DESIGN PORTFOLIO - ZAIN EDEEN ELWAKIL

DESIGN PORTFOLIO Z A I N E D E E N E LWA K I L

CONTENTS

01

S A LT M E M O R I A L

02

THROUGH WALLS

03

VERTICAL LANDSCAPES

04

LONG ISLAND CITY HOUSING

05

URBAN INTERVENTION

06

TECTONICS

07

FILM

08

PHOTOGRAPHY

SPRING ‘20

FALL ‘19

SPRING ‘18

FALL ‘18

FALL ‘17

FALL ‘17

FALL ‘16 - PRESENT

FALL ‘16 - PRESENT

P E R S P E C T I V E S E C T I O N D R AW I N G - S A LT M E M O R I A L

01

S A LT M E M O R I A L

SPRING ‘20

COMPREHENSIVE DESIGN STUDIO INSTRUCTOR: ELIZABETH KAMELL “Salt memorial” is a tribute to the industrial heritage and historical impact that the Salt Industry had on Syracuse, New York. The project features a museum dedicated to the history of salt, while the memorial celebrates the necessity of salt not only as a commodity, but as a natural resource necessary for sustaining life on earth. As such, the memorial space is a salt bath designed with the intention of producing a larger than life atmosphere. The exposure of raw concrete against the salty water produces a contrast that detaches the user from the exterior world, and allows them to appreciate the bath. The museum portion of the project pays tribute to the natural origins of salt by using different building materials to distinguish the heavier structural system of below grade spaces, with the lighter more open spaces above ground. This relationship is clearly seen through sectional drawings that show the gallery spaces below ground and their relationship to the viewers passing by on the street. The building program features the Salt Bath, Gallery Spaces, Auditorium, Locker Rooms, Library, Administrative Offices, and a small Café.

D ONE I N COL L A B O R AT IO N W IT H E R IN D O H E RT Y R H I N O 6 3 D | I L L U S T R ATO R | P H OTO S H O P | V- R AY

I N T E R I O R P E R S P E C T I V E - S A LT M E M O R I A L B AT H

FORMAL AND STRUCTURAL DIAGRAMS

S E C T I O N D R AW I N G - S A LT M E M O R I A L

S E C T I O N D R AW I N G - S A LT M E M O R I A L

Completed during the Comprehensive Design Studio of the B.Arch curriculum at Syracuse University School of Architecture, a major emphasis of the project was on the development of an integrated and fully functional building.

In addition to the conceptual development of the project, structural, mechanical, and enclosure systems were developed to ensure a comprehensive design was achieved. A double skin faรงade was used to help control internal climate both in winter and in summer, while mechanical systems were seen as supplemental. Among the biggest challenges of the project was the structural strategy and integrity of the large triangular concrete memorial space. An insulation strategy deploying thermamass was used, allowing the great walls to operate both structurally as well as provide insulation.

D O U B L E S K I N F A C A D E S E C T I O N - S A LT M E M O R I A L

D O U B L E S K I N F A C A D E D E TA I L - S A LT M E M O R I A L

B AT H H O U S E WA L L D E TA I L S E C T I O N - S A LT M E M O R I A L

AXONOMETRIC SITE DRAWING - THROUGH WALLS

02

THROUGH WALLS

FALL ‘19

FLORENCE ABROAD PROGRAM INSTRUCTOR: DAVID SHANKS “Through walls” is a project set in the Le Murate Complex in Florence, Italy. It explores the relationship between an existing prison complex, the walls from which it was constructed, and the potential for new spaces to derive from the wall.

The design approach was not to entirely erase the historical footprint of the existing prison, but rather to repurpose the spatial infrastructure already established and breathe into it new life. A new library for the University of Florence’s School of Architecture was the program for this proposal, separating the site into various zones of use depending on levels of privacy. Through a process of typological studies, a series of wall relationships was created and then used to design each program. Whenever possible, the existing wall structure and established architectural language was used.

