Abaan M. Ali | Architectural Portfolio | M.Arch Candidate by Abaan Ali

M.AR

IDAT D N A C

ABAAN ALI

2016 M.ARCH CANDIDATE GEORGIA INSTITUTE OF TECHNOLOGY 11’ COLLEGE OF ARCHITECTURE | B.S.ARCH HONOR 4698 BRASELTON HWY. HOSCHTON, GA 30548 (770) 539 1244 Abaan.M.Ali@gmail.com

[ACADEMIC WORKS]

[ARC]HITECTURE

1.1 | COLOR FILTRATION reMIX | C.O.A CENTENNIAL STAIRWELL

1.2 | DIVERSITY RESEARCH CENTER | ATLANTA DIVERSITY RESEARCH INSTITUTE

1.4 | CAMP IN THE CITY | Lumino|CITY|

1.5 | UNDERGRADUATE LEARNING COMMONS | Translu|SCIENCE| UNDERGRADUATE BUILDING

1.7 | CHICAGO TECTONIC TOWER | 200 SOUTH MICHIGAN AVENUE

[INS]TALLATIONS

2.2 | TOWER OF BABYLON : JUNK TOWER | PLASTIC PALACE

2.3 | WILLIAM MORRIS CARPET | TANGLE JUNGLE

[IND] EPENDENT STUDIES

4.2 | MODULAR HOMELESS SHELTER | ORI|DOME|I : DEPLOYABLE MODULAR SHELTER

[PROFESSIONAL WORKS]

[PRO]FESSIONAL

5.1 | BRAZILIAN TOURISM INVESTMENTS | THE MIAMI LOFT

5.2 | DIGITAL WORKS | SELECTED WORK

3 15 29 39 53 61 75 93

101 107

[ARC] 1.1 | COLOR FILTRATION reMIX | [CARINA ANTUNEZ, SPRING 2008]

C.O.A CENTENNIAL STAIRWELL [TYPOLOGY] ARCHITECTURE + EDUCATIONAL & CAMPUS WORKS

[ARC]

This emergency stairwell project explored the applications of interactivity and the relationship between individuals and their environment through the creative use of highly imaginative and innovative technologies, in this case light, color, and viewports. Based on the location, the proximity to the to the outdoor courtyard and central vicinity to the adjacent architecture building, my main intentions throughout the design stage was to utilize surrounding vantage points to emphasize the stairwell as an architectural beacon for life, light, and aspirations. The “reMIX” component of the project is a direct descendent of combining the existing ideology of a stairwell along with the restoration aspects to make one cohesive experience. The stairwell has become a portal for students on a journey for learning and development. With each additional stair, the learner arrives at another door, outlet, or destination which exponentially opens new experiences. A stairwell is the forum for those types of cyclical opportunities.

[LOCATION] GEORGIA INSTITUTE OF TECHNOLOGY, COLLEGE OF ARCHITECTURE, ATLANTA, GEORGIA : 33.77595 ° N , 84.39380 ° W

C.O.A CENTENNIAL STAIRWELL EXISTING PLAN

THE FOLLOWING SCHEMATIC DESIGNS ARE HAND DRAFTED REPRESENTATIONS OF THE EXISTING STAIRWELL AND TJE PROPOSED DESIGN “REMIX” FOR THE COLLEGE OF ARCHITECTURE CENTENNIAL ANNIVERSARY. THE EXISITING DESIGN OF THE STAIRWELL IS REMINISCENT OF THE ADJACENT 1950’S POST MODERNISM BUILDINGS THAT IT SURROUND. THE “REMIXING” PROCESS WILL HELP STUDENTS IDENTIFY THE PURPOSE OF THE BUILDING WHILE NOT OBSTRUCTING THE ARCHITECTURAL INTEGRITY THE BUILDING POSSESS

EXISTING ELEVATION

N.T.S.

THIRD FLOOR

SECOND FLOOR

[ARC]

FIRST FLOOR

AA BASEMENT FLOOR

NORTH FACADE

EXISTING SECTION N.T.S.

AA’

BB’

[ARC] 7

SECTION DETAIL

AXONOMETRIC

C.O.A CENTENNIAL STAIRCASE EXTERIOR ELEVATION

FLOOR PLAN

N.T.S

N.T.S. GEORGIA INSTITUTE OF TECHNOLOGY

COLLEGE OF ARCHITECTURE MCMVIII - MMVIII

THIRD FLOOR

SECOND FLOOR

FIRST FLOOR

[ARC]

EXTERIOR ELEVATION NORTH FACADE

EXTERIOR ELEVATION WEST FACADE

BASEMENT FLOOR

BUILDING SECTION

CONNECTION DETAIL FOR EXT. WALL PANEL

N.T.S

A. CHANNEL GLASS FACADE TO MULLION CONDITION B. CHANNEL GLASS FACADE TO CONC. WALL CONDITION C. CHANNEL GLASS FACADE DETAIL A.

AA’

BB’

C.O.A CENTENNIAL STAIRCASE CENTENNIAL INSTALLATION

[ARC]

THE EXTERIOR CENTENNIAL INSTALLATION COMMEMORATES THE 100 YEARS ANNIVERSARY OF THE COLLEGE OF ARCHITECTURE AT THE GEORGIA INSTITUTE OF TECHNOLOGY. SINCE THE PROJECT DATES CORRESPONDED WITH THE CENTENNIAL CELEBRATION THIS BUILDING WOULD SYMBOLIZE THAT ACCOMPLISHMENT. THE 20 x 5 ASSEMBLY OF GEOMETRICIZED POLYGONS DENOTES 1 YEAR SINCE THE CONCEPTION OF THE COLLEGE OF ARCHITECTURE. THE DESIGN REFERENCES THE MATHEMATICS OF ARCHITECTURE AND SYMBOLIZES THE SCHOOL’S INCREASING IMPACT OVER THE PAST 100 YEARS. THE DUALITY OF THE INSTALLATINO IS SEEN DURING DAY / NIGHT CONDITIONS. DURING THE DAYTIME THE INSTALLATION IS SEEN AS POSITIVE SPACE FROM THE EXTERIOR AND NEGATIVE SPACE FROM THE INTERIOR AND VICE VERSA AT NIGHT. THESE RELATIONSHIP ALLOWS LIGHT TO CIRCULATE WITHIN THE INTERIOR DURING THE DAYTIME AND BECOMES A ARCHITECTURAL “LIGHTHOUSE” TO THE EXTERIOR DURING THE NIGHTTIME.

EXTERIOR

CENTENNIAL INSTALLATION

INTERIOR

THE INTERIOR CENTENNIAL INSTALLATION COMMEMORATES THE 100 YEARS ANNIVERSARY OF THE COLLEGE OF ARCHITECTURE AT THE GEORGIA INSTITUTE OF TECHNOLOGY WITH THE INTERGRATION OF 100 YEAR OF ARCHITECTS. THIS VAST INSTALLATION SHOWCASES AN ARCHITECT AND A QUOTE OF SIGNFICANCE EACH YEAR THE COLLEGE OF ARCHITECTURE WAS OPEN. A MONUMENTAL APPROACH TO THE INSTALLATION WILL GIVE USERS ACCENDING AND DESCENDING THE STAIRCASE AN IMPACTFUL METAPHOR ON THE HISTORICAL SIGNIFICANCE ON PAST ARCHITECTS AND THEIR PREDECESSORS

VIEW PORTALS

INTERIOR

THE VIEW PORTALS THE ARE LOCATED AT THE NORTH FACADE ARE STRATEGICALLY POSITIONED FOR ADVANTAGOUS VIEWS OF THE MIDTOWN ATLANTA SKYLINE. AS THE USER ASCENDS OR DESCENDS TO THEIR DESTINATION THEY ARE EYES ARE GUIDED BY THE PORTAL DIRECTION. THE INTENT OF THE PORTALS ARE TO BECOME AN INTERACTIVE COMPONENT OF BUILDING AND BEGINS TO INITIATE THE USER/BUILDING INTERFACE. THE PORTALS ARE LARGE ENOUGH FOR USERS TO OCCPUY FOR STUDYING, EATING, OR LOUNGING.

PHYSICAL MODEL

C.O.A CENTENNIAL STAIRCASE PHYSICAL MODEL VIEW

DAY VIEW

[ARC]

DAY VIEW

NIGHT VIEW

[ARC] 1.2 | DIVERSITY RESEARCH CENTER | [KEITH JUNDANIAN, SPRING 2009]

ATLANTA DIVERSITY RESEARCH INSTITUTE [TYPOLOGY] ARCHITECTURE + CIVIC & PUBLIC WORKS

[ARC]

This project is an integration of the semester’s research and analysis of material systems, form discovery, and scheme development. To generate the form of the building, a generalized rule set established the exact sunlight intensity at various positions on the site. Once those relationships were made the material system dictated the formal environmental interactions within the site. The intensity of sunlight within the space creates a direct correlation with the pushing and pulling effect of the facades. The building was then embedded into the site and the programmatic arrangements became contingent with the sunlight distribution into the building. The material system adds multidimensionality to the building’s perception as Atlanta’s apex in sociological advancement and understanding. The building becomes am architectural metaphor for the concealment and exposure as well as the impact of racial, ethnic and religious diversity on our society and institutions.

