ARCHITECTURAL PORTFOLIO SIL ZUREIGAT | UNDERGRADUATE
T H E M E R A K I D R I VE
00 DESERT OASIS_ INDEPENDENT
01 HEAT WAVE_ COLLABORATIVE
02 HYDRO-TWIST_ INDEPENDENT
03 TRO-TOWER_ COLLABORATIVE
04 BEAM AS CASE STUDY_INDEPENDENT
05 FABRIC OF CULTURAL AFFILIATION_COLLABORATIVE
SHARJAH, UNITED ARAB EMIRATES THIRD YEAR - FALL 2015
TONLE SAP RIVER, CAMBODIA STUDY ABROAD STUDIO, 2014
DUBAI, UNITED ARAB EMIRATES THIRD YEAR - SPRING 2015
SHARJAH, UNITED ARAB EMIRATES FOURTH YEAR - SPRING 2016
CARDIFF, UNITED KINGDOM LOW CARBON SUMMER WORKSHOP 2015
ISTANBUL,TURKEY ECHOING BORDERS WORKSHOP 2014
06 WORK/LIVE_INDEPENDENT
07 ASCENSION_COLLABORATIVE
08 COMPOSITE OF BRICKS_INDEPENDENT
09 BATHE IN LIGHT_INDEPENDENT
10 DISK-INTEGRATE_COLLABORATIVE
11 DESIGN BUILD STUDIO_COLLABORATIVE
DUBAI, UNITED ARAB EMIRATES SECOND YEAR - SPRING 2014
SECOND YEAR - SPRING 2014
DIGITAL FABRICATION FOURTH YEAR- FALL 2015
SHARJAH, UNITED ARAB EMIRATES FOURTH YEAR - FALL 2016
SECOND YEAR - SPRING 2014
SHARJAH, UNITED ARAB EMIRATES FIFTH YEAR - FALL 2016
SELECTED ARCHITECTURAL WORK UNDERGRADUATE 2012-2016
00 DESERT OASIS
INDEPENDENT_FALL 2015
THIRD YEAR STUDIO FALL 2015
INDEPENDENT INSTRUCTOR: CHRISTIANO LUCHETTI LOCATION AND PROJECT: The site is in al Muwaileh area (sharjah-united arab emirates). The area is hot/ dry and sandy. The project is intended to be an infill project that introduces a community center amid residential and commercial buildings. It concentrates on the way in which a building responds to site culturally in terms of concept, program distribution, circulation and the quality of public spaces. APPROACH: In response to fixed building height on site, the project serves as a transition from urban scale to landscape through the decreasing heights of the volumes introduced. The main shaded public space created below the protruding auditorium volume is a focal point in the project. All circulation routes are narrow and are a reinterpretation/recreation of the concept of a sikka [narrow walkways in arab city] to introduce breeze. A shading screen structure covers the exposed areas of the project. the pattern is a transformation of islamic geometric patterns. The shading structure is placed in response to sun path/ in response to open public spaces. RHINOCEROS . ADOBE PHOTOSHOP . ADOBE ILLUSTRATOR . AUTOCAD
SCREEN COVERAGE STUDIES
GROUND FLOOR PLAN
SECOND FLOOR PLAN
FIRST FLOOR PLAN
MAIN PUBLIC SPACE
01 HEAT WAVE
COLLABORATIVE_SPRING 2016
FOURTH YEAR COMPREHENSIVE STUDIO SPRING 2016 COLLABORATION WITH JUDY KHATIB SHARJAH, UNITED ARAB EMIRATES INSTRUCTOR: IGOR PERAZA CURIEL
LOCATION AND PROJECT: The goal was to design an architecture/art centre that integrates parking, public space, circulation and houses all necessary programs and services. Proposal is sited as part of the american university of sharjah campus. Project focus was on the production of fully annotated architectural drawings. APPROACH: Starting primarly with the structural design of the parking, we chose to recess the parking 1 m below ground to reduce visiblity of it, encourage ventillation throughout and allow for the building to elevate. The elevation of the building aided in maximizing its exposure to breeze and hence cooling the building. In addition to that, the building is wrapped in perforated screen panels that introduce a double facade system that further reduce heat admission into the building. The perforations are circles of different diamterers depending on the existence of glazing and the need for light/heat admission, hence the pattern circulates all four sides like a heat wave. The structure was recessed four meters into the centre [4-8 M cantillever on each side] to emphasize the floating quality of the volume and it also reduced the number of continious columns interrupting the spaces above parking. The spaces were organized according to private and public needs. The plan maintained a square with three subtractions that form exterior courtyards.