D ONE I N CO L L A B O R AT IO N W IT H J U L IA O CE J O RHINO 6 3D | ILLUSTRATOR | PHOTOSHOP

ELEVATION DRAWING - THROUGH WALLS

ELEVATION DRAWING - THROUGH WALLS

SECTION DRAWING - THROUGH WALLS

SECTION DRAWING - THROUGH WALLS

PERSPECTIVE SECTION - THROUGH WALLS

PERSPECTIVE SECTION - THROUGH WALLS

PERSPECTIVE SECTION - THROUGH WALLS

DIAGRAMS - THROUGH WALLS

FLOOR PLAN - THROUGH WALLS

FLOOR PLAN - THROUGH WALLS

PERSPECTIVE SECTION - THROUGH WALLS

SECTION DRAWING - VERTICAL LANDSCAPES

0 3 VERTICAL SPRING ‘18

LANDSCAPES

DESIGN STUDIO INSTRUCTOR: MARCOS PARGA “Vertical Landscapes” was a collaborative project that sought to explore and reinterpret the development of landscapes within the built environment. In addition, the project emphasizes the redefining of consumerism to counter the conception that it creates an unsustainable reality. The team designed a tower that sought to utilize consumerist behavior to create programs that could support one another. Each team member was responsible for designing one floor of the tower. The overall building features a central core made from porous concrete to allow for spontaneous and natural growth of a greenscape, the central feature of the tower. Waste products from each of the programs gets reused and recycled in other programs in the tower. A Physical model of the tower was constructed using 3D printing technology. By layering the chunks together, the model became a physical manifestation of how each program fit into the system that created the overall tower.

D ONE I N COL LA B O R AT IO N W IT H ME N T IO N E D CL ASS MAT ES RHINO 6 3D | ILLUSTRATOR | PHOTOSHOP

B 4

2

3 16’-0”

1

27’-0” 3’-0”

16’-0”

24’-0”

A

16’-0”

15’-0”

▼ + 103’-6”

B 9’-0”

A

A’ 27’-0” 18’-0” 3’-0”

C

16’-0”

D

B’ FLOOR 1

Scale 3/16” = 1’-0” 6’

12’

24’

B 4

B 2

3 16’-0”

27’-0”

1

4

2

3

16’-0” 2’-8”

16’-0”

9’-5”

27’-0”

11’-7”

1 16’-0”

30’-0”

A

A

16’-0”

15’-0”

B 8’-0”

B

14’-9”

A

A’

A

A’

▼ + 114’-6”

19’-0”

27’-0” 14’-10”

▼ + 109’-6”

3’-0”

C

▼ + 110’-6”

C

6’-0”

8’-0”

▼ + 111’-6”

16’-0” 9’-0”

D

B’ FLOOR 2

Scale 3/16” = 1’-0” 6’

12’

24’

D

B’ FLOOR 3

Scale 3/16” = 1’-0” 6’

12’

FLOOR PLANS - VERTICAL LANDSCAPES

24’

AXONOMETRIC SECTION - VERTICAL LANDSCAPES

FO R MA L D IAG R A MS BY E D S O N WO N G

S E CT IO N BY X IN G YAO WA N G

SECTION DRAWING - VERTICAL LANDSCAPES

SECTION DRAWING - VERTICAL LANDSCAPES

MODEL - VERTICAL LANDSCAPES

MODEL - VERTICAL LANDSCAPES

MODEL - VERTICAL LANDSCAPES

SITE PLAN - LONG ISLAND CITY HOUSING

0 4 LIC FALL ‘18

HOUSING

DESIGN STUDIO INSTRUCTOR: DAEKWON PARK “Long Island City Housing” attempts to rewrite the narrative of a neglected waterfront in Long Island City, Queens. Situated on a lot along the east river, the housing complex features a neighborhood preschool, and fitness center. Completed as as part of the “Timber in the City” competition, the project is made entirely from timber. The modular structure allowed for the generation of varying apartment sizes, that each focused on providing a unique and private view of the river.

The orientation of the apartments was also influenced by the project’s proximity to the 59th street bridge. Four different housing unit types were developed, and organized by floor.

Studios to 3 bedroom units were designed, some of which were double story, influencing the way the façade of the project manifested these particular units. Depending on the angles from which the façade is seen, the privacy of the units is maintained, while creating small balcony moments as well.

D ONE I N CO L L A B O R AT IO N W IT H K A L A N I MA H RHINO 6 3D | ILLUSTRATOR | PHOTOSHOP

PERSPECTIVE VIEW - LIC HOUSING

PERSPECTIVE VIEW - LIC HOUSING

SECTION DRAWING - LIC HOUSING

AXONOMETRIC SITE DRAWING - URBAN INTERVENTION

05

URBAN INTERVENTION

FALL ‘17

DESIGN STUDIO I N S T R U C TO R : R YA N B A L L “Urban Intervention” is a project seeking to be a moderator between two different scales of urban architecture.

