Portfolio-Sofia Rebia Haidar

PORTFOLIO SOFIA REBIA HAIDAR

TABLE OF CONTENT

CURRICULUM VITAE

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MOUNT ROYAL LIBRARY

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THE DIALOGUE

DUMB BOX 2.0

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LIGHTNESS

SIMULACRUM GRAHAM HOUSE

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TOPOGRAPHY AND GENIUS LOCI

HYBRIDIZATION

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FORMAL EXPLORATIONS

CLIMATRON

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STRUCTURE AND MATERIALITY

EMOTIONS OIL PAINTINGS - A PRIVATE COLLECTION

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SOFIA REBIA HAIDAR MCGILL ARCHITECTURE ALUMNI REBIA.HAIDAR@MAIL.MCGILL.CA 910 AVENUE ANTONINE-MAILLET (CA) 514 235 8555 (RO) 0733 407 638

PRESENTATION

EDUCATION MCGILL UNIVERSITY Bachelor of Science in Architecture Faculty of Engineering

2016 - 2020

CÉGEP SAINT-LAURENT DEC - Natural Sciences Pure and Applied Profile

2014 - 2016

EIM WESTMOUNT International Baccalaureate Diploma (IB) Société des écoles du monde du BI du Québec et de la francophonie (SÉBIQ)

2009 - 2014

Hard working, curious, passionate, rigorous, organized, professional INTERESTS IN ARCHITECTURE DESIGNING WITH DEPTH AND RESONANCE :

LANGUAGES English French Romanian Tatar Spanish

EXTRACURRICULUM

SKILLSET

ART GALLERIES - OIL PAINTINGS Exhibition - ‘Her’ In collaboration with Oxfam-Québec’s ‘Mères et Enfants en Santé’ campaign

2019

Exhibition- ‘Us’ In collaboration with Oxfam-Québec and MSOQ A celebration of intersectionality : gender and climate justice

2019

Exhibition- ‘Femmes cachées’ Ausgang Plaza

2018

HAND SKILLS - Model making, painting, sketching ADOBE - Photoshop, Illustrator, InDesign SKETCHUP RHINOCEROS LUMION AUTODESK - AutoCAD, Revit (basics) SWEET HOME 3D MICROSOFT OFFICE - PowerPoint, Word, Excel VIDEO EDITING

PRIZE GALA FORCES AVENIR- LAUREATE Category ‘Projet Engagé’

READING GROUPS Race and Space Raising consciousness on the issues of systemic racism engrained in our institutions and our profession

Multidisciplinarity - Holistic approach to design, Phenomenology, Creative process, Atmospheres, Experiences, Materiality, Concepts, Spaces

2020

BUSINESS - FASHION BRAND SOFIA VON KAISER DESIGNS

Design, Engineering, and Society 2019- 2020 Moderator and participant Joint initiative by Profs. Theodora Vardouli (Architecture) and AJung Moon (Electrical and Computer Engineering) Fostering interdisciplinary conversations on social aspects of design and technology

VOLUNTEERING STE- JUSTINE HOSPITAL Hematology-Oncology Department Provide support to the children and their families |Engage in activities

MARATHON DE MONTRÉAL

2014

Provide food to the runners |Organise the food provisions

WORK EXPERIENCE

2012

2021

Model making assistant

Modeling an existant historical residence from picture references

and architectural drawings

Modeling the extension of the residence using SketchUp Architectural drafting assistant

Providing assistance in developing architectural plans and eleva-

tions using AutCAD Conceptualization

Conceptualize and design various iterations for the residential exten- sion GARDERIE QUERBES - OUTREMONT

MARATHON DE MONTRÉAL

2019-present

Founder and Designer Minimalism, Elegance, Sustainability and Timelessness as the core values Official launch - Spring 2022 Collection

SYBIL MCKENNA ARCHITECT

2015

2013

2018 - 2021

Teaching Assistant

Provide food to the runners |Organise the food provisions VILA AZALEEA- VAMA VECHE FÊTE DES NEIGES Animate activites |Guide for directions

2010

2016

Receptionist Design consultant CURRICULUM VITAE

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SECTIONAL AXONOMETRIC - SOUTH AND WEST FACADES

Duality

Binding space

Sink - Elevate

Dialogue

MOUNT ROYAL LIBRARY PROFESSORS - ANDREW KING, MARIE EL-NAWAR YEAR - FALL 2019 IN COLLABORATION WITH NAOMI COLLINS JULIEN

Thereby, the architectural translation of the dialogue is manifested through the treatment of the facade, the strategy of the circulation, the choice of materials and through the massing operations.

