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Ziba Esmaeilian, March I candidate, Sci-Arc, Los Angeles, CA 800 W 1st. apt#2801 Los Angeles, CA Email: ziba.ziba@gmail.com Blog: www.ziba.me


Design Studio

Visual Studies Applied Studies Cultural Studies 4

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> Hybird Urbanism, Design Studio 1121, Spring 2012

> Wrapped Transparency, Design Studio 1120, Fall 2011

> Hightech Library, Design Studio 1101 , Spring 2011

> Ur Farm, Design Studio 1101, Fall 2010

> High Resolution, Visual Studies 2518, Spring 2012

> Solid Veneer, Visual Studies 4120, Fall 2011

> Hybrid Object, Visual Studies 4101, Spring 2011

> Hybrid Tool, Visual Studies 4100, Fall 2010

> Panelizing, Applied Studies 3100, Fall 2010

> Design Development, Applied Studies 3122, Spring 2012

> Islamic Architecture, Cultural Studies 2100, Fall 2010

> Cognition City, Cultural Studies 2121, Spring 2012

06 18 30 40 50 54 58 62 66 72 74 80


Hybrid Urbanism Abstract: This studio was focusing on architectures role in the city through the typology of housing. While the single family house has consistently served as a liberating vehicle for architectural experimentation, housing has often been marginalized as “just one part of a much more complex infrastructural matrix of sanitation systems, transport planning, and social and financial matters that, together, form the bigger picture of urban design.” Historically, the design of urban housing has been associated with housing the poor. While socio-economic factors should be taken into account, this is no longer the case. Today, urban housing exists for a wide range of income levels. This is in part due to reactions against sub-urbanism as well as the sustainability narrative. The well-accepted mantra that “higher Density equals greener cities” has catalyzed significant portions of a population into seeking quality urban dwellings. As debatable as this may be, it has fueled urban renewal projects across the country and the globe. As a typological problem, housing has a rich genealogy that spans from the pre-industrial revolution to today. From flats, tenements, and row houses to apartments and lofts, urban housing is a generic program type that requires the calibration of internal logistics. It must address issues such as unit-to-whole, private vs. shared space, outdoor space, access to light and air, acoustics, repetition, circulation, etc. In turn, the organization and articulation of these attributes contributes to the urban effects that are produced in terms of massing, porosity, legibility, frontality, connectivity, etc. In a sense, it is a parametric problem of the utmost, where local and global relations are intricately linked. This semester we will work closely with these formal properties and look for opportunities to speculate on housing as a disciplinary problem.

6


Studio : Critic: Site: Software: Weblog:

DS 1121, Sci-arc, Los Angeles, CA, Spring 2012 Devyne Weiser, Mohammed Sharif, Chicago, IL Rhino, Grasshopper http://goo.gl/hPcFV


8


DESIGN STUDIO, SCI-ARC, 2010-12

In projecting the structural growth of the Housing, two models are explored the Voronoi and branching patterns. The resulting distributeion method creats a maximum flexibility within this “interiorsed urban� type and a high level of control over the disperal of key public passages. Future growth and programmatic seeding are controlled by strategic positioning of the arterial structural system, with its implied void-to-solid relationship.


W JACKSON BLVD

UP

UP

S SANGAMON ST.

S MORGAN ST.

UP

W VAN BUREN ST.

Ground floor plan layout

10


DESIGN STUDIO, SCI-ARC, 2010-12


longitudinal section from units, common areas, and garden

Section in perspective from units, common areas, and garden

12


DESIGN STUDIO, SCI-ARC, 2010-12

Structural system

Circulation

Units distribution


14


DESIGN STUDIO, SCI-ARC, 2010-12

Common area

Units

Unit interior

Circulation

Structure

Exploded axon diagram


16


DESIGN STUDIO, SCI-ARC, 2010-12


Wrapped Transparency

Abstract: Classic Theatre: 800 seats Multi-Form Theatre: 600 seats Eparimental Theatre: 400 seats Letting three theatres loose in a South Beach park is no small feet. The relationship of these three masses to each other as well as site context, must be considered carefully. After careful study of Jean Nouvel ‘s Paris Philharmonie we devised a method in which our theatres became encased in layers of circulation and program. This helped us highlight the qualities which are important to our scheme. Allow for free and open access using the building as a gateway to the park. Shared mobius circulation and lobby spaces result. The use of a layered strategy afford greater control of the light which is allowed to enter the building. Light is filtered through scoopes in the facade, it then penetrates deaper through holes in the midskin. The theatre shell does not let light pass and creates a quality controled theatre interior.

18


Studio : Critic: Site: Software: Weblog:

DS 1120, Sci-arc, Los Angeles, CA, Fall 2011 Devyne Weiser, Peter Testa, Peter Zellner, Eric Khan Miami, FL Rhino, Grasshopper, Maya http://goo.gl/mZuAl


20 7 11

4

2

4

11

6

9

14

16

19

22

30 28

25

STRUCTURAL

APERTURE

PANELIZATION

STRUCTURAL


DESIGN STUDIO, SCI-ARC, 2010-12 FACADE MID SKIN THEATRE

Vertical circulation

Horizontal circulation

Ramps

Outer bean

Ramp


W/C 305

W/C 302

DN

THEATRE 600 SEATS 303

BAR 301

Upper Mezzanine 304

THEATRE 800 SEATS 306

DN

+20' - 0"

+27' - 0"

+19' - 0"

DN DN

W/C 304

W/C 101 307

Upper Mezzanine 0

8

16

32m

W/C 207

W/C 203

OFFICE 201

THEATRE 600 SEATS 202

COAT RM 205

+27' - 0"

THEATRE 800 SEATS 209

Lobby 2 206

+19' - 0"

+22' - 0"

