Asmaa Abu Assaf Portfolio by Asmaa Abu Assaf

Portfolio

Asmaa Abu Assaf

Asmaa Abu Assaf B.Arch M.Arch II 905 E 2nd Street Los Angeles, CA 90012 +1 213-327-9880 asmaaabuassaf@gmail.com asmaa_aa@sciarc.edu ÂŠ 2018 All rights reserved. No part of this book may be reproduced in any form without written permission of copyright owner.

Portfolio

Asmaa Abu Assaf M.Arch II Southern California Institute of Architecture

Table of Contents

Southern California Institutre of Architecture

2017-2019

Statement

Asmaa Abu Assaf

M.Arch 01

Semblances

DS 1200

Visual Studies I

Tectonics

History Theory Paper I

VS 4200

AS 3200

HT 2200

Man Made Nature

Visual Studies II

100

History Theory Paper II

116

Unfinished

124

Visual Factory

142

Design Development

154

Details Details

180

Connect the Dots

194

Draw the Line

206

Animal House

214

Emergent Ruin

220

DS 1201

VS 4201

HT2201

DS 4000

VS 2523

AS 3122

AS 2509

DS 5000

VS 2733

AS 2374

DS 1420

Table of Contents

American University of Sharjah

2012-2017

B.Arch 01

Cyprus Retreat

234

ARC 201

Live/ Work

240

Community Center

246

Institute of Architetcure

252

ARC 202

ARC 301

ARC 302

Domed

262

London Nursery

266

Advanced Computer-Aided Design

272

Studio Arts Building

276

Advanced Topics in Digital Fabrication

298

Illustration and Rendering

302

AUS Security Booth

306

ARC 342

ARC 401

ARC 465

ARC 402

ARC 433

ARC 311

ARC 501/ ARC 502

Statement Architecture functions primary as a piece of functional art intended to provide spatial experiences suited to a perceived idea of human comfort. Architecture is thus a combination of experiential creativity and functional space making. Architecture secondarily becomes a contextually and culturally driven piece within a larger urban fabric that potentially tells a story of the design process, the context, and analysis of a particular site location. This story develops into a way to provide a set of guidelines for critics and professionals to judge and evaluate the project. It is nearly impossible for any professional to critique a project solely from graphic representation. It is equally difficult to understand the ideas that generate form, without an understanding of the context, time, and location of a project. Asmaa Abu Assaf received her Bachelorâ&#x20AC;&#x2122;s Degree in Architecture at the American University of Sharjah (AUS), United Arab Emirates in 2017. She recieved her Masterâ&#x20AC;&#x2122;s Degree in Architecture at the Southern California Institute of Architecture (SCI-Arc) with distinction in September 2019. She has worked at LOCI Architecture + Design in Dubai, United Arab Emirates, at DW5/ Bernard Khoury in Beirut, Lebanon, at Studio Kinch in Los Angeles, California, and at Atelier Manferdini in Venice, California. She was born and raised in Riyadh, Saudi Arabia and holds the Syrian nationality.

Semblances Currently the discipline of architecture is in the process of being actively redefined by shifting political, social, technological, and ecological paradigms. In the 2GAX studio students explore the forefront of the discipline, leading the conversation about the next in terms of aesthetic agendas, architectureâ&#x20AC;&#x2122;s contemporary and future societal role, and the impact of theoretical and technological innovation on architectureâ&#x20AC;&#x2122;s design and communicative repertoire. The Compositional Morphologies studio places an emphasis on advancing formal strategies beyond the current state-of-the-art. Students integrate extradisciplinary techniques and technologies into the design workflow in order to develop innovative architectures that respond to changing societal, ecological and technological contexts. Studentsâ&#x20AC;&#x2122; design work engages issues that range from fundamental morphological transformations through rigorous 3D modeling, to the role of the image and digital sampling in the production of architectural form. These issues are explored through a highly resolved building design.

Design Studio

FALL 2017 DS 1200 ( 2GAX ): Complex Morphologies Instructor: Casey Rehm Team: Asmaa Abu Assaf and Swathi Devadas

1| Initial Massing

Massing Diagrams

2| Addition

3| Subraction

4| Texturing

Site Plan

Ground Floor Plan

Third Floor Plan

Section AA

1| Core + Reading Rooms

Vertical Cores

2| Vertical Circulation

3| Texturing

4| Interior Spaces

1| Texture 01

2| Texture 02

1| 3D Chunk

2| Robot Workshop

Visual Studies I The course will cover issues of contemporary representation and the development of splines in relation to complex digital form and physical and visual space. Visualization today encompasses the development, exploration, and communication of information and ideas in multiple mediums. The course will engage recent techniques related to splines, gesture interfaces, and virtual reality. The course will develop critical visual literacy and review methods of drawing and modeling in three dimensional space, including the importance of precision and abstraction.

Visual Studies I

FALL 2017 VS 4200 ( 2GAX ) Instructor: Kristy Balliet and Casey Rehm Team: Asmaa Abu Assaf and Nikola Karnikova

The Animate Line The gestural line will explore the potential and differences of the stroke, the gesture, and the line. In architecture and visualization these artifacts can be associated with rythmic repetition, erratic character, structural integrity, whimsical moments, and elegant form. Through gesture, drawing, building, and rebuilding the project will address issues of line, surface, and volume.

Exercise 1

1| Gesture

Drawings

2| Surface

3| Surface

4| Volume

1| A Series of Four

Physical Model

Tactile Surfaces The composite model will explore texture and surface development. The range of investigation will include subtle bumps to elaborate deformation. In architecture and visualization these tactile augmentations can be associated with rhythmic repetition, erratic character, structural integrity, whimsical moments and elegant form. Through design, testing, and refining the project will address issues of aggregation, layering, and tactility.

Exercise 2

1| Top View Render

2| Prespective Render

1| Render

2| Physical Model

Articulate Forms This exercise will focus on utilizing bottom up logic and intelligent agent based algorithms to manipulate color and matter at a granular level of resolution. As part of this exercise students will produce their own software to operate on both 2D image manipulation and generative 3D solid manipulation. Rather than utilizing off the shelf plugins, students will be tasked with codifying their personal design intention into unique algorithms. This process requires students to engage complexity theory and algorithms purposed to both simulate human forms of composition, and non-human forms of perception. All algorithms utilized will respond to specific content within their inputs to produce non-linear effects. These effects will preface formlessness and qualities of aesthetics without dependence on totalistic figurative elements. The final forms will oscillate between illegibility and accessibility.

