Architecture Portfolio | Aimen Abbas by aimen abbas

ii RELEVANTREFERENCESSKILLSACHIEVEMENTSEDUCATIONEXPERIENCE School of Art, Design and Architecture, NUST | Islamabad, Pakistan | CGPA: 3.59 | Bachelors of Architecture 2014 - 2019 Beaconhouse Educational Complex | Rawalpindi, Pakistan | CGPA/Percentage: 84.5% | A-Levels 2012 - 2014 Winner | World Architecture Community 34th Cycle | Student Category, jury member selection 2020 Short-listed | IAP Kausar Bashir Ahmad Award (8th Cycle) | Project short-listed from total of 19 country wide entries 2020 Salma Bano | Thesis Advisor | SADA - NUST t: 03315598025 e: salma.bano@sada.nust.edu.pk, salmaabdullah@hotmail.com Private Residential Project | Lead Architect 2019 - present Design Development, concept development and planning (under construction) 3DDraftingDigital modelling and rendering Facade Design Interior Electricaldesignplans and lighting design Material research Shahzad Gul Architects | Intern Architect 06.2018 - 08.2018 Data collection for materials inventory and machinery used in hospital architecture Interior design and digital visualization of hospital and a cafe Digital plan renderings for presentation of various projects Nasir’s Design | Intern Architect 08.2017 - 09.2017 Interior design for residential project 3D Digital modelling | digital renderings for various projects CITE | Intern Architect 06.2017 - 07.2017 Concept development and mural design for restaurant interior Ahmad Zaka and Associates | Intern Architect 07.2016 - 08.2016 Elevation design, concept development for various residential projects Door designs for residential interior Digital rendering NUST Literary Circle | Director Graphics 2017 - 2018 NUST Adventure Club | Assistant Director Graphics 2017 - 2018 Developed and supervised various graphics and illustrations for social media Banner/poster/panaflex designs for campus wide events Community Service Project | Team Lead 2018 Designed and built recycled furniture for SAYA School for underprivileged children Conducted an interactive workshop in the school on recycling USPCASE - Green Building Workshop | Participant 2017 AIMEN ABBAS CURRICULUM VITAE Admiraliteitskade 60-816, 3063 ED, Rotterdam NL +31 www.linkedin.com/in/aiman-abbas-7576b084aimen314@gmail.com687927268 Software AutoCAD, Adobe Photoshop, Adobe InDesign, Google Sketchup, Rhinoceros 3D, Lumion, Autodesk Revit, V-Ray Languages Urdu, English (Professional proficiency), Dutch (learning)

Location: next to Soan Bridge, G.T. Road, Rawalpindi, Pakistan Programme: hospitality, temporary living Type:Size: thesis, individual project

2018FALL|YEAR5TH|VIII&VII-STUDIODESIGNARCHITECTURAL

Rawalpindi being one of the cities that lies on the G.T. Road is a temporary home to many people who are based in larger cities such as Lahore, Peshawar etc. It acts as a place of respite for travellers on a lengthy journey from the south to the northern areas of Pakistan. Being surrounded by smaller towns and districts lacking such facilities, Pindi also attracts people for their medical and juridical affairs other than recreational, for it houses some of the major health care facilities and law courts. The Soan River marks the formal entry point to Rawalpindi with a commercial area developed along the Soan Bridge and its vicinity.

“To me architecture is not so much the art of building, but ’facilitating’, offering (other kinds of) possibilities”.

CARAVANSERAI

(Jan Verheyden) Lagae, J. (2007). The Architect as ‘Facilitator’. A Discussion with SMAR about Working on Schools in disadvantaged neighbourhoods in Brussels. Back to School, OASE, (72), 36–41.

A metaphorical space to find common-ground C H G.T.site hospitalhighroadcourt

From extracting information on how local context effects human interaction, their needs and desires, we can begin to understand the potential of architecture as a tool to change people’s lifestyle and bring them together as a community. This can result in a typology that caters to individual needs as well as build cross cultural linkages while utilizing the environment effectively. Once that is done, you start adding supplementary, bonus features that while addressing the basic needs, uplifts the general quality of life of the users.

