DISTRIBUTION ACCORDINT TO SUNLIGHT and PROGRAM

Bath

Therapy

Changing Rooms


[16]

ARABESQUE LOCATION // GRANADA, SPAIN FOCUS // DESIGNING WITH WATER FOR THE SENSE THIS URBAN, INTERNATIONAL CONTEXT PRESENTED EXCITNG OPPORTUNITES, TO LEARN ABOUT THE CULTURE OF SPAIN AND TO DESIGN IN THE HISTORIC CITY OF GRANADA. OUR SITE WAS PARTICULARLY INTERESTING BECAUSE ITS SHAPE WAS SO IRREGULAR. DURING THE DESIGN PROCESS WE GOT INTRODUCED TO THE CONTEPTS OF REGULATING LINES AND BASIC STRUCTURE. SIE RA

DOWN TOWN GRANADA

DA

A NEV

a rio d

rro

ALHAMBRA


C

C

D

A

cu es t

CAF E

B

ria

icto

ad e la v

A

A

OL

PO

L

OO

EP

LAP

EXE RC IS

.

W.C .

W.C

B

BB

LO

B

YA REA

ro

LA LO DIE RO CKES’ OM R S

M LOEN’S RO CKE OM R S

D

A

B l dar ra de carre

C

C

D

D


C

C

D

D

ou td rra ce

oo r te

A

A

A

A

.

W.C .

W.C

ool

or p

out do

B

d stuadnce io

B

sunb a deck thing

BATHOUSE FLOOR PLAN SCALE 1:200

B

B

ge

loun

C

C

D

D


DIAGRAMS

SECTION AA

SECTION BB a tower and a courtryard

dry / wet

SECTION CC structural grid

SIE

RR

AN

AVA

DA

direct and indirect natural lighting

ALH A

BR

AM

SECTION DD

outlooks and views


SOUTH FACING ELEVATION


[21]


TO A POET LOCATION // CASCADE RANGE- WASHINGTON STATE FOCUS // MATERIALISE LIGHT AND NATURAL ELEMENTS

THIS FIRST STUDIO PROJECT PLACES US IN A RURAL SETTING. THE SITE IS SITUATED IN THE PACIFIC NORTHWEST, ON THE EDGE OF A LAKE IN THE CASCADE RANGE IN WASHINGTON STATE. THE PROMPT IS TO DESIGN A GARDEN, A HUT AND A VILLA FOR A POET. THE POET I CHOSE WAS MARK STRAND, AND DECIDED TO WORK WITH HIS POEM LINES FOR WINTER. ONE COMMON THEME I FOUND IN STRAND’S WRITING IS THE POSITION OF ONE’S SELF, IN THE WORLD. I WOULD SAY HIS THOUGHTS ARE A LITTLE EXISTENTIALIST AND HIS WRITING RAW AND BEAUTIFUL. IN MY DESIGN, I DECIDED TO FOCUS ON THE NATURAL ELEMENTS THAT GIVE OF THE NAKED AND BARE STYLE IN STRAND’S POETRY. THE HUT -64 SQUARE FEET- ALLOWS THE POET TO FEEL ANCHORED IN THE EARTH, AND FLOATING OVER THE LAKE BY ENSURING A PROSEPECT/REFUGE DUALITY. THE VILLA -120 SQUARE FEET- PUSHES THOSE IDEAS, SEPERATES PRIVATE AND PUBLIC AREAS AND ALLOWS A DIRECT CONNECTION BETWEEN INDOOR AND OUTDOOR.