Exercise 3

1| Physical Model

2| Physical Model

1| Elevational Render

2| Prespective Render

Tectonics SANAA’s original design had many perforations throughout the exterior façade, but many complications. Due to the thickness of the concrete wall, the sun could not penetrate through to the interior via the small exterior windows, thus they decided to change the design to larger windows on the exterior that were focused on obtaining the maximum sunlight. Since moving this building from Essen, Germany to Los Angeles, California, where sunlight is more intense, we took a look at the existing light patterns and decreased the amount of sunlight through an external shading panel. In this design transformation, the group has maintained the original thin building envelope that is 114 feet wide with a shallow floor plan. Because of the building’s narrow length it has a high ratio of surface area to volume. This makes passive cooling easy, as long as the area of operable windows remains 20% of the floor area. Low-E glazing prevents heat from escaping through the glass, reducing heat lost. Applying low-E coating to the wall can also improve thermal performance by reducing the amount of infrared energy radiated towards the glass. Due to the prevailing winds coming from the West, the East facing windows are used to release the hot air through cross ventilation. Fresh air will travel through the building thanks to the stack effect. Larger windows can be placed on the West side and smaller inlets on the East side. This allows the incoming air to have a higher velocity while improving passive ventilation.

Advanced Materials and Tectonics FALL 2017 AS 3200 ( 2GAX )

Instructor: Maxi Spina Team: Asmaa Abu Assaf, Alayna Davidson, Julia Arnold, Yi Ning Lui

SANAA’s SANAA’s Original Original Design Design

Shade Shade Directed Directed Windows Windows

Location Location LosLos Angeles Angeles

Summer Summer Solstice Solstice DayDay June June 20 20 Time Time 21:23:25 21:23:25 Hours Hours of Sunlight of Sunlight 14:25:27 14:25:27

Summer Summer Solstice Solstice DayDay June June 20 20 Time Time 21:23:25 21:23:25 Hours Hours of Sunlight of Sunlight 14:25:27 14:25:2

Winter Winter Solstice Solstice DayDay December December 21 21 Time Time 08:27:29 08:27:29 Hours Hours of Sunlight of Sunlight 09:53:12 09:53:12

Winter Winter Solstice Solstice DayDay December December 21 21 Time Time 08:27:29 08:27:29 Hours Hours of Sunlight of Sunlight 09:53:12 09:53:1

Summer Summer Solstice Solstice

Sunrise Sunrise 05:41:35 05:41:35 Sunset Sunset 20:07:02 20:07:02 DayDay Duration Duration 14:25:27 14:25:27

Sunrise Sunrise 05:41:35 05:41:35 Sunset Sunset 20:07:02 20:07:02 Highest Highest Point Point 15:12:45 15:12:45

TheThe diagram diagram shows shows thethe Sunlight Sunlight Hours Hours Analysis Analysis of the of the building building on on June June 20st 20st from from sunrise sunrise to sunset. to sunset. TheThe output output shows shows how how thethe building building reacts reacts to to approximately approximately 15 15 hours hours of sunlight of sunlight during during thethe summer summer solstice. solstice.

TheThe diagram diagram shows shows thethe Sunlight Sunlight Hours Hours Analysis Analysis of the of the building building on on June June TheThe diagram diagram shows shows thethe Sunlight Sunlight Hours Hours Analysis Analysis of the of the building building on on June June 20st. 20st. 20st 20st from from sunrise sunrise to sunset. to sunset. TheThe output output shows shows how how thethe building building reacts reacts to to TheThe output output shows shows how how thethe building building reacts reacts to the to the sun’s sun’s highest highest point point at 3atpm. 3 pm. approximately approximately 15 15 hours hours of sunlight of sunlight during during thethe summer summer solstice. solstice.

1| Perforations

Sunrise Sunrise 05:41:35 05:41:35 Sunset Sunset 20:07:02 20:07:02 DayDay Duration Duration 14:25:27 14:25:27

Sunrise Sunrise 05:41:35 05:41:35 Sunset Sunset 20:07:02 20:07:02 Highest Highest Point Point 15:12:45 15:12:45

TheThe diagram diagram shows shows thethe Sunlight Sunlight Hours Hours Analysis Analysis of the of the building building on on June Jun 20st. 20st. TheThe output output shows shows how how thethe building building reacts reacts to the to the sun’s sun’s highest highest point point at 3at

2| Angled Windows

Winter Winter Solstice Solstice

Sunrise Sunrise 06:54:16 06:54:16 Sunset Sunset 16:47:28 16:47:28 DayDay Duration Duration 09:53:12 09:53:12

Sunrise Sunrise 06:54:16 06:54:16 Sunset Sunset 16:47:28 16:47:28 Highest Highest Point Point 11:23:14 11:23:14

Sunrise Sunrise 06:54:16 06:54:16 Sunset Sunset 16:47:28 16:47:28 DayDay Duration Duration 09:53:12 09:53:12

Sunrise Sunrise 06:54:16 06:54:16 Sunset Sunset 16:47:28 16:47:28 Highest Highest Point Point 11:23:14 11:23:14

TheThe diagram diagram shows shows thethe Sunlight Sunlight Hours Hours Analysis Analysis of the of the building building on on December December 21st 21st from from sunrise sunrise to sunset. to sunset. TheThe output output shows shows how how thethe building building reacts reacts to approximately to approximately 10 10 hours hours of sunlight of sunlight during during thethe summer summer solstice. solstice.

TheThe diagram diagram shows shows thethe Sunlight Sunlight Hours Hours Analysis Analysis of the of the building building on on December December 21st. 21st. TheThe output output shows shows how how thethe building building reacts reacts to the to the sun’s sun’s highest highest point point at 12 at 12 pm.pm.

Four Steps

SANAA’s SANAA’s original original design design hadhad many many perforations perforations throughout throughout thethe exterior exterior façade, façade, butbut many many complications complications came came with with it. it. Because Because of the of the thickness thickness of the of the concrete concrete wall, wall, thethe sunsun would would notnot penetrate penetrate through through to the to the interior interior via via thethe small small exterior exterior windows. windows. Since Since moving moving thisthis building building from from Essen, Essen, Germany Germany to Los to Los Angeles, Angeles, California, California, sunlight sunlight is more is more intense, intense, so so taking taking thethe existing existing perforations, perforations, shrinking shrinking them, them, andand adding adding more more to the to the façade façade allows allows thethe sunsun to seep to seep intointo thethe building building less less drastically drastically than than thethe original. original.

Precedent Precedent Study: Study: TheThe Zollverein Zollverein School School of Management of Management andand Design Design Envelope Envelope Transformation: Transformation: Concrete Concrete Shell Shell

This This iteration iteration implements implements a window a window frame frame system system thatthat helps helps control control thethe amount amount of light of light entering entering thethe building. building. Because Because of the of the additional additional framing framing on on thethe top of the of the window, window, less less light light cancan enter enter when when thethe sunsun is at is its at its highest highest point point in the in the summer. summer. This This makes makes it cooler it cooler in the in the summer, summer, andand allows allows maximum maximum light light to to enter enter when when thethe sunsun is at is its at its lowest lowest point point in the in the winter. winter. TheThe window window frames frames willwill be be cast cast in fair-faced in fair-faced reinforced reinforced concrete concrete as as pre-cast pre-cast components components thatthat cancan be assembled assembled on on site. site.

