Ammar YASSER MOHAMED Faculty of Fine Arts Architecture Works
2020 - 2021
2
AMMAR YASSER MOHAMED ELSAYED Email ammaryasser27697@gmail.com Mobile 01147791424
Educational qualification 2014-2015 Graduated from patriarchal College Heliopolis (ex. Freres) 2015-2020 Graduated at Faculty of Fine Arts, Architecture department, Helwan University, Cairo, Egypt
Academic Performance Overall Grade V.Good Graduation Project Excellent
Skills Computer
Microsoft Office AutoCAD Revit Rhinoceros Grasshopper: Beginner SketchUP Vray Adobe Illustrator Adobe Photoshop Adobe InDesign Adobe Premiere: Beginner
Languages
Arabic (native Language) English French (Delf B2)
Workshops 2017 Real City Lab: Alda(her)itage :Old Buildings. 2018 Real City Lab: Rediscovering Nile Delta Hands on Earth and Reed workshop. 2018 Umar international workshop : “Vers une lecture renouvelée des architectures de montagne du Sud tunisien”. 2019 the Bauhaus Summer School 2019 Thinking - Making : Architecture as a cognitive and physical expression
Competitions 2017 Arquideas: MUSEUM OF THE ANCIENT NILE 2018 120 Hours: Room for communication 2019 UNI Competition (Editors Choice)
Training 2016 summer training at Arab Constructors 2017 summer training at Arab Constructors
3
CONTENT Mixed Used Tower
1. ACADEMIC PROJECTS
Babel Tower
Graduation Project Multimedia Library
Page 38.
Faculty of Fine Arts Renovation Page 6.
Atemporality
Cube House
Life out of Geometry Page 54.
Residential Towers Tree Rings
Page 24.
El Daher Cultural Centre Historical Fragments
Page 46.
Page 30. 4
3. RENDERS
El Gamaliya Craft Centre Pots
JAPANESE GARDEN Landscape
Page 60. Page 76.
2. COMPETITIONS
SCANDINAVIAN CO WORKING SPACE Interior
Page 78.
UNI Competition
4. LOGO FOLIO
Transcendence
Page 80.
5. DRAWINGS Page 82. Editors Choice
Page 68.
120 Hours Competition I am Present
Page 72.
5
GRADUATION PROJECT Multimedia Library
6
2019 - 2020
7
Introduction “At the moment when the electronics revolution seems about to melt all that is solid – to eliminate all necessity for concentration and physical embodiment – it seems absurd to imagine the ultimate library” Rem Koolhaas – Tres Grand Bibliotheque The objective of the project is to explore the relevance of the traditional library in its physical form in the digital age and reestablish the library as a symbol of the collective wisdom and knowledge of society. The advancements in technology and the development of the different types of media has freed the knowledge from the monopoly of the book and established a new equality within the means of communication. The ambition of the project is to exploit this new freedom by incorporating the different forms of cultural expression into the body of the traditional library to create a sort of a culture condenser where this different forms of media would interact and produce some unexpected results; Thus, the cultural institutions would move towards a hybrid entity.
8
Theme Park The project is inspired by the perception of the library as a place of wander and discovery, which is perceived beyond its limited physical existence but rather its virtual existence, as an infinite space that exists in atemporal state. It does this by comparing a library to a theme park The building denies homogeneity and foster diversity and focuses on the dense architectural environment by juxtaposing different architectural experiences that in itself reflect in an abstract way the diverse nature of the virtually dense library space. The goal is to approximate the library to the theme park, with different feelings and different experience at each corner. This culture of density and juxtaposition is a product of the digital revolution. Thus, the project is a traditional library conceived with digitally inspired architectural thinking.