RHINOCEROS . ADOBE PHOTOSHOP . ADOBE ILLUSTRATOR . GRASSHOPPER
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143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163
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248 48 249 250 251 252 253 254 255 256 257 258 259 260 261 262 263 264 4 265 266 6 267 7 268 8
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A-203
A-252
PARKING PLAN
GROUND FLOOR PLAN B A-251
D
C
A-203
A-252
02 HYDRO-TWIST
INDEPENDENT_ABROAD STUDIO 2014
ABROAD SUSTAINABLE DESIGN STUDIO SUMMER 2014 INDEPENDENT
LAKE TONLE SAP, CAMBODIA INSTRUCTOR: CAMILIO CERRO PROJECT LOCATION AND BRIEF: Lake tonle sap (site) is the largest fresh water river in southeast asia, located south of siem reap (tourist center of cambodia).The project is a study of sustainable solutions on the basis of what we observed/analyzed at the site. Inhabitants live in floating shelters that accommodate and transport them at the river. APPROACH: The main focus was on creating a floating structural system, my approach consisted of using woven bamboo baskets filled with re-used plastic bottles because bamboo is a cheap vernacular material, weaving is a very common cambodian practise and the area has a severe problem of plastic bottles polluting the river. The roof takes the form of a hyperbolic parabola to drain excess rain water and to maximize sunlight exposure for the solar cells. The roof is supported by a series of bamboo columns in an alternating pattern of thick and thin members. The thin bambo members act as support and the thick accommodate the vertical hyproponics (water based plant growth) in the hollow spaces within the bamboo.
RHINOCEROS . ADOBE PHOTOSHOP . ADOBE ILLUSTRATOR
COOKING SPACE
UTILIZING THICK BAMBOO FOR VERTICAL HYDROPONICS AND THIN FOR STRUCTURE
WORKING/ PLAYING SPACE
TOILET
DINING SPACE
SERVICES
03 TRO-TOWER
COLLABORATIVE_SUMMER WORKSHOP 2015
LOW CARBON ARCHITECTURE WORKSHOP SUMMER 2015
COLLABORATION WITH RAMEZ RAGHEB, YIWEI ZHOU, FATIMA KHALIFEH, ABDELRAHMAN KELANY, DIEGO PRADILLA CARDIFF, UNITED KINGDOM INSTRUCTORS: YI-BING LIU, KATERINA DE CALDERÓN, HEBA AL SHARQAWI PROJECT LOCATION AND BRIEF: Proposed design is sited at st. fagen’s open air musuem of welsh traditional houses. The construct was meant to respond to local way of living and severe climate change through proposing a sustainable solution. APPROACH: We focused on integrating existing local architectural approaches and developing that for a more efficient sustainbable solution. We adopted the concept of a sun room and extended it onto the southern facade in the form of a central tower that is in turn surrounded by all main spaces in the house. Passive winter heating depends primarly on the central thick stone trombe wall and the glazing which help absorb, store and ultimately dissipate as much heat as possible in severe winter climate (the sun is at very low angle). Our strategy for summer cooling included the introduction of operable opennings in the glazed facade and opennings in the wall and above to allow for stack and cross ventillation and hence avoid over-heating yet mainting the process of heat absorption and exchange. 4.5 meters depth of the building to avoid heat loss. Elevated building to avoid moisture/damage/maintainance. Highly insulated thick walls to reduce heat loss and pitched roofs for water drainage and snow accumullation. RHINOCEROS . ADOBE PHOTOSHOP . ADOBE ILLUSTRATOR . REVIT
GROUND FLOOR
FIRST FLOOR
SUN AT HIGH ANGLE SUN AT LOW ANGLE
SUN ROOM/ GARDEN
TROMBE WALL
DOUBLE GLAZING
WINTER CONDITION
3
OVERHANG STACK VENTILLATION
4.5 M SLEEPING SPACES
LIVING SPACES
2
HIGHLY INSULATED WALL
4
SUMMER CONDITION
1
CROSS VENTILLATION
04 BEAM AS CASE STUDY INDEPENDENT_SPRING 2015
THIRD YEAR STUDIO SPRING 2015
INDEPENDENT DUBAI, UNITED ARAB EMIRATES INSTRUCTOR: AMIN ALSADEN PROJECT LOCATION AND BRIEF: Located in Al Qouz, an industrial area in Dubai, the building introduced was to house an architectural institute amid the warehouse and gallery conjested area. BEAM AS CASE-STUDY APPROACH-EXPERIMENTATION: Conceptual exploration of the different possiblities inherent in a structural beam system through physical modelling. I tested ways in which the grid beam structure could support itself with vertical extension as column / by folding down to meet the ground(1), and the possiblity of the structure forming its own independent-of the floor volumetric enclosure (2). Furthermore, I decided to explore the possiblity of dialogue between the ground and the structural system, through introducing one-directional beams that start to blend in or complete the landsacpe (3). Integrating the structural system with the ground was the initial concept that drove the design of the final architectural concstruct/ the architectural institute.
