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08-12

WASIF AHMED UNDERGRADUATE

PORTFOLIO


01 04 10 18 28

RESUME

DUNDAS SQUARE BOOTH YEAR ONE

LANTERN STUDIO MODEL YEAR TWO

URBANICA YEAR TWO

RYERSON STUDENT RESIDENCE YEAR TWO

40 52 60 68

TORONTO MUSEUM YEAR THREE

PERSPECTIVE EXPLORATION YEAR FOUR

TERRA FABRICATTA DIGITAL FABRICATION

PROFESSIONAL EXPERIENCE

RENOVATION + CLIENT PRESENTATION


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Ryerson Student Tri-Mentoring Program Mentor ‡3URYLGHGIHHGEDFNRQPHQWHH¶VGHVLJQSURMHFWV ‡*XLGHGVWXGHQWWRFRPSXWHUSURJUDPVDQGWXWRULDOVGHSHQGLQJRQWKHSURMHFW ‡*XLGHGWKHVWXGHQWWRDUFKLWHFWXUDOUHVRXUFHVVXFKDVERRNVDQGPRGHOEXLOGLQJVXSSOLHV Ryerson Architecture Union Volunteer 2UJDQL]HU$VVLVWDQW ‡&UHDWHGDQHI¿FLHQWURXWHIRUYLVLWLQJSDUHQWVDQGSRWHQWLDOVWXGHQWV ‡6RUWHGWKURXJKYDULRXVSURMHFWVWRVHOHFWWKRVHWKDWGLVSOD\HGWKHPRVWLQWHUHVWLQJGHVLJQFRQFHSW ‡,QIRUPHGSURVSHFWLYHSDUHQWVDQGVWXGHQWVRIWKH$UFKLWHFWXUDOSURMHFWV EDUCATION: FXUUHQW 5\HUVRQ8QLYHUVLW\    B.Arch (Bachelors of Architectural Science) ([SHFWHG*UDGXDWLRQ$SULO









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TICKET BOOTH


PROJECT DETAILS 167<($5 6(0(67(5 352)/8=$5 ,1',9,'8$/68%0,66,21


TICKET BOOTH

Breaking the idea of a traditional ticket booth, the project explores multi-level service spaces as well as a multi-use facade. The booth serves the Yonge and Dundas square primarily but does not ignore the potential of expanding the service to the parking, potentially reducing line-ups and vehicular idling on Yonge Street. The commercial perimeter of the square is maintained as the booth is located on the West edge of the square. This adds to the potential of encapsulating the square with services. However, the design addresses the potential of blocking visual connection to the square, hence the facade is all glass with louvers which allow for the built fabric to be reasonably transparent. The project also explores various spatial arrangements to acheieve a functioning interior. The glass facade has a terrain that creates a counter for a ticket window. In addition, the louvers bounce light into the building preventing glare. The louvers can be closed which result in a screen where the latest shows can be advertised.


LANTERN STUDIO


PROJECT DETAILS 21'<($5 6(0(67(5 352).$3(/26 ,1',9,'8$/68%0,66,21


LANTERN STUDIO

An artistâ&#x20AC;&#x2122;s environment has a great inĂ XHQFH RQ KLVKHU ZRUN 7KH /DQWHUQ Studio is a poetâ&#x20AC;&#x2122;s studio in which minimal requirements were given. It was to be assumed the artist did not have a family or many guests to accommodate for and hence the design of WKHVWXGLRZDVWRUHĂ HFWKLVKHUWDOHQW The design was approached with particular attention to the artists talent. Instead of introducing new inĂ XHQFHV WKH GHVLJQ FRQVLVWV RI JODVV ZDOOVRQWKHORZHUĂ RRUDQGDUHĂ HFtive surface on the upper. The site given was in the prairies and thus the transparency of the lower (working) Ă RRUEULQJV QDWXUDO HOHPHQWV LQWRWKH working environment allowing the artLVW WR EH LQĂ XHQFHG E\ WKHLU SHUFHSWLRQRIWKHVSDFH7KHXSSHUĂ RRUZDV DGGUHVVHG ZLWK D UHĂ HFWLYH H[WHULRU to eliminate the buildingâ&#x20AC;&#x2122;s presence in the area. The building is designed to glow during the night and blend into the surroundings during the day. The lantern studio is a metaphorical representation of artists in this world, as they bring light to our dull lives with their creative and inspiring work.