9
السياق العاصمة اإلدارية موقع متميز لبناء المشروع ،وذلك ألنها بداية لتشكيل هوية جديدة مما يعطى قدر كبير من الحرية للتعبير المعماري بدون قيود تاريخية أو جغرافية وعلى هذا فالسياق المعماري للمشروع معظمه تصورى فالعاصمة اإلدارية في طور اإلنشاء ،فالواضح من الصور الدعائية والرسومات التخطيطية أن التشكيل المعماري المحيط بالمشروع يعتمد على مبدأ الصورة والتسويق واأليقونة وقد أثر ذلك على المشروع باألخص مع نوعية المبنى كمكتبة « فالمكتبة عبارة عن مبنى ينظر إلى الداخل وليس إلى الخارج » ،فهي ليست بالمبنى الذي ينظر إلى المدينة ولكنها مبنى يحوى بداخله الجانب الثقافي للمجتمع ولذلك فتصميم المبنى يعتمد على التشكيل والتوزيع الفراغي الداخلي والتجربة الفردية للزائر ،وليس على خلق صورة معمارية أيقونية بعكس السياق المحيط به مما يعطيه نوع فريد ومختلف من الجاذبية
Site The proposed site is situated in the investment zone in front of the Expo City and near the New Cathedral; two very important attraction points. It also sits at the intersection n of three main transportation routes: 1. Bus Line 2. Metro Line 4 3. The Monorail
10
المكعب األبيض االتجاه لحل احتياجات المكتبات والمعارض والمتاحف عن طريق المسقط األفقي والفراغ الواسع المرن الذي يتقبل أي نوع من التغيير ،وخلق عمارة محايدة وبسيطة وترك األنشطة داخل الفراغات تعبر عن نفسها ،يبدو كحل ملهم وعملي ومعبر، ولكن أعتقد أن هذا النوع من المباني قد استنفذ وال يستطيع تلبية الحاجات المعاصرة لذلك أعتقد أنه يجب الوصول إلى اتجاه للتعامل مع هذه األنشطة يذهب إلى ما بعد المرونة القصوى والمسقط األفقي المفتوح ،على األقل إلعادة شرعية هذه النوعية من المباني وأهمية وجودها المادي
المصفوفة
توزيع المشروع كالمصفوفة فى تفاعل الهيئات الهندسية مع أنشطة البرنامج إلنتاج تجارب مختلفة على المستوى األفقى للدور والمستوى الرأسى للهيئة الهندسية ،فعلى المستوى األفقى للدور الذى يضم نشاط واحد تتم ممارسته في تجارب فراغية مختلفة ،وعلى المستوى الرأسى للهيئة الهندسية تبعا الواحدة يتم تجربة الفراغات المتماثلة في سياقات مختلفة ً ألنشطة البرنامج في كل دور
11
Exterior View
X-ray View 12
عناصر المشروع .السائد فى العملية التصميمية هو وضع المستخدم فى تجربة سردية للعمل المعمارى يتصورها المصمم مما يعطى عدد محدود من األحداث المعمارية ولكن العملية التصميمية لهذا المشروع قائمة على مرحلتين :أولها تصميم مجموعة من العناصر المتباينة والمستقلة ،وبعدها تراكب وتداخل هذه العناصر ونتيجة تفاعلها معًا تعطى العمل المعمارى عددًا شبه النهائى من األحداث التي يستكشفها كل زائر على حدا مما يعطى حرية فى استكشاف المبنى وخلق .سيناريوهات مختلفة وإدراك سردى للعناصر المختلفة يتعدى تصور المصمم نفسه الهيئات الهندسية .هى هيئات هندسية متباينة تضم تجارب معمارية مختلفة برنامج المشروع .توزيع األنشطة المختلفة بشكل رأسى بحيث يضم كل دور نشاط محدد العناصر المعمارية الدخيلة .تعمل كوسيط بين الهيئات الهندسية وأنشطة البرنامج المعمارى الغالف غالف المبنى المستقل عن وظيفته الداخلية والذى يعطى تعبيرًا رمزيًا
Articulation Circulation + Services
Geometry Main Spatial Configuration
13
Supermatism Intruding Spaces
Program Activities
Building Parts Dividing the building to separated parts gives a room for the light to reach the centre of the building in addition to enhancing the visual accessibility between the different activities of the program, thus, fostering Happy Accidents and Serendipity
14
Envelope The challenge of designing an autonomous envelope that represents a diverse architectural work is in its lack of a consistent identity. Therefore, the exterior skin works as a symbolic representation and a continuation of the function of the building (a library, museum and art gallery) for display. The building outer shell functions as an extra space for display and as a reflection of the diversity within the building. The envelop relies on the juxtaposition of different faces; each displays a unique aspect of the project
Billboard Face A Display Face
Pragmatic Face A white neutral faรงade that consists of purely functional openings to let the light in without any form of ornamentation or aestheticization.