W/C 204

W/C 208

Mezzanine Plan 0

8

16

32m

W/C 102

W/C 106 UP

THEATRE 400 SEATS 101

LOBBY 104

TICKETS 105

UP

THEATRE 800 SEATS 109

CAFE 107

-2' -0"

UP UP

W/C 108

W/C 103

22

Ground Floor Plan 0

8

16

32m


DESIGN STUDIO, SCI-ARC, 2010-12


Bar

Circulation

24


DESIGN STUDIO, SCI-ARC, 2010-12

Upper lobby

Outer bean

Mid skin Theater

Longitudinal Section 0

8

16

32m


26


DESIGN STUDIO, SCI-ARC, 2010-12


3 There is an open and clear layout in this design. Lobby is located in the middle and it has a direct access to the rest of the programs. People can experiment the 8 (Infinitive figure) circulation in plan view through the lobby areas. Based on human activities natural light has been controlled through the size of the openings.There is lots of natural light in the lobby because that is the most crowded area in the building. Light gets less and less as you go toward the theater and more private area.

2

28

1 2 3 4

Interiolobby render Physical sectional model Preliminary design Night shot, birdseye view


DESIGN STUDIO, SCI-ARC, 2010-12

4 Night time shot building is glowing at night based on the program and user inside. For example, depends on the type of the event inside the theater the light and glow color change.

1


Hightech Library ABSTRACT: The emphasis of the studio will be on the development of disciplinarily informed frameworks and sophisticated techniques for design processes, outcomes and discourse. At the beginning of overarching and/or emergent organizational strategies - manifested in significant architectural precedents and following contextual analyses, we designed a small city library with intelligible organizational inter-relationships of form, geometry, program and tectonics. The studio commence with rigorous analyses of historic and contemporary projects in order to cultivate expert comprehension and graphic communication of the systems germane to their respective organizations. In situating the studio project in a prominent city. we also engaged with urban planning and design issues. Over the course of the semester we demonstrate cultural and methodological evidence of historical and contemporary disciplinary terminology and theoretical expansions including Diagram, Emergence, Morphogenesis, Parti, Topology and Typology. We started eith the Manhattan grid and develope it with design strategies to suport the origram and needs for a hightech library. I was intrested in creting a hightech library by looking at the posibilities of future library. So, there are robos in this building and it mostly goes with ebooking that when you come to this library you will have access to all the ebooks and you can bluthooth them. So, I was trying to keep the library like a networking place and keep different parks in this project.

30


Studio : Critic: Site: Software: Weblog:

DS 1120, Sci-arc, Los Angeles, CA, Spring 2011 Dora Epstein Jones, Mohammed Sharif, New York, NY 3ds Max, Maya http://goo.gl/XrDka


32


DESIGN STUDIO, SCI-ARC, 2010-12

Scaling up

Combining

Connecting

Scaling up

Seperating

Combining

overlapping

90’ rotation

3/4 scale down

Part of Manhattan grid Manhattan grid


1

3

2

Seventh Floor 1- Reading Area 2-Book Shelves 3-Seating

34


DESIGN STUDIO, SCI-ARC, 2010-12

1

4

2

3

5

Second Floor 1- Urban Park 2- Digital book library 3- Cafe 4- Lobby 5- Restroom


36


DESIGN STUDIO, SCI-ARC, 2010-12

Vertival circulation

Roof garden

Robatic storage

Lobby

Open park


38


DESIGN STUDIO, SCI-ARC, 2010-12


Ur Farm ABSTRACT: To experiment the phisibility of fam in a continious form. Continuity maximizes the visual access and make a connection to different parts of the program. The continous form, as well the panelizing technique of modules clearly portrays the program as well as structure. Differential folded surfaces maximize the view and natural light which are critical based on the site location and program. Due to the differing heights in this structure and design, the presence of light is maximized. The various differential forms that are created, all serve a purpose. Because of the shifting relationship in the structure both circulation and light are continous and based upon the actual form of the building. The overal form of the building includes access from several parts, and leads you to different spaces. the design of the building allows for an individual to easily navigate from one entrance, to another, as well as from the roof garden to the bridge. Farm land contain the agricultural, fungicultural, apicultural and restaurant in it. All of these programs are connected together in a way to produce the primary needs of restaurant.

40


Studio : Critic: Site: Software: Weblog:

DS 1120, Sci-arc, Los Angeles, CA, Fall 2010 Mohammed Sharif, Russel Thomsen, Darin Johnstone Los Angeles, CA Rhino, 3ds Max http://goo.gl/gB95c


Early model studies:

42


DESIGN STUDIO, SCI-ARC, 2010-12


Section D- Transverse section through agriculture

Section C- Transverse section through restaurant

Level 3 +32’-06”

Level 2 +32’-06”

Level 1 +0’-00”

Section A - long section through agriculture and restaurant looking at apiculture

44

Perspective from agriculture and restaurant entry


DESIGN STUDIO, SCI-ARC, 2010-12


Apiculture Apiculture Fungiculture Fungiculture Agriculture Agriculture Restaurant Restaurant

Circulation Circulation

46

Structure Structure

Inclosure Inclosure


DESIGN STUDIO, SCI-ARC, 2010-12

5

4

4

3

3

5

2

2

1

1

1 2 3 4 5

1 2 3 4 5

Fungiculture Fungiculture Agriculture Agriculture Restaurant Restaurant Mezzanine Mezzanine Appiculture Appiculture


Section B - long section through fungiculture/agriculture looking at bridge

0

A

B

First Floor Plan

C

A

B

C

Second Floor Plan

48

10

20


DESIGN STUDIO, SCI-ARC, 2010-12


High Resolution

Abstract: Using techniques of projection and penalization we design and construct a panelized surface. First, we designed a quad panelize surface and then we applied that to an object. We designed a quad panelizing sphere with opening in opposite direction. The form was designed to be used as an object for projection. The drawing is a single axonometric drawing which illustrates the surface and all appropriate notations, construction lines and other regulating lines used during the process of design.

