2025 Portfolio Zaynab

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For Hamed Bukhamseen and Ali Ismail Karimi

07 MegaEcoInfraSuperstructure

Spring 2023 | Integrated Studio | Professor Juan

Tasked with designing and integrating a hostel for nomads in New Orleans’ downtown, this proposal braces to be infested by living, nonhuman, and nonliving lodgers. The site is a vacant lot sandwiched between a hotel and condominium, all existing complacently among a row of other abandoned parcels, AirBNBs, and chain hotels just one block removed from the lively French Quarter.

With a fixed function, how can yet another hostel in this region avoid a fate of fleeting exploitation and later abandonment? Perhaps an authentically New Orleanian model of this deliberate temporariness and resolved dormance already exists: The parish’s sprawling industrial sector, demarcated by shipping containers, cranes and freight trains, that is perpetually visible in the skyline as it twinkles along the Mississippi River. This commercial mechasystem embodies the spirit of a hostel in its own right, economically housing cargo as its inhabitants, each container anticipating journeys of their own.

And so, a massive rigid steel frame is erected and sets the meter for prefabricated modular “living containers,” shipped to site along the same freight route the steel is manufactured in. Each module is then assembled to be braced and strung upon the superstructural frame à la Yona Friedman. With the hostel units perched above, smaller greenhouse structures accessible by all are activated for communal use. These greenhouses hover on stilts, liberating the earth into an urban wetland to house its green inhabitants. While the wetland is integrated to regulate itself and its permanent residents, it fronts water collection and purification systems composed of cisterns and filtration-sterilization systems to deliver it for visitors above. A decentralized HVAC network in the form of multiple DOAS systems which only serve specific living container regions ensures that this ecological and mechanical labor is only used as necessary. In this fashion, and with removal/addition and rearrangement intrinsic to the life of this megastructure, a fully-booked scenario is just as premeditated as it would be in a “dormant” greenhouse state.

Spring 2022 | Housing Architecture Studio | Professors Margarita Jover and Jesus Utrillas

We began our housing studio with a triad of rapid drawing exercises, designing siteless homes for a family of 5 within tight area constraints. Solutions for appeasing these scalar limits are found through reassessing standards of intimacy, privacy, and comfort beyond standardized norms of domesticity.

Horizontal home > Design a single-story home at 120m².

> Consider privacy as a utility, to be condensed and thickened into a wall. The remaining footage is liberated languidly.

Vertical home > Design a tower habitat with a footprint of 24m² per floor with a stacked repetition logic.

> Thicken the footprint’s quadrant boundaries for access and line each one with rails, so cells may be flexibly isolated 1:50

section A
section B

Illustrations informed, through my family’s oral traditon, of an earthen housing typology typical to the rainy, barely-Saharan climates of east Sudan and northern Ethiopia. Architectural construction becomes an artisinal task, with the exclusive use of local materials, each depicted, assembled bespokely. Interpersonal exposure and community rituals unique to rural East African residential communities are derivative of this typology. The reclusive dwelling condenses modes and functions of privacy, liberating any task beyond sleeping into the communal outdoor. Maintenance of each structure becomes a neighborhood-wide task.

An internal framing, stiffened by palm reeds, supports both the building’s base, as well as the skeleton of the thatched roof. Organic additives, such as straw and purified cow dung, fortify the clay that forms bricks and wall finish treatments, both strengthen and waterproof the exterior.

03 Storm/Water/Shed

Spring 2024 | Zaynab Eltaib with Emily Brandt

This proposal aims to capture, slow, and diffusely release storm water within a housing campus that braces for tide changes in anthropocentrism and ecological reclamation. Small hydrological interventions accumulate to marginally relieve New Orleans’ storm water system, as well as accelerate ecological processes on site. Using a range of material lifespans, intend to expand this system to serve various inhabitants and life forms over time.