3
2
2
1
1
BEAM AS CASE-STUDY APPROACH- IMPLEMENTATION: As a result of the studies I decided to integrate one-directional beam system with the ground to create underground inhabitation. Given the banal context the building activities are submerged below ground and a landscape condition is introduced above. A number of one directional reinforced concrete beams curve downwards to meet the ground for structural support. The structural drops are translated on the exterior surface as tree pots and public spaces. On the interior, the drops define/divide spaces and guide circulation through out. Glass blocks situated inbetween the beams allow for maximum light admission into the space below. The main drop in the structure is where the beams penetrate the ground to symbolically meet the water table, a gesture that is meant to emphasize my concept of introducing landscape into the city. Naturally existing versus man-made. RHINOCEROS . ADOBE PHOTOSHOP . ADOBE ILLUSTRATOR
A
C
LIBRARY
1
2
B
D
PRIVATE ENTRY
CAFE
STORAGE
GALLERY
LECTURE HALL
E
MEETING
3 PUBLIC ENTRY
TOILETS
STUDIOS
OFFICES
05 FABRIC OF CULTURAL AFFILIATION
COLLABORATIVE_SUMMER WORKSHOP 2014
ECHOING BORDERS WORKSHOP [ STUDIO-X GSAAP ] 2014 SUMMER 2014
COLLABORATION WITH CECIL BARNES, AYLA AKKAD, CEYDA PEKTAS ISNTABUL, TURKEY INSTRUCTORS: NORA AKAWI (GSAAP) , MERVE BEDIR (TU DELFT), GEORGE KATODRYTIS (AUS), NINA KOLOWRATNIK (GSAAP)
1950
PROJECT BRIEF: Echoing Borders: The Shelter, the Camp, the City and the State, an intiative by Studio-X that addresses the status of diffferet groups of refugees in both Turkey and Jordan. Through intensive research, based on internet data, interviews with refugees, camp observations and urban studies, participants were expected to visualize/ represent the collected information in the form of mappings that challenge official representations of territories and identities. The intent was form a dialogue between territory/identity in question and visual representations. APPROACH: Our analysis was focused on the Bulgarian-Turkish community in Turkey. People belonging to that community were of both bulgarian and Turkish origins due to continious movement between Turkey and Bulgaria as a result of religious stigma. This exchange or fusion of cultures gave their identity a floating nature, fluctuating in the inbetween, and often osciliating sense of belonging/affiliation. This evident charectaristic of the group in question inspired the mapping of the data to take the 3D form of a senous fabric, ever changing and curving. The fabric is made up of sections that represent the group’s degree of affiliation to either Turkey or Bulgaria according to a timeline of different changing factors such as; population change, change of spatial organization of houses, change of issued passports, published speeches of main representatives or members of the community.
