Elaraby, Essam by Architecture@LJMU

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Essam Eldin Elaraby 2020 Portfolio

Master of Architecture / BA(Hons) Architecture Liverpool School of Art and Design 20202020 Portfolio Portfolio First First Name Name Surname Surname

‘About me’ I AM A 29 YEAR OLD ARCHITECT TO BE, IN THE VERGE OF COMPLETING MY PART 2 RIBA MASTER IN ARCHITECTURE. AND HOPEFULLY A FULLY ADCCREDITED RIBA ARCHITECT ONCE I DO PART 3. AFTER WORKING IN EGYPT FOR 3 YEARS AFTER GRADUATING IN 2015, I DECIDED TO TRAVEL AND PURSE THE PATH OF LEARNING ARCHITECTURE AND THE OF PRACTISING IT GLOBALLY AS THIS GIVES MORE DEPTH TO MY KNOWLEDGE AND HELP IN ENHANCING THE OUTPUT QUALITY. FROM MY HUMBLE VIEW I ARCHITECTURE SHOULD BE DIVERSE AS THROUGHOUT HISTORY IT HELPED TO GROW AND ARRIVE TO US AS WE KNOW IT THROUGHT THIS WAY. I AM A DREAMER, A PASSIONIST WHEN IT COME TO DESIGN BEAUTIFUL BUILDING AND HOPE TO GROW A CAREER AROUND IT. I SEE MYSELF AS A ACTIVE PERSON, CREATIVE WHEN IT COMES TO PLANNING A SPACE AND TRYING TO EVOLVE MY OWN VISIONARY AND ALWAYS HUNGRY TO LEARN FROM OTHERS AND SEE DESIGN FROM THEIR EYES AND SEE HOW I CAN LEARN FROM IT. THIS MADE ME LOVE TRAVELLING AND SEEING DIFFERENT DESIGN TECHNIQUES. BLENDING THE CONTEMPORARY, MODERN AND HERITAGE CULTURAL ARCHITECTURE AND READING ABOUT IT IS A PATH I WOULD LOVE TO START AND SEE HOW IT TAKES ME!

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Contents 1.

Thesis Project (Chester Riverside Culture Center)

Urban Design Project 2 River Dee Station Development, Chester )

Live Project ( The Turnpike Gallery)

Housing Project (use project option name)

Specialist Study (Uses of Colour in Architecture)

Urban Design Project 1 (use project name & location)

Curriculum Vitae

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4 squares format

Thesis intentions

-Re-Exploring the approach using context grid lines and surrounding important landmarks factors as the main driving force towards designing a building that adapts well to the site. -Understanding the role of geomery and clean lines with a strong language and regular forms in doing an abstract space that people can feel and relate to . - How culture and the geomertry of the site can affect peopleâ&#x20AC;&#x2122;s senses and approach towards architecture and arts, and can express themselves through the giht form pattern in a way to empahsize their culture. -Culture is not about buildings, but about the life and happenings between them and the opportunities such places and spaces create for activity and social interaction. A successful city establishes a sense of place â&#x20AC;&#x201C; determined by the surrounding physical environment, its history and the people acting out their lives in it today. By effectively defining, encouraging and investing in such a sense of place, culture and history people are drawn to live, work, study and visit. Please visit the link to see the proposed design walkthrough on youtube .

https://youtu.be/8ImwZFsShuE

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History: Originally chester was built as a fortress when the Romans were ruling. Protected by high wall from enemies, the siteâ&#x20AC;&#x2122;s location value is of not only heritage value but culture as well and adds t othe potential of it attracting visitors to see it from different perspective especially when it has intresting vista such as the river and the castle. Salmon fishing was famous in 1835 near the Old Dee Bridge until 1880 where Fishery Boards impose a restriction in fishing and licensing the fishermen

CHESTER FOUNDED 79 AD AS A ROMAN FORTRESS UNDER EMPEROR VESPASIAN

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William Smithâ&#x20AC;&#x2122;s (1588) plan of Chester

1938 map of Chester

Lavauxâ&#x20AC;&#x2122;s map in 1745: St. Martinâ&#x20AC;&#x2122;s Church area

Current Site in Contemperorary Chester

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Solid and void

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INITIAL MASTER PLAN DESIGN PROPOSAL

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Current SIte Uses

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Option A is prefered because it allows the edges to be shown which is the siteâ&#x20AC;&#x2122;s strength

Option B

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Context relation to concept

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USING CHESTER WALL AS A GATEWAY TO MY SITE

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AREAS AND ZONING RELATION TO EACH OTHER WITH THE USER

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BASEMENT FLOOR PLAN (MASTER PLAN) SCALE 1-200

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3D Basement FLOOR Plan

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GROUND FLOOR PLAN (MASTER PLAN) SCALE 1-200

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3D Ground FLOOR Plan

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FIRST FLOOR PLAN (MASTER PLAN) SCALE 1-200

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3D First FLOOR Plan

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AXNOMETRIC

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HORIZONTAL CIRULATION IN YELLOW CITING THE MOVMENT OF PEDESTRIANS FROM THE STREET AND CONTEXT WITH THE BUILDING RELATIONSHIP.

