Sarah Al Adayleh | Portfolio 2020

Por tfoli o

S a r a h Khaled A l A d a y l e h Architecture

Curriculum Vitae Sarah Al Adayleh is a Jordanian architect/artist working in the field of design. She communicates her research in architectural expression, through innova� tive design and illustration techniques. With bridging architecture and art, she explores the duality in me� diums of ink, block printing, and digital modeling.

Contact Information

Email: sara.aladayleh@gmail.com Instagram: s.adayleh Mobile: +971 56 751 3280

E d u c at i o n

Fall 2013 - Spring 2018 (5 yrs)

Bachelors of Architecture

American University of Sharjah (AUS) Fall 2017

Barcelona study abroad: Collaboration

with Enric MIralles Foundation (EMBT)

November 22 – 27, 2016

Dubai Street Museum project - Assisted

artists in mural paintings on 2nd December

Street, Satwa, Dubai Fall 2015 – Spring 2017

Media Coordinator at Engineering in Medicine

and Biology Society Club (EMBS) Fall 2016 – Present

Board Member at American Institute of

Architecture Students (AIAS) at AUS July 10 – August 21, 2017

Architect Intern at Anarchitect August 2018 – Present

Architect / Urban Designer at

Parsons Corporation in Dubai July 2018 - November 2019

Board Member of the Early Career Development

commitee at Parsons Corporation DXB

Achie vements

Skills AutoCAD Adobe Photoshop Adobe Illustrator Adobe InDesign Autodesk Maya Blender - Tissue Plugin Drawing Painting Lumion

Wo r k E x p e r i e n c e

Rhino 3D V-Ray for Rhino Grasshopper T-spline for Rhino Microsoft Office Digital Art | iPad Pro Sketching | Drafting Revit

Spring 2013

Finalist of the Arab Youth Creativity at Jubilee Institute April 2016

Special Artist Recognition Award at

the Middle East Film & Comic Con August 2017

Work Publication: Khabar Keslan

Issue no.1 : DISORENT September 2017

Work Publication AIAS AUS

issue no.1 : Transposed Undulations

issue no.2: Thikra Musuem Fall 2017 semester

Dean’s List (4.0 GPA)

Content September 2019

Taught Workshop on Hatching in drawing

“Chaotic Control” at Fikra Campus Studio December 2019

Won “Special Talent” at Eearly Career Devel

-opment (ECD)Awards ceremony at Parsons January 2020

Taught Workshop on Axonometric Drawing/Design called “Illusion-driven

Design” at Re:urban Studio, Dubai January 2020

Commissioned by Abu Dhabi Cultural

Foundation to Design & build an installation

with a team for an opening at Abu Dhabi Art

Workshops

April 2019 AA Visiting School x MEAL* DXB 5.0 Workshop “Additive Stereotomies” April 2019

MEAL* x Parsons

“Computational Design”

Urban Loop Holes\\ Social Housing - SHJ 22@ Design Complex\\ Barcelona Study Abroad

Horizon “Ufuq”\\ Design + Build Installation Bloc 84\\ Stereotomic Pavilion

AA Visiting School x MEAL* DXB 5.0 Workshop

Barjeel Modern Arab Art Museum\\ Competition Mosque Design\\ Competition - DXB BLOCKS\\ Block Printing Independent Research

Exhibitions

Thikra Maritime\\ Museum Project

Soap Maker’s Residence\\ Maya + 3D Printing

April 08 Barcelona semester abroad exhibition | Studio work | AUS May 2018

Graduation exhibition |

Studio work | Dubai Design District

Languages Arabic English

Evolo Skyscraper\\ Competition Stalactite\\ Reviving Pavilion Professional Practice Studies Architectural Illustrations

01 02 03 04 05 06 07 08 09 10 11 12 13

01

Urban Loop Holes Social Housing 5th Year Architecture Design Studio, AUS, Prof. Jason Carlow

In Sharjah, United Arab Emirates Group member: Jumana Abbas

Based on a critical urban analysis of Sharjah’s industrial zones, specifically focused around mobility for vehicles and socio-economic mobility for workers, Urban Loop Hole is a proposal for greater symbiosis between architecture and infrastructure. By integrating housing and new public amenities within new layers of elevated roadways, the project not only improves vehicular mobility within the site, but uses a large-scale investments in vehicular infrastructure as a platform to offset the cost of social infrastructure. By elevating roadways and embedding looping, highway off-ramps into new buildings on vacant industrial lots, the project is able reclaim the existing ground level as public space. Situated above, below or adjacent to the roadways, the architectural geometry and building typology of the housing is adapted to the curvature of the curving ramps. Considering the project at a larger scale, Urban Loop Hole provides a new design methodology to integrate architecture with vehicular infrastructure that could be deployed in similar urban conditions across the globe.

Section Perspective

Academic Projects 5

Urban L oop Holes Contextual Analysis

Social Housing Plan

Formal Narrative

Academic Projects 7

Urban L oop Holes Vi su ali s ati on

Renderings

Plans

Plan Perspective

Academic Projects 9

02

2 2 @ Design Complex 5th Year Architecture Design Studio, AUS at Barcelona, Prof. Camilo Cerro

In Poblenou, 22 @ Barcelona, Spain Group member:Jumana Abbas

Through our site analysis of Barcelona, mainly 22@, our approach derived through inverting the relationship of un-apparent spaces, the negative spaces which are the alleys, become the bridges and the positive spaces become the plazas.

Such relationship creates a network of connection and circulation between one zone and another.

The bridges become the a chunk of primary feature habitable spaces of the project, creating an “upper network of streets�, where they invite the user to explore the procession of circulation around the complex. The main volumes, containing the programs within the design complex are the research centre, library, auditorium, workspaces, studios and a residential complex.

Aerial View

Academic Projects 11

22@ Design Complex Urban Site Analysis SITE ANALYSIS 22@|sant marti|Barcelona|Spain Design Research Center

Sarah Al Adayleh | Sarah Beebeejaun

sarah al adayleh // jumana abbas // A R C 5 0 1

22@ URBAN BLOCK - REDUCING DENSITY

VE

1

Each plan to renovate industrial land for use in new productive activities must generate space

2

E

for amenities, subsidized housing and green areas that contribute to the social development of the poblenou area and improve quality of life.

Roof Plan

DESIGN COMPLEX //

roof

plan

sarah al adayleh // jumana a

Academic Projects 13

22@ Design Complex

Formal Development Narrative + Section Perspective

POBLENOU DESIGN COMPLEX //

d i a g r a m s POBLENOU DESIGN COMPLEX // sarah al adayleh // jumana abbas // A R C 5 0 1

d i a g r a m s

FORMAL DEVELOPMENT Primary zones estblished on site to outline primary spaces that are treated in a linear manner along the site’s boundaries

Linear zones are cut according to permeability oppurtunities then angled according to contextual grid lines.

Bridges or connections are added as an interplay procession between volumes.