[LOCATION] EDGEWOOD AVENUE, ATLANTA, GEORGIA : 33.75500 ° N , 84.36132 ° W

SITE ANALYSIS TRAFFIC / PEDESTRIAN FREQUENCY + OCCUPANCY

EPHEMERAL RELATIONSHIP DIAGRAM

PARKING CONSTRAINTS

[ARC]

GREENSPACE

THE DIAGRAMS ALLOW THE USER TO BECOME AN INTERFACE WITHIN THE SYSTEM OF THE SITE. BY ANALYZING THE SURROUNDING ADJACENCIES A GENERALIZATION CAN BE CONSTRUCTED. THE EPHEMERAL RELATIONSHIP DIAGRAM TAKES INTO ACCOUNT ALL OF THE SITE ANALYSIS AS WELL AS ADJACENT BUILDING SHAPES, HEIGHT, SUNLIGHT, SHADOWS, ARTIFICIAL LIGHTING, AND TO ESTABLISH AREAS OF INTEREST. THE SITE WILL ADDRESS THE DATA IN REGARDS TO FORM AND FUNCTION

SITE CONTEXT

[ARC] OPERATING STREET ACCESS FOR PEDESTRIANS

19 ADJUSTING VOLUMES TO ADJACENT BUILDING

FORM SYSTEMIZATION

ADJUST VOLUMES TO EXPAND VISUAL EXPOSURE

STARTING REFERENCE POINT : TOP ENDING REFERENCE POINT : MIDDLE

STARTING REFERENCE POINT : 3FT. FROM TOP & BOTTOM ENDING REFERENCE POINT : TOP-BOTTOM

STARTING REFERENCE POINT : MIDDLE-TOP ENDING REFERENCE POINT : MIDDLE-BOTTOM

STARTING REFERENCE POINT : MIDDLE ENDING REFERENCE POINT : BOTTOM

STARTING REFERENCE POINT : MIDDLE ENDING REFERENCE POINT : TOP

STARTING REFERENCE POINT : TOP ENDING REFERENCE POINT : BOTTOM

STARTING REFERENCE POINT : BOTTOM ENDING REFERENCE POINT : TOP

MATERIAL EXPLORATION MATRIX CW ROTATION CW ROTATION CW ROTATION CW ROTATION CW ROTATION CW ROTATION CW ROTATION

CCW ROTATION CCW ROTATION CCW ROTATION CCW ROTATION CCW ROTATION CCW ROTATION CCW ROTATION

SCHEMATIC PROJECTION SCHEMATIC PROJECTION SCHEMATIC PROJECTION SCHEMATIC PROJECTION SCHEMATIC PROJECTION SCHEMATIC PROJECTION SCHEMATIC PROJECTION

CENTRAL ATRIUM GREENSPACE ADDITION HEIGHT EXTRUSION

STARTING REFERENCE POINT : TOP & BOTTOM ENDING REFERENCE POINT : MIDDLE (CW) & (CCW) STARTING REFERENCE POINT : TOP & BOTTOM ENDING REFERENCE POINT : MIDDLE (CCW) & (CW)

STARTING REFERENCE POINT : TOP & BOTTOM ENDING REFERENCE POINT : 3FT. FROM TOP (CW) & BOTTOM (CCW) STARTING REFERENCE POINT : TOP & BOTTOM ENDING REFERENCE POINT : 3FT. FROM TOP (CCW) & BOTTOM (CW)

STARTING REFERENCE POINT : TOP & BOTTOM ENDING REFERENCE POINT : MIDDLE

STARTING REFERENCE POINT : TOP & BOTTOM ENDING REFERENCE POINT : 3FT. FROM TOP & BOTTOM

STARTING REFERENCE POINT : 3FT. FROM TOP & BOTTOM ENDING REFERENCE POINT : TOP (CW) & BOTTOM (CCW) STARTING REFERENCE POINT : 3FT. FROM TOP & BOTTOM ENDING REFERENCE POINT : TOP (CCW) & BOTTOM (CW)

STARTING REFERENCE POINT : MIDDLE ENDING REFERENCE POINT : TOP (CW) & BOTTOM (CCW) STARTING REFERENCE POINT : MIDDLE ENDING REFERENCE POINT : TOP (CCW) & BOTTOM (CW)

STARTING REFERENCE POINT : BOTTOM ENDING REFERENCE POINT : MIDDLE

CW ROTATION CW ROTATION CW ROTATION CW ROTATION CW ROTATION CW ROTATION CW ROTATION

CCW ROTATION CCW ROTATION CCW ROTATION CCW ROTATION CCW ROTATION CCW ROTATION CCW ROTATION

SCHEMATIC PROJECTION SCHEMATIC PROJECTION SCHEMATIC PROJECTION SCHEMATIC PROJECTION SCHEMATIC PROJECTION SCHEMATIC PROJECTION SCHEMATIC PROJECTION

EXTRUDED VOLUME ROTATION TO INCREASE SCENIC VANTAGE

|DIVERSIFY| INSTALLATION THIS INSTALLATION BECOMES A THRESHOLD BETWEEN THE ATRIUM AND ART GALLERY. AT A DISTANCE, EACH INDIVIDUAL PANEL LOOK EXACTLY LIKE ONE ANOTHER; HOWEVER, AT CLOSER INSPECTION, THEY ARE INDIVIDUALLY UNIQUE. EACH PANEL SLAB IS CUSTOM FABRICATED TO THE CREATE THE INSTALLATION’S UNIQUE SHAPE. THE SHAPE IS A TRIBUTE TO THE DIVERSE ETHNIC AND CULTURAL MAKEUP OF ATLANTA AND WHEN EACH OF THE PIECES COME TOGETHER THEY FORM A COHESIVE ENTITY. THE GAPS WITHIN THE INSTALLATION SYMBOLIZE THE INJUSTICES AND OPPOSITIONS THAT THIS CITY HAS EXPERIENCED. THERE IS NO PLEASURE WITHOUT PAIN, NO JOY WITHOUT SORROW. YOU MUST ALWAYS PUSH THE LIMITS, BECAUSE IF YOU NEVER FAIL, YOU WILL NEVER SUCCEED.

PLAN

PHYSICAL MODEL

ELEVATION

INITIAL SHAPE CONTOUR

[ARC]

MIRROR RIB STRUCTURE

PANEL PROPAGATION

SHAPE EXPLOSION

PANEL SYSTEMIZATION

+10

PANEL INTERLACE

+11

+12

+13

CIRCULATION CREATION

+14

+15

FINAL GENERATION

SCHEMATIC DRAWING NORTH FACADE ELEVATION

EDGEWOOD AVENUE

FIRST FLOOR PLAN

SECOND FLOOR PLAN

5 1 4 4 3

[ARC]

1 ENTRANCE 2 INFORMATION ANNEX 3 ATRIUM 4 ART GALLERY 5 ELEVATOR

1 OFFICE ANNEX 2 ATRIUM 3 LIVING ANNEX 4 LIBRARY STUDY 5 GREENSPACE

SOUTH FACADE ELEVATION

CHAMBERLAIN ST.

THIRD FLOOR PLAN

1 3 2

1 GREENSPACE 2 ATRIUM 3 LECTURE HALL

BUILDING SECTION A

1 2

1 LECTURE HALL 2 GREENSPACE 3 LIBRARY STUDY 4 OFFICE ANNEX 5 ELEVATOR 6 ART GALLERY 7 ATRIUM 8 INFORMATION ANNEX

SECTION A

[ARC]

SECTION B

3 2

1 LECTURE HALL 2 GREENSPACE 3 LIBRARY STUDY 4 LIVING ANNEX 5 ART GALLERY

SECTION C

SECTION D

[ARC] 27

EXTERIOR RENDERING

INTERIOR PERSPECTIVE

[ARC] 1.4 | CAMP IN THE CITY | [JUDY GORDON, FALL 2009]

Lumino|CITY| [TYPOLOGY] ARCHITECTURE +CIVIC & PUBLIC WORKS

[ARC]

This project consisted of designing a camp for the youth of Atlanta. The camp incorporated sustainable technologies in order to become a selfsustaining institute. The process of city planning, site evaluation and research, and also design integration were fundamental in the complexity of the camp. Luminance became a dynamic representation for the camp. At a micro scale, luminance describes the ephemeral qualities of camp nostalgia. The transitory moments of campfires, fireflies, light poles are omnipresent yet overlooked. At a macro scale, luminance describes the camp itself illuminating the area surrounded by hundreds of trees. Coincidentally, the growing network of skyscrapers and buildings become the luminance to the surrounding suburbs. Combining relationship between greenspace and concrete within the constraints of an urban setting is an reactive component in my design. My intention was to create a frame of reference to an object that will alter viewer’s subject and Lumino|CITY| was a perfect medium.

[LOCATION] NORTHSIDE DRIVE, ATLANTA, GEORGIA : 33.78959 ° N , 84.42189 ° W

PROGRAMMATIC DIAGRAM LOW NOISE LEVEL

HIGH vs. MEDIUM vs. LOW NOISE LEVEL RELATIONSHIP

MEDIUM NOISE LEVEL

1A) PROGRAMMATIC GROUPING BASED ON ESTABLISHED RELATIONSHIP

1A) PROGRAMMATIC GROUPING BASED ON ESTABLISHED RELATIONSHIP SECLUSION

HIGH NOISE LEVEL - CHECK IN / REGISTRATION AREA

MEDICAL FACILITIES

- MEETING HALL - DINING HALL

CAMP SPECIFIC FACILITIES

- KITCHEN - LOADING AREA FOR KITCHEN - MANAGER’S ROOM

PUBLIC FACILITIES

PRIVATE AREA -

PROGRAMMATIC AREAS THAT HAVE LOW NOISE LEVELS

MEDICAL FACILITIES

CAMP SPECIFIC FACILITIES

PUBLIC FACILITIES

- CHECK IN / REGISTRATION AREA

PROGRAMMATIC AREAS THAT HAVE MEDIUM NOISE LEVELS

PUBLIC AREA -

PROGRAMMATIC AREAS THAT HAVE HIGH NOISE LEVELS

NURSES STATION RESTROOMS EXAM ROOMS DOCTOR’S OFFICES SUPPLIES X-RAY / LAB

CRAFT BUILDING CAMPER’S QUARTERS OUTDOOR CLASSROOM POOL

- DINING HALL

MEETING HALL DINING HALL

- KITCHEN

- MANAGER’S ROOM RECEPTION / WAITING AREA CONFERENCE ROOM

CIRCULATION / COMMON SPACE

MANAGER’S ROOM LOADING AREA FOR KITCHEN

- OUTDOOR CLASSROOM

1C) PROGRAMS THAT OVERLAP NOISE LEVELS ARE LINKED TOGETHER

1D) THE INTERIOR OF THE SITE IS PROGRAMMATICALLY CONDITIONED BASED ON THE CORRELATING NOISE LEVELS FROM THE SURROUNDING STREETS

- CRAFT BUILDING - RECEPTION / WAITING AREA

MEDICAL FACILITIES

CAMP SPECIFIC FACILITIES

PUBLIC FACILITIES

PUBLIC FUNCTION & PRIVATE USE

RECEPTION

CRAFT BUILDING CAMPER’S QUARTERS OUTDOOR CLASSROOM POOL COMMON SPACE

CONFERENCE ROOM

MEETING HALL DINING HALL

- DOCTOR’S OFFICES - SUPPLIES

MANAGER’S ROOM LOADING AREA

- X-RAY / LAB

PUBLIC / PRIVATE FUNCTION vs. PUBLIC / PRIVATE USE RELATIONSHIP 1A) PROGRAMMATIC GROUPING BASED ON ESTABLISHED RELATIONSHIPS