THE POET’S HUT IT BASICALLY CONSISTS OF A GLASS CUBE, THE SIMPLEST OF SHAPES. BUT EACH SIDE OF THIS CUBE WAS FACED WITH DIFFERENT CONDITIONS AND WAS TREATED AS SUCH. I WANTED TO ALLOW LIGHT TO ENTER DRAMATICALLY AND CHANGE AS THE DAY PROGRESSES AND SO I INSTALLED THESE WOODEN SLATS ON THE WESTERN AND SOUTHER SIDE, AND LIKE A GNOMEN, THEY ALLOW THE EXISTENTIALIST POET TO “SEE” TIME. THE WEEKEND VILLA IN THE VILLA I PUSHED THAT IDEA FURTHER AND OPTED FOR AN ENTIRE PERFORATED SOUTH FACING FACADE THAT WOULD ALLOW FOR A SIMILAR LIGHT EFFECT. I ALSO PUSHED FOR AND INBETWEEN INDOOR/OUTDOOR FLEXIBLE SPACE BY SECTIONING OFF THE BEDROOM FROM THE REST OF THE HOUSE IN BOTH DESIGNS, THE LIGHTNESS OF THE CENTER IS BRACKETED WITH HEAVIER EDGES, THAT CONSTITUTE THE PRIVATE AREAS.


[25]

CHAOS FROM ORDER

THE RULES

+10% SIZE INCREASE

THIS TILING EXERCISE WAS PART OF A DIGITAL MEDIA CLASS. IT WAS ONE OF THE FIRST INTRODUCTIONS TO PARAMETRICS AND REQUIRED THE STUDENTS TO COME UP WITH A TILING PATTERN THAT FOLLOWED CERTAIN PRAMETERS OR CERTAIN “RULES”. I DECIDED TO CREATE A DEFORMATION, A TILING PATTERN THAT EVOLVED ACCORDING TO A CERTAIN CONSISTENTLY CHANGING PARAMETER. START OFF WITH A SQUARE AND PLACE A SMALLER SQUARE (10% SIZE OF ORIGINAL) IIN THE CENTER. ROTATE THE INTERIOR SQURE. JOIN THE CORNERS OR BOTH SQUARES WITH LINES. TILE IN A GRID AND INCREASE THE SIZE OF THE INSIDE SQUARE BY 10 PERCENT AS YOU GO.


LIGHTING

INTRODUCTION TO DIGITAL RENDERING AND PARAMETRIC DESIGN


[27]


THE DECK CHALLENGE FOCUS // UNDERSTAND THE BASIC LAWS OF STRUCTURE FOR THIS PROJECT WE WERE PAIRED UP AND WORKED TOGETHER TO CREATE THE STURDIEST AND LIGHTEST POSSIBLE DECK. THE DECK HAD TO HOLD FIFTEEN CUPS FILLED WITH SAND WITHOUT COLLAPSING. THE DECK’S EFFICIENCY WAS THEN CALCULATED BY FINDING THE RATIO BETWEEN ITS WEIGHT AND THE WEIGHT IT CAN CARRY. DURING THE TESTING, WE DECIDED TO TEST OUR DECK UNTILL IT FAILED AND AFTER IT HELD THE FIFTEEN CUPS, WE FILLED A METAL BUCKET WITH SAND AND PLACED IT ON TOP. THE BUCKET WEIGHED CLOSE TO A HUNDRED POUNDS AND THE DECK STILL DIDN’T COLLAPSE. UNFORTUNATLY, I BROKE THE DECK BY TRYING TO LIFT THE BUCKET AT THE END BUT ENDED UP DRAGING IT BECAUSE IT WAS TOO HEAVY FOR ME TO CARRY.


[29]


SPACE BASE MANTEL PIECE FOCUS // INTERPRET AND TRANSFORM A 2D DRAWING INTO A 3D MODEL THIS WAS THE FINAL PROJECT OF THE SPATIAL COMPOSITION CLASS. EACH STUDENT WAS GIVEN AT RANDOM A DRAWING OF SOMETHING UKNOWN TO THEM. THE TASK WAS TO ANALYSE THE DRAWING AND COMBINE ALL THE SKILLS WE LEARNED TO TRANSFORM IT, INTO A THREE DIMENTIONAL MODEL. MY UNDERSTANDING OF THE DRAWING WAS DRIVEN BY THIS SORT OF NETWORK THAT I OBSERVED WAS PRESENT BETWEEN THESE “NODES”. THEN I EXTENDED MY VIEW AND LINKED THIS NETWORK TO A SOLID GROUNDED BASE. THE ENTIRE STRUCTURE WAS THEN ENGLOBED BY A SEMI SPHERE, MARKING AND CONTAINING THE COMPOSITION. THE SPHERE WAS THE BIGGEST MOVE IN THE DRAWING AND SO IT WAS THE BIGGEST ONE IN THE MODEL. THE DRAWING TURNED OUT TO BE A MANTEL PIECE DESIGNED BY FRANK LLOYD WRIGHT.