1 1 2 2

50

Quad panelized sphere model Projection process


Visual Studies : Tutor: Software: Weblog:

High Resolution, Sci-arc, Los Angeles, CA, Spring 2012 Andrew Atwood Rhino, Grasshopper http://goo.gl/8Y7WA

2

2

2


Panelized surface This is a quad panelized surface with the opennings and triangular sufaces. Four of these quad panels make a module which is different from each other. So, oppening’s size and panels is unique in each modules. All the modules next to each other creat a stable wall/ surface.

1

1 2 3

2

52

Quad panelized ssurface Process Drawing


VISUAL STUDIES, SCI-ARC, 2010-12

3


Solid Veneer

Abstract: The main goal was to engage design strategies that would allow for the further manipulation of the building enclosure by assuming a thicken poche, one that will add a solid sense to the building mass. As a way of moving away from thin, continuous surfaces, we investigate techniques that deal with mass, volume, material and color. We implement very specific scripts that test the potential of carving mass, we start by using a particular code that produces five types of polygon packing, each packing system contains two or more polygon primitives to allow for variation. The code pack inside a used defined object, and after that we boolean the mass to allow for smooth and crystalline structures.

54


Visual Studies : Tutor: Software: Weblog:

Solid Veneer, Sci-arc, Los Angeles, CA, Spring 2011 Florencia Pita Rhino, Grasshopper http://goo.gl/8Y7WA


56


VISUAL STUDIES, SCI-ARC, 2010-12


Hybrid Object

Abstract: Making a whale and cookie in 3-D. Then, merging these to objects and making a encyclopedia for it. Each entry in the encyclopedia shows a model in elevation, sections. Group of each set of drawing and text show one entry. Then, represent information visually like as a diagram. Extracting points in all the objects show visually the numbers of control points and surfaces. Next assignment was to select one cookie and rendering it in exterior and interior. My concept was ambiguity for this ambiguous object. Unclear material, and ghost atmosphere was selected to show the ambiguous concept. Selecting a whale/cookie and using CNC machine to make it. Then, with a custom pattern that was created for the object spay paint on it.

58


Visual Studies : Tutor: Software: Weblog:

Polysurface - Max Number of Extractpoint Number of Surfaces

8,036 381

Whale with cookie - Polysurface

Whale with cookie - Polysurface

Original cookie- Polysurface

Number of Extractpoint Number of Surfaces

Number of Extractpoint Number of Surfaces

Number of Extractpoint Number of Surfaces

12,236 1,010

Whale with cookie

Polysurface - Min Number of Extractpoint Number of Surfaces

Tech of Rep 2, Sci-arc, Los Angeles, CA, Spring 2011 Emily white Rhino http://goo.gl/RnV08

680 84

Number of Extractpoint Number of Surfaces

Whale with cookie 7362 753

Number of Extractpoint Number of Surfaces

6624 1140

Whale with cookie

Number of Extractpoint 4,734 18,936 Number of Surfaces

Original cookie- Polysurface 3340 Number of Extractpoint 122 Number of Surfaces

16292 4073

Whale with cookie

1,716 429

Number of Extractpoint Number of Surfaces

2888 722

Whale & cookie

Whale & cookie

Whale & cookie

Number of Extractpoint 1,996 Number of Surfaces 387

Number of Extractpoint 1622 Number of Surfaces 244

Number of Extractpoint 2110 Number of Extractpoint Number of Surfaces 503 Number of Surfaces

Whale & cookie

Whale & cookie 2180 Number of Extractpoint 1,996 503 Number of Surfaces 387

Difference between whale & cookie

Difference between whale & cookie

Cookie minus whale

Cookie minus whale

Cookie minus whale

Number of Extractpoint 464 Number of Surfaces 72

Number of Extractpoint 464 Number of Surfaces 111

Number of Extractpoint 464 Number of Surfaces 94

Number of Extractpoint 464 Number of Surfaces 77

Number of Extractpoint 464 Number of Surfaces 132


60


VISUAL STUDIES, SCI-ARC, 2010-12


Hybrid tool Aabstract: “Perhaps the ideal way in which architect can approach the act of drawing is to be unaware that he is actually doing it at all.” Peter Cook drawing: the motive force of architecture, John Wiley & sons Ltd. West Sussex 2008.

Choosing an object and drawing a single drawing that indicate all dimensions, notations, and geometric information related to the object. The method is depicted graphycally and is convet, as much as possible, all dimensional and notation information are necessary for reproduction of object in second part. I developed a method of measurement and translation and employ rigorous geometry to construction drawing. All the construction lines are part of the drawing. The objective is in providing graphical insight into the latent physical qualities of the object. In other words, construct the system at work in the object that are not explicit through its simple representational depiction. Then, we draw more legiblle drawing of the object. It includes; plan view, section and elevation views. these drawing should be realted together and having a connection in layout to describe the object in a best possible way. So, this design combination should introduce several operations such as scale, multiple, array, rotation, mirror, cut, merge and many other possible ways. Then, in the third part we designed a 3dimentional hybrid of the object. there is another toy and these two object should be combine in a most desire way. Objects needs to be evaluated and designed to convey a smooth transition of all parts. In this exercise I learn the analytical thinking and creative production in order to generate an emergent design. Hybrid tool was an in-depth investigation into the fundamental of visual communication through the development of both conventional architectural techniques visual and interpretive skills using a variety of analytical and representational methods. This drawing consisted of 2-D and 3-D components. These components focused on the execution of drawings techniques necessary for the application of those ideas. Drawing wasn’t simply a tool for representation; it was a critical part of the design process. One focus was to blur the line between the design process that generates ideas and the skills necessary to communicate an idea. The multi tool object should not be seen as passive objects, but are to be understood as active systems embedded with potential dynamic mechanisms. In drawing the object, temporal qualities, relationship to the body, morphology, modes of assembly and aesthetic qualities through various drawing methods.