Stacked Massings

Location Los Angeles

Summer Solstice Day June 20 Time 21:23:25 Hours of Sunlight 14:25:27

Winter Solstice Day December 21 Time 08:27:29 Hours of Sunlight 09:53:12

alysis of the building on June

to the sun’s highest point at 3 pm.

alysis of the building on e building reacts to the sun’s

e additional framing on the top d allows maximum light to -cast components that can be

Summer Solstice Sunrise 05:41:35 Sunset 20:07:02 Day Duration 14:25:27

Sunrise 05:41:35 Sunset 20:07:02 Highest Point 15:12:45

The diagram shows the Sunlight Hours Analysis of the building on June 20st from sunrise to sunset. The output shows how the building reacts to approximately 15 hours of sunlight during the summer solstice.

The diagram shows the Sunlight Hours Analysis of the building on June 20st. The output shows how the building reacts to the sun’s highest point at 3 pm.

3| Stacks

4| Transformation

Winter Solstice Sunrise 06:54:16 Sunset 16:47:28 Day Duration 09:53:12

Sunrise 06:54:16 Sunset 16:47:28 Highest Point 11:23:14

The diagram shows the Sunlight Hours Analysis of the building on December 21st from sunrise to sunset. The output shows how the building reacts to approximately 10 hours of sunlight during the summer solstice.

The diagram shows the Sunlight Hours Analysis of the building on December 21st. The output shows how the building reacts to the sun’s highest point at 12 pm.

Option 3 shows The Zollverein School of Management and Design cut into quarters and stacked on top of each other at various sizes and heights. The shifting in concrete at each floor allows for a more complex plan than the building’s originals, allowing certain levels to gain more lights than others. The lower layer perferations are hidden from light due to the extruded elevated plans. This allows for cooler summers along lower floors.

Advance Tectonics 3200 Asmaa Abu Assaf_ Julia Arnold_Alayna Davidson_Yi Ning Lui

Embedded Hollow Plastic Bodies

First Layer of Double Rebar Embedded Thermal Heating System Second Layer of Double Rebar 12” Thick Concrete Exterior Shell

Steel Column with Embedded Concrete Core Vacuum Formers

Recessed Window Primary Load Bearing Structure

Vertical O Bar Connection

Located in Essen, Germany, SANAA’s Zollverein School of Management and Design was completed in 2010. The design displays almost a perfect cube that is 35m x 35m and 34m high. It is a “pure volume of air and light” because of it’s fairly simple concrete construction which is puctured by 150 functional square windows. The concrete exterior envelope acts as the primary load-bearing structure of the building. The single-leaf inner and outer concrete walls measure to be only 12” thick. SANAA combined the concrete shell and its particular window openings with an innovative insulation system that channels in water from a nearby underground source.

Original Studies

The system is spaced 16” on center and the embedded looped warm water pipes measure to be 8” in diameter. Furthermore, the pipes create an ‘active’ heat insulation system during the cold months of the year because of the warm water mine water that is filled in them. After struggling with budget during the preliminary design process, SANAA decided to irregularly postion the windows on the exterior of the building so that they directly correlated with the indoor progams of the building. The windows were then mounted on the inside of the concrete shell and were recessed in the surface to accomdate the aluminum frames.

2.5” Aluminum Frame Embedded into Concrete Shell

Double-Glazed Low E-glass 0.5” Outer Aluminum Frame

Aluminum Lip 12” Exterior Concrete Wall Drain Pipe

Drain

Vertical O bar Connection Exterior Wall Support Interior Wall Support

Embedded Hollow Plastic Bodies

Double Rebar Reinforcement Vacuum Formers Double Rebar Reinforcement Embedded Thermal Heating System 12” Concrete Slab System Primary Load Bearing Structure Recessed Window Steel Column Vacuum Formers

Vertical O Bar Connection

The Zollverein School of Management and Design went through many energy changes from SANAA’s initial design to their built design. Since the initial depth of the windows became too deep for any natural sunlight to capture the building, the windows became larger and the walls became thinner. Building codes in Germany require a certain about of insulation for commercial buildings, which would make SANAA’s thin exterior walls impossible. Thanks to a discovery of an underground water shaft, the building took the concept of underfloor thermal heating/cooling into their exterior walls. The 28 degree Celsius water is pumped from 1,000 meters below ground into pipes that are embedded into the four facades. This way insulation was not used and the wall thinness was achieved. “The overall cost of this solution, both in terms of implementation and day-today use, turned out to be lower than if conventional insulation had been used”.

Original Studies

As the building is heated and cooled through an active insulation system, to prevent the local climate from affective the process, glycol fill is used to prevent freezing. The auditorium required a special acoustic solution, as concrete/glass are not sound-absorbent. The floor was acoustically activated by a carpet (displacement ventilation and flow of resistance) on perforated, raised floor panels for broadband sound absorption. The glass walls had an inner leaf inclined at a 1° angle to prevent flutter echoes. The double-leaf glass contains blackout blinds and insulates the room from noise coming from the cafeteria

12’’ Concrete Slab

2” Spacer Embedded into 4” of Concrete Slab 2” Steel Curtain to Concrete Connection 2” Steel Glass to Concrete Connection

Interior Auditorium 1/4” Low Iron Laminated Glass Fabric Curtain Exterior Auditorium 1/4” Low Iron Laminated Glass

12” Concrete Slab

Interior Auditorium 1/4” Low Iron Laminated Glass Fabric Curtain Exterior Auditorium 1/4” Low Iron Laminated Glass 20” Elevated Paneled Floor System

12” Concrete Slab 3’ Span Between Auditorium and Concrete Slab 12” Concrete Slab Concrete Filled Floor

Embedded Hollow Plastic Bodies Power Vent Flat Roof with Waterproofing Layer and VCL Tappered Atrium

Recessed Window

Double Rebar Reinforcement Embedded Thermal Heating System 12” Concrete Slab System Primary Load Bearing Structure

Steel Column

Vacuum Formers

Low -E Glazing Vertical O Bar Connection

SANAA’s original design had many perforations throughout the exterior façade, but many complications. Due to the thickness of the concrete wall, the sun could not penetrate through to the interior via the small exterior windows, thus they decided to change the design to larger windows on the exterior that were focused on obtaining the maximum sunlight. Since moving this building from Essen, Germany to Los Angeles, California, where sunlight is more intense, we took a look at the existing light patterns and decreased the amount of sunlight through an external shading panel. In this design transformation, the group has maintained the original thin building envelope that is 114 feet wide with a shallow floor plan. Because of the building’s narrow length it has a high ratio of surface area to volume. This makes passive cooling easy, as long as the area of operable windows remains 20% of the floor area. Low-E glazing prevents heat from escaping through the glass, reducing heat lost. Applying low-E coating to the wall can also improve thermal performance by reducing the amount of infrared energy radiated towards the glass.