1B) PROGRAM SEPERATED FURTHUR BASED ON PUBLIC & PRIVATE FUNCTION & USE PUBLIC FACILITIES

PUBLIC FACILITIES

CAMP SPECIFIC FACILITIES

MEDICAL FACILITIES

CHECK IN MEETING HALL DINING HALL

CAMP SPECIFIC FACILITIES

- KITCHEN - LOADING AREA FOR KITCHEN

KITCHEN LOADING AREA MANAGER’S ROOM

MEDICAL FACILITIES

- MANAGER’S ROOM

CAMPER’S QUARTERS CIRCULATION OUTDOOR CLASSROOM POOL CRAFT BUILDING

NURSES STATION RESTROOMS EXAM ROOMS DOCTOR’S OFFICES SUPPLIES X-RAY / LAB CONFERENCE ROOM RECEPTION

- CAMPER’S QUARTERS

- CHECK IN / REGISTRATION AREA

- KITCHEN

- MANAGER’S ROOM - CAMPER’S QUARTERS - CIRCULATION / COMMON SPACE - OUTDOOR CLASSROOM

1D) THE PUBLIC FACILITIES AND CAMP-SPECIFIC FACILITIES GROUPING ARE

DEPENDENT ON THE MEDICAL FACILITIES; HOWEVER, NOT VICE VERSA

- CRAFT BUILDING

- DOCTOR’S OFFICES - SUPPLIES - X-RAY / LAB - CONFERENCE ROOM

- POOL - CRAFT BUILDING - RECEPTION / WAITING AREA

PUBLIC FACILITIES

- RESTROOMS CHECK IN MEETING HALL DINING HALL KITCHEN LOADING AREA MANAGER’S ROOM

CAMP SPECIFIC FACILITIES

CAMPER’S QUARTERS CIRCULATION OUTDOOR CLASSROOM POOL CRAFT BUILDING

MEDICAL FACILITIES

NURSES STATION RESTROOMS EXAM ROOMS DOCTOR’S OFFICES SUPPLIES X-RAY / LAB CONFERENCE ROOM RECEPTION

PUBLIC FACILITIES

CAMP SPECIFIC FACILITIES

MEDICAL FACILITIES

- RECORDS / NURSES STATION - RESTROOMS - EXAM ROOMS

CHECK IN MEETING HALL DINING HALL KITCHEN LOADING AREA MANAGER’S ROOM

CAMPER’S QUARTERS CIRCULATION OUTDOOR CLASSROOM POOL CRAFT BUILDING

RECORDS RESTROOMS EXAM ROOMS DOCTOR’S OFFICES SUPPLIES X-RAY / LAB CONFERENCE ROOM RECEPTION

DUAL FUNCTION SPACES

- LOADING AREA FOR KITCHEN

- OUTDOOR CLASSROOM

1C) PROGRAMS THAT OVERLAP ARE LINKED TOGETHER

OPEN SPACES

- DINING HALL

- CIRCULATION / COMMON SPACE

- RECEPTION / WAITING AREA

[ARC]

1A) PROGRAMMATIC GROUPING BASED ON ESTABLISHED RELATIONSHIP

CLOSED SPACES

- MEETING HALL

- DINING HALL

OPEN vs. CLOSED SPACES RELATIONSHIP

OPEN SPACES

- MEETING HALL

- EXAM ROOMS

1C) THIS AREA IS PRIME LOCATION FOR SECLUSION DUE TO THE TREE CANOPY

- CONFERENCE ROOM

- CHECK IN / REGISTRATION AREA

- RECORDS / NURSES STATION

PROGRAMMATIC AREAS THAT ARE SECLUDED FROM THE CAMP

- EXAM ROOMS

CHECK IN KITCHEN

PRIVATE FUNCTION & PRIVATE USE

- POOL

PRIVATE AREA MEDICAL FACILITIES

- RESTROOMS NURSES STATION RESTROOMS EXAM ROOMS DOCTOR’S OFFICES SUPPLIES X-RAY / LAB

- CONFERENCE ROOM

PUBLIC FUNCTION & PUBLIC USE

PROGRAMMATIC AREAS THAT HAVE PUBLIC FUNCTIONS TO CAMPERS BUT MAY BE SECLUDED TO THE PUBLIC

- RECORDS / NURSES STATION

- RESTROOMS

- X-RAY / LAB

PUBLIC & PRIVATE AREA -

- POOL

- CRAFT BUILDING

- SUPPLIES

PROGRAMMATIC AREAS RECIEVE THE MOST EXPOSURE TO THE PUBLIC

- CIRCULATION / COMMON SPACE

- RECEPTION / WAITING AREA

- DOCTOR’S OFFICES

PUBLIC AREA -

- CAMPER’S QUARTERS

- OUTDOOR CLASSROOM

- EXAM ROOMS

CAMP SPECIFIC FACILITIES

- LOADING AREA FOR KITCHEN

CHECK IN / REGISTRATION AREA KITCHEN

- CIRCULATION / COMMON SPACE

- RECORDS / NURSES STATION

PUBLIC FACILITIES

- MEETING HALL

PUBLIC & PRIVATE AREA -

- CAMPER’S QUARTERS

- POOL

SECLUSION vs. EXPOSURE RELATIONSHIP

EXPOSURE 1B) PROGRAM SEPERATED FURTHUR BASED ON NOISE LEVEL

- DOCTOR’S OFFICES - SUPPLIES - X-RAY / LAB - CONFERENCE ROOM

CLOSED SPACES

PUBLIC AREA -

PROGRAMMATIC AREAS THAT HAVE AN OPPORTUNITY OF OPEN AIR CIRCULA TION, I.E. CAMP SPECIFIC FACILITIES

PUBLIC & PRIVATE AREA PROGRAMMATIC AREAS THAT HAVE A DUALITY OF BOTH OPEN SPACES AND CLOSED SPACES, I.E. PUBLIC FACILITIES

PRIVATE AREA -

PROGRAMMATIC AREAS THAT HAVE NO OPEN AIR CIRCULATION, I.E. CLOSED AND SECURE MEDICAL FACILITIES

1C) THE TREE CANOPY CAN STILL SECLUDE THE OPEN SPACES

SITE CONTEXT 1B) PROGRAM SEPERATED FURTHUR BASED ON NOISE LEVEL

PUBLIC FACILITIES

CAMP SPECIFIC FACILITIES

CHECK IN MEETING HALL DINING HALL KITCHEN

CAMPER’S QUARTERS OUTDOOR CLASSROOM CIRCULATION CRAFT BUILDING RECEPTION

MEDICAL FACILITIES

LOADING AREA MANAGER’S ROOM POOL RECORDS RESTROOMS EXAM ROOMS DOCTOR’S OFFICE SUPPLIES X-RAY / LAB CONFERENCE

1D) THIS AREA IS PRIME LOCATION FOR EXPOSURE TO THE PUBLIC DUE TO THE PROXIMITY TO THE ROAD AND THE OPEN FIELDS

1B) PROGRAM SEPERATED FURTHUR BASED ON WHETHER THEY ARE OPEN SPACES, CLOSED SPACES, OR BOTH OPEN SPACES

DUAL FUNCTION SPACES

CLOSED SPACES

CRAFT BUILDING OUTDOOR CLASSROOM POOL

MEETING HALL DINING HALL CAMPER’S QUARTERS

NURSES STATION RESTROOMS EXAM ROOMS DOCTOR’S OFFICES SUPPLIES X-RAY / LAB REGISTRATION AREA KITCHEN LOADING AREA MANAGER’S ROOM CIRCULATION RECEPTION

1D) THE CLOSED SPACES WILL PROVIDE SECLUSION IN OPEN AREAS OF LAND

SITE PLAN BB EL.+ 8‘ SPOT

1 6

EL. - 2’ SPOT

CC EL. 0’ SPOT EL. - 10’ SPOT

EL. - 2’ SPOT

EL. - 4’ SPOT

[ARC]

1 PARKING 2 MEDICAL ANNEX 3 HOUSING 4 AQUATIC CENTER 5 PUBLIC FACILITIES 6 OUTDOOR RECREATION

SITE ANALYSIS TRUE CARDINAL DIRECTION

SITE DIRECTION

TRUE NORTH (TN)

LAYERING OF GRID SN

SITE NORTH (SN)

ELEVATION GRID TN

SE TRUE WEST (TW)

TRUE EAST (TE)

SITE EAST (SE)

SITE SECTION

AA’

SITE SECTION

BB’

HOUSING SECTION

CC’

SITE WEST (SW)

TRUE SOUTH (TS)

SITE SOUTH (SS)

TREE CANOPY GRID

RECREATIONAL CENTER BB

THE NIKE TECHLAB PRESENTS A NEWLY CONSTRUCTED OUTDOOR CLASSROOM AREA WHICH PROMOTES SUSTAINABILITY THROUGH THE INNOVATIVE USE OF A VERSATILE WALL SYSTEM KNOWN AS NANA WALLS. NANA WALLS PROVIDE A OPERABLE WALL SYSTEM WHICH CAN CREATE AN INDOOR / OUTDOOR CONDITION. THE ROOF TO THESE CLASSROOMS ALSO INCORPORATE A LOUVRE SYSTEM WHICH ALLOWS FOR OPENNESSAND STUDENTS WILL BE INDULGE IN OUTDOOR EXPERIENCES WHICH CAMP CULTURE IS NOSTALGIC FOR.