62


Visual Studies : Tutor: Software: Weblog:

Tech of Rep 1, Sci-arc, Los Angeles, CA, Fall 2010 Dwayne Oyler, Volkan Alkanoglu Rhino http://goo.gl/w7CV5


64


VISUAL STUDIES, SCI-ARC, 2010-12


Panelizing Abstract: This course introduces the structural and material choices that are engaged in the design, creation, and construction processes of architecture. Over the course of the semester, we investigate how materials have been used historically and how contemporary approaches successfully re-work and manipulate materials in innovative ways. Materials are rarely chosen for a singular reason; rather, their consideration is based on their performance and interaction with other systems. As such, materials are studied first for their individual properties and capabilities, and secondly, how they operate in chorus with other materials within architectural assemblies. The aim of this project was to utilize the metal bending technique in order to create a parametric canopy. My design was selected for making a full scale installation in a group. The assembly process posed difficult design challenges due to the flexible nature of the sheet metal as well as gravity. The sheet metal flexed in areas of surface to surface connections that had not been accounted for during initial calculations of the scaled model. The assembly of the modules occured in groups and attached from the bottom up. Additional pieces were customized to connect the voids in between the groupings. The overall structure fused well together as each module provided counter balancing forces as a whole. While one module torqued outward the directly connected pieces torqued inward thus balancing the weight distribution. Upon completion of our inital design that erected the framework to 6’6� we wanted to further test the material strength again itself by adding an additional row along the bottom of the structure. This yielded a failure of the material against its own weight at the points of rest. The overall configuration crushed and deformed the newly added members thus providing us with a conclusion of miscalculated weight distribution that our modules miscalculated weight distribution that our modules were unable to sustain at certain moments of rest.

66


Applied Studies : Tutor: Software: Weblog:

Materials & Tectonics, Sci-arc, Los Angeles, CA, Fall 2010 Robert A. Ley Rhino, Grasshopper http://goo.gl/0JGzm


MODULE BOLT LOCATION (FACET VARIES)

2’ SCORE / FOLD LINE (MATCH MODULE ANGLE)

4’

-0

-5 NOTCH AS REQUIRED

RIVET LOCATION TYP.

EQ EQ

11 1/4”

EQ EQ

THREADED STEEL ROD TENSION STIFFENER AS REQUIRED

MODULE CONNECTOR PLATE(RIVETED)

5

12

90 2 1/4” ANGLES VARY

4”

20. GA STEEL CONNECTOR PLATE

20.GA STEEL SHEET 8’-0” SHEET

EQ

EQ

EQ

EQ

PLATR CONNECTION AREA

RIVET LOCATION TYP.

2 TYPICAL SCORE LINE

1 2 3 1

68

Paper model process Documentation Final paper model


APPLIED STUDIES, SCI-ARC, 2010-12

3


1

2

Front Elevation

70

Side Elevation

Perspective


APPLIED STUDIES, SCI-ARC, 2010-12

3

The assembly process posed difficult design challenges due to the flexible nature of the sheet metal as well as gravity. The sheet metal flexed in areas of surface to surface connections that had not been accounted for during initial calculations of the scaled model. The assembly of the modules occured in groups and attached from the bottom up. Additional pieces were customized to connect the voids in between the groupings. The overall structure fused well together as each module provided counter balancing forces as a whole. While one module torqued outward the directly connected pieces torqued inward thus balancing the weight distribution. Upon completion of our inital design that erected the framework to 6’6� we wanted to further test the material strength again itself by adding an additional row along the bottom of the structure. This yielded a failure of the material against its own weight at the points of rest. The overall configuration crushed and deformed the newly added members thus providing us with a conclusion of miscalculated weight distribution that our modules were unable to sustain at certain moments of rest.

1 2 3

Full scale model process Drawing Full scale/ metal model


Design Developement 48 x 35-7/8

IDG_Innovative Design Group BROWN, DIMOVA, ESMAEILIAN, LEVIAN, POLLONAIS 350 Merrick Strasse Los Angeles, CA 90013 Fon: 1 (911) 411-8008 Fax: 1 (911) 867-5309

EXECUTIVE ARCHITECTS NAME HERWIG BAUMGARTNER TOM WISCOMBE MATHEY MELNIK

ANGLE CLIPS

PRECAST CONCRETE PANEL 2x2m

IDG_Innovative Design Group

SOUTHERN CALIFORNIA INSTITUTE OF ARCHITECTURE

BROWN, DIMOVA, ESMAEILIAN, LEVIAN, POLLONAIS 350 Merrick Strasse Los Angeles, CA 90013 Tel: 1 (911) 411-8008 Fax: 1 (911) 867-5309

TTRUSS 0.15x0.15m EXECUTIVE ARCHITECTS NAME HERWIG BAUMGARTNER TOM WISCOMBE

OUTSIDE AIR

STEEL WELDED TRUSS 0.3X0.3M

EXHAUST AIR

COOLING

SEE THEATER SYSTEMS SOUTHERN CALIFORNIA INSTITUTE OF ARCHITECTURE

RETURN AIR

COMPOSITE FLOOR SLAB

SUPPLY AIR

SUPPLY AIR

W FLANGE BEAM

BOILER

RETURN AIR OUTSIDE AIR

AHU

AHU

AHU

EXHAUST AIR

CHILLER

DESIGN DEVELOPMENT Spring 2012 ISSUE 01

AHU

DESIGN DEVELOPMENT Spring 2012 ISSUE 01

12m

ELECTRICAL ROOM

AHU

Three-Ater, Performance Art Center Miami Beach, FL

9m

AHU

BOILERS 14m

500 17th Street Miami Beach, FL 33139

AHU

TITLE

10m

HVAC SYSTEM AXONOMETRIC

8m

CHILLER PLANTS

15m

TO COOLING TOWER

1

AHU

2m

DRAWN BY

Three-Ater, Performance Art Center Miami Beach, FL 13m

JOE BROWN NEDI DIMOVA ALEXANDRA LEVIAN ZIBA ESMAELLIAN HOPE POLLONAIS

HVAC BASEMENT PLAN

HVAC SYSTEMS AXONOMETRIC

500 17th Street Miami Beach, FL 33139

SHEET NUMBER

13

APRIL 9, 2012

A13

TITLE 3D CHUNK

IDG_Innovative Design Group BROWN, DIMOVA, ESMAEILIAN, LEVIAN, POLLONAIS 350 Merrick Strasse Los Angeles, CA 90013