Hence, this project proposes an architectural design for a Caravanserai. The inn explores the concept of a caravanserai as a metaphor for a successful platform of exchange and communication. Where it was used as a stop for traders and merchants along Silk Route in the olden days, here it serves as a temporary abode for the travellers coming to the hospitals near the site. This acknowledges the need of a place to stay for the attendants coming along with the patients from far off places. Three lines of inquiry structure this thesis. The first is finding a contextual problem and provide an architectural solution for it. Two, building for the poor. Finally, the thesis, explores the use of local material such as adobe for construction and still maintain an aesthetically sound design and experiential spaces. The design seeks to study the elements of a traditional caravanserai and morph them according to the site in the proposed inn. Another aspect of the thesis is the self-sustaining part that will act as a source of revenue generation for the serai. This houses a plant nursery combined with a restaurant, along with paid services for the travellers of the G.T. Road.

The courtyards are envisioned to become semi-public spaces with adjacent programs being able to spill over into them. Level 3 holds a more private nature than that of Level 2, as the courtyard is surrounded by dorms and rooms which are to be occupied by patient attendants.

The design makes use of a number of human scaled courtyards, separated from one another using various means like thresholds and colonnades.

Users can be divided into mainly locals and travellers, found in the hospitals, court, nurseries and bus stops. The hotels, however, only house the travellers. A general atmosphere of gloom, worry, tiredness and fear is present in these contextual places, except for the nursery which provides a breath of fresh to the ones passing by and locals likewise.

Looking at the river, a trend is observed in the location of the new programs around it. What stands out particularity, other than hospitality architecture, is the number of plant nurseries which have not ceased to exist until the present time.

Over the past few years, the construction along the highway has increased, which has mostly been commercial. Among which, a great number has been of guest houses and hotels. Hence, proving their rising demand.

Dissecting the caravanserai Concluding from the research carried out, we arrive at a concept statement that takes into account the users, the site and the problem statement. The users being the patient attendants travelling to Rawalpindi and the locals, the site situated in close proximity to the hospitals offering the right narrative for a travellers’ inn, and thus addressing the problem of the necessity of such a facility for the users. The concept explores the architectural elements of a typical caravanserai in order to formulate meaningful spaces for its users. Each element is discussed as an architectural typology and then in terms of its design derivative showing how the certain element shapes or informs the nature of space.

Merging with the contours, set at the end of the Soan Bridge, the caravanserai welcomes its visitors with a sloping entrance to the the travellers passing by the G.T. Road, like a detour. Following the natural curve of the building, the visitors can explore the bazaar, rant. The main road can be accessed again with the exit on the right. Rest of the programs, placed at a lower level, stay private and undisturbed by the daily traffic and passers-by. Right across the road

After determining the concept and the spaces, they become the main driving force for the design process and how they come in amalgamation with the site. The programs are spread across the site according to the factors the site is offering that coincide with the requirement of the Theprograms.building form utilizes the site factors to their maximum capability as well as the local material in order to achieve such a design that facilitate the users and responds well to the context. The elements of a caravanserai are incorporated in a modern-day traveller’s inn making sure their present-day needs are met while providing them with experiential spaces.

9 the overhanging gateway flanked on one side by the bazaar. With a smooth turning to the left, the complex is easily accessed by bazaar, stop by at the mosque or eat at one of terraces. While completing the curve they can explore the plant nursery and its restau road from the caravaserai, public transport can be availed via the Humrahi Travels bus service.

Level 1 entrance loop, catering to travellers of Rawalpindi, allowing an exchange of cultures and food to occur between the visitors and providing a platform of respite to the passers-by.

Preceding the main entrance is the services portion of the caravanserai, arranged in the form of a loop, welcoming the locals and passers-by first to the mosque through an extended overhang. Continuing forward the bazaar covers the major section of the loop common with the bazaar lining the promenade at the lower lev el. Crossing the plant nursery and the restaurant, the travellers exit the ring and get back onto the G.T. Road.

The other side of the promenade acts as a threshold connecting it to Level 3. Rooms on the upper storey supported on a series of juxtaposed walls and columns forms the threshold.

The promenade is flanked on one side by the bazaar housing eateries and rooftops. This bazaar is common with Level 1 so it caters to both the passers-by and the patient attendants.Bamboo screens incorporated between the walls forms small pockets of spaces which act as private seating spaces for families and women in contrast to the over public nature of the promenade and the open bazaar. Level 2 connected to Level 1 via a gradual sloping formal entrance, welcomes the attendants into a promenade. The reception and admin area marks the start of the promenade.