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THE COLORED SPACES SHOW HOW THE EXHIBITION SPACES, AND CORRIDORS CONNECT WITH EACH OTHER. ALSO EMPHASIZES ON THE HORIZONTALITY OF THE THEME OF THE DESIGN.

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Above shows how the Building blends with the context ( Grossvenor Bridge ) ...Respecting theHORIZONTALITY of the context lines appearing as one

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3D SHOTS

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IN YELLOW , RIVER DEE, CHESTER WALL AND THE MAIN TRAINLINE FROM CHESTER TO WALES BRIDGE IN THE BACK OVER THE RIVER 2020 Portfolio First Name Surname

THE RACE-COARSE IS ONE OF THREE MAJOR CONTEXT LINES WHICH IS WHY THE BUILDING IS ORIENTED TOWARDS HORIZONTALLY

Urban Context: Material and Massing

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Sequintal Serenity (Approaching Visual Experince ) and Vistas

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Urban Context: Material and Massing

MATERIAL INTENDED FOR USE IN LANDSCAPE AND ELVATIONS : RED SANDSTONE WHICH IS LOCATED LOCALLY IN CHESTER AND IN ITS CONTEXTUAL DEEP GEOLOGICAL LAYERS; GIVING MORE REASON TO USE IT NOT JUST FROM A HERITAGE VALUE BUT AN ENVIRONMTAL ONE AS ITâ&#x20AC;&#x2122;S SOURCED

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Sequintal Serenity (Approaching Visual Experince ) and Vistas

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ENVIRONMENTAL

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STRUCTURE REPORT

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Urban Design Project 2 - RIVER DEE STATION DEVELOPMENT Essam Elaraby - Nurul Aisyah Ibrahim - Zamira Zulfikri

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Live Project : The Turnpike Gallery

Student team Jesse Barnes Srushti Bhosale Essam Elaraby Emma Fitzpatrick Rhiannon Graham Adam Hardman Adam Williams Project Tutor Jamie Scott

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Director’s Foreword This project comes at a pivotal moment for The Turnpike. Since taking over the space in 2017, we have reinvented and reinvigorated this former local authority art gallery; establishing a high-quality programme of contemporary art and developing a groundbreaking community engagement and cultural education strategy. As we approach the halfway mark in a five-year plan to develop the gallery into a sustainable and vital cultural asset for the region, we are seeking greater capacity to expand both the ambition of our programme and our core team of delivery staff. The gallery remains very close to its original 1971 design which often presents challenges in terms of storage, exhibition preparation, staff areas and community use. We therefore welcome this fresh perspective on our spaces as well as the exciting prospect of developing the defunct flat roof space: since the original plans for building a performance space was scrapped in 1971, the roof has never found its true purpose. We’re delighted to work with LJMU students at this crucial moment in the organisation’s development and have been impressed by their approach to both problem solving and articulating the Turnpike’s vision. Helen Stalker – Director, The Turnpike

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Location

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PROPOSAL

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3.1.3 Security Removal of Canopy is the simplest and most cost effective way of reducing unwanted access to the roof

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Fire stair can be clad in a smooth metal screen, acting as a billboard or permanent location for the display of artwork.

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3.2 Phase 2 Initial ideas

Rooftop cinema _ Community use of space _ Stepped seating

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THEMES As part of the rooftop refurbishment there will be a garden introduced into the space. This rooftop garden could be used to extend an exhibition from AL & AL and other future artist exhibitions. The garden could be used to display pieces of work from the artists in a multitude of different ways. Initial discussions with Al & Al, for example, included allowing visitors to walk through a special Fibonacci inspired space which will house specific types of flowers such as sunflowers and daisies. The rooftop garden space at The Turnpike is not temporary for any one the exhibition; the ambition is to stay for the residents of Leigh and the visitors of gallery. This space will be used as a community gardening space to bring people together. Special gardening classes could take place within the galleriesâ&#x20AC;&#x2122; multiuse workshops which would begin by tending potted plants and later be moved out onto the rooftop garden, allowing children and adults to grow greenery within both spaces and feel a sense of connectivity. This planting can eventually promote a har- vesting of goods from the rooftop for nearby communities to make use of. The rooftop garden will contain planters of various heights to allow wheelchair users to carry out gardening also. Wheelchair accessible gardening is a priority for this space; to allow a community of gardeners of mixed age groups. 2020 Portfolio First Name Surname