RECREATIONAL CENTER PLAN

NO[CO ] 2

RAINWATER COURT

[ARC]

NIKE [5ON5] PRESENTS THE NO[CO2] RAINWATER COURT WHICH REPRESENTS A COMPLETELY SELF SUFFICIENT AND SUSTAINABLE GREEN COURT DESIGN THAT HAS ZERO CARBON FOOTPRINT. THE COURT ALSO INCORPORTATES SOLAR PANELS ON THE METAL ROOF OF THE COURT THAT WILL POWER LIGHTS FOR THE ENTIRE COMPLEX WHILE GUTTERS COLLECT ENOUGH RAINWATER TO MEET THE CAMPS NEED. THE FOUNDATION IS ALSO ENGINEERED WITH POUROUS CONCRETE TO COLLECT WATER FOR ADDITIONAL STORAGE

RECREATIONAL CENTER SECTION

AA’

3 4

6 7

1 STEEL ROOF 2 SOLAR PANEL 3 TRUSS SYSTEM 4 COLUMN 5 REGRIND COURT SURFACE 6 NANA WALLS 7 LOUVRES 8 PERVIOUS FOUNDATION

RECREATIONAL CENTER EXPLODED AXONOMETRIC BB’

RECREATIONAL CENTER CLASSROOM

[ARC]

DETAILED AXONOMETRIC

SECTION DETAIL A

SECTION DETAIL B

SECTION DETAIL C

NANAWALL MECHANISM

[ARC] 1.5 | UNDERGRADUATE LEARNING COMMONS | [JUDY GORDON, SPRING 2010] [COLLABORATOR] ELISABETH ROBERTSON

Translu|SCIENCE| UNDERGRADUATE BUILDING [TYPOLOGY] ARCHITECTURE + EDUCATIONAL & CAMPUS WORKS

[ARC]

Translucency and transparency were the driving force behind this project which called for a undergraduate building for prospective freshman students on the campus of the Georgia Institute of Technology. I wanted the building to celebrate the notion of light and the site context of the campus with strategically placed viewports that allowed students a collaborative and stimulating working environment. The facility identifies a tangible datum point on campus that establishes a connection to multidisciplinary education. A dichotomy of dark transparency and light opacity manifest itself through the concealment and revelation of spaces. The lantern motif facilitates the notion of a building acting as a source and filter of knowledge and an ambience of inspiration.

[LOCATION] GEORGIA INSTITUTE OF TECHNOLOGY, ARMY ROTC BUILDING, ATLANTA, GEORGIA : 33.77595 째 N , 84.39380 째 W

THE ISSUE OF LIGHT AS IT PERTAINS TO THE SITE AND TO THE IDEA OF LEARNING WAS THE DRIVING FORCE

SITE ANALYSIS

IDEATION MODEL

DAY

SOLID vs. TRANSPARENCY IDEATION MODEL REPRESENTS THE TRANSITION BETWEEN GLASS THROUGH THE USE OF A SECONDARY TRANSLUCENT LAYER.

BEHIND OUR PROJECT. “LEARNING” IS GAINING ILLUMINATION TO A NEW IDEA. OUR BUILDING IS DESIGNED AROUND BRINGING NATURAL LIGHT INTO ALL SPACES OF OUR

BUILDING TO

FACILITATE

LEARNING AS WELL AS TO GIVE OFF LIGHT AT NIGHT TO ENCOURAGE STUDENTS

EXPLORE

THE

BUILDING--TO LEARN. OUR LIGHT WELL WAS PLACED AND MORPHED ACCORDING TO EXISTING NEEDS OF ILLUMINATION. IT EXISTS BOTH TO BRING AND GIVE OFF LIGHT. APART FROM AESTHETICS, IT SHARES CRYSTALINE

QUALITIES

METAPHORICAL SENSE. IT BECOMES A ECHO OF GUIDANCE AND CENTRALIZED SOURCE COMPONENT OF STUDENT LIFE IN THE CONFINES OF CAMPUS. THERE ARE VARIOUS LEVELS OF TRANSPARENCY

WITHIN

THE

BUILDING.

TRANSPARENCY

EMPLOYED TO GAIN AS MUCH NATURAL LIGHT AS POSSIBLE ON A

[ARC]

SITE CONTINUOUSLY IN THE SHADE

THROUGHOUT THE YEAR WHICH RELATE TO THE PRIVACY LEVELS DESIRED WITHIN/OUT BUILDING.

OF THE

NIGHT

LIGHT SOURCE

IDEATION MODEL SHOWS OUR BUILDING GIVING OFF LIGHT THROUGH THE USE OF LIGHT DIFFUSION FILTER.

SITE PLAN N.T.S

FORM GENERATION

SITE SHADOW ANALYSIS JANUARY 21 9 AM - 6 PM

MARCH 21

JULY 21

SEPTEMBER 21

MARCH 21

JULY 21

SEPTEMBER 21

9 AM - 6 PM

FIRST MODEL

BUILDING SHADOW ANALYSIS JANUARY 21 9 AM - 6 PM

9 AM - 6 PM

SECOND MODEL

PERSPECTIVE SHADOW RENDERINGS

THIRD MODEL

PARTI DIAGRAM

[ARC]

PUBLIC / COMMUNITY

PRIVATE / INDIVIDUAL

PUBLIC / GROUP

PROCESS DIAGRAM TRANSPARENCY vs. PRIVACY

STRUCTURAL COLUMN AND TRUSS GRID

SPIDER CONNECTION COLUMNS

LOAD BEARING WALLS

PHYSICAL MODEL

CONSTRUCTION AXONOMETRIC DETAIL SPIDER CONNECTION DETAIL B

ELEVATION

SIDE VIEW

TOP VIEW

SPIDER CONNECTION DETAIL A

[ARC]

ELEVATION

TOP VIEW

SIDE VIEW

LIGHTWELL FORMATION LIGHT ANALYSIS 4TH FLOOR

3RD FLOOR

2ND FLOOR

1ST FLOOR

BASEMENT

LIGHT DISTRIBUTION

FORM MORPHOLOGY

GEOMETRICIZATION

PHYSICAL MODEL

[ARC]

SITE ELEVATION

PUBLIC/GROUP

EAST FACADE N.T.S.

SITE PLAN

GROUND FLOOR N.T.S

FLOOR PLAN

[ARC]

FIRST FLOOR N.T.S.

SECOND FLOOR

N.T.S.

THIRD FLOOR

N.T.S.

FOURTH FLOOR

N.T.S.

RENDERED ELEVATION

TRANSPARENCY

REFLECTANCE

NORTH FACADE

N.T.S.

REFLECTANCE

[ARC]

TRANSPARENCY

SOUTH FACADE N.T.S.

TRANSPARENCY

REFLECTANCE

EAST FACADE N.T.S.

TRANSPARENCY

REFLECTANCE

WEST FACADE N.T.S.

BUILDING SECTION

[ARC]

NORTH-SOUTH SECTION N.T.S.

EAST-WEST SECTION N.T.S.

[ARC] 51

EXTERIOR VIEW

[ARC] 1.7 | TECTONIC CHICAGO TOWER | [LARS SPUYBROEK & STUART ROMM, FALL 2010]

200 SOUTH MICHIGAN AVENUE [TYPOLOGY] ARCHITECTURE + HIGH RISE MIXED-USE BUILDING

[ARC]

The basis of this projects was to create a tectonic, parametric facade design on an existing skyscraper using fretwork as the framework of design; specifically, Tord Boontje’s artwork. Fretwork is an interlaced decorative design that is either carved in low relief on a solid background, the idea of addition by subtraction and subtraction by addition. Boontje’s artwork design was initially use to create the facade design and then translated into a fretwork design. The activity of not only making the materially requisite construction that answers certain needs, but rather to the activity that raises this construction to an art form was the ambition of the parametric and tectonic architecture for the Chicago tower.

[LOCATION] 200 SOUTH MICHIGAN AVENUE, CHICAGO, ILLINOIS 60604 : 41.879317 ° N , 87.624783 ° W

BOONTJE ANALYSIS

BOONTJE NETWORK CONNECTIONS + ELEMENTAL PARTS

ORIGINAL BOONTJE DESIGN

NETWORK CONNECTIONS

ELEMENTAL CLASSIFICATION AND AREAS OF CONNECTIVITY

5 POINT STAR FIGURE 4 CONNECTION POINTS RIGHT EDGE CONDITION

INSECT

5 POINT STAR CONNECTION 5 CONNECTION POINTS BOTTOM INTERIOR

INITIAL BOONTJE TAXONOMY FAUNA

FLORA

BOONTJE ADDITIVE ELEMENTS CURTAIN FRETWORK CATALOG

[ARC] 55

STEEL FRETWORK CATALOG

ADDITIVE / CONNECTIVE ELEMENTS

FINAL PRODUCT

5 POINT STAR FIGURE 6 CONNECTION POINTS LEFT INTERIOR

DRAGONFLY 9 CONNECTION POINTS MIDDLE INTERIOR

INITIAL BOONTJE CLASSIFICATION

LEAF FIGURE 9 CONNECTION POINTS LEFT MIDDLE INTERIOR

BUTTERFLY 8 CONNECTION POINTS LEFT MIDDLE INTERIOR

BOONTJE CLUSTER RULE SET ITERATION ADDITIVE / CONNECTIVE CATALOG FLORA STEEL

CURTAIN

CONNECTION METHOD FLORA STEEL

CURTAIN

FAUNA STEEL

RULE SET

CURTAIN

A.) A TENDRIL FROM WHICH ADDITIVE ELEMENTS SPROUT B.) A TENDRIL FROM WHICH SECONDARY TENDRIL LINES BIFORCATE C.) ANY TENDRIL IS COMPOSED OF ADDITIVE ELEMENTS OF VARYING SIZE, SHAPE, FLORA, AND FAUNA ]

]

[+]

]

[+]

]

[+]

[+ [+

[+]

]

[+]

[+] ADDITIVE UNITS

[+]

[+ [+

[+]

[+ [+

[+]

[+] [+]