Level 3 ends with a courtyard, of a more private nature for families staying in the 2-room units. The land expanding from here onwards is dotted with screened cabins for meditation, and cut off from the rest of the complex to relax.

Eateries with their roof terraces becomes a common entity between rest during their journey at one of these on level 1. While it becomes on level 2.

between level 1 and level 2. Travellers and passers-by can stop by for becomes a place for connecting and meet up for the patient attendants

The plant nursery is merged with a restaurant; the two sustaining each other as the restaurant brings in more customers and the nursery provides a unique environment to the diners. Formal seating of the restaurant is split into the ground floor and the mezzanine. Stepping down from the ground floor the seating moulds with the nursery’s arrangement.

The lounge is orientated on the site in order to take full benefit of the external factors. Each side is exposed to a unique intangible, natural element according to which the placement of entry points, fenestrations etc. is decided.

1st Iteration for roof - earthen pots to create air pockets & insulation 2nd Iteration - Holes in pots to allow ventilation as warm air rises up Blow up model of rammed earth and bamboo reinforcements

One of the rooms of the complex is modelled to study the spaces and the structure. It is visible through the section, the transition from public courtyard to private terraces.

Hierarchy of spaces in and their nature as designed in the complex are compared to that of a typical caravanserai, rooting back to the concept.

Blow-up model of the 5-bed unit. (front side) The bamboo structure supports a second roof that lets light and air into the building. In addition to the mud construction, Brise soleil in form of colourful weaving and concrete screens ensure ventilation, playing a role in passive cooling.

Blow-up model of the 5-bed unit, sectioned, and second roof removed. (back side) The voids in the first roof let the warm air rise up and leave, keeping the inside cool. Additionally, creating a beautiful play of light and shadows.

The house lies in an up and coming area of the capital city, Islamabad. The parti finds its roots moving away from all the typical architectural language followed in the particular housing society. Keeping in mind the clients wishes, the first sketches are inspired by a fusion of “modern“ and “traditional“ architecture, with respect to the facade. The concept is devised as a juxtaposition of 3 brick volumes with slanting roofs, and a plain concrete rectangular base volume. These volumes jut out from various points on the base volume, uplifting an otherwise monotonous form. To cater to a 2-generation joint family, the house is divided into zones, floor wise. The ground floor houses the main family unit with spaces for guests as well. The first floor is the children’s unit with spaces to cater to the 2nd generation. The basement is a multi-purpose level with storage, and profession and hobby related spaces unique to each family member. A large piece of extra land on one side of the plot is the defining line for the plan. Thereby major spaces line along its length. The social area starts from one end, transitioning into the private area allowing lighting and ventilation without putting intimacy at stake Rest of the house, restricted by houses constructed on the other two side of the plot, gets is natural light and ventilation via skylights, patios and light wells.

NO.HOUSE9

Sector MosqueMain Entrance Gate 28

Commercial PlazaHouse No. 9

Location: DHA-III, Sector-B, Islamabad, Pakistan Programme: residential, a house for a family of five Size: 1050 sqft Type: professional, individual project

A drone view of the DHA 3 Serene City housing society showing the context around the site of the house. The site has easy and clear access routes, connecting ut well to the nearby commercial area, mosque and the main gate.

CONSTRUCTIONUNDER|PRESENT-2019|PROJECTPRIVATE

The front balcony outside the daughter’s rooms experiences a play of light and shadows as sunlight trickles in through the perforated wall. (photo taken on-site during construction)

Front Terrace

Mumty - Housing servant quarter and store

Gazebo - connected to main lounge Side Terrace - opens from first floor’s lounge

ESTABLISHING MAJOR AXIS ADDITION + SUBTRACTION OF VOLUMES DESIGN DETAILS

After extruding a basic volume on the site, it’s major axis are defined according to the programs. The primary axis; the main corridor which connects all rooms. On the secondary axis, the main rooms open up to the lawn. This applies on both floors.

Further details are added, that not only enhance the over all design aesthetics but also add to the functionality. Like the perforations and louvres that provide privacy on the front side terraces and in other areas filters out harsh light.

RoomSon’s RoomDaughter’s

N N N 30 Programs, Zoning & Circulation

The monotony of the box like extrusion is broken by adding and subtracting volumes. Pockets for socializing are created in the form of terraces and gazebos. Three main volumes stand out; the mumty, and the two main bedrooms on the first floor.