SPATIAL ORGANIZATION
1950
BULGARIAN
TURKISH ISSUSED PASSPORTS
RHINOCEROS . ADOBE PHOTOSHOP . ADOBE ILLUSTRATOR
2010
2010
06 WORK/LIVE ARTIST HOUSE INDEPENDENT_SPRING 2014
SECOND YEAR STUDIO SPRING 2014 INDEPENDENT
DUBAI, UNITED ARAB EMIRATES INSTRUCTOR: MICHAEL HUGHES PROJECT LOCATION AND BRIEF: Bastakiya is the old cultural area in Dubai known for its traditional introvert courtyard houses . It now hosts a range of art galleries, cafes, hotels and cultural shops. The project is intended to house an artist’s private space and work/gallery space. The project’s main concentration was on program distribution and spatial organization. APPROACH: My approach focused on the relationship between artist work/gallery and the public, in addition to the existing typology of the site. I organized the spaces on an irregular grid creating two courtyards, one is private which most private spaces are directed towards and the other is public which the artist’s work/ gallery space is directed towards and is viewd/accessed by the public. Bastakiya at nighttime appears like a beautiful city of steriotomic/thick walled buildings that celebrate light in different ways, hence why I deployed the brick wall with opennings in the façade of my project. The arrangment of the openings served as a tool to highlight/direct cirulation of the public. The thick wall also aided me in maintaing/ following the introvert nature of the neighboring buildings. RHINOCEROS . ADOBE PHOTOSHOP . ADOBE ILLUSTRATOR
GROUND FLOOR PLAN
FIRST FLOOR PLAN
07 ASCENSION
COLLABORATIVE_FALL 2016
FOURTH YEAR STUDIO FALL 2016
COLLABORATION WITH KHALID ABU SHAHLA SHARJAH, UNITED ARAB EMIRATES INSTRUCTOR: MATHEW TRIMBLE PROJECT LOCATION AND BRIEF: The proposal is located at the American University of Sharjah campus, at a park/ garden area distinct for its line of palm trees and high pedestrian activity. APPROACH: Our intention was to integrate the existing palm trees in the interior of designed construct in the intention of achieving a gestlalt affect/change of perception. We attined the effect through introducing a series of inclined reflective mirrors in vertical opennings of the walls, which acting as a periscope and reflect the swaing branches of the palm trees above and brought what is usually viewed from below to the line of vision of the user. The proposed object/cube was skewed in plan to disrup the symmetry of the site. The interior articulations contributed to the organic ambience of the space and the exterior-interior contrast was a supporting element of surprise.
RHINOCEROS . ADOBE PHOTOSHOP . ADOBE ILLUSTRATOR . AUTOCAD
- ROOF OPENNINGS - INTEGRATION OF TREES
- INTRODUCING PERISCOPE-LIKE OPENNINGS
- INTERIOR-EXTERIOR CONTRAST - SUBTRACTION OF ENTRY AREAS
SECOND YEAR STUDIO SPRING 2014 08 COMPOSITE OF BRICKS INDEPENDENT INSTRUCTOR: MICHAEL HUGHES
PROJECT LOCATION AND BRIEF: Project was focsed on the capabilities of the brick and the idea of manipulating units to create a whole, or in this case, manipulate/combine rigid modular units to produce a composite that is unfamiliar of the brick charectaristics. APPROACH: I approached the design of the wall by looking at the potentials residing within a single brick unit. I chose to utilize the header orientation of the brick for it allows for a more flexbiel displacement (push/pull) range and hence cause more drastic changes, it also gives the wall thickness and stability and allow for more variation within the wall by having the chance to manipulate a larger number of units. Having settled on a specific undulation, I utilized its inward curvature yet highlighting it and hence the arrangment of the main horizontal recessions . CURVATURE STUDIES
RHINOCEROS . GRASSHOPPER INTRODUCING HORIZONTAL BANDS THROUGH PUSHING /PULLING OF BRICKS
SECOND YEAR STUDIO SPRING 2014 09 BATHE IN LIGHT
INDEPENDENT INSTRUCTOR: MICHAEL HUGHES PROJECT LOCATION AND BRIEF: The project revolved around the experiential and atmospheric qualities of a designed public bathing space. APPROACH: Light admission was the focal point of my design approach. After a number of formal explorations and ways to admit light into the space, I introduced a series of opennings that ultimately lead to a major one. The opennigns act as part of a user’s procession into the space. First openning is entrance, second is a threshold between two overlapping walls that emphasie directionality of space towards the bathing space. The last openning at the bathing space is a disjunction between ceiling and wall, and is only fully visible when approached up close. It is meant to tease the user’s curiosity upon entry.
RHINOCEROS . ADOBE PHOTOSHOP . ADOBE ILLUSTRATOR
DIGITAL FABRICATION FALL 2015 10 DISK-INTEGRATE
COLLABORATION WITH RASHA SAFAREEN INSTRUCTOR: MATHEW TRIMBLE PROJECT BRIEF: The project’s focus was on the exploration of different existing mechanisms and ways to re-think or re-create that mechanism in the design of an installation.