PRIMARY TENDRIL LINEAR

SECONDARY TENDRIL LINEAR

TERTIARY TENDRIL LINEAR

CLUSTER WITH GEOMETRICAL RELATIONSHIP

CLUSTER

REFLECTED ACROSS VERTICAL AXIS

REFLECTED ACROSS HORIZONTAL AXIS

SHAPE TECTONIC GENERATION PROCESS (NVINE & NFLORA) PATTERN LAYOUT

INDIVIDUAL TECTONICS

ELEMENTAL TECTONIC GEOMETRY & BOONTJE DESIGN INTEGRATION PROCESS 1. GEOMETRY & FLORAL ASSEMBLY

2. GEOMETRY CONNECTION

3. GEOMETRY CONNECTION

4. FINAL FIELD GEOMETRY DESIGN

FIELD TECTONIC GEOMETRY & BOONTJE DESIGN INTEGRATION

BOONTJE TOWER FACADE DESIGN TECTONIC PLACEMENT

TECTONIC CONNECTION SYSTEM

TECTONIC INTEGRATION 9

10 1. CREATE GEOMETRY

2. INLAY FRETWORK WITHIN GEOMETRY

3. SCALE FRETWORK TO CREATE OVERLAP WITH EDGES. THIS WILL ALLOW FOR THE COHESION OF THE SURROUNDING ELEMENTS 11

10 3

6 11

4. ATTACH THE FRETWORK TO EACH OF THE OVERLAPPING CORRESPONDING SIDES

5. OUTLINE A CURVE ALONG A VINE TO CREATE A SWATH IN WHICH YOU WANT TO LIFT AND BEND BASED ON PROGRAMMIC DETAIL

6. BENDING ALONG A VINE, FOLD INTO THE BUILDING OR OUT FROM THE BUILDING DEPENDING ON THE PROGRAMMATIC DETAIL

FACADE CONSTRUCTION AXIS OF DEFLECTION

GEOMETRY ORIENTATION

CONCAVE & CONVEX GLAZING PROTRUSION

AXIS OF DEFLECTION

GEOMETRY ORIENTATION

CONCAVE & CONVEX STRUCTURE PROTRUSION

[ARC]

TECTONIC BEND TYPOLOGY OUTWARD BEND

CONCEPTUAL FACADE REPRESENTATION INWARD BEND

BOTH DIRECTIONAL BEND

FLOOR PLATE CONFIGURATION

SITE RENDERING

[ARC] 60

FACADE RENDERING

EXTERIOR RENDERING

INTERIOR RENDERING

[INS] 2.2 | TOWER OF BABYLON : JUNK TOWER | [DANIEL BAERLICKEN, SPRING 2012] [COLLABORATOR] AMYN SOLDIER + BRITTANY UTTING + ERIC MORRIS + CALEB MEISTER + CHRIS MARTIN CHRISTINA DERISO + COLLEEN CREIGHTON + DAVID DUNCAN + ZACHARY BROWN

PLASTIC PALACE [TYPOLOGY] INSTALLATION + EXHIBITION

[INS]

With such an apocalyptical and prevailing topic, the title of this competition and semester-long design studio automatically brought forth thoughts, moreover concerns about the limits of our worldly riches and global society. Located in the growing metropolis of Atlanta and the southeast United States’ largest city, we are confronted with underperforming suburbs, dying malls, dead "big box" stores and with a high dependency on cars. But we also see concepts emerging that make the troubled city, Atlanta, and its suburbs livable and sustainable again. The Tower of Babel stands as a metaphor for the dark sites of civilization. It becomes a metaphor for today’s habits and customs of building in excess, extravagancy in design and dominance of the technosphere. A Cradle To Cradle approach represents a new paradigm for design. With Cradle To Cradle, as in nature, there is no such thing as waste.”We believe that sustainability is not a burden: Upcycling provides us with a strategy to deal with old materials and heirloom design with a strategy for designing things in such way that you want to keep them as long as possible because of beauty and functionality.

[LOCATION] GEORGIA INSTITUTE OF TECHNOLOGY, COLLEGE OF ARCHITECTURE, ATLANTA, GEORGIA : 33.77595 ° N , 84.39380 ° W

THE TOWER OF BABEL PROJECT IS BUILT ON A NARRATIVE OF SUSTAINABILITY THAT CALLS FOR INCREASED ENVIROMENTAL AWARENESS AS WELL AS SHIFTING BEHAVIORAL PARADIGMS. LIKE THE BABEL MYTH, THE CURRENT TRENDS OF DISPOSABLE CONSUMERISM REPRESENTS THE GREAT TRAGEDY AND FAILURE OF MODERN-DAY CONSUMPTION. COLLABORATIVELY WE STRIVE TO TRANSCEND THIS EARTHLY PLANE TO LIVE BEYONGS OUR MATERIAL MEANS. THE INEVITABLE RESULT HOWEVER IS A LEECHING OF THIS PLANET’S BOUNTY. THE INSTALLATION WILL FUNCTION AS A CONDUIT FOR AWARENESS OF OUR SELF-DESTRUCTIVE PATTERNS OF CONSUMPTION. THE METAPHOR OF THE TOWER AS A TYPOLOGY OF SUPREMACY WILL REVEAL THE CONSEQUENCES OF OUR UNSUSTAINABLE CUSTOMS. WITHIN THIS INTENTION FOR AWARENESS, WE ARE SPECIFICALLY CHALLENGING CONSUMERS TO UNDERSTAND NOT ONLY THE MAGNITUDE OF WASTE FROM SPECIFIC BEHAVIORS BUT ALSO TO SHED LIGHT ON ACTIVITIES THAT CAUSE INVISIBLE AND UNEXPECTED BYPRODUCTS.

[INS]

FOR THE INSTALLATION, WE HAVE CHOSEN TWO TYPES OF RECYCLABLE PRODUCTS FOR CONSTRUCTION: CLOTHING HANGERS AND PLASTIC BEVERAGE BOTTLES. THESE TWO PRODUCTS, ALTHOUGH COMPPOSED OF THE SAME PET PLASTIC ARE DIAMETRICALLY OPPOSED IN BOTH THEIR MANNER OF CONSUMPTION AND USE AS WELL AS THEIR STRUCTURAL LOGIC. BOTTLES ARE OBVIOUSLY CONSUMED WHILE HANGERS ARE A HIDDEN AND OFTEN DISCARDED BY-PRODUCT; BOTTLES ARE A FINAL PRODUCT OF AN INDUSTRY WHILE HANGERS ARE MERELY TOOLS OF ONE; BOTTLES CAN BE USED AS A STEREOTOMIC BRICKWORK WHILE HANGERS ARE BY THEIR NATURE MOST EFFICIENT IN TENSION. AS SUCH, WE WILL EMPLOY THESE TWO MATERIALS IN SUCH A JUXTAPOSITION - HIGHLIGHTING THEIR DIFFERENCES WHILE AT THE SAME TIME EMPLOYING THEIR INHERENT SIMILARITIES. BOTH RECYCLING MATERIALS ARE WASTED BECAUSE THEY ARE NOT PROPERLY REINTRODUCED INTO THE CYCLE. THE QUESTION REMAINS WHY THESE OMNIPRESENT AND RESPONSIBILITY TO RECYCLE NOT ONLY THE PRODUCTS OF THIS CONSUMPTION BUT ALSO THE BYPRODUCTS OF A COMMERCIAL CONSUMPTION?

DIAGRAMMATIC CONFIGURATION VARIATIONS OF COMBINATIONS TRANSLATION: ADJACENT ARM TO ARM

FIGURE HEAD BODY ARM

ARM TO BODY

ARM TO FLANGE

TRANSLATION: OPPOSITE

ARM TO HEAD

ARM TO ARM

ARM TO BODY

ARM TO FLANGE

FLANGE

MODULES OF ASSEMBLY SQUARE

FUNDAMENTAL BUILDING MODULE CONFIGURATION

TRIANGLE

MIRRORED TRIANGLES

PLASTIC BEVERAGE BOTTLES HAVE BECOME SYMBOLS OF RECYCLING. THROUGH EXCESSIVE ADVERTISEMENT ADVOCATING RECYCLING, THE VISUAL PROLIFERATION OF SPECIFICALLY DESIGNATED RECYCLING BINS, AS WELL AS THEIR UBIQUITY OF USE, THE PLASTIC BOTTLE HAS BECOME A REPRESENTATINO OF THE INDIVIDUAL’S PROVER IN LIVING SUSTAINABLY. THERE IS AN EASE AND FACILITY IN THEIR RECYCLING AND REUSE - AN EXPECTATION IN THE PROJECTION OF THEIR “GREEN” AFTER-LIFE. IT HAS BECOME FASHIONABLE TO RECYCLE THESE BOTTLES - SOMETHING OBVIOUS AND IN VOGUE.

[INS]

HANGERS ON THE OTHER HAND ARE THE BYPRODUCTS OF THE FASHION INDUSTRY - MERELY USED RATHER THAN SEEN. THEY ARE A HIDDEN RESIDUE OF AN INDUSTRY THAT CELEBRATES CONSPICUOUS CONSUMPTION AND DISPOSABLE PRODUCTS. AS RETAIL STORES IMPORT CLOTHING, EACH ARTICLE COMES WITH A HANGER. AS SOON AS EACH ARTICLE IS SOLD, THE HANGER BECOMES A USELESS REMAINDER, A CAST-OFF AND UNUSUABLE COMPONENT OF THE FASHION INDUSTRY. BECAUSE THE LIFE OF A HANGER IS GREATER THAN THE TIME IT TAKES TO SELL A PIECE OF CLOTHING, STORES ACCUMULATES A SURPLUS IN HANGERS THAT IS THEN REUSED AND RECYCLED. WHILE THE PUBLIC IS HYPER AWARE OF THE CYCLING POTENTIAL OF PLASTIC BOTTLES, THE AFTER-LIFE OF THESE HANGERS RESTS IN OBSCURITY.