Light well - connected to basement store and study

Proximity to secondary main road leading to Proximityexittocommercial area Proximity to primary main road leading to society gate Proximity to main societymosquegrand N 31

Overall night view of the house showing all three volumes standing out as interior light shines bright from inside, lighting them up.

Both the lounges and three main bedrooms are open to a refreshing view towards the garden with good amount of day

The vertical louvres at the first floor window also help light up the entrance lobby while still keeping it from getting too hot and screening the view to inside.

Thelight.gazebo acts as an outdoor room where the family can socialize, relax and rewind with nature around them. The concrete volume with its perforations allows filtered light and wind to reach the room inside.

35 Basement lounge to ground floor lounge Basement lobby to ground floor lobby Outdoor stairs from basement studio and office to the ground floor Ground floor lobby to first floor lobby Access to mumty store and roof from first floor

Open kitchen as viewed from the lounge. Floor to ceiling window allows the light to filter in while the brick screen maintains privacy. Stairs in the basement lobby are designed a voluminous sculptural piece to add

37 designed not just for functionality but as depth and value to it as well.

The terrace allows unobstructed views with its low railing; a long planter with tall plants acting as a safety barrier.

Taken during the construction phase of the perforated wall of one of the 3 volumes. 38

Basement lobby as seen after actual execution. The details of the stair are constructed staying true to the design. Few changes are made to the ceiling as per the client’s requirements. The basement lounge is connected to the ground floor lounge via stairs. Wooden louvres act as safety railing as well as add character to the space. (image taken after construction of the actual project)

Islamabad, planned out in a grid structure, is arranged into different sectors and zones. Each sector is built on the same planning principles; divided into four sub sectors by roads as major arteries with each one containing a markaz housing all the local amenities, cafés and shops. These introvert centres based on the idea of neighbourhood units were planned to be independent from the rest of the sectors. The focus was on creating a green transportation system with low speed roads, side walks etc. through the creation of a hierarchic system of communities of var ious classes within the sectors. This approach, although reducing travel distance and time, somewhat restricts cross community linkages and activities. These contained spaces and only a couple of parks in the whole city act as the sole source of public gathering and social events, lacking the ability for small scale places for everyday social interaction that can help build strong community ties.

SITE Sector F-9 Sector (Beginning)G-8

2017SPRING|YEAR3RD|STUDIO-IIIDESIGNARCHITECTURAL

The design uses the idea of a building-street that in tends to impart civic values inherent in the neighbour hood’s urban fabric. As a result, the functional pro gram’s specialized uses will be distributed in dispersed volumes, arranged along a guideline, resulting in the creation of a street that will work as such and that is truly the project’s heart.

(Views of people during a research conducted in Auckland, Newzeland)

THEBINDINGDIVIDE

“We see Drummond Street first and foremost as an extension of its residents’ homes. It is also an extension of the idea of the living street.”

“Our streets are where we live our public lives under kiwi skies.“

Location: green belt between Jinnah Ave. & Ibn-e-Sina Road, sectors F9/1 & G9/2, Islamabad, Pakistan Programme: community civic centre Type:Size: academic, individual project

(MarketMarkazarea,Centre)

The design tries to provoke small scale, local initiatives and activities to happen within the central spine. The project has the ambitious goal of strengthening and revitalizing the neighbourhood and provoke a domino effect where people start to initiate new activities and start to increase the quality of their own public space.

Sector G-9 (with 3 sub sectors around the Markaz) The site, with an informal pathway created over time by the locals’ daily use as they cross over from sector G-9 (road shown in photo) to F-9.

The concept plays with the idea of incorporating different elements of a street into the building complex that will define its major character. With thresholds dotting the central corridor to create dramatic entry points while small eateries and other activities located on either side of this heart combining to form one continuous living zone. Open, exposed connections and balconies looking down into the street further enhance the personality of the place, building strong visual ties.