Transformation

Due to the prevailing winds coming from the West, the East facing windows are used to release the hot air through cross ventilation. Fresh air will travel through the building thanks to the stack effect. Larger windows can be placed on the West side and smaller inlets on the East side. This allows the incoming air to have a higher velocity while improving passive ventilation. The rooms of the building act as “trombe walls”. The glazing traps the radiation like a small greenhouse, and is absorbed in the concrete. The concrete slowly releases the heat hours later, warming the building when it gets cold at night. Stack ventilation pushes the hot air higher because of its lower pressure (this is also known as buoyancy ventilation.) This has an advantage over the Bernoullis principle as it does not rely on the wind. Faster air moves at a lower pressure, and less obstructed air, which is further from the ground, has less pressure. Low pressure air can help suck fresh air through the building. Night-flush Ventilation keeps windows and openings closed during the day and open at night to flush warm air out of the building and cool thermal mass for the next day.

2.5” Aluminum Frame Embedded into Concrete Shell

Double-Glazed Low E-glass 0.5” Outer Aluminum Frame

12” Exterior Concrete Wall

Concrete Wall Drain Pipe Drain

Vertical O bar Connection Exterior Wall Support Interior Wall Support

Physical Model

Histroy Theory Paper I The main objective of this seminar is to provide a platform for students to do work on the territory of contemporary, global architectural practice in the interest of formulating their current studio production as well as future professional agendas. Currently practice is in the process of being actively redefined by shifting political, social, technological, and ecological paradigms. Taking as a starting point the idea that various modes of appropriation have been formative in the shaping of architectural history, we will examine the complex terrain defined by the recent shifting of paradigms and examine how these acts of appropriation are actively configuring the contemporary moment. Acting as architectural entrepreneurs, we will identify niches for future action and innovation. The seminar will introduce several contemporary disciplinary themes through readings and project presentations. These themes are aligned with the content of the 2GAX studio and are intended to outline research trajectories that students will pursue collectively throughout the duration of the course in the form of inclass discussions and presentations. Each student will be required to conduct ongoing research, culminating in a clearly formulated argument that advances a specific position on one of the disciplinary themes introduced in the seminar. This material will be presented in the form of a written essay. The research should be situated as a test case for specific approaches to design and to modes of practicing.

Theories of Contemporary Architecture FALL 2017 HT 2200 ( 2GAX )

Instructor: Marcelyn Gow and Timothy Ivison Team: Asmaa Abu Assaf

A History of War Designing the Memory

I am made of steel. I am covered in powder. I am used as a weapon that often kills people. I am sometimes found on walls, forgotten by those who put me there. I am a weapon that destroys people, their memories, and their entire existence. I am a weapon that leaves traces of terror behind its path. I am violent. I am aggressive. I do not think. I do not see. I do not feel. Most importantly, I do not take sides. I am a bullet. I look around me and I notice many other trapped souls. Unable to move. Unable to escape. Unable to change. What will our future hold? Are we to remain trapped within the walls? Is there someone who would try to save us? What about our traces? Is there someone who would try to save the traces we have left behind? In 1975, the city of Beirut had witnessed a tragic war that tore down many important historical monuments. These historical buildings are precious to the country’s history, but most impoartantlly they act as a tribute to the past generations, constantly reminding the living of the terrors of war. Therefore, it is important for architects and designers dealing with the context of war to preserve the memory of the city. Should they treat this canvas as a tabula rasa, divorced from the past? Should they ignore the fact that this city has gone through a violent tragedy? Or should they save the history of these terrorized buildings with its wounds? Should they act as reminders of the past? In order to define the meaning of preservation within a war context, architects and designers should consider new ways of allowing the building to speak truthfully about its past through a careful consideration of material, construction, aesthetics, culture, context, and history.

Demolition is a brutal, and almost disrespectful way of erasing the traces of a building. Architects cannot simply delete an entire construction from a city’s history without considering the impact the place has to its people. In Creative Agents, Jorges Otero-Pailos states that, “The idea of designing the endings of buildings is an important contribution of historic preservation to architecture, as the latter has previously only been concerned with the design of opening sequences.” By designing and choreographing the ending of a project, you essentially preserve them. In this sense, ending a building does not necessarily mean destroying a building to give it a new life, but rather give it a life by reviving its existence. Architects and designers have a responsibility to be sensitive not only towards the culture they are designing for, but must also reconsider the existing fabric of the city. This idea of preservation becomes more essential when the city has witnessed the tragedies of war. That is because war has a direct impact on the reshaping of cultures, societies, and identities. On the other hand, preservation or keeping the building as it once existed is an inappropriate way to deal with a project that is already deteriorating as a result of the war. It is similarly unhealthy to dwell on a dying past. In Militant Modernism, Owen Hatherley writes, “It is the master criminal, after all, who excels at erasing the traces, and this conception of an outlaw aesthetics of modernism coexists alongside an obsession with collecting the traces, the waste products and detritus.” Therefore, while it is offensive to destroy, it is also sinful to simply preserve. This act of preserving will in turn cause the city to be static,

not advancing, not moving forward. A city must rise from the ashes and create a better environment, especially after witnessing destruction. This essay will look at how four different architects, from different parts of the world, addressed the idea of preservation within an architectural envelope. The first, Bernard Khoury, a Lebanese architect based in Beirut, Lebanon. This Lebanese architect provides a conceptual example of how a designer could begin to address the idea of preserving a building after it has gone through war. The second, a Dutch architect Rem Koolhaas explains that modernity invented preservation. It has become a struggle to critically think about what to keep and how to preserve it. The third, Jorge Otero-Pailos, a Spanish architect, reiterates what Rem Koolhaas suggests in his book “Preservation

is Overtaking Us”. He provides five principle points addressing historical preservation. Finally, a project by the Polish-American architect Daniel Libeskind showcases how preservation could potentially be used in a subtle way as a reminder of how buildings could remind dwellers of what has happened in the past. As a reaction to over-romanticizing the war, “Evolving Scars” a project by the Lebanese architect Bernard Khoury, aimed to acknowledge the obsession of the existing architecture with creating the new. The obsession with getting rid of the old and bringing in the new. Bernard Khoury offers architects a solution to rethinking the use of local material in their drive of producing the new. In Structures of Everyday Life, Cole Roskam refers to the design of Wang Shu and his use of local

material as a way to marry the building to its site. In this example, Bernard Khoury uses the original, yet destroyed residue of the building to create a reminder of the horrors of war. Violently tearing down buildings, buildings of history, in order to start with a tabula rasa has become an addiction. In this case the residue from the act of demolition becomes the new aesthetic to an old existing building. Bernard Khoury has created an apparatus that preserves the memory of the battlefields of some of the building in Beirut. The apparatus acts as a memory collector for the building. The more memory that is collected, the more that is demolished. The rubble would then be collected and compiled in a glass container surrounding the ruins. The transparent glass membrane acts as a way to preserve the traces of the already damaged building without completely disregarding its past.