PLAN ENVELOPE DDEEVVEELLOOPPMMEENNTT Volumes peek out of the envelope in plan view for a variety of shading areas. vertical cores are added in order to break the linear elements of the project

Primary envelopes are added for integration onto and into the volumes through further phases of design. the enevolopes would furthur enhance the linear dimension of the project

the shape of the volumes are morphed in order to articulate a consistent design language

Articulation of bridges are furthur defined; different programs are indentified so that the brides become habitable and provide a platform for different uses and functions

d i a g r a m s

DETAIL: BPRAI N DE G LE T O DSETVREUL C O TP U MRE EN T

PANEL DEVELOPMENT

Primary zones estblished on site to Envelope over volumes outline primary on the site cover spactwo es that are treated in sides of each of the volumes. a linear manner

The grid followed for the panel starts with the top surface of the facade covered.

an identification of diferent axis points for the design complex Envelope over volumes on the site cover two sides of each of the volumes.

articulation of different volumes for the different programs within the project; these zones are research centre, public workshop spaces, and residentual complexes Vertical circulation anchors are added to serve as points of envelope breakage.

The envelope angles as it reaches the block of vertical circulation.

Linear zones are cut according to permeability oppurtunities then angled according to contextual grid lines.

A tear happens opening up the facade to the landscape.

MOMENTS: BRIDGE PLATFORMS

Primary zones estblished on site to outline primary spaces that are treated in a linear manner

Linear zones are cut according to permeability oppurtunities then angled according to contextual grid lines.

Bridges or connections are added as an interplay procession between volumes.

Bridges or connections are added as an Vertical circulation anchors interplay procession are added to serve as between volumes. points of envelope breakage.

The envelope angles as it reaches the block of vertical circulation.

sarah

Grid is established as primary panels are placed on the facade.

Lower connection

emphasis on a primary plaza and secondary plazas in order to integrate the different dimensions of the project

after the articulation of primary bridges, a series of plazas are indentified which establish different hierarchy and points of entry

POBLENOU DESIGN COMPLEX //

Envelope tears up open as an articulation reflecting the spaces behind and to allow for terrace views and ventilation.

a network of connectivity is established by different means of circulation� horizontal ones which are the different bridges and verticular ones which are the cores.

Upper connection Primary envelopes are added for integration onto and into the volEnvelope tears up open umes through further as an articulation reflecting phases of design. the spaces behind and to allow for terrace views and Volumes peek out of ventilation. the envelope in plan view for a variety of shading areas.

Articulation of skin Envelope tears up open facades are inteas an articulation grated accordingreflecting to the spaces behind and to spaces. allow for terrace views and ventilation.

Primary envelopes are added for integration onto and into the volumes through further phases of design.

Volumes peek out of the envelope in plan view for a variety of shading areas.

Articulation of skin facades are integrated according to spaces.

Panels over a pattern tha resents the ment of the city.

Materiality o els would be mesh panel are framed t lap each oth slightly allow interplay with

First Floor Plan

first

NOU DESIGN COMPLEX //

sarah al adayleh //

f l o o r

re

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de

nt

ia

l

ry

w shork op s

ry

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Academic Projects

lib

lle

si

w shork op s

n

of

fi

ce

s

15

up with the final piece.

03

link / transform

frame

the concept Horizon aims to highlight the country’s transformation catalyst, The World Trade Center in Dubai, and celebrate its legacy as an icon of this period

window

Extracting the architectural elements and studying the building’s form, the building’s layers are uncovered and unveil it’s inner purpose, that to be a hub moving the country ahead and achieve what many perceive as impossible.

facade niche

contain the morphed form and turn it to a negative occupiable space

wtc dubai silhouette

scale

frame extract

window

facade niche

contain the morphed form and turn it to a negative occupiable space

wtc dubai silhouette

drawings

Plan

channel/ frame

laser cut steel sheet

100 250 500

1000 mm

2800

steel tubes

1800

1979 marks an acceleration in the transformative period in the history of the UAE. With the state visit of Her Majesty Queen Elizabeth II to Abu Dhabi and Dubai, and the opening of the Dubai World Trade Center during her visit, the UAE clearly demonstrated its vision and ambition to become a beacon of globalization. A melting pot of culture and tolerance, this vision came to life due to the strategic setting of goals and milestones. We always look onto the horizon to aspire for the next big achievement, and the World Trade Center presents this window to the UAE’s transformation by being a beacon of achievment.

Horizon aims to highlight the country’s transformation catalyst, The World Trade Center in Dubai, and celebrate its legacy as an icon of this period. Extracting the architectural elements and studying the building’s form, the building’s layers are uncovered and unveil it’s inner purpose, that to be a hub moving the country ahead and achieve what many perceive as impossible.

connect extracted elements and morph them into each other

The transformation being most visible within scale the ceiling, where the top elements morph and change to adapt to the outlines adopted, creating a pavilion that aims to inspire by highlighting the silhouette of the World Trade Center and keep what is beyond up to the spectator to envisage.

3000

Group members: Ghanem Younes, Khalid Tamimi

Concept + Axonometric

Based on the extracted facade and architecture elements, a scaling, morphing/ transforming and framing design exercise is implemented to come up with the final piece.

Design-Build Commission: Abudhabi Cultural Foundation Abu Dhabi, UAE

Design Intention

diagramming

Horizon “Ufuq”

elements and morph them into each other

transform

The transformation being most visible within the ceiling, where the top elements morph and change to adapt to the outlines adopted, creating a pavilion that aims to inspire by highlighting the silhouette of the World Trade Center and keep what is beyond up to the spectator to envisage.

3000 mm

Side Elevation

150

1000

Entrance Elevation

150

350

600

Exit Elevation

350

Axonometric Study

4 mm thick cardboard

visuals

Construction Renderings

entry

‫دخول‬

visuals

exit

sl

‫خروج‬

Commission

Construction Procedure

17

Design + Build Installation At E xhibition interior site

Commission 19

04

Bloc 84 Stereotomic Pavilion

ggregate

ubai 2019

MIES

9-APR 6 2019

AA Visiting School x MEAL* DXB 5.0 Workshop Dubai, United Arab Emirates Unit One with Alessandro Zomparelli

Bloc 84 is a shading structure made up by 84 unique modules.

It introduces an innovative construction method using 3d printed interlocking pieces creating a larger self-standing structure.

Component

Wall Assembly

Aggregate

Blocks settle Component for irregular cuts

Primarily using the program Arch Module Example Blender with the Tissue plug-in, we were able to generate different formal iterations of the pavilion.

The fabrication process of this project utilizes 3d printing. It is both additive and stereotomic.

By ensuring that each module interlocks with one another, the pieces remain dry fit thus making the entire structure mobile and efficient in terms of transportation and assembly. Block 84 is a part of a potentially larger network of small pockets of respite located across Dubai to accommodate pedestrians.