FrontageZone Clear Path Furniture Zone Buffer Zone

5’ 10’ 20’ 40’ 80’ 5’ 10’ 15’ 20’ 25’ 30’ N MASTER + GROUND FLOOR PLAN 1. Post Office 2. Community Centre 3. Youth Centre Reception 4. Food Vendors 5. Outdoor Food court 6. Indoor Food court 7. Ground Plaza 8. Performance Theatre Reception 9. Library 10. Internet Cafe 11. Bookshop Cafe 12. Performance Theatre 13. Public Plaza A. Parking B. Primary Access C. To surface parking D. To basement parking 42 THRESHOLDSRETREATACTIVITYPLACE-MAKINGZONES&FLEXIBILITY

eateries.Little

The street opens up to change into a place from a Thecorridor.street transitions from one activity zone to the other. The frontage zone is an extension of ‘work’ which gradually shifts to a more ‘leisure’ mode as it reaches the buffer zone close to the green pockets along the corridor break the monotonous walk and provide places of retreat. In these regions of cooler micro-climate also lie small eateries. Other then the usual street elements such as balconies, awnings and overhangs forming the thresholds, floors raised on pilotis also add to the concept. It allows for a flexible open space under neath for communal activities while creating a focal point at the same time.

UP UP 1 A B A B CD 2 3 6 7 8 1091112 13 4 5 43

Formal entrance of the complex from G-9 Sector side, is flanked by the post office building on the left and the community centre on the right. A glass volume extrudes from one corner of the centre. Ramps that connect the three main brick buildings also act as an attracting feature.

The main promenade of the complex lined with stalls and shops along its length at one side.

The street is punctured in the middle with a sunken courtyard that houses seating for eating and social gathering. Glass volumes of the classrooms on first floor look down into the street.

1:16 Ramp 5’ 10’ 15’ 20’ 25’ 30’N 1. Post Office Cubicles 2. Employment Centre 3. Youth Centre Lobby 4. Teaching Rooms 5. Art/Architecture Lab 6. Storage for Exhibition Space 7. Wash rooms 8. Exhibition Space Reception 9. Exhibition Space Lobby 10. Exhibition Gallery 11. Sky Plaza 12. Storage for Sky Plaza DN DN DN UP FIRST FLOOR PLAN 1 2 3 6 7 8 9 1011 12 12 4 5 46

1 1 25.4.3.2.1.FIRSTGROUNDBASEMENTFLOORFLOORElevatorsCargoLiftsMechanicalRoomFireControlUnitGenerator 6. Meter Room 7. AHU 8. Fuel Tank 9. 5000 G Water and Septic Tanks 10. Motorcycle Parking Vehicular Circulation Elevators’ Connectivity Cargo Lift’s Connectivity Stairs’ Connectivity 3 4 56789 10 47

Entrance from the other end of the community centre (F9 Sector), is marked by a threshold, which is also an exhibition space inside a cantilevered glass volume sup ported on pilotis. A flexible open space under this volume joins the plaza.

As the corridor-like street opens up into a public square, the program changes from a commercial street and food eateries to a space for social activity, rest and Therelaxation.water body and trees create a cooler micro-climate. The view from glass boxes opens up into this plaza. 49

The mosque, masjid in Arabic, is the Muslim gathering place for prayer. Masjid simply means “place of Designedprostration.”with the intention of capturing the historical premise of a mosque as a communal space for worship, the campus mosque will function as a gathering place for the student body and faculty. It will act, not only a space for social gathering, but also as an architectural embellishment for the campus. The Prophet1 (peace be upon him) said: The closest that a servant is to his Lord is when he is in prostration. (Muslim). Keeping this prospect in mind, a spatial shift is created that gradually takes worshippers from the hustle bustle of university to the serene space of worship through evolution of spaces. A journey of transcendence before ultimately standing in prayer before DerivingGod.inspiration from the Night of Isra2 and Miraj, the mosque is divided into 7 distinct spaces. From the mighty porticoes to the vast, liberating sehn3, and then the main prayer hall, marked by a water body at the entrance. Light is incorporated as both a physical component and a spiritual element in the design of the mosque.

1 Prophet Muhammad (p.b.u.h), the founder of the religion of Islam

2 The Isra and Miraj are the two parts of a Night Journey that, according to Islam, the Prophet (p.b.u.h) took during a single night around the year 621. Within Islam it signifies both a physical and spiritual journey.

2017SPRING|YEAR3RD|STUDIO-IIIDESIGNARCHITECTURAL

Emphasis on natural light is created through skylights and calligraphic screens fitted in multiple walls.

The ancillary functions such as the multi-purpose hall, the library and other miscellany are integrated in the projections that stand out of the overall longitudinal axis of the mosque. Permeable pockets of soft scape act as extensions of the immediate space, for post-prayer socializing. Perhaps the most striking quality of the mosque is its intricate interplay between moments of delicacy and monumentality, between glimpses of chaos and simplicity. Careful decisions about scale and perspective can project an imposing yet welcoming Thepresence.mosque echoes the spatial simplicity of a conventional mosque, contrasting with the chaotic play of masses on the outside — a type of retreat from the harsh elements of the material world.