DRAWN BY JOE BROWN NEDI DIMOVA ALEXANDRA LEVIAN ZIBA ESMAELLIAN HOPE POLLONAIS

76.31

Tel: 1 (911) 411-8008 Fax: 1 (911) 867-5309

EXECUTIVE ARCHITECTS NAME

IDG_Innovative Design Group BROWN, DIMOVA, ESMAEILIAN, LEVIAN, POLLONAIS 350 Merrick Strasse Los Angeles, CA 90013

HERWIG BAUMGARTNER TOM WISCOMBE

98.95

Tel: 1 (911) 411-8008 Fax: 1 (911) 867-5309

13.78 14.93

FAN COIL

FROM AHU

RETURN AIR

HERWIG BAUMGARTNER TOM WISCOMBE

7.58

MIXED AIR SYSTEM Outside air services room fan coil units. Exhaust air is removed through riser. SHEET NUMBER

3D CHUNK 15

EXECUTIVE ARCHITECTS NAME

APR 9, 2012

SUPPLY AIR

A15

RETURN AIR

31.82

D

27.04

PRECAST CONCRETE PANELS

SOUTHERN CALIFORNIA INSTITUTE OF ARCHITECTURE

GLASS SOUTHERN CALIFORNIA INSTITUTE OF ARCHITECTURE

G

21.01

FAN COIL SYSTEM SECTION

1

27.64

SCALE 1:200

8.34

85.01

41.69

B

59.74 14.93

22.27

45.19 E

80.93

C

22.18 26

22

26.59

DESIGN DEVELOPMENT Spring 2012 ISSUE 01

22.27

F

13.22

5 G

13.40

20

15

28

13

2x1 PRECAST CONCRETE 567 2x2 PRECAST CONCRETE 210

AHU

7

F

AHU

COOLING TOWER

7

6 5

LEVEL 3 +14.15 M

4

4

LEVEL 2 +10.54 M

3

3

LEVEL 1 +7.46M

2

LEVEL 0 +2.67 M

1

LEVEL -1 -2.45M

2

1

AHU

AHU

AHU

Three-Ater, Performance Art Center Miami Beach, FL

Three-Ater, Performance Art Center Miami Beach, FL

G

SUPPLY AIR OUTSIDE AIR RETURN AIR EXHAUST AIR

E

140 543 621 437 356 574 615

248 667 736 541 468 695 732 4,087

TOTAL

TOTAL (m

4704 840 3,180 2,240 10,958m2 (117958.17sf)

500 17th Street Miami Beach, FL 33139 TITLE HVAC SYSTEM CROSS SECTION

TITLE ENCLOSURE SYSTEM 3D VIEW OF ENTIRE BUILDING, UNFOLD OF MATERIAL

A

DRAWN BY

A

JOE BROWN NEDI DIMOVA ALEXANDRA LEVIAN ZIBA ESMAELLIAN HOPE POLLONAIS

DRAWN BY JOE BROWN NEDI DIMOVA ALEXANDRA LEVIAN ZIBA ESMAELLIAN HOPE POLLONAIS

F D

G

ENCLOSURE SYSTEM: CONCRETE 12

HVAC SYSTEMS II

SHEET NUMBER

SHEET NUMBER

14

APRIL 9, 2012

APRIL 9, 2012

A14

A12

TO ELEVATORS

110

110

110

110

110

110

180

180

180

180

180

180

IDG_Innovative Design Group

150

65 42 75 47 54 62 43

NUMBER OF PANELS 567 210 530 2,780 4,087

150

35 46 25 30 41 27 12

PRECAST CONCRETE PANEL SIZE (m) 2x1 2x2 2x3 2x4

TOTAL

150

8 36 15 27 17 32 62

2x4

500 17th Street Miami Beach, FL 33139

2)

150

A B C D E F G TOTAL

2x3

DESIGN DEVELOPMENT Spring 2012 ISSUE 01

B

2x4 PRECAST CONCRETE 2780

2x2

LEVEL 3 +17.23 M

A

2x3 PRECAST CONCRETE 530

PANELS 2x1

LEVEL 4 +21.22 M

6 5

BROWN, DIMOVA, ESMAEILIAN, LEVIAN, POLLONAIS 350 Merrick Strasse Los Angeles, CA 90013 Tel: 1 (911) 411-8008 Fax: 1 (911) 867-5309

LOWER LEVEL ACCESS

180

Tel: 1 (911) 411-8008 Fax: 1 (911) 867-5309

ADA ACCESSIBLE SEATING

ADA ACCESSIBLE SEATING

150

150

150

150

GRAB BAR

B

EXECUTIVE ARCHITECTS NAME

STEEL WELDED TRUSS (ROOF) 30 x 30 CM

LOWER LEVEL ACCESS

HERWIG BAUMGARTNER TOM WISCOMBE

250

IDG_Innovative Design Group BROWN, DIMOVA, ESMAEILIAN, LEVIAN, POLLONAIS 350 Merrick Strasse Los Angeles, CA 90013