“Evolving Scars” is an attempt to convert the act of demolition into a designed act that aims at preserving the memory of the architecture of war. According to Rem Koolhaas, “We looked at the history of preservation in terms of what was being preserved, and it started logically enough with ancient monuments, then religious buildings, etc. Later, structures with more and more (and also less and less) sacred substance and more and more sociological substance were preserved, to the point that we now preserve concentration camps, department stores, factories and amusement rides.” In this statement Rem Koolhaas suggests that every building we potentially could inhabit is open to the idea of preservation. Nowadays, the importance of ancient monuments, religious buildings, and political memorials equals the

importance residential projects, commercial properties, and concentration camps especially within a context of war. Each one of these building typologies play a role in defining a city’s history.

4. Preservation creates relevance without new forms. 5. Preservation is architecture’s formless substitution.

Therefore, preservation essentially applies to all of them. No one building type deserves to be preserved when the entire building fabric has been through a similar experience of violence and war. In response to Rem Koolhas’s book “Preservation is Overtaking Us”, Jorge Otero-Pailos lists five principles in Koolhaas’s lectures and accounts that forms what he thinks is a “retroactive manifesto for the architect”:

The definition of preservation according to Jorge Otero-Pailos interpretation of Rem Koolhaas’s statements is that preservation as a mode of creativity is not based on the development of new forms but is rather based on the creation of formless design aesthetics. Jorge Otero-Pailos provides an example of “the formless aesthetics” as he mentions OMA’s Ruhr Museum renovation in Essen, Germany, as part of the Zollverein Master Plan. In 2002, Rem Koolhaas’s OMA was commissioned to design the Master Plan of the Zollverein mine. The idea behind this restoration was to encourage the revival of the site without

1. Starchitecture is dead. 2. New forms are no longer relevant. 3. Preservation is architecture’s saving retreat.

hiding the existing memory of the building, which was namely used as a coal refinery. In this example, Rem Koolhaas is more concerned with preserving the existing built condition and less concerned with the pure formal design decisions. In 2003, Daniel Libeskind was selected to develop the site of the World Trade Center after its attack. The 9/11 Memorial at Ground Zero, in Daniel Libeskind’s mind, was an opportunity to address the area as a “healing of New York”, a “site of memory”, and a “space to witness the resilience of America.” The project located near the sunken site includes two square pools with a waterfall that acts as a veil, hiding the actual depth of the once existing towers. Inscribed within the bronze panels around the perimeter of these pools, one notices the names of the victims of the attack, reminding

the future generations of the lives of those who have been lost by this tragedy. The memorial itself interacts with the existing slurry wall, once again reminding the public of the horrors of the past. It is also a reminder of what could have happened to the city of New York if the slurry wall were to fail to hold back the Hudson River. This project uses the traces of the attack as a platform to display a specific memory, preserving its identity. In terms of approaching preservation, both Daniel Libeskind and Bernard Khoury offer different examples of how to preserve the memory of a building that has been through war. While Daniel Libeskind provides a subtractive solution, Bernard Khoury provides an additive solution to the question of preservation. Where one uses the site as an indirect reminder of the traces of a

demolished building. The other uses the residue of the existing building as a direct application of material choice, almost reusing the rubble as a reminder of the existing built condition. Whereas the 9/11 Memorial at Ground Zero displays the name of the victims of the war, “Evolving Scars” uses the destruction as the display itself. Both projects, as Rem Koolhaas suggested in his book, are examples of formless architecture that aim towards preserving a building, be it a significant tower or a trivial residential project. The goal is not to create new architecture that disregards the history of a place but rather to collect and display the memory of a place by thoughtful architectural principles. Allowing the building to truthfully show its wounds.

Walking past Beit Beirut Museum, I notice

a building with bullet marks on its walls. It tells a story of the battle between snipers who lived and fought within its walls. It tells the story of the fifteen year civil war that killed thousands of people. It tells a story of the war as part of modern history. The building now stands as a renovated museum. It is not a museum of the war itself, but rather a museum that exhibits the memory of the city with its bullets. In Illegal Architecture, Wang Shu and Hsieh Ying Chun write, “Architects believe architectural design, after integrating their own convictions, should be based on human need, have to respect traditional techniques and local materials, and should take a bottom-up approach.” Due to the historical diversity surrounding an area, it becomes more important for architects and designers to have a responsibility to be preservers of the past.

Bibliography

“Ground Zero Master Plan / Studio Daniel Libeskind.” ArchDaily. September 23, 2012. Accessed December 18, 2017. https://www.archdaily. com/272280/ground-zero-master-plan-studio-daniellibeskind. “Zollverein Masterplan.” OMA. Accessed December 18, 2017. http://oma.eu/projects/zollvereinmasterplan. Hatherly, Owen. “Militant Modernism.” Winchester: O Books, 2010. Khoury, Bernard, Kristin Feireiss, and Hans Jürgen Commerell. 2003. Bernard Khoury: Plan B, Projects in Beirut. Berlin: Aedes. Khoury, Bernard. “Plan B.” E-flux, October 2015. http://www.e-flux.com/journal/66/60761/ plan-b/. Koolhaas, Rem, Jorge Otero-Pailos, and Jordan Carver. “Preservation is Overtaking Us.” New York: ColumbiaBooks on Architecture and The City, 2016.

Otero-Pailos, Jorge. “Creative Agents” In Future Anterior 6, no. 2 (2009). doi:10.1353/ fta.0.0040. Roskam, Cole. “Structures of Everyday Life.” Artforum International, November 1, 2013. Saadi, Dania. “Beit Beirut: Snipers’ Lair Turns into Museum of Lebanon’s War Memories.” The National, August 2016. https://www.thenational. ae/world/beit-beirut-snipers-lair-turns-into-museumof-lebanon-s-war-memories-1.144291. Wang, Shu and Ying Chun, Hsieh. “Illegal Architecture”. Taibei Shi, Tian Yuan Cheng, 2012.

