Shiva Abbaszadeh, Architecture Portfolio

SHIVA ABBASZADEH ART & ARCHITECTURE PORTFOLIO

Shiva Abbaszadeh is a 5th year attending The City College of New York, currently double majoring in Art and Architecture. Throughout her experience at the Bernard and Anne Spitzer School of Architecture, she has gained an affinity for hands-on work, whether this be focusing on the intricacies of model-making and fabrication methods, or on-site field research. She strives to carry this level of production, hand-craft, and attention to detail into her professional career.

C O N T E N T S 1

BRONX COLLECTIVE ECOLOGY

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ACCESSIBILITY IN LISBON

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HARLEM CIVIC CENTER

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PAVILION MODEL FABRICATION

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GENERATIVE LANDSCAPES

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ARTISTIC EXPLORATION

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BRONX COLLECTIVE ECOLOGY PROFESSOR FABIAN LLONCH

The Bronx Collective Ecology (B.C.E.) is an adaptive reuse of the Kingsbridge Armory. Completed in collaboration with Wyatt Kuebler and Kingsley Chong, this project tackles complex social, economic, and environmental challenges faced by the Bronx community through sustainable agricultural practices and modular design.

Implementing vertical farming alongside ecological programming (the relationship between organisms and their surroundings), the BCE transforms the Armory into a nurturing space; housing a dynamic marketplace, a rooftop garden, poultry farming, makerspaces, recreational spaces for the community to inhabit, and educational spaces to nurture the minds of the students within the extensive network of educational facilities in this vicinity.

By reimagining this expansive site (~22 million cubic feet) through a systematic modular organization based on preexisting conditions, we create productive spaces while still fostering individual experiences made within a community.

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Scale : 1/8” = 1’-0”

Existing Armory Column Grid 3

BCE Column Grid

Broadway Inclusion

The site begins with the existing armory column grid. Extruded upwards 5 stories, these blockings create spaces sized 30’x30’. Once our Broadways are implemented, we incorporate our cores, the only source for accessible vertical movement. These cores are connected to programmed spaces and these spaces are then interconnected as well, creating a variety of single height and double height spaces bleeding into each other. Vertical farming remains a vital base for virtually all blockings, set on a vertical conveyor belt and returning back to basement level -2 where collection occurs.

Exterior Programming

Interior Grid with Broadway Extension

Core Inclusion

Core Extension

Program Extension 4

Concept Blocking

Core Vertical Farming Single Height Double Height

The concept blocking depicts the origin of program organization. With a succinct division of space between vertical farming, core towers, and other various ecologically-oriented spaces, this blocking provides a basis to apply to the entirety of the armory. Due to the intricacies of our “Broadways”, creating irregularities within our program, the concept blocking must adhere to this. Visually, this can be understood in the series of diagrams above.

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Core

Single Unit

Double Height

Vertical Farming

Family Unit

Joined Single Unit

Core

Recreational

Livestock

Vertical Farming Venue Space

OfficeSpace

Arboretum

Tech Space

Lounge/Cafe

Core Vertical Farming Single Height Double Height

Rooftop

Fifth Floor

Fourth Floor

Third Floor

Second Floor

Ground Floor

Basement Floor -1

Basement Floor -2

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ule x 5

4 Mod

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l Mode hunk C le u Mod

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Scale : 1/8” = 1’-0”

ACCESSIBILITY IN LISBON HISTORY & THEORY TRAVEL FELLOWSHIP

This is a study of the accessible walkways along the streets of the Historic District in Lisbon, Portugal. This research contributes to the available knowledge of traversable routes at a hyper-specific, street-by-street level of documentation. This is beneficial to not only the elderly and disabled, more specifically wheelchair-bound residents, but to tourists as well. With a consistently growing population of elderly residents in this city, access to this branch of information would be most beneficial. This study also brings awareness to the lack of accessible streets of European cities such as that of Lisbon. This analysis creates a series of maps which highlight the accessible routes in relation to slope of the sidewalk, paving material, and sidewalk width. These maps will devise a color-coded key, displaying a range of accessibility for each street based on the collected on-site data.

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06.12.23; Santa Maria Maior

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On-Site Mapping The following series of maps contain the scope of this project and the entirety of the collected on-site research study. Each street within this scope was measured with the most priority towards sidewalk presence and width, along with street slope and street materiality. The sidewalks were majority cobblestone, unless notated otherwise in areas typically located towards the shoreline. Depicting locations of stairways was also a vital aspect of this research. It was these series of unexpected stairways that would span whole street lengths that seemed to provide to most difficulty towards accessibility. During my on-site studies, I also noted that this accessibility issue extended towards those who pushed around strollers for children, and any items that moved on wheels such as suitcases or trolley bags.