First Floor 3.2 Garden Design

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HOUSING

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Housing Typologies

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INSIDE THE COURT HOUSE

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THE PHYSICAL MODEL

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THE DESIGN JOURNAL

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Specialist Study (Uses of Colour in Architecture )

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Abstract

Colour is a tool that is used widely in giving things a character. But not in much sense or a studied approach; just for making a better appearance; it has been used since humans dwelled the earth. This specialist study will cover its use through history and how it played an important role. Using the new biochemistry building in oxford university as a main case study that used colour and light in a new way to link the outside with the inside. Itâ&#x20AC;&#x2122;s an example and precedent of this usage and itâ&#x20AC;&#x2122;s in concept in forming the right colour palate that could be extracted from the surroundings to form a grid depending on the context it located in and how it worked well and won several prizes like RIBA National award of 2009 and WAN award 2011 â&#x20AC;&#x201C; colour in architecture. But to understand how this building works we will look into depth in colour aspects and properties in the first chapter also the fundamentals, origins of principles and theories about colour psychology. Relation to architecture and its uses, details and relation with humans the relation between colour and human response, and the aspects that effect this relation. As well as theories and different types colour wheels that identify colour properties will also be covered as a general understanding of colour and put the reader in the bubble of understanding how colour works and how it was used in designing the new biochemistry building. A look on an important but secondary example of how form and colour combined within context in MTV headquarters in London and other ones to. Secondly, examples of colours used in different types of buildings like hospitals and patient rooms, interior design famous architects who used colour in many of their designs. A look on the aspects of colour in architecture as a whole and its elements: Interior design and its essentials, Furniture design, urban design, and its uses and impact on users. A worth mention of Luis Barragan is also covered. Concluding the use of Colour adapted from the context to form a grid for the Design Concept and how it could be implied in computer applications that suggest the use right colour palette that best suits the design accordingly. Also, In what way colour can be used in the early stages of concept for the required design.

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Chapter 5 Conclusion Colour in architecture is not a new topic. What is intended from this specialist study is to create a full complete and yet to the point guide archive of the how colour is used in relation to context. Its looked from a point in which it is situated and have a direct effect on the building and user, its ethology, .theory with light and its future as an approach. A sustainable way of use instead of using natural pigments and dyes instead of chemical paints or artificial materials and to depend again on natural dyes and pigments as seen in chapter 1. Also balancing and using colour with glass to create an inside out idea as we seen in the biochemistry lab which focused on using it as a logical concept for design. Also, the use of it in the building as, its own theory, rules and a tool were used so right because of careful research and respect to the context and that not any bright colour can create a balanced harmony environment if it’s not backed up with enough logical choice. So, it’s not just about appearance though aesthetics is important but as a secondary priority. This research tends it to consider the right way to use colour and to think of it as a future sustainable way to use instead of expensive materials. The argument that could be finalized is that colour is a concept that is misunderstood most of the times and rarely used or given the attention it should have and merely seen as a just put some bright colours to make it look happy’. Colour was used throughout time as a cultural identity and a symbolic factor and should be continued and heavily studied to improve its use in future. That’s why context plays an important role in choosing the right colour palate used for the desired design. And that was clear in Luis Barragan designs and other examples like the coloured village in Indonesia and the landscape renovation in Copenhagen. Refer to figures (87) and (92) . Perhaps if more time was available and words to write I could go into the depth of colours in architecture and design a computer application that can assign the right colour palate to use for a building; say for example a house for a family within a context, by giving pictures from the site and developing a way by test and trial to see if warm colours will be the better solution or cold colours . Also, the user experience and the function of the building will all determine the concept design. I will think of the furniture and how to create a balanced harmony environment linking the landscape with the interior, exterior architecture and the furniture together that give a symbol or identity to the user. Finally, a keyword can be extracted which can better summarise the argument and it’s the key to adapting colours with architecture and the surrounding context.

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2018-2019 First Year of Part 2 RIBA MArch Report Urban Design 7112 AR Contents 7112 AR Urban Design Group Submission and Physical Model Essam El Araby Matthew Crowney Essam El Araby : Individual Urban Submission

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SITESECTION The site section beneath depicts the differing heights of the structures in the proposal. The section shows the increased height of the offices surrounding Whitby Lighthouse, creating a sense of enclosure in the urban space. The section also portrays the pedestrian and cycle bridge running throughout the site, and the possible urban interactions which may occur both on and under the bridge.

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VISUALS

The key spaces in the proposal have been represented through the below 3D visualisations. The first visual presents an aerial view looking East across the site towards the position of the Whitby Lighthouse. The horizontality of the cycle bridge along the axis is again depicted in the next two Figures, which begin to show the movement and activities which have been generated as a result of the introduction of the bridge.

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Part 2: Individual Submission

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Link for the full Portfolio: https://drive.google.com/drive/u/0/fol ders/1J0f7zjGE7jI6aGlGY8YKxo_NEZLUYKl

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