URBANICA


PROJECT DETAILS 21'<($5 6(0(67(5 352)6$9('5$ *528368%0,66,21 $,/((1625,$'$',1'8/'8/ -$6213$8/26(67(%$1)(51$1'(=6+(/,=$.+$152:(1$ '20,1*202,=.+$1 :$6,) $+0('


URBANICA

Urbanica is a gateway for Ryerson University from the East side of the city, this project was a collaborative effort between eight people. None the less, the project requirements consisted of a large scale model, a booklet explaining the design approach and a poster captivating the essential elements. Dadin Duldul and myself were the mediaters as two different groups joined together for the project. The project was 3D printed with the assistance of Professor Vincent Hui. The limitations of 3D printing changed the representation of the lattice into a veil. This shading device in the design was raised from the landscape onto the building. This project resulted in a cohesive understanding of 3D printing models. Working hand in hand with the digital medium and physical modeling, this project resulted in an exploration of model building. My part in the project was to lead and manage both model EXLOGLQJDQGJUDSKLFZULWWHQFRPSRnent of the project. However, due to tha taxing work, I contributed to the model building more than graphics.


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RYERSON STUDENT RESIDENCE


PROJECT DETAILS 21'<($5 6(0(67(5 352).60,7+ ,1',9,'8$/68%0,66,21


STUDENT RESIDENCE

Traditional a residence building consists of hallways and perimeter rooms. In this project, the idea of a hallway LV UHGHĂ&#x20AC;QHG 3HULPHWHU URRPV W\SLcally block access to natural light. In the design, bringing in natural light was an essential factor to increase work performance. Considering the fact that the rooms will be occupied by students, the residence provides multiple spaces for social gathering. Reducing the height of rooms to EH OHVV WKDQ QRUPDO Ă RRUWRFLHOLQJ KHLJKW DOORZHG QDWXUDO OLJKW WR Ă RRG in and bounce against the white ceilLQJ Ă&#x20AC;QLVK DQG Ă&#x20AC;OO WKH LQWHULRU VSDFH In addition to natural light coming in above and below the rooms, the structural support too brings in natural light. Using Sendia Mediatheque by Toyo Ito as a precedence, the irregular light shafts that essentially take the vertical load, bring light into the center of the building. These structural light shafts are also used as vents for kitchens. In addition to the strctural OLJKWVKDIWVWKHĂ RRUDVVHPEO\FRQVLVWV RIVWHHOZDIĂ HVODEWKURXJKZKLFKWKH services can run through (as shown in the detail on the following pages).


CONCEPT CONCEPT

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DIMPLED MEMBRANE AIR/VAPOUR BARRIER 500 mm