This project aims to capture, slow, and diffusely release storm water. Small interventions that accumulate to marginally relieve New Orleans’ storm water system, as well as accelerate ecological processes on site. Using a range of material lifespans, intend to expand this system to serve various inhabitants and life forms over time.

We propose both a domestic configuration that reconsiders interspecies kinship, as well as a structural system that escorts water into, along, and inside the complex.

DIRECTINGDirecting

Outsourcing Collecting

OUTSOURCING

COLLECTING

Ground Floor: A modest bioswale simply mobilizes existing water accumulation onto the site, where remaining water not collected into the cistern nourishes a peaty ecology of mycelium.

+7 ft : Amidst the steel frame, a timber construction of human dwellings will temporarily infest the site. As the collected water reclaims and erodes all that it falls upon, so might anthropocentric domination on this wetland.

04 Parametric Coral Generation Fall 2022 | Advanced Digital Media | Professor Emmanuel Osorno

This investigation began by examining the growth sequence and physical geometries of three species of aquatic coral. Their unique biological development sequences were mimicked through scripts written in Grasshopper, and 3D printed with resin.

Brain coral (Diploria labyrinthiformis,) Bubble coral (Plerogyrasinuosa,) and Cup coral (Tubastraea coccinea,) photographed respectively, were the species recreated. Whether the volumes were inflated from scattered spores, thickened from organic cleavage, or developed by splintering off fractals, each script copied the process, so they may be applied to infest any mesh object. Possible applications of this investigation involve contributing to the established architectural niche of using biomimicry to mediate built interventions in the

(dendro)

Photographed resin-printed 3d models on foam pedestals
Brain coral (Diploria labyrinthiformis)
Bubble coral (Plerogyrasinuosa)
Cup coral (Tubastraea coccinea)

05 A Room with a View

Fall 2021 | Architecture Studio | Professor Andrew Liles

Tasked to design an art gallery and studio with a room from which this photographed landscape can be viewed.

Live Oak and Pond - Jack Leigh, 1999

06 Downtown Los Angeles Masterplan

Fall 2022 | Urban Studio

This proposal begins with negotiating the project brief’s site boundaries and demolition plans, favoring adaptive reuse and extending attention to the Los Angeles river. A former air duct factory in the northwest corner becomes a branch of Homeboy Industries, an LA-based gang rehabilitation food production organization. This culinary plaza localizes foodmaking, food truck alleys, hydroponic gardens, and volunteer distribution sites to lower costs and address LA’s food insecurity crisis. Emphasizing affordability, mixed-use housing options range from reclusive courtyard units to townhome bars, countering gentrification’s ousting of the working class. Car streets stretch along two axes and the site’s perimeter, with condensed parking towers in high-traffic areas, while remaining roads prioritize pedestrians and cyclists. Demolition most radically occurs on the concrete shell of the Los Angeles River. Manually crushing and distributing material along the riverbank encourages water retention with sandy soils. Native oaks, cedars, and shrubs are introduced to

> establish high-traffic axes for car use, aggregrate the remaining grid at a neighborhood scale, and merge to form plazas.

> survey site to challenge original demolition proposal to utilize adaptive reuse when possible

> chaparral ecological naturalization plan for the Los Angeles river

Church of State Public Bathroom

Spring 2025 | Core II Studio | Angelo Bucci

Tasked with designing an Interfaith Chapel in Cambridge, Massachusetts, this proposal instead confronts the state of the American Church in 2025 while suggesting methods of public care that centers spiritual dignity and gratification. The main formfinding media is the IRS 501(3)(c) tax legislation 2025 document, which positions all religious buildings as churches, and all churches as uniquely-oriented institutions that both are exempt from federal and state taxation, yet eligible to dip into tax funds for activities relating to public burden.

The assigned site, Goose Park, is a triangular park created by the boundaries of a highway, major road, and decrepit railway. The Park, in itself is a sanctuary and house of peace for those who inhabit it--the large existing homeless population that seek refuge along the park’s perimeter are testaments to that.