Sustainable Face 1. Wood Louvers 2. Green Wall
15
Gift Shop The architectural thinking from the perspective of marketing as part of the design process, which is in line with the philosophy of the virtual context in the architecture of the new administrative capital which based on the branding, image and marketing perspective. The Souvenirs represents the interior Components of the project.
Cube House Static Enfilade Semi Connected Spaces The cube is divided into a number of smaller equal cubes; the plan is a strict grid dividing the space into equal parts; imposing extreme order. The space resembles a maze which evokes feeling of wander, surprise and discovery
Babel Tower Dynamic Corridor without rooms Connected Experience and sequential The form takes inspiration from the image of the tower of babel as a symbol of unified humanity that speaks the same language. The circulation is along a spiral ramp that expresses continuity and sequential experience
16
Isolated Pods Separated Isolated Autonomous It consists of six isolated towers that takes the form of autonomous pods. It fosters the feeling of isolation, separation and introspection
Floating Spaces + Steps The floating geometric spaces expresses the aspect of imagination, wonder and free thinking untied and unlimited.
17
Supermatism The intruding surfaces helps adapt the main special configuration to each function and activities of the program. It is introducing disturbing the harmony of each part of the building by intruding a new special experience. The surfaces can be walls, Slabs or ramps and each play a different role depending on “the Context�.
Supermatism is an art movement focused on basic geometric forms, such as circles, squares, lines, and rectangles, painted in a limited range of colours.
The Cube House Separated strictly ordered semi closed spaces The intruding surfaces introduces open spaces that disturbs that order The Spiral Ramp Continuous dynamic space and sequential experience The intruding surfaces introduce closed static spaces
18
Supermatism Index 1. Display Wall Exhibition - 4th Floor 2. Open Space Music Library - 3rd Floor 3. Arcade Entrance - Ground Floor 4.Reading Steps Music Library - 3rd Floor
1. 2.
5.Listening Rooms Music Library - 3rd Floor
3.
1.
6. Bridge + Display Wall Exhibition - 4th Floor 4.
7. Display Wall Museum - 5th Floor 8.double Height Exhibition Room Exhibition - 4th Floor
6.
5.
7.
9. Pedestal + Display Wall Entrance - Ground Floor
10.
10. Skeleton Exhibition - 4th Floor 8.
11. Reading Area Library - 1st Floor
9.
12. Display Wall Music Library - 3rd Floor 13. Stairs Entrance - Ground Floor
13. 12. 16.
11. 15.
14. Reading Area Library - 2nd Floor 15.Bridge Terrace - 6th Floor 16. Book Steps Library - First Floor
14.
18. 17.
17. Restaurant Terrace - 6th Floor 18. Listening Stations Music Library - 2rd Floor 19. Open Space Music Library - 3rd Floor
19.
21. 20.
20. Display Wall Exhibition - 4th Floor 21. Vinyl Shelves Music Library - 3rd Floor
19
20
Ground Floor Entrance
First Floor Library
Forth Floor Exhibition
Fifth Floor Museum
Second Floor Library
Sixth Floor Terrace
Third Floor Music Library
Roof
21
Sections
22
Front Elevation
Side Elevation
Side Elevation * The Tower of Babel, 1563 by Pieter Bruegel the Elder 23
Cube House / Life Out of Geometry Year 2017 Program House for an artist Software Sketchup, Photoshop, Illustrator
24
*Reptiles (M. C. Escher)
Cube House House for a painter
“A building has at least two lives - the one imagined by its maker and the life it lives afterward - and they are never the same.� - Rem Koolhaas The project manifest the difference between Humans attempts to impose order and the chaotic nature of life that takes place eventually . Order: The cube appears as a monolithic structure against the natural typology of the site; it is divided into 24 smaller cubes, the plan is a strict nine square grid dividing the house into equal spaces. Life: the different life aspects are illustrated through famous classical paintings depicting scenes of everyday life and it is also expressed by the unplanned necessities of modern day life that appears as parasites on the exterior of the building.
25
Isometric
Terrace
Garage
Studio 26
Dinning Room
Staircase
Plan
Section 27
Shots 28
Drawings 29
El Daher Cultural Center / Historical Fragments Year 2017 Location El Zaher, Cairo ,Egypt Program Culture Center Software Rhino, Sketchup, Photoshop, Illustrator
30
* Dropping a Han Dynasty Urn, 1995 (Ai Wei Wei)
Fragments The project is a distorted reflection of heritage, that aims to question our relation with the past. A Cultural Centre Located In Front of Al Daher Bebars Mosque, an important monument of mamlouki Architecture of the islamic era in Cairo. The project initiate a dialogue with the mosque and acts as an authentic representation of our contemporary cultural status.