Inca Walls

STAFF AAVS DIRECTOR- Christopher Pierce PROGRAMME HEAD- Riyad Joucka (AA•EMTECH•MEAN•MEAL) PROGRAMME COORDINATOR- Wael Nasrallah (MEAN•MEAL) TUTOR- Alessandro Zomparelli (CO-DE-IT•MHOX) TUTOR- Roberto Naboni (ACTLAB•CREATE)

Arch Assembly

PARTICIPANTS HANAN ALSHEHRI (SAUDI ARABIA) • SARAH AL ADAYLEH (JORDAN) • AHMED YAKOUT (EGYPT) • REEM JEGHEL (SYRIA) • GHANEM YOUNES (EGYPT) • ARIAN SAGHAFIFAR (IRAN) • NORAH ALDUGHAITHER (SAUDI ARABIA) • SAAD BOUJANE (MOROCCO) • SARA ELOMRANI (LIBYA) • ANKITA GARG (INDIA) • SUDARSHAN ARAMPATH (INDIA)

Aggregate

Component

Arch Module Example

Wall Assembly

Aggregate

Blocks settle Component for irregular cuts

Inca Walls

Academic Projects 21

Bloc 84

FORMAL DEVELOPMENT COMPONENT COMPONENT FORMAL FORMAL DEVELOPMENT DEVELOPMENT

Macro Narrative

MAL DEVELOPMENT

Geometry Geometry

Mirror

Refine Topology

Mirror Refine Topology

Micro Narrative PLAN

Extrude

PLAN

Extrude

Mesh Relaxation

Mesh Relaxation Tuck

AXON

Intertwine

Tuck

Intertwine

Stretch Pull

AA Visiting School Dubai 2019 ADDITIVE STEREOTOMIES AAVSDXB 5.0 - MAR 29-APR 6 2019

STAFF AAVS DIRECTOR- Christopher Pierce PROGRAMME HEAD- Riyad Joucka (AA•EMTECH•MEAN•MEAL) PROGRAMME COORDINATOR- Wael Nasrallah (MEAN•MEAL) TUTOR- Alessandro Zomparelli (CO-DE-IT•MHOX) TUTOR- Roberto Naboni (ACTLAB•CREATE)

Pull

PARTICIPANTS

Stretch

HANAN ALSHEHRI (SAUDI ARABIA) • SARAH AL ADAYLEH (JORDAN) • AHMED YAKOUT (EGYPT) • REEM JEGHEL (SYRIA) • GHANEM YOUNES (EGYPT) • ARIAN SAGHAFIFAR (IRAN) • NORAH ALDUGHAITHER (SAUDI ARABIA) • SAAD BOUJANE (MOROCCO) • SARA ELOMRANI (LIBYA) • ANKITA GARG (INDIA) • SUDARSHAN ARAMPATH (INDIA)

AA Visiting School Dubai 2019

STAFF AAVS DIRECTOR- Christopher Pierce

PROGRAMME HEAD- Riyad Joucka (AA•EMTECH•MEAN•MEAL) AA Visiting School Dubai 2019 ADDITIVE STEREOTOMIES PROGRAMME COORDINATOR- Wael Nasrallah (MEAN•MEAL)

ADDITIVE AAVSDXB 5.0 - MAR 29-APR 6 2019

PARTICIPANTS

HANAN ALSHEHRI (SAUDI ARABIA) • SARAH AL ADAYLEH (JORDAN) • AHMED YAKOUT (EGYPT) • REEM JEGHEL (SYRIA) • GHANE

YOUNES (EGYPT) • ARIAN SAGHAFIFAR (IRAN) • NORAH STAFF ALDUGHAITHER (SAUDI ARABIA) • SAAD BOUJANE (MOROCCO) • SARA PARTICIPANTS ELOMRANI (LIBYA) •DIRECTORANKITA GARG (INDIA) • SUDARSHAN Pierce ARAMPATH (INDIA) HANAN ALSHEHRI (SAUDI ARABIA) • SARAH AL AAVS Christopher TUTOR- Alessandro Zomparelli (CO-DE-IT•MHOX)HEAD- Riyad Joucka (AA•EMTECH•MEAN•MEAL) YOUNES (EGYPT) • ARIAN SAGHAFIFAR (IRAN) • PROGRAMME TUTOR- Roberto Naboni (ACTLAB•CREATE)COORDINATOR- Wael Nasrallah (MEAN•MEAL) ELOMRANI (LIBYA) • ANKITA GARG (INDIA) • SUD STEREOTOMIES PROGRAMME TUTOR- Alessandro Zomparelli (CO-DE-IT•MHOX) TUTOR- Roberto Naboni (ACTLAB•CREATE)

AAVSDXB 5.0 - MAR 29-APR 6 2019

AA Visiting School Dubai 2019 ADDITIVE STEREOTOMIES AAVSDXB 5.0 - MAR 29-APR 6 2019

STAFF AAVS DIRECTOR- Christopher Pierce PROGRAMME HEAD- Riyad Joucka (AA•EMTECH•MEAN•MEAL) PROGRAMME COORDINATOR- Wael Nasrallah (MEAN•MEAL) TUTOR- Alessandro Zomparelli (CO-DE-IT•MHOX) TUTOR- Roberto Naboni (ACTLAB•CREATE)

PARTICIPANTS HANAN ALSHEHRI (SAUDI ARABIA) • SARAH AL ADAYLEH (JORDAN) • AHMED YAKOUT (EGYPT) • REEM JEGHEL (SYRIA) • GHANEM YOUNES (EGYPT) • ARIAN SAGHAFIFAR (IRAN) • NORAH ALDUGHAITHER (SAUDI ARABIA) • SAAD BOUJANE (MOROCCO) • SARA ELOMRANI (LIBYA) • ANKITA GARG (INDIA) • SUDARSHAN ARAMPATH (INDIA)

S

Construction Method Arch 03_005 1

Arch 04_005

Arch 05_005

2

Arch 06-005

3

4

Arch 01_001

Arch 01_002

5

6

Workshop

+4.80 M

0.00 M

Section A-A

+4.80 M

Section A-A

0.00 M

Section B-B

Component Connection 2

B

Component Connection 1

Component Connection 3

A

1:100

STAFF AAVS DIRECTOR- Christopher Pierce PROGRAMME HEAD- Riyad Joucka (AA•EMTECH•MEAN•MEAL) PROGRAMME COORDINATOR- Wael Nasrallah (MEAN•MEAL) TUTOR- Alessandro Zomparelli (CO-DE-IT•MHOX) TUTOR- Roberto Naboni (ACTLAB•CREATE) +4.80 M

AA Visiting School Dubai 2019 ADDITIVE STEREOTOMIES AAVSDXB 5.0 - MAR 29-APR 6 2019