Located on the periphery of Albany’s administrative center, it seeks to connect the residential scale to that of the governmental infrastructure. In doing such it becomes not only a pivotal program to drive people to and from the plinth on which the administrative building sits, but also a connective corridor to allow walkability to return to an otherwise completely out of scale pedestrian infrastructure.

The strategy was to insert between the two scales a mediating apparatus that provided not only multiple means of access, but also the potential to explore a varying program. The use of section was a primary driving force for the project, as the plinth has both above and below grade access. These multiple points of access are initiated in the center of the project, making the transition of scale smoother and more pedestrian friendly.

IN D IV ID UA L P RO J E CT RHINO 6 3D | ILLUSTRATOR | PHOTOSHOP

SECTION DRAWING - URBAN INTERVENTION

SECTION DRAWING - URBAN INTERVENTION

PROJECT AXONOMETRIC - URBAN INTERVENTION

FLOW DIAGRAMS - URBAN INTERVENTION

PERSPECTIVE VIEWS - URBAN INTERVENTION

SPATIAL INTENT COLLAGE - TECTONICS

06

TECTONICS

FALL ‘17

DESIGN STUDIO I N S T R U C TO R : R YA N B A L L The “Tectonics” project is a result of a 2nd year design studio that focused on tectonic form generation and its deployment into architectural design. A multitude of design approaches and techniques were used in order to generate the final speculative design. Collage determined the spatial intent, setting up a strong relationship between exterior and interior spatial experience. Secondly, a digital tectonic exploration of framing techniques suggested how a manipulation of geometric rotation on a consistent frame structure could allow for a dynamic space to emerge. Lastly, a series of study models were used to try to speculate on how such a system would be constructed, and how an exterior skin would be used. The resulting form suggests a unique spatial experience in which a strong tectonic language is established allowing for truly unique sectional spatial conditions.

IN D IV ID UA L P RO J E CT RHINO 6 3D | ILLUSTRATOR | PHOTOSHOP

TECTONIC FORM DIAGRAMS - TECTONICS

STUDY MODELS - TECTONICS

STUDY MODELS - TECTONICS

SECTION DRAWING - TECTONICS

SECTION DRAWING - TECTONICS

07

FILM

FALL ‘16-PRESENT FREELANCE AND CREATIVE WORK ZULUECHO INITIATIVE FILM as a medium has always been incredibly facinating to me. The ability to use the framing of a camera to tell a spatial and musical, narrative through a unique perspective has always allowed me to see the world in new ways. It gives me the opportunity to translate my imaginative inspirations into visual explorations. To see music spatially, to hear architecture dance, or to give voices to things that may not have their own. The link between architecture, film, and music is a link that has become somewhat of an obsession to me. The marriage of the three mediums allows the emotive nature of tangible and intangible art to be translated into visual terms we can understand.

Over the past several years I have produced a series of films for myself as well as for independent clients. My body of work includes music videos/live performance, real estate, branding, documentary, and short film. A major theme across my film work is the importance of storytelling - while the subjects vary, the importance of telling an authentic, passionate story, is at the core of everything I produce.

F I L MS CA N B E V IE W E D AT w w w. z a i n e l wa k i l .c o m / f i l m

08

PHOTOGRAPHY

FALL ‘16-PRESENT

FREELANCE AND CREATIVE WORK ZULUECHO INITIATIVE PHOTOGRAPHY for me is a contemplative process. Very seldom do I know what it is precisely I want to photograph and I prefer it that way. The moments that I capture are moments that are personal to me, usually associated with a specific thought or emotion. My photography is reminicent of a strong desire to explore the world in all its diversity - geographic, cultural, aesthetic, and wild. In many ways my photos are a visual diary that only I can really relate to, and yet they are also broad enough in subject that any viewer can assign their own story to each frame.

Over the past several years I have not only shot photography as a hobby, but also for clients. Specifically shooting portraits, artist covers, process documentation, and architecture and design, my work is a diverse portfolio of interests as much as it is a relationship that I like to build with myself and the camera. I find that through photography I am drawn to parts of the world that I would not otherwise gravitate towards. It is a means by which to satisfy my curiosity.

A LL P H OTO G R A P H Y CA N B E V IE W E D AT w w w. z a i n e l wa k i l .c o m /p h o t o g r a p hy IG: @zain_elwakil

Z A I N E D E E N E LWA K I L T E L : 917-863-7038 EMAIL:zainelwakil@gmail.com W W W. Z A I N E LWA K I L . C O M