Man Made Nature Issues of labor, commerce, tourism, and global economies marked the final phases of what is usually called “modernization”. This process can be described as the end of nature, using Zizek’s words, “Nature is over, there is no nature anymore.” And while classical ideals of nature disappear, the territory of nature has silently become an area for work, speculation and potentially a new aesthetic of architecture. It is precisely in this arena that the studio will look for new architectural opportunities. This year the 2GBX Design Studio will take on this controversial discussion: how contemporary “architecture” engages with “nature” within a high density city setting like Downtown LA. The project is productively situated between a mid-rise and tower massing, during one of the fastest economic turns that transformed a low density industrial zone into a highly valuable land for mixed-used developments. These definitions are often relative to context and are relevant here, as the area of the project is in transition from horizontal fringe to a vertical landscape condition. This mixture of expansive market hall and repetitive vertical housing units will be exploited through the deliberate integration of nature, real, implied or fake. This combination will require innovative reconsider of circulation models, hybrid structural systems and an extensive exploration of material and color. Mixed-use buildings trade in programmatic distinction and historically have separated commerce and housing. Starting in the 1970’s the late architect and developer John Portman tested boundaries with grand atriums that created interior vistas and a mixture of atmospheres. The projects blurred the physical and/or implied line between expansive collective space, intimate units and nature. The section was utilized to offer a dramatic model for mixed programs. In this project we aim to challenge the clarity of these borders to design the spaces of the everyday that are punctuated by curated atmospheres that reinvent, and possibly distribute, the qualities market hall.

Design Studio

SPRING 2018 DS 1201 ( 2GBX ): Generative Morphologies Instructor: Elena Manferdini Team: Asmaa Abu Assaf and Julia Arnold

Elevation

Section AA

Ground Floor Plan

Typical Floor Plan

Roof Plan

Sheared Top View

1| Types

2| Types

1| Topiary

2| Topiary Close Up

1| Street View Render

2| Prespective Render

1| Prespective Render

2| Courtyard View

1| A Series of Four

Physical Model

1| A Series of Four

Physical Model

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Visual Studies II The 2GBX Visual Studies seminar is the second VS in the first year of the M.Arch II program. It introduces Processing, a flexible software sketchbook and language for learning how to code within the context of the visual arts, and advanced 3D modeling in Zbrush and Autodesk Maya for the production of architectural representation through the development of digital techniques. Beginning with the fundamentals of Processing, the course will examine the notion of “Regularity and Random”, “Growth, Form, and Simulation”, and “Emergence” in both two and three dimensions. Students will be required to constantly work between code and output, gaining familiarity with the constraints and advantages of the software. Later in the semester students will work in teams of two and will be introduced to XGen, a geometry instancer that lets you populate the surface of polygon meshes with an arbitrary number of primitives either randomly or uniformly placed. XGen lets you quickly populate large-scale environments, including grass savannas, forests, rocky landscapes, and debris trails. As a final deliverable for the class, teams will work with other teams to create large pictorial landscapes using the combination of their output from Processing, spherical envelope volumes in Zbrush and XGen surface textures in Autodesk Maya.

Visual Studies II Big Picture SPRING 2018 VS 4201 ( 2GBX )

Instructor: Ryan Tyler Martinez and Casey Reas Team: Asmaa Abu Assaf and Julia Arnold

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Processing Processing Processing At the start of the semester, students will be introduced to Processing, an open source computer programming language and integrated development environment (IDE) built for the electronic arts, new media art, and visual design communities with the purpose of teaching the fundamentals of computer programing in a visual context, and to serve as the foundation for electronic sketchbooks. Students will participate in three allday workshops lead by Casey Raes. Students will be familiarized with the seven elements of coding, regularity and random, export image and geometry, as well as motion, growth, form, simulation and emergence.

Exercise 1

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Poster 01

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Poster 02

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Fury Islands Architecture tends to point and communicate with itself through more than one final output. The drawing communicates to the physical model, the model talks to the text and the text specifies things in the drawing which helps understand the totality of the project. In some ways, “connect the dots” can be used as a metaphor to illustrate architecture’s ability to associate one idea with another, to find the “big picture” in a mass of data and information. This notion towards connection will be a fundamental subject within the seminar. The class will be broken into four parts; Output (Data), Massing (Volume), Texture (Surface), Picture (Composition). These four parts and deliverables will be used to create a large pictorial landscape produced by teams and groups of teams within the class. Each of the four parts should act independent from one another but simultaneously be used in support towards the final “Big Picture”.

Exercise 2

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1| A Series of Three

Very Fury Islands

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1| The Big Picture

Very Fury Islands

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Histroy Theory Paper II Building on the base ideas established in Theories of Contemporary Architecture 1, this course will examine in detail recent and historical texts on architecture, philosophy, literature, music, and art. Through these texts, a diversity of approaches to architectural theory and practice will be examined and interrogated within broader social, cultural, and historical contexts from the 1950s to the present. Through analysis of and critical writing about these texts as well as buildings and projects of the period, students will develop new vocabularies for contemporary architectural discourse. This course will trace a set of major themes that have defined much of architectural discourse since the Second World War. Some of these themes have emerged from within architecture, some from larger philosophical and cultural debates. Alongside this content, the course will analyze the writing of criticism and the essay form both through the readings and in the studentsâ&#x20AC;&#x2122; own work for the course.

Theories of Contemporary Architecture II SPRING 2018 HT 2201 ( 2GBX ) Instructor: Erik Ghenoiu Team: Asmaa Abu Assaf

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Disney Dubai Where Dreams Come True

The Middle Eastern architectural precedents have been undermined in the western architectural history. Manifestations of modern design within the realm of Islamic art and architecture have not developed much over the years. Most of the architecture stems from the western perception of space making is not suitable to the harsh Middle Eastern climate. The Middle East is generally a dry place. The basic climate is hot and dry, while winters are mild with a little rain. Summers are long and hot, while winters are short, mild and wet along the Mediterranean coast. On the other hand, the coastal areas are humid but have a steady breeze to compensate for the heat. In the Middle East, architectural pedagogy is weaker than both the North American and European one. This is partially because most of the influence migrated from different cultures in architectural theory and design. For Middle Eastern architects and designers, it is crucial to understand the implications of designing is not by simply mimicking space making principles of other countries but rather using such principles from theory and design of different cultures and tailoring them to better suit the culture of the Middle East. In a culture where consumption rates of imported resources sky rocket as a result of high income, the use of technological advancement in the digital world depicts “total lifestyle experiences,” ready to be expended. These digitally synthetic spaces reveal the unconscious desires of unrealistic urban spaces in the same sense that imaginary architectural space can be modeled, rendered, animated, and experienced. This is because of the freedom given to “foreign”

architects and designers; they are provided with immense amounts of finances to develop their ideas. The use of such tools and resources give birth to a new set of dreamscapes, mysterious and surreal. Fantasy embraces dreaming. All architecture is fantasy, since it speculates future design ambitions. Technological advancement can hardly develop without financial income and stability. Dubai is a city where holiday and everyday lifestyle seem to converge. It is a city where money and the ability to spend money go hand in hand. The architecture in Dubai is in many ways enhancing the act of dreaming since architects and designers are given free reins in terms of project budget, labor, and resources. Dubai’s contemporary culture is powered by a wave of technology, transforming the way the built environment is perceived. Thus, architects and designers are equipped with enhanced tools enabling them to dream. These tools become more sophisticated, blurring the line between the real and imagined. How does contemporary architecture take shape in a city like Dubai where anything is possible? What are the factors that make up “limitless” possibilities in a fast growing country like the United Arab Emirates? The three pillars that operate in the United Arab Emirates are government, religion, and money as the main source of investment. Dubai is a city of money and wealth. It is also a city in which people are governed by strict laws from the government. For example, residents, not citizens, are given little to no land ownership. While the