0.00 M

Section B-B

AA Visiting School Dubai 2019

AAVSDXB 5.0 - MAR 29-APR 6 2019

PARTICIPANTS HANAN ALSHEHRI (SAUDI ARABIA) • SARAH AL ADAYLEH (JORDAN) • AHMED YAKOUT (EGYPT) • REEM JEGHEL (SYRIA) • GHANEM YOUNES (EGYPT) • ARIAN SAGHAFIFAR (IRAN) • NORAH ALDUGHAITHER (SAUDI ARABIA) • SAAD BOUJANE (MOROCCO) • SARA ELOMRANI (LIBYA) • ANKITA GARG (INDIA) • SUDARSHAN ARAMPATH (INDIA) B

ADDITIVE STEREOTOMIES

STAFF AAVS DIRECTOR- Christopher Pierce PROGRAMME HEAD- Riyad Joucka (AA•EMTECH•MEAN•MEAL) PROGRAMME COORDINATOR- Wael Nasrallah (MEAN•MEAL) TUTOR- Alessandro Zomparelli (CO-DE-IT•MHOX) TUTOR- Roberto Naboni (ACTLAB•CREATE)

A

PARTICIPANTS HANAN ALSHEHRI (SAUDI ARABIA) • SARAH AL ADAYLEH (JORDAN) • AHMED YAKOUT (EGYPT) • REEM JEGHEL (SYRIA) • GHANEM YOUNES (EGYPT) • ARIAN SAGHAFIFAR (IRAN) • NORAH ALDUGHAITHER (SAUDI ARABIA) • SAAD BOUJANE (MOROCCO) • SARA ELOMRANI (LIBYA) • ANKITA GARG (INDIA) • SUDARSHAN ARAMPATH (INDIA)

Section A-A

23

Bloc 84

E x pSYSTEMS loded Axonometric

AA Visiting School Dubai 2019

STAFF AAVS DIRECTOR- Christopher Pierce

PARTICIPAN

HANAN ALSHEH

D L a n d s c a p e ACONSTRUCTION rticulation DLATION ATION

1

Arch 6_005

Industrial Robotic Arm

Arch 6_005

2

1

2

CONSTRUCTION METHODOLOGIES

Original Site Perimeter

Carving Out Main Access Areas

Original Site Perimeter

Carving Out Main Access Areas

OPTION A

OPTION B

Printing Time: 2-3 Hours

Printing Time: 8-10 Hours

Total Weight: 150 Kg

Total Weight: 320 Kg

Material: Nylon-infused Polymer

Material: Nylon-infused Polymer

Tesselated Construction

Contoured Construction

Pulling Out Major Anchors

Emphasizing Formal Moves

Pulling Out Major Anchors

AA Visiting School Dubai 2019 ADDITIVE STEREOTOMIES AA Visiting School Dubai 2019 AAVSDXB 5.0 - MAR 29-APR 6 2019 ADDITIVE STEREOTOMIES

AAVSDXB 5.0 - MAR 29-APR 6 2019

Workshop

STAFF OR- Christopher Pierce A•EMTECH•MEAN•MEAL) Nasrallah (MEAN•MEAL)

Industrial Robotic Arm

Emphasizing Formal Moves

STAFF AAVS DIRECTOR- Christopher Pierce PROGRAMME HEAD- Riyad Joucka (AA•EMTECH•MEAN•MEAL) PROGRAMME COORDINATOR- Wael Nasrallah (MEAN•MEAL) STAFF TUTOR- Alessandro ZomparelliChristopher (CO-DE-IT•MHOX) AAVS DIRECTORPierce TUTORRoberto(AA•EMTECH•MEAN•MEAL) Naboni (ACTLAB•CREATE) PROGRAMME HEADRiyad Joucka

PROGRAMME COORDINATOR- Wael Nasrallah (MEAN•MEAL) TUTOR- Alessandro Zomparelli (CO-DE-IT•MHOX) TUTOR- Roberto Naboni (ACTLAB•CREATE)

PARTICIPANTS HANAN ALSHEHRI (SAUDI ARABIA) • SARAH AL ADAYLEH (JORDAN) • AHMED YAKOUT (EGYPT) • REEM JEGHEL (SYRIA) • GHANEM YOUNES (EGYPT) • ARIAN SAGHAFIFAR (IRAN) • NORAH ALDUGHAITHER (SAUDI ARABIA) • SAAD BOUJANE (MOROCCO) • SARA ELOMRANI (LIBYA) • ANKITA GARG (INDIA) • SUDARSHAN ARAMPATH (INDIA) PARTICIPANTS

HANAN ALSHEHRI (SAUDI ARABIA) • SARAH AL ADAYLEH (JORDAN) • AHMED YAKOUT (EGYPT) • REEM JEGHEL (SYRIA) • GHANEM Construction Methodology Option A YOUNES (EGYPT) • ARIAN SAGHAFIFAR (IRAN) • NORAH ALDUGHAITHER (SAUDI ARABIA) • SAAD BOUJANE (MOROCCO) • SARA ELOMRANI (LIBYA) • ANKITA GARG (INDIA) • SUDARSHAN ARAMPATH (INDIA)

Construction Methodology Option B

TRANSPORT AA Visiting School Dubai 2019 ADDITIVE STEREOTOMIES AAVSDXB 5.0 - MAR 29-APR 6 2019

STAFF AAVS DIRECTOR- Christopher Pierce PROGRAMME HEAD- Riyad Joucka (AA•EMTECH•MEAN•MEAL) PROGRAMME COORDINATOR- Wael Nasrallah (MEAN•MEAL) TUTOR- Alessandro Zomparelli (CO-DE-IT•MHOX) TUTOR- Roberto Naboni (ACTLAB•CREATE)

PARTICIPANTS HANAN ALSHEHRI (SAUDI ARABIA) • SARAH AL ADAYLEH (JORDAN) • AHMED YAKOUT (EGYPT) • REEM JEGHEL (SYRIA) • GHANEM YOUNES (EGYPT) • ARIAN SAGHAFIFAR (IRAN) • NORAH ALDUGHAITHER (SAUDI ARABIA) • SAAD BOUJANE (MOROCCO) • SARA ELOMRANI (LIBYA) • ANKITA GARG (INDIA) • SUDARSHAN ARAMPATH (INDIA)

Carving Out Main Access Areas

Carving Out Main Access Areas

Emphasizing Formal Moves

25

Emphasizing Formal Moves PARTICIPANTS HANAN ALSHEHRI (SAUDI ARABIA) • SARAH AL ADAYLEH (JORDAN) • AHMED YAKOUT (EGYPT) • REEM JEGHEL (SYRIA) • GHANEM YOUNES (EGYPT) • ARIAN SAGHAFIFAR (IRAN) • NORAH ALDUGHAITHER (SAUDI ARABIA) • SAAD BOUJANE (MOROCCO) • SARA ELOMRANI (LIBYA) • ANKITA GARG (INDIA) • SUDARSHAN ARAMPATH (INDIA)

AA Visiting School Dubai 2019

STAFF

PARTICIPANTS

Bloc 84

Physical Model - 3D Printed Parts

Workshop 27

05

Barjeel Modern Arab Art Musuem Competition Entry In Al Tarfa, Sharjah, UAE

Group member:Jumana Abbas Building on architectural elements found

in the oldest schools, local markets and mosques of Sharjah, the Barjeel Modern Art Museum is a homogenous representation of composed arches that define, and most importantly, facilitate a dynamic experience for the visitors. Playful in its architectural composition, the museum’s arches invite and orient where the next exhibition will be, where to pause and contemplate an art piece, or where to reflect with a colleague about Barjeel’s timeless collection.