TOWER ASSEMBLY AGGREGATION THROUGH STACKING

TOWER INFILL SYSTEM + RANDOMIZATION

PLASTIC BOTTLE CONSTRUCTION TIMELINE 5P MODULES COLLECT BOTTLES

CLEANING

GROUP BY TYPE / SIZE

ARRANGE 5P MODULES

CONNECT RBANDS FRONT + BACK

ADDITIONAL TENSION FOR CURVATURE

PLASTIC BOTTLE CONSTRUCTION DETAIL IDEAL CONNECTION POINTS TWIST --> TENSION F(x)1

RUBBERBAND CONNECTION PROCESS

[INS]

ORTHOGRAPHIC REPRESENTATION

PERSPECTIVE REPRESENTATION

REINFORCE WITH HOTGLUE

a MODULE TO MODULE FASTEN RBANDS REINFORCE W/ GLUE COURSING BETWEEN EACH CONNECTIONS

RUBBERBAND CONNECTION MATRIX n = NUMBER OF CONNECTIONS FROM 1 BOTTLE

n=3

n=4

n=4 n=4 n=3

n=4

n=6 n=6

n=4

n=4 n=6

n=4

n=4 n=4

n=3

TENSION VARIATIONS FORCES CONTROLLING COURSING CURVATURE HOTGLUE [1x]

HOTGLUE [2X] TENSION [2X] TENSION [1X]

COURSING BECOMES FLOORPLAN

STACK MODULES TO FORM WALL

REPEAT {a}

PANEL PROPAGATION BOTTLE TOWER COMBINE

LAYER EXTRAPOLATION LAYER [000, 025]

LAYER [026, 050]

LAYER [051, 075]

LAYER [076, 100]

[INS]

LAYER [101, 123]

PLASTIC RING LAYERING

SPLINE CONSTRUCTION

MORPHOGENESIS BOTTLE TOWERS

POSITIVE SPACE

RENDERING

VOID

NEUTRAL SPACE

HANGER CLOUD NEGATIVE SPACE

[INS]

THE PURPOSE OF THIS INSTALLATINO IS TO COMMUNICATE THE FAILURES OF DIFFERENT LEVELS OF CONSUMPTION RISING FROM THE STACKING COMPRESSION RINGS COMPOSED OF BOTTLES HORIZONTALLY ATTACHED TOGETHER. THE BOTTLES WILL BE EMPLOYED STEROMETRICALLY, SERVING AS BUILDING MODULES THAT CAN BE COMPACTED VERTICALLY TO ASCEND SEVERAL STORIES. THE NUMBER OF BOTTLES USED IN EACH TOWER WILL REPRESENT THE TOTAL NUMBER OF PLASTIC BOTTLES THROWN AWAY RATHER THAN RECYCLED ON GEORGIA TECH CAMPUS IN A SINGLE DAY. THESE CONSTRUCTIONS WILL HAVE A PHYSICALLY SUBLIME AND OVERWHELMING PRESCENCE, ACCUMULATING INTO A VISUAL METRIC OF WASTE. HANGING FROM ABOVE THESE TOWERS WILL BE A CLOUD OF HANGERS, REPRESENTING A MAJOR RETAIL STORE’S YEARLY USAGE. THEY WILL BE ARRANGED IN 12-PART CUBOID MODULES THAT PLACE EACH COMPONENT IN TENSION AND WILL HANG FROM CORDS FROM THE CEILING OF THE INSTALLATION SITE. THEY WILL SERVE AS TECTONIC COUNTERPOINTS TO THE STACKED BOTTLES, AN EPHEMERAL AND FLOATING INVERSION OF THE TOWER BELOW. AS MUCH AS THE BOTTLES REPRESENT AN OBVIOUS PRODUCT PF THE RECYCLING PROCESS, THE HANGERS WILL SYMBOLIZE THE MAGNITUDE OF PARALLEL YET HIDDEN CONSUMPTION PATTERNS. BOTH STRUCTURES, TOWERING ABOVE WITH A JUXTAPOSED HEAVINESS AND LIGHTNESS WILL REPRESENT THE PHYSICAL INDEX OF OUR MATERIAL EXISTENCE.

FLOOR PLAN

N.T.S.

BUILDING SECTION N.T.S.

[INS] 73

HANGER CLOUD INSTALLATION

BOTTLE TOWER INSTALLATION

PLASTIC PALACE [TYPOLOGY] INSTALLATION + EXHIBITION

[INS]

[LOCATION] GEORGIA INSTITUTE OF TECHNOLOGY, COLLEGE OF ARCHITECTURE, ATLANTA, GEORGIA : 33.77595 ° N , 84.39380 ° W

CARPET ANALYSIS CARPET LAYER CONFIGURATIONS BULLERSWOOD - ENTANGLED

[INS]

REDCAR - NESTED + ENTANGLED

COMBINED LAYERS

QUADRANT SECTION

LAYER ONE

LAYER TWO

LAYER ONE

LAYER THREE

LAYER TWO

LAYER FOUR

LAYER THREE

MCCULOCH - NESTED + ENTANGLED

CARBROOK - NESTED + ADDED UP

COMBINED LAYERS

QUADRANT SECTION

LAYER ONE

LAYER TWO

LAYER THREE

CARPET ANALYSIS

CARPET ELEMENTS IDENTIFICATION

CARPET ELEMENTS | FIGURE | C-CURVE

CARPET ELEMENTS | FIGURE | J-CURVE

CARPET ELEMENTS | FIGURE | S-CURVE

C10

C11

C12

C13

C14

J10

J11

J12

S10

S11

S12

S13

S14

C15

C16

C17

C18

C19

C20

C21

J13

J14

J15

J16

J17

J18

S15

S16

S17

S18

S19

S20

S21

C22

C23

C24

C25

C26

C27

C28

J19

J20

J21

J22

J23

J24

S22

S23

S24

S25

S26

S27

S28

CARPET ANALYSIS

CARPET ELEMENTS IDENTIFICATION

ELEMENT 1

START

ELEMENT 2

OVERLAP

ELEMENT 3

C5 T3

BIFURCATE

UNDERLAP

C11 C1

C10 C9 C6

ELEMENT 4 C2

T2 S1 C3

C2 J1 C6

T2 S-0 C-2 J-0 B-2 T-3

S-1 C - 11 J-0 B-9 T-3

T1 T3

ELEMENT 9

C3 C4

C7 S1

ELEMENT 10

T1 S-2 C-6 J-1 B-4 T-1

ELEMENT 11

S-1 C-3 J-0 B-4 T-2

ELEMENT 12 C1

S1 C1 J1 C6

[INS]

S-1 C-7 J-1 B-8 T-0

C2 C3

S1 C3 C4

C1 C2 T1

C1 S1 C2

C3 J1 J2 S-1 C-4 J-0 B-2 T-0

C3 C4

S-2 C-4 J-1 B-3 T-1

C4 S2

T1 T2

S-1 C-8 J-0 B-8 T-3

C7 C6 C5

T3 C3 C4

CARPET ELEMENTS | FIGURE | BIFURCATIONS

B29

B30

B31

B32

B33

B34

B35

B57

B58

B59

B60

B61

B62

B63

B36

B37

B38

B39

B40

B41

B42

B64

B65

B66

B67

B68

B69

B70

B10

B11

B12

B13

B14

B43

B44

B45

B46

B47

B48

B49

B71

B72

B73

B74

B75

B76

B77

B15

B16

B17

B18

B19

B20

B21

B50

B51

B52

B53

B54

B55

B56

B78

B79

B80

B81

B82

B83

B84

B22

B23

B24

B25

B26

B27

B28

ELEMENT 5

ELEMENT 6

ELEMENT 8 C1

ELEMENT 7

T2 T1

J1 C1 S-0 C-2 J-1 B-6 T-5

S-0 C-0 J-1 B-2 T-2

ELEMENT 13

C4C5

S-1 C-1 J-2 B-3 T-0

ELEMENT 14

S1 J1

S-0 C-2 J-1 B-3 T-2

ELEMENT 15

ELEMENT 16

T1 C3

J1 C3

C1 J1

C9 S1 C2

C7 T2 S-2 C - 10 J-1 B - 13 T-3

C3 C2 C1 S2

C1 C8

C10

S-1 C-3 J-0 B-4 T-2

T2 T3

S-0 C-1 J-1 B-2 T-1

S-0 C-4 J-1 B-9 T-5

C1 T1

T4 C2

T5 C4

CARBROOK CARPET ANALYSIS

GENERATION DEVELOPMENT

START - 5 PULL - 9

START - 5 PULL - 5

START - 5 PULL - 9

START - 1 PULL - 9

START - 5 PULL - 5

[INS]

START - 5 PULL - 9

THE TENDRIL IS COMPRISED OF 3 MAIN ELEMENTS : A START POINT, AN END POINT, AND A TANGENT. THE TENDRILING VINE IN BULLERSWOOD IS A SYSTEM IN WHICH THE VINE CONTINUES TO BIFURCATE INTO MORE AND MORE TENDRILS. WITH EACH SPLIT THE VINE UNDERGOES SEVERAL CHANGES : THE THICKNESS OF THE VINE DECREASES, THE SYSTEM CREATES SMALLER AND SMALLER OFFSPRING, AND THE AMOUNT OF CURL WITHIN EACH TENDRIL ALSO DECREASES FROM “C” TO “J” CURVES.

BULLERSWOOD CARPET ANALYSIS

TENDRIL ANALYSIS

STARTING POINT ON BORDER 3 START POINTS (24 END POINTS)

5 START POINTS (30 END POINTS)

7 START POINTS (30 END POINTS)

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

TENDRIL DIAGRAM

BULLERSWOOD CARPET ANALYSIS

BOUNCING & INTERSECTING

RULE SET

BOUNCING:

DETERMINED BY MIRRORED DIRECTIONALITY. BOUNCING OCCURS AT THE FIRST GENERATION CURVE SYSTEM. THE POINT AT WHICH THE CURVES MEET INDICATES WHERE THEY WOULD BOUNCE OFF EACH OTHER.

INTERSECTING:

DETERMINED BY MIRRORED OPPOSING DIRECTIONALITY. INTERSECTION OCCURS AT THE FIRST GENERATION CURVE SYSTEM. THE POINT AT WHICH THE CURVES MEET INDICATES WHERE THEY WOULD INTERSECT EACH OTHER.