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local UAE population makes up a small percentage of the countryâ&#x20AC;&#x2122;s population; Emiratis are given tremendous amounts of money, land, and rights. Dubai does not rely on public tax. Thus, the country receives private investments from large corporations and wealthy countries like Saudi Arabia and Qatar. These companies and countries want to invest in Dubai, launching local businesses and developing projects . Consequently, the Las Vegas of the Middle East gets to build more architecture to match its extravagant lifestyle. The leaders of the UAE provide people with comfortable lifestyles, free of taxes and worry, so they educate their people in the hopes that one day they will rise to heaven. However, they force less fortunate people to work in extreme environments with minimum wage.

Dubai is home to the tallest skyscraper (Burj Khalifa) and has the biggest mall in the world (The Dubai Mall). The city also contains an indoor ski slope in another one of the largest malls in the world (Mall of the Emirates). This massive ski slope is about 240,000 square feet . Microclimates and ecologies evolve, and anything can happen in the desert; vast areas of greenery are now located in the middle of this region. The dream of changing the desert has become a reality. Residents witness controlled snow climates in bizarre locations, and large oases now grow from the desert. â&#x20AC;&#x153;The biggest war that any country can engage in is that of development,â&#x20AC;? said Sheik Mohammed bin Rashid al Maktoum, crown prince of Dubai. The Sheik understands that although development is a long and costly process, more and more Emiratis realize that it is necessary for a

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tourist city like Dubai to keep up with the world’s technological advancement, “let our victims be poverty, ignorance and backwardness” . The Louvre in Abu Dhabi, which opened to the public on November 8th, 2017, and the Guggenheim in Abu Dhabi, which is still under construction, paid 525 million dollars to be associated with the Louvre and the Guggenheim names; an unnecessary yet extravagant association. The study of architecture incorporates designing, creating, and developing forms and living spaces for buildings that inspire, cultivate, and satisfy basic human needs. As far as education goes, the American University of Sharjah in the United Arab Emirates is the first program outside North American to be granted accreditation by the National Architectural Accrediting Board of the United States . However, students who graduate from this university do not need a license to practice architecture in the UAE. This shows that although NAAB accredited degrees are given to qualified students who learn under highly qualified American and European instructors, job opportunities in the UAE are given to “foreign” architects and designers who have little understanding of the country’s culture, ambitions, and goals. Instead, they project their own personal ambitions, given the finances, whether or not they are in line with the country’s ideals. UAE citizens think that because a Western architect builds a project in the UAE, it must be the right way to build. Sadly, that is a very common misconception in the design world of the UAE. Architecture functions primarily as a piece of art intended to provide spatial experiences

suited to a perceived idea of human comfort, and it is thus a combination of experiential, creative, and pragmatic space making. Secondly, architecture becomes a contextually and culturally driven piece within the larger urban fabric that potentially tells a story of the design process, context, and analysis in a particular site location. This framework provides a way to generate guidelines for critics and professionals to judge and evaluate the project. It is nearly impossible for any professional to critique a project solely from graphic representation. It is also equally difficult to understand the ideas that generate form, without an understanding of the context, time, and location of a project. The general notion of designing in the UAE is favoring Western architecture that seldom address the culture and climate of the region. The practice of architecture in the Middle East, apart from the studio agenda of space making, tries to create spaces that accommodate the heat and climate. It was shockingly evident that Middle Eastern projects do not account for this specific environment. For example, the amount of money paid by small scale and large scale projects in order to keep a space air-conditioned is costly. One of the basic solutions is to use the solar energy to solar power these air conditioners. It seems logical to harness the heat, which is one of the major climatic features in the Middle East, to power electricity, yet there has not been proper explorations regarding solar powers. Another great implication of designing in the Middle East is that clients have no modern precedents, resulting in a large portion of clientele that want to imitate the architecture from other countries. Although convincing clients to

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have a better understanding about their design is part of an architect’s job description, their efforts are often rejected, favoring a more “normative” Western design that seldom addresses the climate. Architecture is a collaboration of many different fields of studies, from structural consultants, to civil, electrical, and mechanical engineers to contractors. Architecture is not just about the theories imbedded within; these theories need to be put into practice. Architecture becomes tangible only when it is built, otherwise it remains conceptually drawn and only represented within

its creator’s imagination. There is a disconnect in the architectural education and the practice of architecture in the Middle East. Although NAAB accredited degrees are given to students, once they start working, they get replaced by Western architects and designers who have little understanding of the Middle Eastern cultures. Instead of simply mimicking space making principles of the West, countries like Dubai must learn from the principles and design theory of different cultures in order to tailor them to better suit the culture, climate, and ambitions of the Middle East.

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Bibliography

“Abu Dhabi Louvre.” ArchiExpo. Accessed March 15, 2018. http://projects.archiexpo.com/ project-21549.html. “American University of Sharjah.” American University of Sharjah. Accessed March 15, 2018. https://www.aus.edu/. “Ski in the Desert? It Could Only Happen in Dubai ...” The Observer. November 20, 2005. Accessed March 15, 2018. https://www.theguardian. com/travel/2005/nov/20/unitedarabemirates. wintersportsholidays.wintersports. “A Short History of Dubai Property,” AME Info, August 2004.

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Frearson, Amy. “Construction of Gehry’s Guggenheim Abu Dhabi Still Yet to Start.” Dezeen. February 15, 2016. Accessed March 15, 2018. https://www.dezeen.com/2016/02/12/constructionguggenheim-frank-gehry-abu-dhabi-still-yet-to-start/. George Katodrytis, “Metropolitan Dubai and the Rise of Architectural Fantasy,” Bidoun 4, Spring 2005. Jack Lyne, “Disney Does the Desert?,” 17 November 2003, online at The Site Selection. Nick Meo, “How Dubai, Playground of Business Man and Warlords, Is Built by Asian Wage Slave,” Independent, 1 March 2005.