To that end, our proposal reflects upon the circulation of knowledge and languages across territories, borders, institutions and media. The caravanserai, the roadside inn, at once aided the flow of commerce, goods, information, people across the network or trade routes coveing Asia, North Africa and the Middle East, now lies at the core of our design. Each exhibition space becomes its own caravanserai; a transient pit stop, yet a fixed and an integral space to the overall thematic region-based galleries. Whereas the bare, minimal buildings homogeneously adapts with the surrounding architecture and the warm, inviting colors revitalize the urban fabric of Sharjah. Yet most importantly, the reinterpretation of the caravan’s route embracing the spirit of Barjeel’s collection, always mobile and en route, but has now settled in at the Barjeel Modern Art Museum.

Academic Projects 29

Barjeel Modern Arab Art Museum Axonometric

Renderings

Academic Projects 31

FLOOR

06

Mosque Competition

21.0 m 12 14

13

8 11

10

9 1

9.0 m

15 5 4

10.5 m

Competition Entry, 2nd Place

6 3

9.7 m

Group member:Jumana Abbas

2

Dubai, United Arab Emirates

7

This mosque competition entry encompassed the analysis of the Dubai Creek area. With its cross link feature of the area, the mosque morphs its facade to express a ying yang approach to an inviting entry facade.

Conceived as a celestial theater, the Deira Waterfront Mosque follows Islam’s beliefs on community and equality. Both male and female, performing the ritual of prayer, acquire a non-identitarian and homogeneous character in order to submit to the orders of humbleness and spirituality under the presence of God. Through the use of subtle volumes, both, men and women interact harmoniously throughout the interior and exterior context. Seen from all directions, the subtle piece is a reminder of Sinan’s metaphor “in every corner is a rose garden of Paradise”. Every side of the urban piece acquires a different trait as it interacts with the users and the physical and symbolic context of the place: the boulevard at the north, the park at the east, the street at the south, and the direction of Mecca at the west.

As a significant urban and religious piece, the volume is both, the end and the beginning of a symbolic narrative.

At the boulevard side, north of the site, the mosque is accessed through a monumental sinuous veil that contains the entrance to the women’s prayer space and embraces the men’s two-story prayer hall. The veil, a sinuous surface composed of perforated panels, allows for the entrance of natural light and the projection of artificial illumination. Similar to the function of the minaret, the façade illuminates during the call of the prayer, syncretizing both, acoustical and visual attributes. The boulevard, conceived as a tree lined access, connects the city to the mosque’s urban context composed of apartment buildings, parking lots, and a pocket park. The park, adjacent to the east side of the mosque, engages with the syncretic functions of both genders.

The “Tearing” act of the ebtry way emphasizes the initial procession point as it is backed up by the landscape articulation of the primary walkway.

1

Block split into two zones according to function

Block condition as plot size

3

2

Addition of minaret

Defining the effect of the facade onto pedestrian procession

Expressed in two primary materials, this strong expression clearly states thhe twopart division of the spaces of prayer vs. ameneties.

CONCEPT BRIEF

4

Deformed exterior facade defining main prayer hall

FORMAL NARRATIVE DIAGRAM

6

5

“Tearing” language to open up entry to women’s prayer hall in the second floor

Further articulation of light slit into interior

Landscape and pavement articulation

LANDSCAPE ARTICULATION DIAGRAM

18.0 m

11.5 m

18.0 m 10.0 m

Steel structure + trusses

10.0 m

Prefab Concrete Panels

GRC panels

The male entrance at the south-east corner together with the ablution space at the ground level, acts as a symbolic pillar that supports the women’s ablution and prayer hall on the first floor. Towards the south, and opposite to the women’s entrance at the north, the rigid triangular form of the male’s volume facing the street, contains the Iman’s and Mauthen’s dwelling, the office space and reading area. Together with the vertical anchoring of the minaret, the point up angled form symbolizes men’s strength and stability, allowing, North side with its irregular form, for the entrance of male users and the filtering of light. Towards the west, the Quibla wall dislocates its angle to face the prayer direction. It is both an element that demarcates the male’s space, and an autonomous piece generated from the women’s veil, that responds to the sacred direction of North theside prayer ritual. Through its displacement, light enters laterally, emphasizing the Mihrab as the physical embodiment of the Iman’s presence.

8.0 m

11.5 m

8.0 m

The mosque’s interior is an attempt to create a perfect celestial theater where the equilibrium between gender, space, light, material and structure, would reassemble the consummate world initially created by God. The main volumes of the mosque interact while maintaining their own materiality and structural composition. On the one hand, a curved metal structural grid composed of metal members, ITHRA-04 supports the women’s entry wall. On the other hand, a tectonic assemblage of concrete 8.0 m columns and tie beams infilled with concrete characterizes the male volume. The Eastblocks, side interstitial space between the ELEVATIO N Shall and the living quarters, demarcates prayer 1:150 the male main entrance space through an angled roof supported by a series of metal trusses that rest over two main beams.

Concealing and blurring hegemonize the act of seeing as a uniform performance executed by all users. Through the filter of the ‘masharabia’ both, the women prayer space as well as Eastinside in the roof of the male prayer hall, the act of gazing ELEVATIO N Sbecomes a homogenous action that highlights the omnipresence of male, women 1:150 and God. From the ground, males observe the blurry actions of the female gender; from the top, women gaze at the male’s prayer space, and from the filtered panels of exterior GRC, God gazes at the communal prayer assembly and the body prostration of the congregation.

10.0 m

8.0 m

ITHRA-04

7.7 m

10.0

7.7 m

Competition

STRUCTURAL SYSTEMS DIAGRAM

ITHRA-04

33

07

BLOCKS Independent Study Independent Study with Prof. Faysal Tabbarah Architectural Representation

Background

Space is usually described through a series of traditional architectural drawings such as plans, sections, elevations and sometimes through a perspective. If we accept Marshall Mcluhan’s dictum that the medium is the message, where how we represent something to the outside world is directly related to the thing we are trying to describe, then we must question the relationship between drawing and space, built or simply drawn. This question is not new, but its intrinsic and age-old relationship to the history and development of architecture, especially over the last 50 years, does not mean that it is a question not worth pursuing. Recently, Perry Kulper has continued to push the limitations of architectural representations to create new types of landscapes. Where Liebeskind used distortion, Kulper employs layering and hybridization to create alternative relationships between buildings and landscapes.