This project explores the concept of the dialogue through the following investigation: How does duality create synergy?

The formal articulation of the Sanctuary lies in the erection of three entities constituting the whole: The Light (Library), the Heavy (Meditation Center), the Binding Space (Topography, namely a playful outdoor space).

4 | MOUNT ROYAL LIBRARY

Thus, the marriage of opacity versus translucency, ascension versus descent, heaviness versus lightness and sinking in versus floating, enables the creation of different spatial conditions.

The experience of the building is punctuated by moments where the thresholds create spatial tension between these dualities, at which point the polarities meet and interact.

CONCEPTUAL HAND MODEL 1:200 -TOPOGRAPHY BINDING’THE LIGHT’ AND ‘THE HEAVY’

EXPLODED STRUCTURAL AXONOMETRIC

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MOUNT ROYAL LIBRARY |

CLOSE-UP - MEDITATION CENTER AND TOPOGRAPHY SECTION

POOL INTERIOR RENDER - HEAVINESS AND DIMNESS

‘THE HEAVY’ - DESCENT

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‘THE LIGHT’ - ASCENSION

CLOSE-UP - LIBRARY AND TOPOGRAPHY SECTION

WORK SPACE INTERIOR RENDER - -LIGHTNESS AND ILLUMINANCE

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MOUNT ROYAL LIBRARY |

BORATION WITH FIA HAIDAR

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STRUCTURAL SECTION - SOUTH FACADE

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Library | Plans

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FLOOR PLAN -BASEMENT 1 (MEDITATION CENTER) GROUND FLOOR (LIBRARY)

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Library | Plans

Library | Plans

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    

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PASSERELLE DETAIL - THRESHOLD - TENSION BETWEEN STRONG CORE AND FLOATING BOX

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The central circulation axis the library is found Mainofstaircase interior detailin an area of tension between the  strong structural core and  the floating box.

8 | MOUNT ROYAL LIBRARY

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Passerelle lighting detail - Wash   

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                                                                

       

 

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 

 

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 

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  

 

 

LIBRARY TECHNICAL DETAIL AND FACADE

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MOUNT ROYAL LIBRARY |

9

EXPLODED AXONOMETRIC

DUMB BOX 2.0 PROFESSOR - FABRIZIO GALLANTI YEAR - WINTER 2020

What is a dumb box?

The large green space on which sits the project is located in Mile End. The reminiscence of the borough’s industrial nature translates into the urban fabric, specifically on the formal language of the facade. Indeed, the repetitiveness of windows, the exposed columns and beams and the rectangular elevations highlight the spirit of economy driving these monotonous ‘boxes’.

Thereby, this project investigates the following interrogation: How to transform something banal and mundane into a spatially rich architecture, while designing inside a predetermined volume?

The design proposal entails the concept of lightness which renders both spatially and programmatically, in response to the increasingly opaque context. As a result, this lightness is achieved architecturally, through the treatment of the facade, the internal spatial organisation, the structural strategies and the choice of materials.

10 | DUMB BOX 2.0

Animation - virtual tour

The geometrical articulation of the formal logic is based on the idea of discovery and exploration, namely through the choice of an organic language. A series of disks with a diameter spanning from 5- 25m overlaid at different heights allow for increased visibility. Multiple ramps connecting the platforms together act as promenades, while simultaneously allowing for fluidity of movement. The vertical cores constitute both a strategy for circulation as well as a structure for the disks. The lateral supports convey a feeling of lightness to the seemingly floating platforms.

The experience of this leisure center constitutes an interpretation of being among the clouds, through the achievement of different spatial conditions. Thus, the boundaries with the outdoors are blurred through the treatment of the facade and the introduction of ambiguous spaces that read as in-out.