Location: existing site of mosque in NUST Programme: mosque Size: 1050 sqft Type: academic, individual project

ARCHITECTURESACRED

3 Sehn or sehan, an Urdu word meaning courtyard or a patio

The place that Solomon made to worship in, called the Far Mosque, is not built of earth and water and stone, but of intention and wisdom and mystical conversation and compassionate action. (Rumi)

51 The journey of Isra and Miraj, mapped to show the occurrence of major events during the journey. Considering the importance of this night when the order of prayer was given for Muslims, different acts and events are extracted from the journey that form a basis for the concept of the mosque.

Angle Gabriel came to the Prophet Muhammad (p.b.u.h) and then he travelled from Makkah, Al-Haram Mosque to Al-Aqsa Mosque in just a second on the Buraq, a white beast which is larger than a donkey and smaller than a mule.

Miraj, in Arabic, means a ladder, to ascend. From the dome of rock, he ascended to the heaven (first layer of the sky and end of the known universe). Gabriel then asked the (gate of heaven) to be opened, where Prophet Muhammad (p.b.u.h) was warmly welcomed and greeted by the gatekeepers. Levels and steps throughout the mosque lets the visitor rise towards their final destination. Before starting the journey, Angle Gabriel took Prophet (p.b.u.h) to the Ka‘bah. Here he opened Prophet’s (saw) chest and washed it with Zamzam water, removing all doubt, and ignorance. Then he brought a golden tray full of wisdom and faith, and poured its contents into his chest, then closed it. Ablution provides both physical and spiritual ‘purification’ before communicating with God. He (p.b.u.h) continued to ascend the layers of sky with Gabriel. Again, permission was sought to enter, and the angelic guards were delighted and welcomed the Messenger of Allah (p.b.u.h). At the second sky, he met the maternal cousins, Prophets John and Jesus. Prophet (p.b.u.h) continued to ascend, seeking permission at each sky to enter. Every time the angelic guards received and greeted him (p.b.u.h) warmly. At the seventh sky, the Prophet (p.b.u.h) met his greatest ancestor, the Prophet Abraham who was reclining his back against al-Bait al-Ma‘mur. Bait al-Ma’mur literally means ‘the much-visited House’. It is the heavenly Ka‘bah directly above the one on earth. The mosque is divided into seven parts analogous to the seven skies. The visitor follows a path, a journey, from the moment he enters the mosque until he finally reaches the spot where he stands in prayer before God.

The Prophet (p.b.u.h) carried on his journey, reaching the Furthest Lote Tree. The Arabic word for this is Sidrah al-Muntaha. There ran four rivers, two were hidden, which were in Paradise. And two were visible, which were the Nile and the Euphrates, told Gabriel to Prophet (p.b.u.h). At the end of this journey, the Prophet (p.b.uh) was brought into the Divine Presence, the ultimate source of strength and relief. It was here that God gave this people the gift of compulsory prayer, a daily source of strength to Muslims because it gives them the opportunity to communicate with God and draw closer to Him - it is the believer’s ascension! Finally, the Prophet (p.b.u.h) was taken back down to the Blessed Masjid Al-Aqsa and returned to Makkah on the Buraq. A green courtyard with water marks the entry point to the main hall where prayers are conducted. It is believed that Prophet (p.b.u.h) saw the Almighty as Divine Light. The mehrab is lit naturally in the main prayer hall. Mehrab is a semicircular niche in the wall of the mosque that indicates the qibla, the direction which Muslims face when praying.

52 Form Development Study model developed while playing with different proportions and ways of jux taposing 7 layers together. Positive and negative spaces are consciously created to form thresholds. walkways, habitable spaces, covered and uncovered spaces etc. Slicing a rectangular volume into 7 layers Creating a difference of height to adapt to programs.the As well as to create a play on the sensory experience of the user. Pushing and pulling the volumes side ways to create pockets of spaces for seriesallowingwalkwayIntroducingfunctions.ancillaryacentralthroughthemainspaces.Creatingavoidforvisualaccesstothesurroundingsandsunlightinside.Ultimately,achievingaofmulti-heightedthresholdsandvolumeshousingthemainprogramsofthemosque. 0504030201

Zoning starts by marking the primary and secondary access points on the site and existing building. In accordance with those and factors like views, the primary and secondary axis are established. Then, the programs are introduced. Programs are then morphed according to the requirements of the mosque and factors on site.