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STRUCTURE + HVAC

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There were multiple different ideas explored along with different design LWHUDWLRQV OHDGLQJ WR WKH UHGHĂ&#x20AC;QLQJ of the idea of student housing. In an effort to eliminate narrow hallways, structural light shafts were introduced. The use of structural light shafts eliminated the column-beam structure. Sendai Mediatheque was again used for reference. Toyo Ito uses a method of primary and secondary steel beams that follow a simiXHQWO\XVHGLQ1DYDOFRQVWUXFWLRQVWHHOJULGV\V ODUFRQFHSWRIDFRQFUHWHZDIĂ HVODE DU\DQGVHFRQGDU\EHDPZKHUHWKHVKRUWHUEH However, in an attempt to increase WRWKHQDWXUHRIWKHOLJKWZHOOV,IWKH\OLJKWZHOOV Ă RRUWRFHLOLQJKHLJKWLQWKHFRPPRQ areas, the drop cieling was removed. This resulted in a manipulation to the RULJLQDOVWHHOZDIĂ HVODE6HUYLFHVDUH run through the I-beams with a cirFXODU SURĂ&#x20AC;OH 7KH FLUFXODU SURĂ&#x20AC;OH ZLWK reinforced metal casing reduces the chance of buckling or failure. 7KHUH LV D VLJQLĂ&#x20AC;FDQW DPRXQW RI FDOculations that would be required for such a structure to work. However, the initial idea was conceived on a previously constructed project. 721( Thus, with a precedence, the struc- QHLVXVHGLQZDUPFOLPDWHDVVWUXFWXUDOZDOO,WKDVWKHDELOLW\WRWUDQVPLWOLJK HWKDQDIHHW,QWKLVFDVHWKLQVWULSVRI$ODEDVWHUVWRQHDUHFXWDQGSODFHGR ture of this project is conceptual D[LPXPRIPP$ZLQGRZZDOOEHKLQGWKHORXYHUVDOORZVIRUOLJKWWRWUD XULQJWKHQLJKWDVVKRZQLQWKHUHQGHURQWKHULJKW7KHSRVVLEOLW\RIXVLQJW with a potential of being realized. DEOHEXWWKHRUJDQLFHIIHFWSURGXFHGE\WKHVWRQHZDVSDUWRIWKHDUFKLWHFWXUD


TORONTO MUSEUM


PROJECT DETAILS 5'<($5 6(0(67(5 352)<(:7+21* 0$&%851,( ,1',9,'8$/68%0,66,21


TORONTO MUSEUM

New York is a city with multiple various iconic buildings. In this case, the project is to create an iconic building for Toronto. This opportunity is accompanied with a program of a Museum. In addition to the display, there was an added requirement of commercial program that will sufĂ&#x20AC;FH WKH RSHUDWLQJ H[SHQVH +HQFH the Museum is accompanied with a rentable lobby, a small gift shop, a restaurant and a lobby with a stage for presentations and parties. The design of the Museum is dervied from the concept of Toronto growing vertically. This concept has been developed by analyzing architecture LQ ZLQWHU FLWLHV DQG WKH 6W /DZUHQFH neighbourhood. The visible verticle mullions with silicone horizontal mullions reinforces the idea of verticality. The slanted columns displays the metaphorical complexity behind a growing city. In this project, the traditional idea of columns and beams is revisited as beams transfer the load to slanted columns that push against each other to provide structure.


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PERSPECTIVE EXPLORATION


PROJECT DETAILS 47+<($5 6(0(67(5 352)3$3$7+(2'25  :5,**/(6:257+ ,1',9,'8$/68%0,66,21


PERSPECTIVE STUDY

Option studio of fourth year provided with an opportunity to study translation in architecture. The studio consisted of WKUHHSKDVHVWKHÀUVWSKDVHUHTXLUHG a musical translation of a childhood memory, the second consisted of a rendition of the musical peice and the third phases was a study of an architectural representation tool. 7KH PHPRU\ XVHG LQ WKH ÀUVW SKDVH consisted of a manipulation of the enYLURQPHQW E\ WKH XVHU WR VXIÀFH WKHLU needs. The musical peice consisted of a syncopated beat where the listener intepreted the rhythm in their own isolation. The second phase translated the musical peice into perspectival views that varied from one angle to another. The last phase, shown in the portfolio, consisted of four clips rendered in 3DS Max and edited in After Effects. It was an attempt at illustrating various facades and ideas that change their perception depending on the location of the user. Hence, the user has the freedom to use the architecture as they desire without manipulating it through electronics.