VERTICAL ALTERNATIVE #1

VERTICAL ALTERNATIVE #2

VERTICAL ALTERNATIVE #3

VERTICAL ALTERNATIVE #4

HORIZONTAL ALTERNATIVE #1

HORIZONTAL ALTERNATIVE #2

HORIZONTAL ALTERNATIVE #3

HORIZONTAL ALTERNATIVE #4

BULLERSWOOD CARPET ANALYSIS BULLERSWOOD CARPET

ITERATION 1 RULESET

TENDRIL DIRECTIONALITY

WITHIN EACH QUADRANT THE VINE DIRECTIONALITY GOES FROM TOP LEFT TO BOTTOM RIGHT

INFILL VARIATION

STARTING POINT T1

(T)OP

(B)OTTOM

(T)OP

(B)OTTOM

(T)OP

(B)OTTOM

(T)OP

(B)OTTOM

(T)OP

(B)OTTOM

(T)OP

(B)OTTOM

(T)OP

(B)OTTOM

(T)OP

(B)OTTOM

(T)OP

(B)OTTOM

THE STARTING POINT FROM THE PRIMARY CURVE VARIES ACCORDING TO THE VARIOUS POSITIONS OF THE SIDE OF THE CARPET

STARTING POINT / PRIMARY CURVE

TANGENT POINT CONNECTION

TENDRIL DIRECTIONALITY

THE PRIMARY CURVE STARTS AT ONE OF THE DESCRIBED POSITIONS ON THE SIDE OF THE CARPET

EACH CONSECUTIVE GENERATION CREATED IS THEN PRODUCED BY THE TANGENT POINTS

THE TENDRIL DIRECTIONALITY PRODUCED WOULD BECOME DICTATED BY THE BIFORCATIONS

MIRROR INTERSECTION

[INS]

ASKEW INTERSECTION

BULLERSWOOD CARPET ANALYSIS BULLERSWOOD CARPET

ITERATION 1 RULESET

TENDRIL DIRECTIONALITY

STARTING POINT (S)TARTING

STARTING POINT / PRIMARY CURVE

TANGENT POINT CONNECTION

TENDRIL DIRECTIONALITY

(E)NDING

WITHIN EACH QUADRANT THE VINE DIRECTIONALITY GOES FROM TOP LEFT TO BOTTOM RIGHT

INFILL VARIATION

THE SEQUENTIAL POINT FROM THE PRIMARY CURVE VARIES ACCORDING TO THE VARIOUS POSITIONS OF THE SIDE OF THE CARPET

A THREE POINT ARC IS MADE CREATING A START POINT, END POINT AND POINT ON THE BORDER. FROM THERE, VECTORES ARE CONNECTED TO IDENTIFY QUALIFIED TANGENT LOCATIONS

EACH CONSECUTIVE GENERATION CREATED IS THEN PRODUCED BY THE TANGENT POINTS

MIRROR INTERSECTION

ASKEW INTERSECTION

THE TENDRIL DIRECTIONALITY PRODUCED WOULD BECOME DICTATED BY THE BIFORCATIONS

INITIAL STUDIES

QUADRANT RULESET APPLICATION

3D TRANSFORMATION BY ROTATION

ROTATION AND MIRRORED TRANSFORMATION

TRANSFORMATIVE ROTATION

QUADRANT - Z

QUADRANT - K

ROTATIONAL DIAGRAM

0 DEG ROTATION

-10 DEG ROTATION

-20 DEG ROTATION

+10 DEG ROTATION

+20 DEG ROTATION

-10 DEG ROTATION

PRIMARY STRUCTURAL JOINT

QUADRANT GROWTH BY MIRRORING

RENDERING

[INS]

QUADRANT 1

INITIAL STUDIES 2D

RENDERING

> 3D VARIATIONS

+3y

MIDDLE-CURVES +3Y STARTPOINTS - 3Y

ENDPOINTS +3Y STARTPOINTS - 3Y

MIDDLE-CURVES +3Y STARTPOINTS - 3Y

ENDPOINTS +3Y STARTPOINTS - 3Y

+3y

+3y +3y

+3y

MIDDLE-CURVES +3Y STARTPOINTS - 3Y

ENDPOINTS +3Y STARTPOINTS - 3Y

MIDDLE-CURVES +3Y STARTPOINTS - 3Y

ENDPOINTS +3Y STARTPOINTS - 3Y

QUADRANT 2

FINAL DESIGN DEVELOPMENT

STRUCTURAL COMPONENT

QUADRANT TENDRILING

EXPLODED ASSEMBLY

QUADRANT ARRANGEMENT

GROUP VARIATION

FIRST GENERATION

GROUP 2 QUADRANT

GROUP 2

GROUP 1 SECOND GENERATION GROUP 2

GROUP 1

GROUP 2 GROUP 2

THIRD GENERATION

GROUP 1 GROUP 1 QUADRANT STRUCTURAL ASSEMBLY

STRUCTURAL COMPONENT FINAL STRUCTURE

[INS]

COMPLETE DESIGN

FINAL DESIGN

[INS]

FABRICATION + ASSEMBLY

[INS]

[IND] 4.2 | MODULAR HOMELESS SHELTER | [TRISTAN AL-HADDAD, SPRING 2011] [COLLABORATOR] AMYN SOLDIER + CHANDNI JINDAL + JASMIN GONZALEZ

ORI|DOME|I : DEPLOYABLE MODULAR SHELTER [TYPOLOGY] INDEPENDENT STUDIES

[IND]

This project has served as a laboratory in which to explore how small-scale design and minimal spatial choreography can address these large-scale social and spatial issues. The issues facing small-scale homeless service providers reflect a much larger dialogue on openness in institutional settings and privacy in public space. Building openness and privacy simultaneously is one of the main design challenges of the project. Additional challenges include creating a sense of permanence and solidity for users who are cycling through a variety of unstable conditions; providing clarity and legibility in a complex system of unfamiliar interactions; and employing the politics of shape, scale, material and color to transform a dismal, leftover space into a comfortable and inviting environment for users and staff alike.

[LOCATION] RENASSIANCE PARK, DOWNTOWN ATLANTA, GEORGIA : 33.78959 째 N , 84.42189 째 W

SITE CONTEXT IN ORDER TO UNDERSTAND THE USERS OF THESE HOMELESS HOUSING UNITS IT WAS IMPORTANT TO FIND OUT THE CULTURE AND SOCIETY OF THE HOMELESS. THE LOCATION ALSO WAS CONSIDERABLY SIGNIFICANT BECAUSE WE WANTED TO ENTER AN AREA WHERE THERE WAS ALREADY A LARGE HOMELESS COMMUNITY ESTABLISHED. RENAISSANCE PARK IN DOWNTOWN ATLANTA BECAME THE LOCATION. SITE CONTEXT, SITE USAGE, AND TRAFFIC WERE TAKEN FOR ADDITIONAL ANALYSIS FOR HOUSING OPPORTUNITIES.

1. RESIDENTIAL AREA A. APARTMENT HOUSES

B. WATERFORD APARTMENTS

C. KAPLAN APARTMENTS

2. COMMERCIAL AREAS A. O’ TERRILLS PUB

B. ALOHA ASIAN

C. MIDTOWN TAVERN

D. SAVANNAH SUITES

3. ABANDONED AREAS

2c 2b

A. CONDEMENED #1

1b B. CONDEMENED #2

4. BUSINESS AREAS

A. CALVIN GARNER SANFORD JR.

[IND]

1a B. SOUTHFACE

C. COMMUNITY FRIENDSHIP INC.

SITE USAGE

TRAFFIC ANALYSIS

HOMELESSNESS

LITTERING

USERS WALKING DOG

PEDESTRIAN SIDEWALK USAGE

DOMINANT ROUTE RECESSIVE ROUTE

USERS WALKING THROUGH PARK

HOMELESS USAGE

DOMINANT ROUTE RECESSIVE ROUTE

ILLEGAL ACTIVITY

LOITERING

DRUG DEALING

DESIGN PRECEDENT

DIAGRAMMATIC PRIMARY FORMATION

[IND]

USING THE DESIGN PRECEDENT STUDY AS A FACILITATOR FOR OUR PARAMETRIC DESIGN ESPECIALLY THE COLLAPASABILITY COMPONENT TO THE DESIGN WE BEGAN FORMULATING THE CONCEPTUAL FORMS TO THE SHELTER WHICH LEAD TO OUR IMPLEMENTATION OF SOLAR ENERGY AS A POWER SOURCE AND A LIGHTWEIGHT SPACEFRAME TO EASILY TRANSPORT THE UNIT.

SYSTEMIC HIERARCHY

STRUCTURAL SYSTEM

SCHEMATIC DESIGN

VERTICAL STRUCTURAL SPLINES

AIR SUPPORTED STRUT STRUCTURAL TENSION WIRE

9’6”

PV FILM REFLECTIVE FILM ETFE FABRIC

D C B

HORIZONTAL STRUCTURAL SPLINES 8’6”

INTERIOR STRUCTURAL SPLINES

A INTERIOR STRUCTURAL TENSION WIRE SECTION SWATH

HORIZONTAL & VERTICAL SPLINES ASSEMBLY

B FABRIC TUBING & AIR SUPPORTED STRUT

ROOF PLAN

COMPLETE STRUCTURAL SPLINES

FABRIC TUBING & AIR SUPPORTED STRUT

9’6”

C ETFE FABRIC SECTION SWATH

INTERIOR STRUCTURAL TENSION WIRE

ETFE FABRIC

7’6”

D REFLECTIVE SURFACE

STRUCTURE & ETFE FABRIC

SECTIONAL CUT OF COMPLETE STRUCTURE

E PV FILM

SECTION SWATH

ELEVATION

[IND]

[PRO] 5.1 | BRAZIL TOURISM INVESTMENTS | [BRYAN HINER, FOUNDER & MANAGING PARTNER]

[PRO] 5.1.1 |MIAMI LOFT PROJECT| [EMPLOYMENT] AUGUST 2011 - OCTOBER 2012 [JOB TITLE] ARCHITECTURAL DESIGNER

[PRO]

Brazil Tourism Investments is real estate development and investment firm that is comprised of future mixed-use development projects. The focus of my employment centered around the Miami Loft Project, a boutique mixed-use development project situated in downtown Fortaleza, Brazil which was the epicenter of a revitalized urban and economical growth and experiencing a resurgance of new construction projects. I was involved in the schematic design and design development of the project including rendering design, culminating in the creation of a published portfolio for prospective investors.

101

[LOCATION] 1580 HOLCOMB BRIDGE ROAD, SUITE NO. 11, ROSWELL, GEORGIA. 30076 : 34.01715째 N, -84.30987째 W

[PRO] 5.1.1 |MIAMI LOFT PROJECT|2011-2012 [TYPOLOGY] HOSPITALITY [CLIENT] BRAZILIAN TOURISM INVESTMENTS [SIZE] 250,000 SQ FT. [LOCATION] FORTALEZA, BRAZIL [STATUS] INACTIVE [COLLABORATION TEAM] MD-CONCEPT | BRASIL; EIKON ARCHITETURA E URBANISMO | BRASIL AMYN SOLDIER, GEORGIA INSTITUTE OF TECHNOLOGY | UNITED STATES ABAAN ALI, GEORGIA INSTITUTE OF TECHNOLOGY | UNITED STATES [PROJECT DESCRIPTION] The concept of the project centered around designing a boutique mixed-use development situated in downtown Fortaleza, Brazil showcasing the architectural style of Miami’s art deco movement. As architectural designer, I was acting liason between the Brazilian architects and the United States-based client assisting in design development of several loft design proposals per client specifications. In addition, I published our designs into a project portfolio, graphically representing site-specific context and renderings, for the clients distribution to perspective investors.