The sensory experience and aura of the mosque intended for the user to experience is depicted through collages of different themes. The first one shows tran scendence, spiritual and physical.

The second focuses on the act of prayer, connection of man on the Earth with the God above the skies.

55 In this collage, the theme of the previous one is extended. The user’s experience evolves as the spaces unfold and unravel, as the journey to the final destination goes on.

The third collage hints towards the idea of portals and realms. An experience that evolves as one passes from one threshold to another.

Parking Open Ablution Area Rumi Hostels Block 1 Admin Block Parking RIMMS MicrowaveResearchAdminParkingBlockInstituteforandMillimeter-WaveStudies(RIMMS) 56 Site and master plan Access Points Level 0’ - 0” Level 4’ - 0” (Patios in water bodies) Primary Circulation Level 1’ - 6”Secondary Circulation

57 Soft-scape Hard-scape Water BodyLevel 3’ - 6”

1. Entrance Porticoes 2. Shoes Changing Area (unclean zone) 3. Ablution Units 4. Wash rooms 5. Multi-purpose Space 6. Library 7. Water Courtyard 8. Main Prayer Hall (men) 9. Women’s Area Lobby 10. Prayer Hall (women) 11. Imam’s Residence 12. Imam’s Office 13. Utility Room 14. Audio Room 15. Sehan (open prayer court) 59 Ancillary spaces uplift the social aa environment around the mosque making it a place of rest and relaxation outside the prayer timings for the students and staff of the university. The staggered volumes create aa pockets of green spaces, accentuated with materials that create a calming ambiance. They become spaces of social interaction as well as relaxation.

Main prayer hall also holds a mezzanine floor which acts as a separate area for women to pray. It is open and airy with a view looking out towards the university’s landscape, unlike most women’s prayer areas elsewhere that don’t enjoy the same features as the rest of the mosque.

Main prayer hall lights up as light filters in through the metal screens as well the slit window lining its ceiling, creat ing a surreal mood inside.

It is preceded by stone steps, surrounded by water and trees on each side. This not only creates a fresh environment for the users but also keeps a cooler micro-climate.

The same metallic screen is repeated here, like the rest of the mosque. Light filters in through the jaali, casting shadows inside the mezzanine as well.

The longitudinal section shows how the concept is incorporated in the overall building form and programs. Divided porticoes. Auxiliary programs such as the imam’s residence, library etc. are situated on the sides of the space, leaving green spaces are also situated on the sides. At one point, the building is broken by a water body to provide a breather the Prophet (peace be upon him) on the 7th stage, during his journey of accession. The main prayer hall is where the

LibraryWater BodyWomen’s Prayer AreaPrayer Hall Steps from the sehn lead towards the main prayer hall, with the library situated on one side of the space.

The building is punctured by a courtyard on each side and stone steps between a body of water.

Right above the main prayer hall, a mezzanine floor is situ ated. Light filters in through the screens, casting shadows inside. This marks the end of the journey.users’

The sehn acts an open when the number ablution areas on each before proceeding

PorticoesEntranceShoe Changing Area Sehn (Courtyard) open air extension of the main prayer hall of people increases. It is flanked by the each side, so that the people become pure proceeding further into the mosque. Shoes are taken off as people transition into the clean zone of the mosque. This is where the users’ journeyspiritualbegins.

63 Divided into 7 distinct spaces, the building entrance is marked with mighty leaving a clear thoroughfare in the middle for the users. Furthermore, pockets of breather from the long corridor. This also mirrors the garden and rivers encountered by users bow down God to pray and their spiritual journey comes to an end.

The predominant architecture of NUST is little inspiring, to say the least. However, the campus itself has a lot to offer in terms of landscape and views, as well as being quite pedestrian friendly. That not withstanding, finding a comfortable and inspiring place that allows socializing with friends, studying, contemplating or simply pulling back from a hectic academic day, while at the same time providing shelter from the elements, is a rather difficult Thereforeundertaking.alounge is designed, on one of the sites chosen from the range of areas scattered across the campus. The design of the lounge is informed by two aspects; one, the surrounding landscape and the prevalent distinct views of the specific location. And two, a personal touch, incorporated by the designer to accommodate themselves and to cater to their friends’ needs as well.