[31]


[HUMAN PAPER-KITES]

It’s a small, poor neighborhood right in the middle of the suburbs. Probably the poorest neighborhood, where houses are unpainted, where the sidewalk is of garbage, where everything seems to be covered with a thick coat of dust and oil. It’s where people form a line to fill their once-colored plastic buckets with water dripping out of a big rusty metallic tank placed right at the opening of one of many alleyways that lead to a dead end or to more small, weary, unpainted houses; houses with no front porch, no backyard, no picket fence or even a proper front door. Houses with cement blocks for stairs, where barefoot children chase each other, fall on their heads, and get right back up as if nothing happened, as if there are more important things than their pain or their tears. It’s the type of place where eight-year-olds drive malfunctioning motorcycles amidst angry taxi drivers, where butchers slice a cow’s neck every 6 AM, leaving on the floor a small creek of crimson red blood, slithering slowly down the cracked asphalt. Most of the people who pass by this place just see it as forlorn and miserable, as hopeless. They pass by as if they know nothing, as if it was just an image their eyes encountered, unworthy to be remembered by the brain or the mind or the soul.

I pass by everyday, on my way to school, and all the gray shades I see penetrate my skin and urge me to think of a way to make things better. From the depth of the suburbs to a mountaintop, 2000 meters above sea level where rules a patch of hay-colored nothingness; right above the Lebanese cedar forest, on the peak of the highest mountain, I turn into a paper kite. I don’t remember feeling so light and thin, at the mercy of such powerful wind. Even though the mountaintop is mostly deserted and empty, except for a few flocks of sheep and their shepherds, I felt so replete. With sunlight just a reach away and cool heavy wind spinning in every direction, I gazed into the infinite crystal haze that covered the rest of the world. Just standing there –there is nothing else to be done actually- makes one think. All the way, at the top of a colossal mountain, lives inspiration. Inspiration that drives me to realize how valuable nature is, how beautiful simplicity can be


[35]


[BIOMIMICRY] I, along with a group of friends, have spent six months of our junior year in high school researching the many aspects and uses of biomimicry in our everyday life and that’s when I realized it’s a very wide field of study and that I aspire to pursue it in my future career. During our research we noticed that nature has long been human’s source of inspiration and innovation; starting with the Greek myth of Dedal and Ikar and making it’s way through Leonardo da Vinci’s life, who was the first one to build prototypes of machines and gadgets, based on the observation of natural phenomenons. We were blown away when we saw that most of the objects we use are rooted to the fauna and flora and this pushed us to ask ourselves about how these natural phenomenons allow innovation in both the ecological and technological fields.

Today, humans, who have tried to dominate and dissociate themselves from nature when the industrial revolution began, are turning back to it, as if trying to apologize, by shaping their inventions to meet nature’s waste free, productive policy. By doing so, humans have created what we now refer to as sustainable development, which is basically knowing how to ration our recourses to guarantee the survival of present generations, and future ones. This implies numerous conditions such as the conservation of the natural balance of earth, respecting its environment while preventing the waste of natural resources, and controlling the production and consumption of energy. Our job was to find two concrete examples where biomimicry and sustainable development met, and between many we chose the bionic car and the termite mound:


The bionic car, created by Mercedes Benz has a very aero dynamical shape, inspired by the shape of the boxfish. We compared its characteristics to the ones of the Toyota FJ cruiser, using a miniature model of the two cars, in a handmade miniature wind tunnel. The termite mound is what attracted me the most, because I found a building in Zimbabwe, in which the ventilation and cooling systems were totally based on the system used by termites in their mounds. I then built a 4’11’’ high model of these termites mounds and reproduced the ventilation shafts used, to portray how these insects cool their mound during the day and heat it when it gets really cold at night. The relationship between us humans and nature is eternal and the biomimicry is the perfect example showing how we relate to our environment.