31
The building consists of an empty structural frame of an absent ancient building in which the only visible parts are fragments of architecture of the Islamic era in Cairo that functions as mere decorations. A collage of Islamic architectural elements
32
-CONTEXT-
1.
Cairo Map : ELDaher Mosque
2.
1. Project Location 2. El Daher Mosque
33
-FRAGMENTS-
Mashrabya
One of the major purposes of the mashrabiya is privacy, an essential aspect of Arabic culture. From the mashrabiya window, occupants can obtain a good view of the street without being seen.
DEAD END ENTRANCE
Leaning Minaret
A minaret is a feature of Islamic architecture and is the place from where the call to prayer is sent out. It is a tall, slender tower pointing to the sky that is a significant feature of every mosque.
Inverted Merlons
A decoration on top of roofs and it symbolizes the connection between heaven and the earth
34
Floating Dome
Domes were built on top of mosques so that they would be above those observing prayer like the Heavens above.
Fragments Elements of Islamic architecture representing the superficial relation to the heritage
Empty Structure the presence of the past symbolizes the lack of the substance
The Program
The historical Hall
Identyless forms representing our present statues
buried underground
Isometric Bism Allah EL daher cultural Center
Kufic is the oldest calligraphic form of the various Arabic scripts. and is most commonly used in Islamic architectural decoration
35
2. 3.
Ground Floor 1.Library 2.Cinema 3.Administration
1.
2. 3.
First Floor 1.Library 2.Classes & Workshops 3.Administration
1.
Basement Floor Historical Hall
36
3D
facade: collage of Islamic architectural elements 37
MIXED USE TOWER / Babel Tower Year 2018 Location Cairo, Egypt Program Mixed Use Software Rhino, Vray, Photoshop
38
* Dropping a Han Dynasty Urn, 1995 (Ai Wei Wei)
Billboards have invaded Cairo urban scene. the project takes inspiration from this phenomenon of merging architecture and advertising , so the billboards are not just part of architecture but the architecture itself. the form takes inspiration from the image of the tower of babel as a symbol of a unified humanity that speaks the same language (brands).
39
BILL BOARD Light
Interior Stores $$
The billboard openings changes gradually to create different feelings from an isolated space with less light to a more open and brighter one.
View
Exterior Ads.$$$
DE TAIL 600 km of Advertisements
40
400 m2
Formal Fashion Stores
140 m2
Sport Fashion Stores A scene of Cairo street
350 m2 Perfume Stores
SPIRAL
The programs are laid in spiral form
180 m2 Hypermarket
200 m2
POGRAM
Casual Fashion Stores
Food court
450 m2
Hall
350 m2
CIRCULATION Interior Circulation Exterior Circulation Retail Vertical Circulation Office Vertical Circulation
Cinema
720 m2
41
ISOMETRIC The circulation is spiral alongside the continues billboard that forms the building, so shopping is inside an advertisement
42
Ground Floor
Second Cycle Plan
Ground Floor
First Cycle Plan
43
ELEVATION Billboards spirals on the building skeleton maximizing the advertisement space on the facade
44
SECTION
The section is composed of a Spiral Podium and vertical office tower
45
Residential towers / Tree Rings Year 2018 Program Residential + Retail Software Rhino, Grasshopper ,AutoCAD , Illustrator
46
* WoodCut Imprint (Bryan Nash Gill)
TREE RINGS The program consists of four residential towers with retail and public Spaces. The geometry of the towers is derived from the organic forms of tree rings (annual growth rings: Any of the concentric rings of the cross-section of a tree trunk, represents a year’s growth). The towers’ architecture is a visualization of the natural clock (passing of time) in a three dimensional space. Four distinct towers representing the life span of four different trees.
47
Shots 48
GEOMETRY The project is reliant on a natural approach from the organic geometry of the towers and the landscape to the use of natural elements such as water and material such as wood.