To use Mcluhan’s dictum, the medium has long been the message in architecture, and the field of manipulating the traditional medium is still a ripe one for exploration.

force exerted from palm with finger guiding tip

top plan of work station organization - tools needed

B Lp e O K So d Ty s oCf Wo

Gestures

types of wood

gestures

walnut

plywood

white oak

materials always need to be lifted carefully - if not the print might lose its crispiness roller

beech

printing pad usuwood ally done in a cirboard cular motion with

types of styrofoam walnut

pine

line +wcurve o o d cstrokes utting

force exerted from palm and two fingers

basic tools

white oak

plywood

light to medium pressure

beech

t l yi n opc uet t si n g ot o ofl s l i n o c u t t e r t i p s

L i n e We i g h t S t u d y tools

rolling while holding steel pad

force at an angle when rolling (rolling should be donw in multiple directions)

force exerted mainly from palm

fingers mainly guinding the tip to carve precisely

ty

line + curve strokes different tip thicknesses

line + printing pad

4 mm section of clearing of wood between knife cuts

3 mm

1.5 mm

according to pressure

125 mm

flat chisel

gouge

8 mm

3 mm

skew chisel 8 mm

v-parting tool

gouge

6 mm

6 mm

work station

6 mm

ink paint

holding positions

force exerted from palm with finger guiding tip

top plan of work station organization - tools needed

force exerted from palm and two fingers

gestures

materials always need to be lifted carefully - if not the print might lose its crispiness

Academic Projects

steel pad

rolling while holding steel pad

force exerted mainly from palm

Records show that as far back as the 12th century, several centers in thesouth, on the western and eastern coasts of India became renowned for theirexcellent printed cotton. On the southeastern coast the brush or kalam (pen)was used, and the resist applied by the same method. In the medieval ageprinting and dyeing of cottons was specially developed in Rajasthan. InGujarat the use of wooden blocks for printing was more common.

Tents were made from printed fabrics and soon they became necessary partof royal processions. The seasons largely influenced the integration of thehighly creative processes of weaving, spinning, dyeing and printing.

Festivalsalso dictated this activity.

Block printing is a special form of printing firstdeveloped in China.

The earliest known example with an actual date is a copyof the Diamond Sutra from 868 A.D (currently in the British Museum), though the practice of block printing is probably about two thousand years oldTrade in cotton cloth is said to have existed between India and Babylon fromBuddha’s time.

Printed and woven cloths traveled to Indonesia, Malaya andthe Far East. In the 17th century, Surat was established as a prominent centerfor export of painted and printed calicos, covering an extensive range inquality.

Cheaper printed cloth came from Ahmedabad and other centers, andstrangely enough Sanganer was not such a famous center for printing as it istoday. source: Thakur, Rajendra. “HISTORY OF BLOCK PRINTING IN INDIA.” Academia.edu. Accessed February 15, 2018. http://www.academia.edu/7707115/HISTORY_OF_BLOCK_

35

BLOCKS

Research Proposal

This research proposal aims to utilize an ancient drawing technique that has not been fully explored in the production of space, namely, block printing.

While they share some characteristics, block printing is radically different from traditional drawing methodologies in many ways, such as its inherent fuzziness, its predilection towards surface over lino cutting tools line, and its potential lack of precision.

Therefore, the central question guiding this research proposal is: What types of spaces can be generated through block printing? At this moment, my assumptions are that these types of drawings will reject the contemporary fascination with lightness (visual and material) towards a more archaic sense of mass (visual and material). This is an avenue that will be further explored in the research.

plywood

ak

basic tools

roller

beech

wood board

ak

plywood

beech

printing pad

125 mm

4 mm

3 mm

1.5 mm

according to pressure

steel pad

6 mm

ink paint

Holding Positions holding positions

force exerted from palm with finger guiding tip

force exerted from palm and two fingers

force exerted mainly from palm

Records show that as far back as the 12th century, several centers in thesouth, on the western and eastern coasts of India became renowned for theirexcellent printed cotton. On the southeastern coast the brush or kalam (pen)was used, and the resist applied by the same method. In the medieval ageprinting and dyeing of cottons was specially developed in Rajasthan. InGujarat the use of wooden blocks for printing was more common.

Tents were made from printed fabrics and soon they became necessary partof royal processions. The seasons largely influenced the integration of thehighly creative processes of weaving, spinning, dyeing and printing.

Festivalsalso dictated this activity.

Block printing is a special form of printing firstdeveloped in China.

The earliest known example with an actual date is a copyof the Diamond Sutra from 868 A.D (currently in the British Museum), though the practice of block printing is probably about two thousand years oldTrade in cotton cloth is said to have existed between India and Babylon fromBuddha’s time.

Printed and woven cloths traveled to Indonesia, Malaya andthe Far East. In the 17th century, Surat was established as a prominent centerfor export of painted and printed calicos, covering an extensive range inquality.

Cheaper printed cloth came from Ahmedabad and other centers, andstrangely enough Sanganer was not such a famous center for printing as it istoday. source: Thakur, Rajendra. “HISTORY OF BLOCK PRINTING IN INDIA.” Academia.edu. Accessed February 15, 2018. http://www.academia.edu/7707115/HISTORY_OF_BLOCK_ PRINTING_IN_INDIA.

fingers mainly guinding the tip to carve precisely

The medium I would like to develop and play with scale, hybridizing, and patterns would be wood block printing because of its interesting textures and history.

Multi-Block Print

125 mm

steel pad

C a r v e d Wo o d I n v e n t o r y flat chisel

gouge

8 mm

3 mm

skew chisel 8 mm

v-parting tool

gouge

6 mm

6 mm

work station

6 mm

holding positions

force exerted from palm with finger guiding tip

top plan of work station organization - tools needed

force exerted from palm and two fingers

gestures

materials always need to be lifted carefully - if not the print might lose its crispiness

rolling while holding steel pad

force exerted mainly from palm

Records show that as far back as the 12th century, several centers in thesouth, on the western and eastern coasts of India became renowned for theirexcellent printed cotton. On the southeastern coast the brush or kalam (pen)was used, and the resist applied by the same method. In the medieval ageprinting and dyeing of cottons was specially developed in Rajasthan. InGujarat the use of wooden blocks for printing was more common.

Tents were made from printed fabrics and soon they became necessary partof royal processions. The seasons largely influenced the integration of thehighly creative processes of weaving, spinning, dyeing and printing.

Festivalsalso dictated this activity.

Block printing is a special form of printing firstdeveloped in China.

The earliest known example with an actual date is a copyof the Diamond Sutra from 868 A.D (currently in the British Museum), though the practice of block printing is probably about two thousand years oldTrade in cotton cloth is said to have existed between India and Babylon fromBuddha’s time.

Printed and woven cloths traveled to Indonesia, Malaya andthe Far East. In the 17th century, Surat was established as a prominent centerfor export of painted and printed calicos, covering an extensive range inquality.