CONCEPTUAL COLLAGE -AN ARCHITECTURAL INTERPRETATION OF LIGHTNESS

FORMAL STRATEGY - FLUIDITY , VISIBILITY

connect

stabilize

elevate

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DUMB BOX 2.0 |

12 | DUMB BOX 2.0 ‘FLOATING’ PLATFORMS AND LEISURE ACTIVITIES

THE PROMENADE -EXPLORATION, LEISURE, PHYSICAL ACTIVITY

CIRCULATION DIAGRAM

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DUMB BOX 2.0

14 | DUMB BOX 2.0 SECTIONAL PERSPECTIVE - INDOOR/OUTDOOR CONDITIONS

SECTIONAL PERSPECTIVE - HEIGHT VARIATIONS

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DUMB BOX 2.0

16 | DUMB BOX 2.0 INTERIOR RENDER - VISUAL CONNECTIVITY

INTERIOR RENDER - THE ‘FLOATING’ PLATFORMS

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DUMB BOX 2.0

HOUSE MODEL AND TOPOGRAPHY 1:200

SIMULACRUM GRAHAM HOUSE PROFESSOR - RICARDO CASTRO YEAR - FALL 2016 IN COLLABORATION WITH - ANKIT GONGAL, OLIVIER LALANCETTE, NATHALIE MARJ Location: West Vancouver, B.C., Canada Design year: 1962 Architects : Arthur Erickson, Geoffrey Massey

TOPOGRAPHY MAP

Model Scale: 1:200 Model Materials: Chipboard, small trees,wood dowels

“The David Graham house […] launched my reputation as the architect you went to when you had an impossible site.” -A.E. In Arthur Erickson’s words, the site on which sat the house is a sheer rock cliff overseeing the sea. As a result, the design comprises a multi-storey house dropping in levels on the 40 feet slope. The celebration of the verticality of the site is exemplified through the merging of both vertical and horizontal solutions.

Thereby, Erickson demonstrates through his approach a profound understanding of the genius loci.

The formal concept underlying the design is the piling up of hovering beams to enclose major living areas on a 4 storeys descent, following a philosophy of maximisation of views and sunlight.

Due to the challenging nature of the site, each of the areas of the house open onto a rooftop over the spaces bellow, as the roof terraces are the only possible outdoor living areas.

Hence, the simulacrum reflects the predominant steep slope on which sits the Graham house. Each layer of the topography represents 0.75m in height. These superimposed layers were lasercut, whereas the model of the house was cut and glued by hand.

18 | SIMULACRUM GRAHAM HOUSE

WEST FACADE VIEW

AERIAL VIEW - MULTI-STOREY HOUSE OVERSEEING THE SEA

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SIMULACRUM GRAHAM HOUSE |

 

 

 

 

                  

COLLAGE - FINAL HYBRID OBJECT

              

ELEVATIONS - FINAL HYBRID OBJECT

                

back

left

front

right

HYBRIDIZATION PROFESSOR - FRANCOIS SABOURIN YEAR - FALL 2018 IN COLLABORATION WITHNAOMI COLLINS JULIEN

This lamp is the result of the hybridization of two initial objects, namely a construction cone and an ornament that lays on the edge of an exterior stair handrail.

In plan, our hybrid object displays a similar plan as the ornamental object, whereas it’s shape in elevation resembles that of a vertically mirrored cone.

For the first iterations of our hybrid object , we explored the negative space created by the hollowness of its space.

Furthermore, by extracting the properties of the cone, such as the hallowness and its superposition of concentric circles of different sizes that form its triangular shape, as well as the radial pattern of the ornament, we produced a hybrid object that is reminicent of our initial objects.

As a result, the lamp is a constituted of a series of surfaces of different shapes and thicknesses which are held together by a central ring. The offset between each surface allows for the light to be diffused , while creating an intriguing play of shadows and light. Finally, the ring that holds all the surfaces together also supports the said source of light.

20 | HYBRIDIZATION

EXPLODED AXONOMETRIC - ITERATION 3 - HYBRID OBJECT

initial object - ornament





initial object - cone

hybridization - cone and ornament properties

HYBRIDIZATION |

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EVOLUTION OF HYBRIDIZATION THROUGH FLOOR PLANS

initial object - cone

initial object - ornament

iteration 1

E VTOHLRVOI U N G HETVT HOH RLE OVUFIGNLHG OH O RT H P OLVING O OTTRHHER PO LF A UL G N iteration 3

final hybrid object

[ F r o m S y m[mF er to rmy Styom Am se[ yFt m rr oymmet toSr yyAm ]smy emtmre Curve deformation