Tower 2
Tower 3
Tower 1
Tower 4
49
Master Plan 50
Typical Floor Plan
Typical Floor Plan
Terrace Floor Plan
Retail Floor Plan
51
Elevation
52
Section
53
Faculty of Fine Arts Renovation / aTemporality Year 2019 Location Zamalek, Cairo, Egypt Program Educational Software Sketchup, Illustrator
54
*Spatial Concept, 1949 (Lucio Fontana)
aTemporality The general idea of the project is to conserve the existing buildings in the site while intervening whether by adding to or removing from the existing buildings to improve the quality of the existing spaces and to provide new spaces. Those existing buildings have a little architectural and historical value; thus, by choosing to conserve them is to question the authority that dictates those values. These buildings are treated as artifacts that witness the passage of time and contains layers of meaning, so the aim of the intervention is to add to those layers and produce a richer architecture expression. The approach is neither to contradict or to duplicate the existing structure but rather to form a synthesis that create a much more interesting whole.
55
The additions are very minimal and resemble empty structures representing the act of construction, a building in the process of becoming; and in the incompleteness of these spaces is reference to the future. This juxtaposition between the past and the future gives the whole site a sense of atemporality where the past and the future exist simultaneously in the present.
Also, the process includes some transgression; by cutting through the architecture of the building. Those cuts (tagli) let more light in the spaces and make the spaces more open to the exterior, so the act of destruction becomes an act of liberation. By stripping some architectural elements of their functions – such as windows, stairs, walls – it becomes a mere artifact (architectural artifact) and we confront the boundary between architecture and art.
56
Ground Floor Plan
The height of the workshop is increased and reused as a gallery. A second empty floor was added as a VOID. The Interior Spaces were reconfigured as Workshops and Storage. Cuts were added to let in more light. New floor was introduced for staff offices. A CUT through the first floor was made to replace it with a void. A new bridge was added to link both building and to create an open space. A lift and a new staircase were also added to free more space inside the building. The Interior Spaces were reconfigured as Workshops and Offices. The ground floor was demolished to create an open area. A new structure was introduced to replace the sculptor old building as a new library. The existing building architectural features were reused in a different context. The synthesis of the old structure and the new one produces a much more interesting architecture.
57
Section C-C
Elevation A
Elevation B
58
Section B-B
59
Crafts Center / Pots Year 2019 Location El Gamaliya, Cairo Program Crafts Centre Software Rhino, AutoCAD, Illustrator
60
*Monro S. Orr, Illustrations for Stories from the Arabian Nights, Story of Ali Baba and the Forty Thieves
The project is situated in El Gamaliya in an area famous for traditional crafts mainly pottery. Crafts centre including workshops for the artisans in addition to residential units and an exhibition space and a library. the project draws inspiration from the craft of main users (pottery) in its unique form and texture and decoration methods to create a distinct architecture.
61
62
Village Instead of housing the main activities in one building the program is distributed on a number of independent units (40 pots) each with its unique character expressed through a unique geometry and decoration reflecting the individuality of the artisans’ works. The units are penetrated by passageways and greenery; turning the project into a micro village.
Sketch 1.
Concept : Inspiration from The tale of “Ali Baba and the Forty Thieves”
Sketch 2.
Development on the idea and the Forms of the units
63
Pots
Residence Unit
Workshop Unit
Exhibition Ground Floor Plan
Section
Elevation
64
Exhibition Unit
Workshop Ground Floor Plan
Retail Unit
The form of the unit depends on the function which produces 4 types of pots containing four types of activities
Residential Unit Ground Floor Plan
Residential Unit First Floor Plan
Master Plan 65
1. TRANSCENDENCE UNI Competition (Editors Choice) 2. I AM PRESENT 120 Hours Competition
66
COMPETITIONS
2.
67
Editors Choice
Transcendence Competition Di - Generic Cities: Tokyo / UNI Competitions Year 2019 Software Rhino, Vray, AutoCAD, Photoshop Transcendence.. Is an attempt to capture the city from an alternative perspective, or a set of perspectives. Following the narrative of three characters, moving from the perception of the city, to the transformative experience of the building reaching for the final conclusion of each of the three characters in their search for transcendence.
68
A Dialogue. In my quest of understanding the city, I had to engage in an authentic dialogue with it, with its spaces, & architectonics; bridging the poles of thought and sensation.
A placeless place. It was neither Utopic nor Dystopic, it was rather a heterotopic place. A Space where things are different. A collage of spaces that have more layers of meaning than what immediately meet the eye.
You start with basic cognition. Moving from purely materialistic perception of the city, to traversing pure geometrical sensuous spaces, reaching out for pure concepts of understanding. A transcendental schemata.