Cheaper printed cloth came from Ahmedabad and other centers, andstrangely enough Sanganer was not such a famous center for printing as it istoday.

Academic Projects

printing pad usually done in a circular motion with light to medium pressure

ink paint

source: Thakur, Rajendra. “HISTORY OF BLOCK PRINTING IN INDIA.” Academia.edu. Accessed February 15, 2018. http://www.academia.edu/7707115/HISTORY_OF_BLOCK_ PRINTING_IN_INDIA.

force at an angle when rolling (rolling should be donw in multiple directions)

fingers mainly guinding the tip to carve precisely

The medium I would like to develop and play with scale, hybridizing, and patterns would be wood block printing because of its interesting textures and history.

37

BLOCKS Ink Prints

Ink Prints

With C harco al

Academic Projects

Mono Print

Multi-Block Print

39

BLOCKS Ink Prints

Post-Research Ink Prints

Academic Projects 41

08

Thikra Maritime Museum 4th Year Architecture Comprehensive Design with Prof. Igor Peraza In Jadaf, Dubai, United Arab Group member:Jumana Abbas

Thikra Museum or “Memory” Museum, elicits the timeline of UAE’S maritime history and highlights its country’s sea trading memories.

The rippling facades of the museum reflects its location at Jadaf along Dubai’s waterfront, almost reaching out to the water like three boats settling on an ocean’s surface. The plan is formalized within thre primary zones that signify the past, present, and future or maritime memories, as its display describes the narrative of the UAE sea.

ARCHITECTS

Notes and stamp

concrete tile floorin

wood floor plank

stone tile floorin asphalt

water basi

2

SITE PLOT LIMIT

Martime Museum

3

Client: Dubai Governme Site plan

Dubai Creek - Jaddaf 25 ° 15’ 21” N 55 ° 19’ 0” E

4

Revision updates: Rev. Num.

Date

Is

1

28.02

de

2

07.03

de

3

20.03

de

4

29.04

Drawn by:

SKIN DEVELOPMENT

VOLUME DEVELOPMENT

Academic Projects

5

Final MA Archite Checked by Review Igor Peraza Date: 7th of May, 2017 Scale:

1:400

Dwg type: ground floo Sheet num A.13

Contact information: A102 Ground floor

For more information, ple contact: 056952663

Preliminary basic skin coverage Two floors adjusted

Surface split into folded major zones Opens up at each end for focal visuals

Folded result Volumes split and oriented according to solar and visual research

Skin treated as a separate system to promote sustainability Building wrapped to emphasize linearity

43

09

Soap Maker’s Ve r t i c a l House Maya Modeling Course at AUS with Prof. Faysal Tabbarah

Maya Digital Modeling + 3D Printing

Coming into an imaginary site location, in the desert, a chosen client, a soap maker, resides in this vertical house/ work lab that provides a maliable stair entry fusing with the landscape. As well as a plantlike facade elements that join to form the spaces of the house.

The approach of three levels and verticality of the structure is expressed using Maya to model the intuitive nature of this model.

Resin 3D printing was used to provide the physical model aspect as shown on the right.

Academic Projects 45

10

Evolo To w e r Competition Entry Cairo, Egypt G r o u p m e m b e r : Ghanem Younes

Modern cities nowadays have always distributed housing, hospitality and commercial architecture all around the city centers while completely isolating the industrial architecture component such as factories and wastelands far away from the center but rather at the outskirts of the city. Poorer areas in old Cairo such Mokatam, Madinat Nasr and so forth, have a huge areas of distributed wastelands that lacks latest recycling facilities, poor infrastructure and waste management that could help elevate their life standards.

Our idea explores the formal and theoretical possibility of merging commercial+ hospitality architecture with industrial architecture into a continuous loop in order to achieve zero waste and to give back to the garbage collectors healthier working environments, efficient garbage collecting methods and more systematic means using latest technology in waste sorting and recycling for the betterment of society and improvement of social and economic standards of their neighborhood to be waste free.

Plans

LOOP P connecting “o l d c a i r o” with the “n e w c a i r o”

LOOP

cairo egypt location narrative

“o l d c a i r o” with the “n e w c a i r o”

connecting “o l d c a i r o” with the “n e w c a i r o”

axon

axon

primary elements

cairo egypt location narrative

+

manshiyat nasr (SLUMS) location

+

primary elements axon

co

loo deve

primary elements

waste landfill

manshiyat nasr (SLUMS) location manshiyat nasr (SLUMS) location

waste landfill

area inbetween

site choice as a MEDIATOR

neighboring developed area

site choice as a MEDIATOR wna es ti eg h b o r i l a n d fdi l el v e l o p

ng ed area

area inbetween

neighboring developed area

site choice as a MEDIATOR area inbetween

skyscraper skyscraper

skyscraper

cardboard + plastic

cardboard + plastic recycling factor

m a n s hr i ey c a ty nc al si nr g AVERA f aGcE tDo r AXIS

cardboard + plastic recycling factor

primary secondary

manshiyat nasr AVERAGED A X I pS r i m a r y & secondary alley ways extrusion manshiyat nasr AVERAGED AXIS

primary & primary secondary secondary PATHS TO VOLUMES= alley ways extrusion LOOP introduction of plazas primary secondary

primary & secondary alley ways extrusion

PATHS TO VOLUMES= LOOP introduction of plazas

factory recycling process

PATHS TO VOLUMES= LOOP introduction of plazas

site

factory recycling process

waste collecting road from dump area

factory recycling process

waste collecting road from dump area

waste collecting road from dump area

formal response site

formal response

tower + root tions usion)

garbage chute g a r b a eg m e bedded chute in core

perforation across envelope

Competition

z o n e // ation RNER ITION

garbage chute embedded in core

perforation across envelope

perforation across envelope

embedded in core

z o n e // location n eE //R C OzRo N C O Nl oDcI aTtI i Oo nN

wind & views orientation

wind & views orw i ei nn tda &t i o n

views orientation

CORNER CONDITION

tower +t orwo eo rt d i r e c+t ri oo no ts ( ed xi rt er cu tsi ioonns)

garbage fro m retail recycled

area selection +primary entries

(extrusion)

M O R P H // spaces rooting from tower

area

s e al er ec at i o n s e l e+ cptri iomn a r y + p r i me an rt yr i e s entries

existing vegetation governing morphology

from tower

existing

e x i sv tei ng ge t a t i o n v e g e t a gt i oo vn e r n i n g g o v emr no irnpgh o l o g y morphology

Modern cities nowadays have always distributed housing, hospitality and commercial Modern nowadays Modern citiescities nowadays have have alwaysalways dis- disarchitecture all around the citytributed centers while tributed housing, hospitality and commercial housing, hospitality and commercial completely isolating the industrial architecture architecture all around thecenters city centers architecture all around the city while while component such as factories and wastecompletely isolating the industrial architecture completely isolating the industrial architecture lands far away from the center but rathersuch at such component as factories and wastecomponent as factories and wastethe outskirts of the city. In Cairo, very landsthis far isaway from from the center but rather at lands far away the center but rather at evident in the way cities are designed such the outskirts of theofcity.