EXPLORATION OF SHAPES THROUGH FLOOR PLANS FOLLOWING ITERATION 3

iteration 2

Geometry-roundness

22 | HYBRIDIZATION

RENDER- FINAL HYBRID OBJECT

TRANSVERSE SECTION

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HYBRIDIZATION

WELDED STEEL GEODESIC DOME MODEL 1:250

CLIMATRON- MISSOURI BOTANICAL GARDEN Location: Saint Louis, Missouri, USA Completion date : 1959, 1990 (renovation) Purpose : Greenhouse Architects : Murphy and Mackey Dimensions : 42m diameter, 21m high

PROFESSOR - PIETER SIJPKES YEAR - FALL 2016 IN COLLABORATION WITH - AMBER HU, JORRINA CHENG

Model scale: 1:250 Model Materials: Steel, plastic glass, craft sticks, chipboard, aluminum wire, circuit

Model

Context The etymology of the name Climatron denotes its purpose of controlling the climate. The structure of this geodesic dome is constituted of a double layer aluminum frame supported by rods under tension and tubes under compression . Moreover, it is enclosed with plexiglass in the original design. However, following the fire incident, the plexiglass was substituted with glass. Additionally, the interlocking triangle design provides further rigidity and distributes the weight throughout the dome. The absence of interior support and columns from floor to ceiling is made possible thanks to the principles of Buckminster Fuller. Finally, the weight is then carried to the ground on five piers.

24 | CLIMATRON

Within the framework of the course ARCH 241, the following model was designed as a representation of the structure of the Climatron. The reduction of the geometric figures allowed for leaving enough space for detail-presenting. In fact, the structure is based on the template of a geodesic dome (collage of the right). Individual steel rods were bent into hexagonal shapes, then welded together to achieve the inner and outer layers of the geodesic dome. The thin coat of silver color spray added on top of the steel structure emulates the tint of the aluminum used originally in the Climatron. Simulating a thin-shell structure, the inner layer of the model is the one containing the plastic glass pieces. Furthermore, the weight of the model sits on five wooden piers attached to a perforated base which allows the passage of the built-in lighting. The details of the model include the addition of aluminum rods and rings and an internal circuit laying inside the base of the model, provide increased accuracy from the original design.

EXPLODED VIEW COLLAGE - NORTH ELEVATION , GEODESIC DOME TEMPLATE, MODEL CIRCUIT

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CLIMATRON

POETIC SPACE

EMOTIONS PRIVATE COLLECTION YEAR - 2018-2019 MEDIA - OIL PAINT ON CANVAS

Title: Poetic Space Media - Oil paint on canvas Dimensions - 36 inches x 36 inches Year of production- 2019 Title- Afghan Girl (reproduction through the lense of steve mccurry) Media- Oil paint on canvas Dimensions- 18 inches x 24 inches Year of production- 2018

This collection is a study of emotions through different styles, contexts and facial expressions. The choice of oil paint as a medium allows for conveying depth via different superpositions of layers.

By the agency of poignant facial expressions, these paintings aim to denounce social injustices, namely the Afghan refugee crisis (Afghan Girl- upper right) and police brutality in the United States (La souffrance d’une mère- bottom right). Ultimately, the goal entails to provoke reactions that will spark dialogues on these issues.

Thereby, the set of paintings grouped under the theme Femmes cachées portray the surprising,yet real stories of women who had their future shoved forever.

26 | EMOTIONS

Title- La souffrance d’une mère Media - Oil paint on canvas Dimensions - 12 inches x 24 inches Year of production- 2018

Their eyes are the ultimate guides to their stories. Therefore, it is around this element that the portraits are articulated.

Hidden under fear, oppressed and unjustly treated, they tell their story under the specter of their emotions and their eyes.

Finally, the composition, colour palette and play of superpositions of the artwork Poetic Space (upper left) leaves place for interpretation due to the abstract nature of the work.

AFGHAN GIRL - REPRODUCTION

LA SOUFFRANCE D’UNE MÈRE - PORTRAIT

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EMOTIONS |

SOFIA REBIA HAIDAR

SOFIA REBIA HAIDAR REBIA.HAIDAR@MAIL.MCGILL.CA 910 AVENUE ANTONINE-MAILLET MCGILL ARCHITECTURE ALUMNI (CA) 514 235 8555 (RO) 0733 407 638

SIMULACRUM GRAHAM HOUSE

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