FACADE OPENINGS

'LUHFWLRQRIRSHQLQJVLQDIDFGHLQテ々HQFHV WKH YLHZ RI D XVHU )URP RQH end, the wall might seem opaque and from another, it might seem transparent. The exploration of various facde designs lead to an understanding of various opportunities that can be created with basic architectural elements. Instead of a dynamic facade, the examples are of static conditions where only the user and their varied intentions of using the facade can manipulate its use. Exploration of perspective in facade design was an idea derived from the initial memory where the user uses various architectural elements to their advantage. Considering the project was interlinked between different phases, connecting the third phase to the initial memory was essential and grounded the idea.


CHANGE OF LIGHT

An ideal place to understand user perspective in a space is with reference to natural light. Where the scene on WKHOHIWLOOXVWUDWHVDVXSHUĂ&#x20AC;FLDOHQYLURQment, the motive remains the same. The reason behind holes appearing on the walls was to illustrate the varience in level of comfort for the user. The holes appearing farther away from the user seemed comfortable whereas the holes closer to the user caused discomfort. The project was on a perspective cardboard box, hence the viewers sitting close to the one edge felt discomfort of light rays landing on the a surface closer to them. In addition, two of the holes burned off the projection box are only visible to the viewers who were sitting either left or right of the project. This was a practical representation of difference in understanding a space depending on the location of the user in the spatial context. Viewers sitting right of the project box did not see the hole burn through the left surface and the viewers sitting left of the project box did not see the hole on the right.


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TERRA FABRICATA CONSTRUCTION TEAM


PROJECT DETAILS 47+<($5 6(0(67(5 352)+8, 92/817((5,1*)25&216758&7,213+$6(2)7+( ,167$//$7,21


TERRA FABRICATA

7HUUD )DEULFDWD LV SDUW RI WKH ´&RPH Up To My Room Exhibition” organized by the Gladstone Hotel. Professor Vincent Hui was alloted a room in the exhibition to create an interactive piece. Being from the architectural profession, he, with a team of four research assistants, designed D WHUUDLQ WKDW LQÁXHQFHV WKH XVHU WR navigate through the room while being aware of their surroundings. Occasional breaks were given to showcase lamps created by students in a previous course. The building phase required multiple volunteers who were responsible for constructing the terrains on site after doing a few mockup attempts. Being a fourth year volunteer, troubleshooting was also part of the task. Coming up with HIÀFLHQWPHWKRGVRIFRQVWUXFWLQJDQG handling the terrains was expected. The project consisted of multiple laser cut acrylic pieces that had to be organized into step by step construction. My involvement in the process constituted of troubling shooting assembly issues and assembling the terrain with a team.


PROFESSIONAL EXPERIENCE


PROJECT DETAILS 21'<($5 6800(5,17(51 ACCURATE GROUP INC. 5(129$7,21&/,(1735(6(17$7,21 326,7,21 $66,7$17'5$)760$1


WORK EXPERIENCE

Over the summer of 2010, I worked DW D Ă&#x20AC;UP LQ ,OOLQRLV $FFXUDWH *URXS Inc essentially handles infrastructure projects such as sidewalks and roads. However, during the time frame I was KLUHG WKH Ă&#x20AC;UP ZDV XQGHUJRLQJ UHQRvations in the building on the ground Ă RRU7KHSURMHFWZDVLQLWVLQLWLDOSKDVH A client interested in the locality was to be presented with the potential the building had to offer. A preliminary spatial presentation was due by the end of the summer to the client. I worked under the Senior Draftsmanto produce plans in Microstation and hence I was given a week to learn the program so the working environment would be cohesive. After measuring WKH JURXQG Ă RRU , ZDV WR SURGXFH spatial representations of what the space could look like to convince the client that the building had the ability to house their business. The client was of a medical profession and hence exam rooms and waiting rooms were accomodated in the layout.


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Xwsfahmd PORTFOLIO 2012