And so, a realization that the contemporary American Church acts as an economic node of the federal government leads the project to provide a basic service and right to the general Cambridge public. Publicly accessible restrooms are nearly non-existent in Cambridge, symptomatic of a college-city that is hostile towards community care in the public sphere. What if we implicated houses of worship, tapping into their federal status and intimate rituals and lineages of self-purification to erect a public house of hygiene and purification? In essence, the proposal masquerades as a church, to siphon public capital towards a collective chapel of dignity and purification.

08 Made In Revit | with David Lafond

Introduction by Zaynab Eltaib for

a

Dossier co-authored with David Lafond.

Model Imaginations: Imaging Models or Modelling Images?

Cambridge, Massachusetts. December 16, 2024.

In 2002, multinational software corporation AutoDesk purchased Revit Technology for $133 million cash. Before being absorbed into the lineage of AutoDesk’s other CAD and BIM products, Revit had already established itself as a tool to digitally design and document a building through its inception, construction, and demolition. Revit developed or acquired rendering and parametric design capabilities in accordance with industry demands for another two decades, ensuring their relevance in both education and the profession.

Of the $4.5 billion Autodesk made in 2023, Revit alone generated $1.3 billion in revenue. This is attributed to their subscription-based model and expanding monopoly across professional architecture, construction, and engineering spheres. It can cost up to $3,000 for a single professional Revit license. Now, consider that in 2023, 90% of US firms and 80% of UK based firms used Revit to produce final BIM deliverables.

Surprisingly, despite the industry’s allegiance to this software, there is a ringing disappointment in its performance by its users. In 2020, Zaha Hadid Architects and 17 other firms wrote a scathing open letter to Autodesk regarding the discontinuity between increasing subscription costs and limited modeling capabilities. Revit users cite feeling handicapped in their design process and other failures in meeting market demands. What can explain AutoDesk Revit’s chokehold, then?

We consider that Revit is compatible with all other AutoDesk products, including Fusion360, AutoCAD, and Maya. Like Revit, many of these other products had independently amassed industry-specific

We found ourselves toggling between two 3D warehouses, each with their own marketing strategies and affiliations among manufacturers and architectural firms. BIMObject flaunts partnerships with superstar firms AECOM, BIG, Gensler, and MVRDV on their homepage. BIMObject’s competitor, Archiproducts, will invite you to visit their real-life product showroom in Milano via a recurring website pop-up. The bulk of the items these websites feature are in a grey zone of redundancy, where they publish the catalogues from the same manufacturers as their competition. However, and most importantly, are the major brand partnerships 3D warehouses make exclusively among each other. Products from monopoly-gripping manufacturers like Kohler, Samsung, and Elkay, are only officially able to be sourced on BIMObject, which is where all inquiries on manufacturer’s own sites redirect to. These virtual libraries offer their own categorization quirks from potential LEED point earnings, to star-ratings that lump together reviews from both the quality of the 3D model and the real thing. Marketing differences aside, these libraries all prioritize their compatibility with AutoCAD and Revit, specifically. The types of BIM file types differ, but Revit and AutoCAD-specific extensions recur.

However, some manufacturers do not rely on a 3D warehouse as a distribution middle man. In particular cases, manufacturing companies may offer you an .rfa file directly in their catalog. Luxer One, the California-based automated mail locker manufacturer we found in W87, does not only offer this, but also provides a free Revit plug-in that parametrically generates locker configurations to conform to your existing 3D model.