SECONDARY GEARS
ROTATING DISK
APPROACH: We started with exploring the well known torggler door 2 mechanism which relies mainly on the dialogue between planes and the joints between them. We adopted the elements in the mechanism and re-created that to form a control rod, and two planar elements (disks) that pivot around the points of contact. We took on a modular approach, hence stacking a number of modules on a vertical support. Having explored different ways to control the movement of all units through moving one element, we integrated gears in each module. This resulted in a series of geared modules, controlled by one main gear on top. The movement of the gear on top moves the disks to either opened or closed condition. The potential of the construct to open or close allowed for an adaptive shading installation, which is controlled manually. RHINOCEROS . GRASSHOPPER . LASER CUTTING
MAIN GEAR
ROTATING SWITCH
MODULE DESIGN
CLOSED
OPEN
DESIGN BUILD STUDIO FALL 2016 11 SECUIRITY GUARD BOOTH - IN PROGRESS
COLLABORATION: WITH YOLLA NADAL, JUDY KHATIB, NOURAN ALDEEN, KHALID SHAHLA, SARA AWADA, SAWSAN GAD, NADA ALMULLA, NOURAN ALRASHIDY, SHAHAD KASHMIRI, HEBA ADEL, ASMA ABU ASSAF, LEEN ARWANI AND MARY NASIF. INSTRUCTOR: MICHAEL HUGHES AND BILL SARNECKY PROJECT BRIEF: Intention is to design a security guard booth that will accommodate both security guard programs/needs in addition to community outreach programs. The project underwent the phases of schematic design, design development and early design construction documents phase. It is located at the American University of Sharjah campus. Construction is set to begin in spring semester 2017. APPROACH: Enclosing a sinuous form (security booth) is a 3x10 m bar grate and solar panels enclosure that consists of bar grate panels of a 1x4 m2 dimension. Introducing the bar grate material in a vertical orientation allowed for a dynamic visual experience of and from the booth due to the embedded vertical fins, this is similar to the traditional mashrabiyah of the UAE. The structure carrying the bar grate is a steel structure that meets the ground through eight piles allowing for the construct to elevate above ground. The enclosure acommodates a seucrity booth, exterior security look out space, public garden and a public drinking water tap that is a common feature of local houses (public service). The bar grate enclosure occasionally deviates to introduce an exterior bench in the garden area and an oculus in the facade that allows for security monitoring. The bar grate fins are modified to introduce a CAAD sign and are made thinner to increase visibility from the security exterior space. As part of the process, we built a 1:1 scale prototypes of the structural details and a large prototype of part of the four columns of the structure. RHINOCEROS . MAYA . AUTOCAD . KEYSHOT . ADOBE ILLUSTRATOR . ADOBE PHOTOSHOP . METAL SHOP . WOODSHOP . LASER CUTTING . 3D PRINTING .
5 EXISTING DEGREE OF VISION AS PERMITTED BY BAR GRATE
4 INTRODUCING ROOF OF SOLAR PANELS
3 EXTENSIONS TO ACCOMMODATE FRONT (SURVEILLANCE) & BACK PORCH (GARDEN)
2 ENCLOSURE OF SECURITY BOOTH 1 INITIAL TYPOLOGY OF SECURITY BOOTH
6 INTRODUCING OCULUS & MODIFYING BAR GRATE TO ALLOW FOR A LARGER & GREATER DEGREE OF VISION.
PRODUCED BY ASIL ZUREIGAT
SOLAR PANELS C-CHANNEL PURLINS| carries solar panels BRACKET | carries bar grate panel UPPER STRUCTURE BEAM
BAR GRATE C-CHANNEL COLUMN BRACKET | carries bar grate panel BENCH OCULUS
BAR GRATE FLOORING LOWER STRUCTURE BEAM METAL PLATE SONOTUBE FOOTING
PRODUCED BY SARA AWADA
PRODUCED BY NOURAN AL DEEN
ARCHITECTURE; A COUNTRY WITH NO BORDERS, A CULTURE WITH NO SINGULAR DEFINITION, AND A BOUNDLESS DIMENSION THAT EMBRACES AND INTEGRATES ALL FACES OF EXISTENCE. ASIL ZUREIGAT . Asilzureigat@gmail.com . +971562636681
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