A path & process through which new experience is assimilated to and transformed by the residuum of a lost past to form a new whole. Same as the person who’d traverse it.
Creating a place where the emphasis is on being there. How to break the generic aspect of the city? How to blend in the experience of time, the experience of space, the experience of material to achieve mindfulness through space.
A unity of form that systematizes the appearance as it is grasped; One that is understood along the way. Paralleling an understanding of one’s own purpose in place and time.
Passing the threshold into consciousness, A revelation.
...
69
Locked inside. Each in his own comatose island, a corner veiled in darkness amidst shimmering neon world. We were literally living within the glitches of a binary world. It seemed as if our perception of the world was lost in translation, following an algorithmic life, a world path that has already been set for us. Or so I thought!
Outside, same route, same path, taken by everyone, the world is generic, the same route is crossed by everyone, but when I was approaching this building my perspective was broken up to pieces, I was faced with multitude of paths, a choice I rarely had.
Into the stillness. Slowly, then all at once, I was devoured by it, rough in texture, but elegant in form. Passing isolated volumes, losing all connection with the world I left behind. Not a sound, Not even a trace of the world is left, We are left with nothing but a single beam of light to adjust our compass to.
Transcendental tune, the walls started to break, as if the light was trying to break through, confusion and helplessness started to get replaced with curious desire to connect with some meaning.
“In the cherry blossom’s shade there’s no such thing as a stranger..”
Reaching out for meaning. Finding my way out of the labyrinth. Trusting one’s intuition to reach out for intangible meaning for this journey. Shedding light upon my once darkened world.
70
Disconnect to reconnect. Suddenly the boundaries of the space was blurred, Even time was blended in with the space. It was a moment of serenity in a loud shouting world. A Getaway.
“Having come to the end of the route, I was presented with an external view of infinity. Inside the space, we look for our own internal, personal infinity.”
A Question of tradition. How to capture the tenets of faith. How to materialize a centuries old dialogue that lasted between the people and their environment? Breaking away from a generic world.
One of the by-products of the digitization of everything is the steep rise in nostalgia for physicality. As more and more of our lives get vacuumed into the digital realm we’re increasingly likely to look for symbols that mimics the traits of a lost sensuous spaces.
One of the essential tenets you’d see captured throughout every transition across the building is the Japanese insight that reality is transient and evanescent, soon passing out of sight, memory, or existence, quickly fading out of view.
“The significance of the cherry blossom tree in Japanese culture goes back hundreds of years. The cherry blossom represents the fragility and the beauty of life. It’s a reminder that life is almost overwhelmingly beautiful but that it is also tragically short.”
Japanese architecture emphasizes transitional spaces, ‘En’ is the Japanese word for such transitional spaces, it means edge & connection, yet it also means destiny. It’s as if one’s destiny lies in the journey they take.
The circulation mimics the path one would take towards reaching one’s own nirvana. A Halo of light. An understanding of one’s position in such an alienating world. To simply transcend above its trivialities, find your own compass.
The answer seemed to have always been in imitating nature, creating spaces in the likeness of nature, true to its environment, planned in accordance with the site topography. & evoking a mood that’s honest to its context.
Light reigns. In a final act of intensified sensual experience of such light forest, accentuating sensual experiences blending together the
71
I am Present Competition 120 hours Year 2018 Software SketchUp, AutoCAD, Photoshop Digital communication puts too much emphasis on words.... mere scripts of real conversations ... striping it out of all the aspects of human interaction. Can communication exist in scilence?
72
By introducing the Screen to the conversation, we impose scilence. Scilence makes space for other asÂpects of human interaction to take place. Initiating a meditation on physical presence ...
Section
Plan 73
1. JAPANESE GARDEN Landscape 2. SCANDINAVIAN CO WORKING SPACE Interior
74
RENDERS
3.
75
JAPANESE GARDEN Software Sketchup , Lumion 8, Photoshop Year 2020
76
77
SCANDINAVIAN CO WORKING SPACE Software Sketchup , Vray Year 2018
78
79
LOGO FOLIO
4.
80
PLUS FIVE Handcrafts
FEKRA Kindergarten
SARH architecture Studio
AHMED SAMI DESIGNS
81
82
DRAWINGS
5.
83
84
85
Thank You
Email ammaryasser27697@gmail.com Mobile 01147791424 Cairo , EGYPT