Zone 1

Zone 2 In order to obtain this data, I divided the entirety of the area of study into 50 8.5” x 11” sheets, grouped by district number. Using these sheets, I walked, street-bystreet, and individually measured all existing conditions of note within the time span of 3 weeks.

Key Slope Angle

Red Text

Sidewalk Width

Blue Text

Cobblestone Street Paved Street Stairs 12

Zone 1

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Zone 2

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Slope Analysis In order to increase comprehensibility of the gathered data, I began digitizing the study area, beginning with this portion of Historic District 1. This area was the most challenging to document because of its slew of stairs oriented in a maze-like way. This map displays the set of slope data obtained, maxing out at 14 degrees in 3 separate streets.

The majority of streets in this portion were between a slope of 0-2 degrees and 3-6 degrees. This map also reinforces that the most accessible streets, in regards to slope, were located closest to the water.

Sidewalk Analysis This map analyzes sidewalk widths, organizing the data from each street into 3 categories: Streets that have sidewalks on both sides of the street that are both equal to or greater than 3’ in width, streets that have sidewalks on one side of the street that is equal to or greater than 3’ in width, and streets that either do not have sidewalks at all or have sidewalks that are less than 3’ in width or streets that are made up entirely of stairs. This portion of the Historic District of Lisbon was majority streets made up of entirely stairs, and so not having sidewalks of at least 3’ in width.

Road Materiality Analysis I also studied road materiality. It is safe to say that the sidewalks, unless specifically mentioned, are all cobblestone. As a result, I thought it beneficial to document the materiality of the roads as well since inhabitants of the city would tend to walk on the road itself because there were many streets that the sidewalks were either non-existent or insignificant. With this specific portion of Lisbon, the paved streets were all located adjacent to the shoreline.

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0-2 Degrees 3-6 Degrees 7-12 Degrees 13+ Degrees Private Road Stairs

Both Sides 3’ ≥ Width One Side 3’ ≥ Width No Sides 3’ ≥ Width Private Road Stairs

Paved Road Cobblestone Road Private Road Stairs

Digitized Data Location Range

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On-Site Sketch Studies

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Sketch Study 1

06.18.23; Chiado

Sketch Study 2

06.11.23; São Vincente

Sketch Study 3

06.20.23; Praça de São Bento

Sketch Study 4

06.24.23; Lx Factory

Sketch Study 5

06.09.23; Graça

Sketch Study 6

06.16.23; Misericórdia

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HARLEM CULTURAL CENTER PROFESSOR JULIE NELSON

This project, a multi-purpose urban complex , offers recreational, educational, and cultural development spaces. The Harlem Cultural Center embodies the complexity of the site’s location as a transition between the dense rigidity of the layout of north campus and the organic geometry and green of south campus of CCNY. The site acts a bridge between these two opposing conditions as we bring in the green from south campus into our site. In collaboration with Mateo Penafiel and Florjan Plepi, we used the elements of enclosure, funneling, and reveal, aiming to create a central space for collective enjoyment.

Site Diagram

South Campus

North Campus

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L4 CLASSROOM LEVEL

L3 GROUND LEVEL BATHROOM

LOBBY CORRIDOR

L2 LOBBY LEVEL

L1 MAIN EVENT HALL LEVEL

Longitudinal Section

SEATING SPACE

COMMON SPACE

LOBBY CORRIDOR

MAIN EVENT HALL CORRIDOR

Transverse Section 21

LOBBY

LOBBY CORRIDOR

BATHROOM

DRESSING ROOMS

CLASSROOM LEVEL

great lawn GROUND LEVEL

event spaces circulation

TICKET OFFICE

egress

LOBBY LEVEL

great lawn

restrooms

event spaces

acessory spaces

circulation

mep rooms

egress

administration

great lawn

restrooms

cafe

event spaces

acessory spaces

exhibit

circulation

mep rooms

classrooms

egress

administration

restrooms

cafe

acessory spaces

exhibit

mep rooms

classrooms

MAIN EVENT HALL LEVEL

administration

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WATERPROOFING

Street Entrance Section

Perspective of Great Lawn: Movie Screening

Within the top bar which connects the left and the right facades, is a drop down screen to appeal to programming in relation to the stage and the community. This screen, when down, allows for movie nights or creates a backdrop for events on the stage in the center of the site. When the screen is up, the stage can be used with visibility from the interior ground floor and second floor.