[PRO]

PRECEDENT

103

SITE CONTEXT

FORTALEZA, BRAZIL AREA DESCRIPTION THE STATE OF CEARÁ IS LOCATED IN THE NORTHEAST REGION OF BRAZIL JUST SLIGHTLY BELOW THE EQUATOR. THE POPULATION OF CEARÁ HAS NEARLY 8 MILLION INHABITANTS WITH A COASTLINE OF 573 KM OF PRISTINE BEACHES. THE LOCATION OF CEARÁ IS STRATEGIC TO COMPANIES THAT WISH TO ESTABLISH FAVORABLY POSITIONS CLOSE TO THE MAIN WORLD MARKETS. CEARÁ IS ONLY 6:30 HOURS AWAY FROM EUROPE AND 7:30 HOURS FROM THE UNITED STATES. THE CITY OF FORTALEZA ACCOUNTS FOR ALMOST 2.5 MILLION INHABITANTS AND PLACES IT AS THE 4TH LARGEST CITY IN BRAZIL. OVER THE PAST 10 YEARS FORTALEZA HAS SEEN A TREMENDOUS INCREASE IN TOURISM, FOREIGN INVESTMENT, AND CITYWIDE CONSTRUCTION. THE OPPORTUNITIES THAT CURRENTLY EXIST IN BRAZIL AND SPECIFICALLY THE NORTHEAST REGION OF BRAZIL MAKE THIS AREA OF THE WORLD ONE OF THE TOP CURRENT AREAS OF THE WORLD FOR FOREIGN INVESTMENT. THE AREAS READINESS FOR GROWTH COUPLED WITH GOVERNMENT’S PRO FOREIGN INVESTMENT ATTITUDE MAKES THIS AN IDEAL TIME AND AREA FOR YOUR INVESTMENT DOLLAR.

FROM PARIS TO BRAZIL: THE ART DECO STYLE HAS MADE ITS WAY FROM PARIS, FRANCE TO MIAMI, FLORIDA AND NOW TO FORTALEZA, BRAZIL

PRELIMINARY SCHEMA

ROOM GLOSSARY INDEX

PRELIMINARY SPACE INVESTIGATION AND MODULAR ORIENTATION LAYOUT OF STUDIO AND SUITE PROGRAM

01. PARKING LOT 02. OUTDOOR / INDOOR BAR 03. LOUNGE 04. CONFERENCE ROOM 05. OFFICE 06. FOYER 07. KITCHEN 08. LAUNDRY ROOM 09. LIVING ROOM 10. DINING ROOM 11. TERRACE / BALCONY 12. CLOSET 13. RESTROOM 14. GUEST BEDROOM 15. MASTER BEDROOM

15 14

09 07

12 12

06 12 12

BUILDING PROFILE

13 07

FLOOR 12

OPEN TO BELOW

12 08

INTERIOR RENDERING (INTERIOR RENDERINGS MODELED BY EIKON ARQUITECTURA E URBANISMO)

ROOFTOP

THE DEVELOPMENT OF PROGRAM FOR EACH FLOOR PLATE WAS FORMULATED FROM MODULAR ITERATIONS OF TYPICAL STUDIO AND LOFT UNITS WITH VARYING DEGREES OF SQUARE FOOTAGE AND SUBSEQUENT PRICE POINT REQUIREMENTS. THE OBJECTIVE OF THE BUILDING WAS TO PROVIDE A MODULAR STRUCTURE OF ROOMS THAT WOULD ACCOMODATE THE DIVERSE LOCAL AND TOURIST CLIENTELE.

FLOOR 11B PENTHOUSE UPPER LEVEL

EACH UNIT PROVIDES CLIENTS TO BE IN DIRECT WITH THEIR CONTEXT THROUGH THE AMPLE WINDOW AND TERRACE SPACE ALLOTED WHICH WAS A IMPORTANT ASPECT OF THIS DESIGN.

FLOOR 11A PENTHOUSE LOWER LEVEL FLOOR 10

LOFT 1

FLOOR 9

LOFT 2

FLOOR 8

LOFT 2

FLOOR 7

LOFT 2

FLOOR 6

STUDIO 3

FLOOR 5

STUDIO 3

FLOOR 4

STUDIO 3

FLOOR 3

STUDIO 3

FLOOR 2

STUDIO 4

FLOOR 1

OFFICE

GROUND

LOBBY

SUBGRADE UNDERGROUND CAR PARK

“THE MIAMI LOFT” FLOOR PLAN UNDERGROUND CAR PARK | BELOW GRADE 11

LOBBY | GROUND FLOOR

OFFICES | GROUND FLOOR MEZANNINE 13

STUDIO(4)FOUR APARTMENTS | 4 UNIT STUDIO

02 05 08

05 04 05

13 05

[PRO]

105

12 13 15

03 15

STUDIO(3)THREE APARTMENTS | 3 UNIT STUDIO

15 09

13 05

15 09

07 15

07 09

05 13

EXTERIOR RENDERING

LOFT(2)TWO APARTMENTS | 2 UNIT LOFT

LOFT(1)ONE APARTMENTS | 1 UNIT LOFT

PENTHOUSE SUITE | LOWER LEVEL

ROOFTOP TERRACE

PENTHOUSE SUITE | UPPER LEVEL

STAIR TO UPPER PENTHOUSE RESTROOM

CLOSET

RESTROOM

WASHER + DRYER

RESTROOM RESTROOM

GUEST ROOM KITCHEN

RESTROOM

OFFICE

CLOSET

BEDROOM KITCHEN

CLOSET

KITCHEN

BEDROOM

BEDROOM BAR

KITCHEN RESTROOM LIVING AREA

RESTROOM

MULTI-USE RECREATIONAL AREA

LIVING AREA LIVING AREA

DANCE HALL / RECREATION AREA

LIVING AREA

BEDROOM

LOUNGE LIVING AREA

BALCONY

WHIRLPOOL

SHOWER

[PRO] 5.2 | AME ARCHITECTS | [ABDELKADER ELASSAR, AIA, NCARB, LEED BD+C, PMP, PRINCIPAL ARCHITECT]

[PRO] 5.2.1 |EAST COBB ISLAMIC CENTER| [PRO] 5.2.2 |SUWANEE RESIDENCE RENOVATION| [PRO] 5.2.3 |SNOB LIFE STUDIO| [PRO] 5.2.4 |ILM ACADEMY| [PRO] 5.2.5 |GWINNETT ISLAMIC CIRCLE SUWANEE MASJID| [EMPLOYMENT] OCTOBER 2012 - JUNE 2013 [JOB TITLE] ARCHITECTURAL DESIGNER + PROJECT COORDINATOR

[PRO]

AME Architects is an architectural firm that is comprised primarily of religious, retail, residential, and educational projects. AME Architects is identified as the primer architecture firm focusing on Islamic mosques, or Masjids, having constructed and designed 25+ projects across the United States. The focus of my employment centered around several different projects, highlighted with the buildings posted above. As architectural designer and project coordinator, I assisted in the design development of proposals and carried them through schematic design and construction documentation while working exclusively with the Principal Architect and client. The experience I received overseeing the client-architect dynamic was just as involved as the building designs themselves. In addition, I expanded our firms marketing approach by published our designs into a project specific portfolio and web development for perspective clients.

107

[LOCATION] 11080 OLD ROSWELL ROAD, SUITE NO. 103-A, ALPHARETTA, GEORGIA. 30043 : 34.048886째 N, -84.318326째 W

[PRO] 5.2.1 |EAST COBB ISLAMIC CENTER|2013 [TYPOLOGY] RELIGIOUS [CLIENT] ECIC [SIZE] 40,000 SQ FT. [LOCATION] MARIETTA, GEORGIA [STATUS] IN PROGRESS [COLLABORATION TEAM] ABDELKADER ELASSAR, AIA, NCARB, LEED BD+C, PMP, PRINCIPAL ARCHITECT ABAAN ALI, PROJECT COORDINATOR [PROJECT DESCRIPTION] This project focused on providing a new larger Islamic religious complex for the exisiting Muslim community in Marietta, GA. After hearing the clients needs as well as gaining insight from the congregation through several meetings, we started initial schematic studies in forming and massing based on the site orientation. As project coordinator, I collaborated with the Principal Architect in design development through forming and massing studies using Rhinoceros 5.0. We continued evaluating the site conditions which informed the building position and layout. The study models help establish a final rendering depicting the use of regional materials, integrated the building into the existing context of the area

[PRO]

[FORM & MASS BUILDING MODEL]

109

[BUILDING RENDERING]

[PRO] 5.2.5 |GEORGIA ISLAMIC CIRCLE SUWANEE MASJID|2013 [TYPOLOGY] RELIGIOUS [CLIENT] MOHAMMAD TARIQ SIDDIQUI [SIZE] 35,036 SQ FT. [LOCATION] SUWANEE, GEORGIA [STATUS] IN PROGRESS [COLLABORATION TEAM] ABDELKADER ELASSAR, AIA, NCARB, LEED BD+C, PMP, PRINCIPAL ARCHITECT ABAAN ALI, PROJECT COORDINATOR

[PRO]

[PROJECT DESCRIPTION] This project focused on designing an Islamic community center for the Muslim community in the Suwanee area, a northeast suburb of Atlanta, Georgia. The client envisioned an active organization, offering many educational programs related to the study of Islam for all age groups as well as providing a community center for social events. Gathering engaging feedback, we requested multiple townhall meetings to get comprehensive and inclusive participation by the community in the design aspects they wish to see incorporated. One element we wanted to convey in our design was direct view and correlation of the prayer hall from the top and bottom level at all times. Men and Women had direct viewpoints into the bottom prayer hall As project coordinator, I collaborated with the Principal Architect in design renderings and construction documentation of Phase One. The projected was seperated into three phases to supplement fundraising efforts while cognizant of the construction timeline. The clientâ&#x20AC;&#x2122;s need of a mosque, gym, and multi-purpose area were met as we managed to create adaptable spaces that could be transformed into commercial orientated spaces for weddings and events.

111

[NORTH ELEVATION] [SCALE // N.T.S]

[BUILDING RENDERING]