ADA PUBLIC BATHROOM

EXECUTIVE ARCHITECTS NAME

180

180

120

120

C TO ELEVATORS

1

HERWIG BAUMGARTNER TOM WISCOMBE

ADA PARKING

ADA THEATER SCALE 1:200 SOUTHERN CALIFORNIA INSTITUTE OF ARCHITECTURE

A

TO ELEVATORS

SOUTHERN CALIFORNIA INSTITUTE OF ARCHITECTURE

ADA PUBLIC BATHROOM

ADA ACCESSIBLE SEATING

ADA ACCESSIBLE SEATING

TO ELEVATORS

TO ELEVATORS

LEVEL 5 LEVEL 4

TO FIFTH FLOOR: ACCESS MAIN THEATER

ADA ACCESSIBLE SEATING

2

ADA THEATER

LEVEL 3 LEVEL 2

TO FOURTH FLOOR: ACCESS TO ALL THEATERS

TO THIRD FLOOR: ACCESS TO ALL THEATERS

MEZZANINE

TO MEZZANINE

ADA ACCESSIBLE SEATING

FROM BASEMENT LEVEL

ADA ACCESSIBLE SEATING

PRIMARY STRUCTURE PLAN

FROM LOBBY

LEVEL 4

LEVEL 3

3

ADA THEATER

DESIGN DEVELOPMENT Spring 2012 ISSUE 01

DESIGN DEVELOPMENT Spring 2012 ISSUE 01

WELDED STEEL FRAMING 30 x 30 CM

A

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500 17th Street Miami Beach, FL 33139

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StEEL PLATE 45 x 45 CM

JOE BROWN NEDI DIMOVA ALEXANDRA LEVIAN ZIBA ESMAELLIAN HOPE POLLONAIS

DRAWN BY JOE BROWN NEDI DIMOVA ALEXANDRA LEVIAN ZIBA ESMAELLIAN HOPE POLLONAIS

CONCRETE COLUMN GRID 8x8 M GRID

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IDG_Innovative Design Group

IDG_Innovative Design Group

BROWN, DIMOVA, ESMAEILIAN, LEVIAN, POLLONAIS 350 Merrick Strasse Los Angeles, CA 90013

BROWN, DIMOVA, ESMAEILIAN, LEVIAN, POLLONAIS 350 Merrick Strasse Los Angeles, CA 90013

Tel: 1 (911) 411-8008 Fax: 1 (911) 867-5309

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Three-Ater, Performance Art Center Miami Beach, FL 500 17th Street Miami Beach, FL 33139

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Three-Ater, Performance Art Center Miami Beach, FL

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500 17th Street Miami Beach, FL 33139

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JOE BROWN NEDI DIMOVA ALEXANDRA LEVIAN ZIBA ESMAELLIAN HOPE POLLONAIS

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IDG_Innovative Design Group

BROWN, DIMOVA, ESMAEILIAN, LEVIAN, POLLONAIS 350 Merrick Strasse Los Angeles, CA 90013

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IDG_Innovative Design Group

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JOE BROWN NEDI DIMOVA ALEXANDRA LEVIAN ZIBA ESMAELLIAN HOPE POLLONAIS

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Tel: 1 (911) 411-8008 Fax: 1 (911) 867-5309

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BROWN, DIMOVA, ESMAEILIAN, LEVIAN, POLLONAIS 350 Merrick Strasse Los Angeles, CA 90013

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HERWIG BAUMGARTNER TOM WISCOMBE

HERWIG BAUMGARTNER TOM WISCOMBE

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JOE BROWN NEDI DIMOVA ALEXANDRA LEVIAN ZIBA ESMAELLIAN HOPE POLLONAIS

LONGITUDINAL SECTION 07

Three-Ater, Performance Art Center Miami Beach, FL

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LONGITUDINAL SECTION SCALE 1:300

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IDG_Innovative Design Group

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BROWN, DIMOVA, ESMAEILIAN, LEVIAN, POLLONAIS 350 Merrick Strasse Los Angeles, CA 90013

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IDG_Innovative Design Group BROWN, DIMOVA, ESMAEILIAN, LEVIAN, POLLONAIS 350 Merrick Strasse Los Angeles, CA 90013

Tel: 1 (911) 411-8008 Fax: 1 (911) 867-5309

Tel: 1 (911) 411-8008 Fax: 1 (911) 867-5309

700

EXECUTIVE ARCHITECTS NAME EXECUTIVE ARCHITECTS NAME

HERWIG BAUMGARTNER TOM WISCOMBE

HERWIG BAUMGARTNER TOM WISCOMBE

SOUTHERN CALIFORNIA INSTITUTE OF ARCHITECTURE SOUTHERN CALIFORNIA INSTITUTE OF ARCHITECTURE

17TH ST.

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Three-Ater, Performance Art Center Miami Beach, FL

Three-Ater, Performance Art Center Miami Beach, FL

ENTRY LINCOLN LN N.