HANGOUTTHE 2015FALL|YEAR2ND|-ISTUDIODESIGNARCHITECTURAL

As the seasons change, the”mottled light shifts and plays across the ruins,” creating a peaceful ever-changing environment.

Type:Size:entertainment1050sqftacademic, individual project

The formal design is to be based on one of the platonic solids; the tetrahedron, the cube or the octahedron. After choosing the tetrahedron as a starting point, multiple techniques of subtraction, addition, multiplication, scaling, mirroring, etc. are applied to morph it and arrive at a final form. This process is informed by the recognition of various concerns: landscape and immediate context of and surrounding the site, the program and ergonomics.

(Peter Zumthor, about the play of light in his Kolumba Museum, Germany; one of the precedent studies for this project)

Location: area of choice within the university campus Programme: a small student lounge for relaxation &

030201FINAL FORM 04 Form Development

66 Creating a void inside the solid Increasing the void in size Introducing secondtetrahedronanotherfrombelowIntroducingatetrahedronfromtheside Multiplying the first tetrahedron to extend into secondHollowingsupportsoutthetetrahedron

The final form achieved is a tetrahedron tilted to one side, supported on three smaller tetrahedrons on their points. These supports will make the lounge sit on the site in a delicate manner, balancing out its big Theymass.willbe further morphed according to the program and external factors on site.

The tetrahedron is experimented with by placing it in various positions, Ultimately choosing one which acts as the base model for further manipulation and iterations.

Using sketching as one of the tools, further ideation is carried out, adding fenestrations, supports, entry points etc., moving towards a more habitable, practical and structurally sound form.

Uplifting the lounge on supports creates a passage way for the strong winds, also doubling up as a gathering space.

The landscaping under and around the lounge follows the same lines of inquiry. The hard-scape directly below the lounge, forming an outdoor room, transitions into a softer, greener terrain.

Facing South, the window frames the large tree. The lounge is sheltered from harsh direct sunlight by the perforated wall, while allowing the petrichor to trickle in. The balcony acts as the perfect place to witness the sunset.

1. University Mosque 3. AEC Building 5. Boys Hostel 2. Research Institute Building 4. Concordia 2

The site sits in a very opportune location, easily accessed via a series of pathways. It is well connected to the cafe in the East and the hostel in the South-West side, allowing the students to come by with convenience. The large amount of greenery and undulation in the terrain allow for a beautiful use of the environmental factors in the planning, as shown in the sketches. The lounge is orientated on the site in order to take full benefit of the external factors. Each side is exposed to a unique intangible, natural element according to which the placement of entry points, fenestrations etc. is decided.

SITE 1 2 3 4 5 5 N 67

The lounge is perched onto the site in accordance with its contours. The tree providing optimum shade and the petrichor coming in from the rocky hills near by create the perfect atmosphere for a hangout. A series of smaller tetrahedrons, varying in scale and form scattered across the terrain provide outdoor seating.

The ledge that opens up from one of the walls of the lounge creates just the right kind of informal seating that one needs to admire the sunset. The role of the supports extend further as they house other programs within themselves such as circulation via the staircase and a wash room.

Section A-A sketched out here shows the stairs leading to the main lounge area. The roof of the wash room acts as an elevated seating area, adding variety to the sitting spaces. Looking out towards the south-west is the open seating ledge, where the students can enjoy the sunset.

Interior sketch here indicates how one of the supports on the south side doubles up as the stairs and main entrance to the hangout. The west corner is exaggerated to create a room that houses the bathroom.

Main lounging area in the north-east entails a multi-purpose depressed seating area.

Plan view shows all three sides of the hangout and their immediate context outside. Smaller tetrahedrons open up and pan out towards the north, merging with the land scape. They connect the hard-scape under the hangout with the soft-scape of the surrounding greenery.

The entirety of the lounge is visible here with the jaali wall casting subtle shadows inside as everyone enjoys socializing together. Perched precariously on the contours, it is as if it emerges as a tetrahedron from the ground, transforming into pockets of useful spaces as it rises towards the sky. Each element of the building doubles up for more than one use, uniting the design together.

Mood of the lounge depicted through sketches, showing the light infiltrating through the intricate screen on one wall and the play of shadows as sunlight filters in through leaves from the window.