Creeping Ivy Green Wall Creeping ivy green Perforated Corten corten Steel Perforated Panels Fins and fins steeland panels Double Pane Glazing Double pane glazing

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HidH

Out O

Refl R

Facade Assembly

The corten steel panel and fin facade communicates with the interior programming, becoming denser and using more coverage for the classrooms, blocking off more of the visual distractions of city life, then decreasing that density using the fins along the circulation and seating areas. This panel system also allows us to break up the length of our bar and connects back to the green of the plaza by having this creeping ivy grow up onto it.

dden Drop-down Screenscreen Hidden drop-down

Creeping Ivyivy Green Wallwall Creeping green

tdoor Stage Outdoor stage flective Chrome Interior Panelpanel Reflective chrome interior

Metal MetalMesh mesh Double Glazing DoublePane pane glazing

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PAVILION MODEL FABRICATION PROFESSOR ALEJANDRA ROJAS

Designed in collaboration with Amy Ho, this technical study of model fabrication began with inspiration from the geometries of Gaudi’s Sagrada Familia and the fabrication method of the Sewn Timber Shell. We prepared our grasshopper model for fabrication by panelizing it and creating a series of offset holes within each panel to accommodate our sewn method of joinery. Once our 800+ pieces were lasercut, we hand-sewed each piece together to form our final model.

The quality of the chipboard material changed throughout this method of fabrication. The more pieces that were joined together initially, the more this material acted as a free-flowing fabric. It was the continued joinery, closer towards the forming of the final structure, that the tension of the string established the model’s intended form.

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Refined mesh

Anchor points

Anchor directions

Surface

Quad panel scaled from edges

Pavilion Design

Unrolled components

Added holes for stitching

Plan

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1. Loop the string from the left to the right hole

3, Loop the string from the bottom hole to the left hole and make a knot

5. Loop the string from the bottom to left hole and make a knot 29

2. Loop the string from the top to the bottom hole

4. Loop the string from the top to the bottom hole

6. Repeat steps 4 and 5 until all pieces are attached

Process Images

Final Images

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GENERATIVE LANDSCAPES PROFESSOR GORDON GEBERT

Creating a new conversation bewteen the manual and digital, this study looks into creating three-dimensional landscapes on a small scale using treated sand and grasshopper coding. Building on top of previous research completed with grasshopper’s image processor, existing topographical LIDAR mapping is converted into x, y, z coordinates. This data is then converted to form a language which the robot will then use to tamp down a contained box of treated sant, recreating the inscribed landscape. This process creates a loop where the physical landscape can be manually altered and input back into grasshopper’s image processor to create a technical code for this manually altered form. This study becomes a discussion of the boundaries between the digital and physical, blurring the lines and creating a hybrid.

Another portion of this project is exploring the use of treated sand as a recylable mold-making material. The inverted LIDAR map is inverted into the code to be inscribed into the sand. Then, using plastic wrap as the barrier, resin is poured into the treated sand mold and a 3-dimensional model of the topographical image is made.

Topographical LIDAR Map Fiji Basin Seafloor LIDAR Map

Hendrickson Canyon, WA LIDAR Map

Fairfax County, VA LIDAR Map

Inverted Topographical LIDAR Map

Fiji Basin Seafloor Inverted LIDAR Map

Hendrickson Canyon Inverted LIDAR Map

Generated Planar Surface From Image Processor

Generated Points From Image Processor

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Fairfax County, VA Inverted LIDAR Map

Robot Integration Series 6” x 6” Container

Robot Integration Series 5” x 5” Container

6” x 6” Resin Model

5” x 5” Resin Model

Axon View

Axon View

Plan View

Plan View

Fiji Basin Seafloor

Hendrickson Canyon, WA

Robot Integration Series 12” x 12” Container Fairfax County, VA

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2 2’X2’ Panels; Acrylic on Wood Panels

ARTISTIC EXPLORATION My study of art revolves around greco-roman figures and architecture, mainly its sculptural elements. I find beauty in the contradictory quality of the representation of figures and fabric in stone. The juxtaposition of the softness of skin and fluidity of fabric against the rigidity of rock becomes a challenge in creation, and I deeply admire those before me who have undertaken this challenge. I, in turn, have created a new challenge for myself through my art: representing these sculptural figures 2-dimensionally. Whether this be the one-directional hatching I am constantly drawn to, or my move towards realism in gray-scale using the flatter consistency of acrylic paint, I strive towards displaying depth and effortlessness.

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8”x10”; Ink on Bristol 37

8”x10”; Ink on Bristol 38

12”x36”; Acrylic on Canvas

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4”x4”; Acrylic on Canvas; Sketch Painting Series

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THE WARMTH OF ROME AND THE VATICAN

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FINE LINES AND STRUCTURE

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SHIVA ABBASZADEH THE BERNARD AND ANNE SPITZER SCHOOL OF ARCHITECTURE