Cairo, this is this veryis very the outskirts theIncity.

In Cairo, as Madinaty, which is locatedevident in new Cairo, in the way cities are designed such evident in the way cities are designed such mainly focusing on commercialasand Madinaty, whichwhich is located in newinCairo, ashospitalMadinaty, is located new Cairo, ity architecture at its core. mainly focusing on commercial and hospitalmainly focusing on commercial and hospitality architecture at its core.

M O R P H // ity architecture at its core.

M O R P H // spaces spaces rooting f r o m t or ow oe tr i n g

g garbage fro m retail recycled

waste collector

waste collector

waste collector

47

fro r

11

Stalactite Reviving Pavilion

3 Ty pes of C omponents

Component Development

Micro Narrative

2m

In Umm Al Quwain, U.A.E

2m

Parson Corp. x MEAL DxB, Workshop Collab

A

A transition framing-arch component

G r o u p m e m b e r : Maria Sfeir

Bounding Box

Arches

Shorten Legs

1.6m

B

Bounding Box

Arches

Shorten Legs

C Bounding Box

Reduce Height

Glass element

Mid-level component

Extrude points to articulate ground condition

0.5m

Stalactite from the Greek stalasso, “to drip� a tapering structure hanging like an icicle from the roof of a cave, formed of calcium salts deposited by dripping water. The IL76 abandoned plane in Umm al Quwain, like many strange and unexplained landmark accross the country , has been used as an artist meeting point. The airplane as our focal point, will be surrounded by three main zones: The Contemplation Zone, the Theatre, and the Cave like experience. The three areas will be dened through articulated enclosed surfaces , and aggregated with several components, shaped by their functionalities.

Stalactite installation, a digital experimental pavilion, is created to revive and reform the abandoned site while creating a cave inspired monument.

Seating height component (auditorium)

Clu ster of C omponents

Component Development

Axonometric

Workshop 49

Stalactite Reviving Pavilion Macro Narrative

3 points of entry defined then connected

1

Vegetation Zones divided within the articulated ground

3

5

The 3 components tessalated on the surfaces modeled according to usage

2

4

Landscape articulated with the plane as a central node

Program-driven zones are defined with enclosed surfaces

3D Print Model

Cluster Construction

View A

Component interlock surface - part of the 3D printed element

Industrial robot arm to assemble clusters on site

Component to component connection

Workshop

Cluster of 4 components connected by sliding the interlock surfaces together

Section of 3D-printed model

Elevations

Ground Articulation

51

Plan + Exploded Axonometric

Layers of Assembly

Stalactite effect of an enclosed pavilion to be integrated with plane’s wing

Abandoned existing airplane

Workshop

Auditorium seating made of components with varying heights

Entrance seating | Buffer seating

Stage ground articulation

53

Stalactite Reviving Pavilion 3D Print

Rendering

Workshop 55

12

Professional Practice Studies Parsons Corporation DXB, Urban Design Studio Dubai, United Arab Emirates

Mixed-Use Apartments - Residential - Amenities

Townhouses II - Edge condition facing water - Edge Articulation

Urban Design and Architetcure Working currently in the urban design department as an architect and urban designer, I am exposed to a range of projects that are located in multiple locations in the region. Utilizing architectural design and urban perspective is an interesting process to be able to see things on two primary scales.

Conducting urban principles and translating them into visions to be presented to a wide range of clients is beneficial to widening my perspective on what it takes to plan a community or public realm.

Open Spaces - Private open spaces - Public opens spaces

Private Open Space Public Open Space Building on Podium Low Building | Townhouse 2 m Dedicated Cycle Track 3 m Dedicated Cycle Track Shared Cycle Track Shared wih Vehicles Bus Route Metro Route

Retail - Podium for Townhouses

Dedicated Cycle by Others LRT Route Bicycle Parking Public Bicycle Hire System Station

Landmark Tower

Tower + Podium

2 Towers + Podium

Stepped Rowhouses

Townhouses Tower

Towers

Tower

- Residential Apartments

- Residential Apartments

- Residential Apartments

Gr. Flr - Street Retail - Promenade Retail - Parking

Buffer Podium Podium

Podium

Gr.Flr

Gr.Flr

- Retail - Parking - Ameneties

- Retail - Parking - Ameneties

Stepped City Block

- Parking - Townhouses

- Parking - Amenities

- Parking - Amenities

Perimeter Block

Double Loaded Apartment Block Building Block - Residential Apartments

Singular Block

Semi - Open Block

Residential Apartments Townhouses

Single Loaded Apartment Block

Retail - Community Facilities

Gr.Flr Podium

- Retail

Gr.Flr

Gr.Flr

- Parking - Amenities

- Retail - Courtyard - Apartments

Shaded Sikka

Professional Practice

- Apartments - Townhouses - Parking

Gr.Flr - Retail - Parking - Amenities

Tower - Residential - Amenities

Building + Podium - Residential - Amenities - Parking - Retail in Podium

Retail - Low rise - Adjacent to Public open spaces

Building + Podium - Residential - Amenities - Parking - Retail in Podium - Enclosed Courtyard

Buildings + Open courtyard - Residential - Adjacent to Public open spaces

Tower + Podium

Private Open Space

Townhouses - Edge condition Adjacent to water

Private Open Space

Building on Podium

Building on Podium

Low Building | Townhouse

Low Building | Townhouse 2 m Dedicated Cycle Track 3 m Dedicated Cycle Track

2 m Dedicated Cycle Track 3 m Dedicated Cycle Track

Shared Cycle Track

Shared Cycle Track

Shared wih Vehicles

Shared wih Vehicles

Bus Route Metro Route

- Residential - Amenities - Parking

Public Open Space

Public Open Space

Bus Route

Building + Podium - Residential - Amenities - Parking - Private Open space on Podium

Private Open Space Public Open Space Building on Podium Low Building | Townhouse 2 m Dedicated Cycle Track 3 m Dedicated Cycle Track

Dedicated Cycle by Others

Metro Route

Shared Cycle Track

LRT Route

Dedicated Cycle by Others

Shared wih Vehicles

Bicycle Parking

LRT Route

Public Bicycle Hire System Station

Bicycle Parking Public Bicycle Hire System Station

Bus Route Metro Route Dedicated Cycle by Others LRT Route Bicycle Parking Public Bicycle Hire System Station

57

13

Architectural Illustrations Axonometric Drawing exploring spatial relationships with elements such as arches, bridges, and apartments.

Axonometric drawing exploring illusion-driven design and labyrinth-like plans in relationship to floating architecture.

Independent Study 59

Illustrations

Exploded Axonometric

Illustration of an Exploded axonometric drawing paying homage to an invention patent-like method of representation of a normal ramen dish, presented to a chef.

Independent Study 61

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