We may have been able to follow its visible traces through chairs and door sensors, but we have only just begun to see the trail connecting Revit to international economic flows in manufacturing and distribution, to the active shift towards a virtual architectural education, to the “real.” What detachment arises in the profession when we communicate with those who realize architecture through a modelspace that is more and more electrically imported? What becomes of our relationship to the Italian upholstered armchair that we sit on, versus the Italian upholstered armchair that we drag and drop, copy and array, trigger flows of money and stimulate production across entwined economic networks? What is lost every time the chair is digitized, fabricated, digitized, and marketed to be purchased and fabricated again? Will we soon realize that we are burdened to consider the ethics behind the economic flows we can no longer pretend aren’t there?

users before being purchased by AutoDesk. Architects and designers voice frustration in Revit’s stagnant development and rising prices, but are tethered to the program as its interdisciplinary convenience solidifies. In addition, AutoDesk starts designers young on their products, investing in academic institutions and providing free student licenses and educational discounts.

Much can be made from Revit, but the software’s richness stems from what can be brought to Revit. Revit itself provides a set selection of modeling elements geared towards construction documentation, organized into “Revit families.” These families can consolidate the 3D model itself with possible attachment and structural systems. Wall sections can be applied to simple extrusions, with the possibility of creating details just as quickly. Entire HVAC and plumbing systems may be rapidly configured. Most lucratively, however, these Revit families may be imported, marketed, bought, and sold. Manufacturers of construction elements across scales design in CAD and BIM, fabricate in real life, create downloadable virtual doubles as Revit families, and may distribute them so they may be owned first in a model space, then once again in “real” life.

While Revit itself only immediately offers some default Revit families, it markets the ability to accept and load any family the user may bring in. And so, a high-velocity pipeline has formed, where providers of Revit families (3D warehouses) make doubles from existing real/tangible objects, which are sourced from real distributors, that are produced by real manufacturers. In this system’s inception, the byproduct of this stream of consumption was a “real” object delivered to a job site. Through archiving instances of Revit families in our real life, we find that this cycle of production, doubling, distribution, and consumption, is no longer linear nor consecutive.

In compiling this catalog, we visited 3 recently-constructed buildings on MIT’s Campus: W97 Theater Arts designed by designLAB, Building 45 MIT Schwarzman College of Computing by SOM, and W88/ W87 Graduate Junction by KieranTimberlake. We photographed particular objects, ranging from doorknobs to building-wide waste disposal systems. Then, by skimming through Revit-oriented 3D warehouse websites, we identified these items with their virtual doubles.

It feels as if we have left the post-orthography John May describes lightyears behind us--If this is a collage of traceable 3D elements (that becomes a palimpsest when you begin to hover your mouse over objects and click link after link,) then what form of image-making is this? Is it an image, or a web of economic streams held captive in your model space as they await actualization?

These objects may become flattened in our glossy renderings, but not as flat as they end up being in the real world, as they finally settle in our lobbies and classrooms, negligible when compared to their vibrating electric doubles that carry more meaning than our weight. BIM is, of course, implicated in our design process--but when is it safe to say that our design process is derivative of BIM?

If we are modeling images, then we never work without the “original” in sight-- we know the double will only ever be a stand-in for the thing we can touch. But if we image models, then we extrude them with the intent that they represent flows, institutions, and systems we are beholden to. And in this way, all we do with these imaged models is detach ourselves further from authorship, aware that we are simply collaging economies inside a workspace we cannot control.

Perhaps we are in for some collective psychosis… How long will we fold the myth of capitalism breeding innovation unto expansive global monopolies before we download and walk on the same floor sections, or download and breathe air from the same fan coil units? Will it be then, when we design and build more placelessly, and we render the specific into ubiquity through repetition, that we can no longer differentiate the tangible from the digital? Might we find more richness in pixels and the empires they prop up than the versions we can touch and feel?

CNC milled plywood paper holder with etchings for Tulane Graduate School of Architecture’s Fabrication Lab | Summer
Pebble Pirouette | Sculpture with Jaffer Kolb
New Orleans | Digital Media Fall 2021 | Professors Carrie Norman and Omar Ali
Long Lounge HIgh Res | Basswood Model

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