500 17th Street Miami Beach, FL 33139

500 17th Street Miami Beach, FL 33139

TITLE SITE PLAN

TITLE TRANSVERSE SECTION SCALE 1:300

DRAWN BY JOE BROWN NEDI DIMOVA ALEXANDRA LEVIAN ZIBA ESMAELLIAN HOPE POLLONAIS

DRAWN BY JOE BROWN NEDI DIMOVA ALEXANDRA LEVIAN ZIBA ESMAELLIAN HOPE POLLONAIS

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Islamic Architecture

74

Naghshi Jahan square (“Design of the World”) or famous meidan is 512 x 159 meters which covered eight hectares might be the largest piazzas in the world. The meidan represents an early example of a multi-functional space. It was the most impressive feature of the new city for foreign travelers, who admired it for its huge size and architectural homogeneity. There is a stone channel ran around the perimeter of the square at a short distance from the arcade and separated the space for walking from the central area, which was originally unpaved and covered with gravel. The covered walkway and outer arcades served as a bazaar. The great central space housed the stall of merchants, craftsmen, barbered, and entertainers, but could be cleared for military parades. The meidan is also described as a great square and it is one of the UNESCO world heritage. The plan is presenting the view toward the entrance to the Royal Bazzar on the north side. On the west side is the Governmental palace of Ali Qapu, and across the square on the east is the Mosque of Sheikh Lutfullah. Occupying most of the south side is the huge complex of the Royal Mosque. Due to the strict north-south orientation of square, each of the two mosques fronting on it had be tilted on its axis so that its quibla would face toward Mecca. Shah Mosque renamed to Imam Mosque after the Iran’s revolution in 1979 is located on the south side of the Maidan has many similarities with the Sheikh Lutfullah mosque. The building was endowed with agricultural and commercial properties in and around the city. Both the building and its generous endowment were another aspect of Abbas’s plan to shift the city’s commercial and religious center away from the area near the Friday mosque. “Shah Mosque is a paradigm of the ‘Persian style’.” It’s entirely governed by the characteristic Persian formula of the court with four iwans. The prayer hall is surprisingly bright, lit both from the main iwan and the large arches in the side of drum. The dome has two separated by an unlit void about 10 meters high. There are some similarities between dome of the Shah Mosque and Taj Mahal. The mosque was completed around 1628, and around that year famous Taj Mahal in Agra was begun. The Sheikh Lutfullah mosque was originally called the Mosque of the Pontiff (Masjid-i sadr) and was entrusted to the theologian Sheikh Lutfullah, whose daughter Shah Abbas has married. It changed the name to Sheikh Lutfullah mosque after his death in 1623. “It is also known as the Lady’s or Women’s Mosque as the ladies of the court could worship there in private”. The first of the two structures to be built on the main square was the Mosque of Sheikh Lutfullah, which was reserved as a court sanctuary and thus lacked a central courtyard and minarets, and it only has a low dome. However, it does not have a courtyard, but its unified internal space, with a dense atmosphere of meditative tranquility. Entering to the square was slightly off axis though the main pishtaq which made the quibla issue. So, the architect overcomes this issue by corridors and oblique walls. The pishtaq was separated from the prayer hall by an oblique wall, thus forcing visitors to turn ninety degrees down as L-shaped corridor leading to a gateway in front of a domed mihrab.


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The mosque building is rested on a square frame which is turning to octagonal in the upper part and become a circular dome at the top Sheikh Lutfullah Mosque comprised a single domed room 19 meters on a side surrounded by service area and resting on another room of almost the same dimensions, covered with low vaults resting on four octagonal piers. The dome, which has a modest pointed-arch profile, is covered with an unusual design of ocher-colored arabesques and its center is displaced 6.5 meters to the right of the entrance axis. To reach the prayer hall, one must pass through the portal iwan; with impressive tile. Through there is a dark corridor around the two sides of the sanctuary, entry is opposite the mihrab. The visual and psychological impact on entering the vast, glowing room is stunning. It has a perfect balanced interior. The dome is decorated with a sunburst at the apex; from it descend tier of logical decoration, which get larger with the curve of the dome. The decoration is filled with flower motifs which play against the monochrome ground. The drum has sixteen arched panels broken with windows. They are fitted with double ceramic grilled in arabesque pattern. The drum is supported by sixteen kite-shaped shields.

Corridor to the prayer hall Mohammadreza Husayn Hattstein, Markus, Islamic Art and Architecture, France, Peter, 2000 (Page 65)

resting on four great squinches alternating with arched panels.They are all springing from the floor, outlined by light blue cable moldings, and framed by wonderful inscription bands in white on a dark blue ground. The structure system is a tripartite arrangement of square base which has an octagonal zone of transition. “The thickness of the wall where the windows are located is one meter and seventy centimeter. In the main parts this thickness change to two meters.� The entire mosque is a centrally planned domed space, which is typical of commemorative mausoleums, not mosques, but this building does not house a tomb. Inscriptions call it a mosque, but it lacks the typical courtyard, iwans, and minarets. However, it does have the essential mihrab niche and is oriented toward Mecca.

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Calligraphy and windows Alireza Abbasi Ansari, Ali. Isfahan, art and architecture. Tehran, Alborz press. 2001. (page112)

The entire mosque is a centrally planned domed space, which is typical of commemorative mausoleums, not mosques, but this building does not house a tomb. Inscriptions call it a mosque, but it lacks the typical courtyard, iwans, and minarets. However, it does have the essential mihrab niche and is oriented toward Mecca. At the entrance to the building, decorated in extraordinary mosaic inlay, is domained by eight pointed arches accentuated by spiral half-column in brilliant turquoise. Lower panel contain green arabesques, white medallions on a deep blue background, and yellow motifs. Perfectly rendered white calligraphy in the thuluth style is also set against a deep blue background. The dome is a triumph of balance, and if the design seems familiar, this is due to inspiration that this decoration gave to carpet patterns, which the multitude of medallion motifs. The dome is decorated with bands of almond shapes that spiral in towards the middle diminishing in size.Between the squinches holding up the dome are eight large kufic squares containing each an entire Surah from the Quran.

Corridor to the prayer hall Mohammadreza Husayn Hattstein, Markus, Islamic Art and Architecture, France, Peter, 2000 (Page 65)


CULTURAL STUDIES, SCI-ARC, 2010-12

Moaraq on the entry Mohammadreza Husayn Photo taken by Author

“Calligraphy is the most highly regarded and most fundamental element of Islamic art. It is significant that the Qur’an, the book of God's revelations to the Prophet Muhammad, was transmitted in Arabic, and that inherent within the Arabic script is the potential for developing a variety of ornamental forms.” However most of the calligraphy works have legible inscriptions, not all the Muslims are able to read them. Each alphabetic is legible by itself but the overall is getting to complex and hard to read. Inscriptions outline the chronology of building and name the participants: the major foundation inscription on the portal dates the beginning of construction to 1012and names the calligrapher: Alireza Abbasi: who later worked on the Shah Mosque, a second inscription at the base of the interior of the dome gives a date for the decoration 1025-1616; and a third inscription on the mihrab names the architect, Mohammadreza son of the master Husayn, the builder from Isfahan, and gives the date of completion 1028-1618. At various points in Persian mosque, one is struck by the presence of monumental inscriptions. These may be in kufic, thuluth or naskhi script, and they served different functions. They included quotations from the Quran: significant passages from the suras appear on borders and in friezes, notably on iwans and inside the sanctuary, so that the mosque becomes an open book. Other inscriptions are more lapidary, using graphic symbols for the sacred names of the Shiite trinity.