It is important to point out this existing link between the man made and the natural, and to prove it with concrete and very surprising examples, to show how efficient this domain is in today’s technologically advanced world and how it represents a potential way of saving our planet from it’s current state.


[41]

[ARYA] I got kicked off my land at the age of sixteen. Raiders stormed in and took my parents. I was just hiding in the closet, carrying my two year old brother, making sure he wouldn’t scream. I pressed his face against my chest. I didn’t want him to see what was happening. I didn’t want him to see how the man pushed my mother onto the ground and jammed his knee in the back of her neck. How he pulled her hair and hit her on the face over and over again. She didn’t budge. Her expression was so blank. Never let anyone see fear in your eyes Arya. Her voice from this morning echoed in my head. Now she was doing it. Fighting the fear. I wanted her to fight the man, to try and break his grip. She did nothing. She succumbed to her captive's strength. The man held her down and pulled out his blade. “LOOK AT ME GODDAMNIT!” she yelled, “Take your mask off and look at me!” Her voice broke “Kill me then.” The raider ignored her screams. In fact, he smirked, threw his knife in the air, let it flip and caught it with the back of his hand. Then he took a swing at her face. He hit her in the jaw with the handle of his sword. “Be quiet! Woman!” I couldn’t take my eyes off what was going on. I couldn’t look away when he slit her throat. I wanted to jump out and kill those men. I wanted to just rip their faces off with my hands. Ever so slowly. To make it hurt. To make them feel every centimeter of flesh detach and peel off. I was fuming. My insides bubbling. Then I caught myself. My hand extended out, ready to push open the closet door. I pulled it close to me again, wrapped it around my brothers body. If they had found us, they would’ve killed us both. I didn’t care about myself. I’m not scared of dying because once I’m dead, that’s it. I’m dead. But I didn’t want those dogs laying a hand on my brother. They probably wouldn’t have killed him. They probably would’ve kept him until he turned seven, then made him join their force. They would’ve taught him how to fight, and by age nine, he would’ve killed his first man. They would make him practice on prisoners. Prisoners of his own nation. The man left the room. I heard him call out for the other one. “It’s all done” the other guy said. His voice wasn’t as deep as my mother’s murderer. It was a little bit more nasal too. He continued: “I killed the man, but he had already burned all the papers.”


“YOU IDIOT” my mother’s murderer yelled. “Those maps are what we came here for!” I couldn’t have done anything! I’m telling you he had already burnt them. I walked in and he was throwing the last pile in the fire. Well, now what? I don’t know what! Now we leave. And what should we tell the commandant? That we were too late and that you killed the one person who owns the entire maps of the secret tunnels of the old city? His voice grew deeper rose and became deeper as he finished his sentence. I twisted my arm, reaching for the right side of my backpack and felt it. There was a plastic cylinder. A tube, like the ones my father used to store his drawings in. I was confused for a second then it clicked. Did my dad really give me the maps to the secret tunnels of the old city? My heart started racing. I was going to find a way to get my brother and I out of here, at least for a while. But where would we go? All I knew was that all the islands of the Oasis were linked by bridges. Could there be underwater tunnels between them too? I can’t leave. Not after what just happened. Can I? How would I survive? My head was throbbing. There were too many thoughts piercing through my skull at the same time. Flying in and out of my head, like ghost diving through a wall. I just wanted to scream. And sleep and cry and crash at the same time. I looked out the crack of the closet and saw my mum’s head, face up; far away enough from her body to make it look like it was floating. Except it wasn’t. It was just laying there, her eyes closed and her expression calm. Her paper white skin contrasted with the blackened pool of crimson blood it lay in. She would’ve wanted me to carry on, to take care of my brother, to see the world and learn. My eyes filled with tears probably because I haven’t blinked in the past five minutes. Mainly because of what just happened, because my parents were now dead. And I was alone. Alone with my two year old brother who would grow up with no memory of them. Because they were dead. The thoughts all seemed to morph into this one sentence. The tears kept flowing and the sentence kept twirling in my mind, in my mind then deep in all my bones. I woke up to the sound of crackling. Everything was glowing amber.


Petro El Hage  

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