Al-Fatiha Surah 1 / Quran

kufic squares containing an entire Surah Ansari, Ali. Isfahan, art and architecture. Tehran, Alborz press. 2001. (page112)

Multicolored tile veneer sheathes the exterior in a pattern which resembles prayer rugs applied to a vertical surface. Muqarnas faced with intricate mosaic work are suspended over the entrance arch. The interior is often recommended as the most perfectly balanced space in Persian architecture. Filtered light entering through windows in the drum of the dome flickers across the mosaic-lined walls and dome. Eight pointed arches on the walls, outlined in turquoise, bring just enough geometric discipline to this numinous, coloristic space to keep worshipers from entirely losing their earthly bearings. Painted tiles were too fragile for the exterior of the domes and so never used for this purpose. Instead of that, narrow enameled bricks 5-8 centimeters thick were combined with molded and glazed terracotta elements to form vast arabesques. There is a Peacock pattern under the dome which the tail of the peacock get enhances with sun light in certain time during a day. The peacock has been design in a way that it gives you time wise information only from the sunlight. At noon the tail of the peacock get disappear to tell you know it is time for noon pray. Sheikh Lutfullah mosque has been studied as a great example of the parametric design these days. Parametric design implies the use of parameters to define a form. Use of Relation has an important role in it. Some places like the entrance or the dome is showing the use of parameters clearly. Dome of Sheikh Lutfullah has some similarities with London’s Gherkin Tower by Norman Foster which is an example of parametric design. Both buildings have diamond patterns which get bigger gradually. They both follow a system and parameters to get the pattern. Both have a reactor point which is on the highest point of building. The diamond shape used in the Gherkin tower is structurally supported as well as pattern or exterior look however in Sheikh Lutfullah Mosque it is only a pattern. But both are valuable because of mathematical logic. Also, to the great architecture of this building, the conscious use of color, mosaic, and other decorative elements makes this mosque unique among the others in that time period.

Moaraq on the hallway Mohammedreza Husayn Photo taken with author


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CULTURAL STUDIES, SCI-ARC, 2010-12

Bibliography

Ansari, Ali. Isfahan, art and architecture. Tehran, Alborz press. 2001. (page112) Ackroyd, Peter, 2000 London: The Biography. Anchor Books. Porter, Roy, 1994 London: A Social History. Domed." Azaduni. 2003. Jelsoft Enterprises Ltd. 28 Sep 2010.<http:// www.azaduni.edu>. Hattstein, Markus. Islam Art and Architecture. France: Peter Feierabend 2000. (Page, 87) Hillenbrand, Robert. Islamic Art and Architecture. New York: Thames & Hudson INC. Page 232. Liskamm, Alex. Caligraphy in Islamic Art. New York Press, 2002. (page-127) Petersen, Andrew. Dictionary of Islamic Architecture. London; Routledge, 1996. "Sheikhlotfollah mosque." rasekhoon.com. 2009. mashhadizade 28 Sep <http://www.rasekhoon.net/forum/ShowPost-95432.aspx>. Stierlin, Henri. Islamic art and architecture from Isfahan to Taj Mahal. New York;Thomas & Hudson Press. Page, 145. Welch, Anthony. Shah Abbas & the Art of Isfahan. New York: Schocken Books, 1977.(page 21) Zafarian, Tara. Safavid. Tehran: Behesht Press, 2002. Page15.


Cognition City Cognition City is like human mind which can flow through its resident’s mind. Residents perceive and interpret the city by their feelings, memories and wills. People of this City are not only limited by its physical and visible organization, but also follow the invisible organization unconsciously. These visible and invisible organization principles can constantly regulate and manipulate the behavior of the city and its residents. In other words, the city constantly shapes its residents’ mind and shapes them. In addition, the city can enhance its resident mind by providing multiple layers of non-geometrical augmented information. Cognition city is getting shape based on human behavior. In this regard, the designer can’t design a city like an object, and cannot design each individual mind and behavior. For example, swarming a school of fish can exhibit a collective behavior or swarm intelligence. Designing a city begins with exploration about the relationship between individual components and whole city. This system is made up of five millions populations which are interacting locally with one another and with their environment. These five millions people are like a big family which know each other and interact with each other. So, their survival is based on each other. Communication and orientation are occurring in micro and macro level. So, people of the cognition city are forming city based on their behavior. This is self-organize city. Infrastructure of the city is based on individual. People are living where they are working. So, this sufficient city can save energy, time and money. This city doesn’t have a central power generator like a nuclear power plant. Instead, each individual need to maintain its own consumption of energy in a sustainable way. This city encourages walking and using public transportation instead of private car. Design of the city is based on the swarm of the people while they are walking to find resources like, food. As a result they don’t need to travel very far from where they live and this means no need for car. This pedestrian friendly system increases the social networking and communication among individual. Moreover, this city is sustainable and resident can save their resources. Cognition city is evolving through a dialectical process which can raise numerous new tortuosity of cognitive space and synthetic intelligence. In other words, the city becomes a generative system which can interact with people’s behavior and changes by their mind. Basically the city evaluation, growth and metamorphosis responds to the collective behavior of each individual.

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