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Unfinished Chambord Inacheve (unfinished): Dominique Perrault Architecture has selected Manferdini Vertical studio at SCI-Arc to participate in an exhibition celebrating the 500th anniversary of the Chateau de Chambord. The exhibition will feature 20 architectural proposals for the monument coming from 20 Graduate Schools selected by Dominique from all around the world. Each graduate school will use as a point of departure for their design proposals the concept of utopia, which was capital at the time of the development of the Chateau de Chambord. The Chateau de Chambord construction started in 1519 and it is nowadays still unfinished. If the identity of the architect remains unknown, the design appears largely influenced by the drawings of Leonardo da Vinci, who was the â&#x20AC;&#x153;first painter, architect and engineer of the kingâ&#x20AC;? Francois I at the time the design was conceived. The building has been on the UNESCO World Heritage List since 1981. A world-renowned symbol of the French Renaissance, the chateau is intrinsically associated with its natural environment, the forest. With its 5,440 hectares and its 32 kilometers if walls, the National Estate of Chambord is the largest enclosed park in Europe, located less than two hours from Paris.

Design Studio

FALL 2018 DS 4000 ( 3GAX ): Vertical Studio Instructor: Elena Manferdini Team: Asmaa Abu Assaf and Julia Arnold

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Axon Render

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Plan Render

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Section

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1| Closed Room

Guest Bedroom

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2| Opened Room

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1| Closed Room

Kingâ&#x20AC;&#x2122;s Bedroom

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2| Opened Room

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1| Closed Room

Queenâ&#x20AC;&#x2122;s Bedroom

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2| Opened Room

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1| Closed Room

King and Queenâ&#x20AC;&#x2122;s Cabinet

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2| Opened Room

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Pod Render

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Visual Factory Andy Warhol’s Factory (or Silver Factory) was covered in tin foil and silver paint, it was called a factory because of the idea of production, from films, paintings, prints, sculptures, and it was an assembly line style of art goods. Silkscreens were the most iconic mass-produced products that came out of the factory, they were repetitive and yet unique, standardized and customized at the same time. This class will take on the idea of “The Factory” as it connects to mass-produced consumer tools; we will use the assembly line machines available at SCI-Arc and will use them in unexpected ways, laser cut, CNC milling, powder 3D printers, paper 3D printers, vacuum form, etc. These machines are thought as the conveyers of objects, but this class will focus on the visual qualities of the commodities, and how they can be closer to drawings. The output of the class will be a cabinet of curiosities kind of room, which was a style of display that was the repository of wondrous and exotic objects. This class will aim at extracting the unexpected form our ubiquitous machines of architectural design production. This class will be organized in two combined parts: tutorials and theory lectures. By mixing the highly specific realm of software tutorials and the more expansive cultural framework, students will be asked to articulate their design processes in both manners, by achieving a high expertise in the tools and also by understanding the role of those tools within the culture of architecture at large. In current times it is expected that contemporary architects have the highest degree of expertise in a large array of tools and technologies, there is no doubt that technology has revolutionized the way we design nowadays, but at the same time students must engage both technology and theory in a way that a coherent thinking goes through all design processes, instead of merely relaying on rule based systems that only follow steps instead of ideas.

Visual Factory

FALL 2018 VS 2523 ( 3GAX ) Instructor: Florencia Pita Team: Asmaa Abu Assaf, Alayna Davidson, Julia Arnold

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1| A Series of Six

Still Life

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10”x14” Silk Screen Prints on 100% Cotton Paper

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10”x14” Silk Screen Prints on Bristol Paper

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10”x14” Silk Screen Prints on Polycarbonate

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Silk Screen Prints on Polycarbonate

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Design Development This course investigates issues related to the implementation of design: technology, the use of materials, systems integration, and the archetypal analytical strategies of force, order and character. The course includes a review of basic and advanced construction methods, analysis of building codes, the design of structural and mechanical systems, Environmental systems, Buildings service systems, the development of building materials and the integration of building components and systems. The intent of this course is to develop a cohesive understanding of how architects communicate complex building systems for the built environment and to demonstrate the ability to document a comprehensive architectural project and Stewardship of the Environment. A series of built case studies will be presented by the instructors along with visiting professionals in the field who are exploring new project delivery methods. These case studies will be shown in-depth with construction photographs, 3D renderings, and technical drawings and details. Pertinent specific topics for the course will be highlighted in each presentation, with a focus on the evolution of building design from concept to built form.

Design Development FALL 2018 AS 3122 ( 3GAX )

Instructor: Herwig Baumgartner and Brian Zamora Team: Asmaa Abu Assaf, Alayna Davidson, Julia Arnold, Cisem Saglam, Yi Ning Lui, Weiti Wang

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Glass Panel Glass Support Metal Closure Panel Steel Clip 1’ Steel Diagrid 2’ Steel Diagrid Perimeter Steel Y Column FRP Panel Steel Framing Water Proofing 5/8” Exterior Gyp. Board

Wood Flooring Interior Wall Steel Framing Steel Clip Water Proofing 5/8” Exterior Gyp. Board Rigid Insulation Concrete Floor Structural Rebar Glass Wall Steel Mullion Metal Frame Metal Mesh Panel

Metal Flashing Concrete Casted in Place Insulation Steel Framing Insulation 5/8” Exterior Gyp. Board Water Proofing Rigid Insulation Metal Flashing Gutter Concrete Floor with Bubble Decking Glass Panel Glass Support 1’ Steel Diagrid 2’ Steel Diagrid Perimeter Steel Y Column Steel Framing Interior Wall 5/8” Exterior Gyp. Board Steel Clip FRP Panel Rigid Insulation Concrete Floor with Bubble Decking Waterproofing Angle Bracket Closure Plate Steel Mullion Glass Wall Interior Wall Steel Framing Steel Clip Wood Flooring Rigid Insulation Concrete Transfer Slab Insulation Waterproofing FRP Panel Concrete Insulation

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Steel Framing 5/8â&#x20AC;? Exterior Gyp. Board Waterproofing Steel Clip Interior Wall Steel Clip FRP Panel

Wood Flooring

Rigid Insulation Concrete Floor with Bubble Deck Structural Rebar

Suspended Ceiling

Angle Bracket Metal Flashing Closure Plate

Steel Mullion

Glass Wall

1| FRP Wall to Glass Wall Detail

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Steel Framing 5/8â&#x20AC;? Exterior Gyp. Board Waterproofing Steel Clip Interior Wall Steel Clip FRP Panel

Wood Flooring

Rigid Insulation

Metal Flashing

Water Proofing Concrete Insulation Concrete Transfer Slab

2| FRP Wall to Ground Detail

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Steel Framing 5/8” Exterior Gyp. Board Waterproofing Interior Wall FRP Panel

Wood Flooring Steel Clip Metal Flashing Gutter Rigid Insulation Structural Rebar Concrete Floor with Bubble Deck Suspended Ceiling Glass Panel Glass Support

2’ Steel Diagrid Perimeter

1’ Steel Diagrid Steel Y Column

1| FRP Wall to Glass Ceiling with Gutter Detail

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Glass Panel

Metal Closure Plate Metal Cap and Flashing FRP Panel 5/8” Exterior Gyp. Board Waterproofing Steel Framing

1’ Steel Diagrid 2’ Steel Diagrid Perimeter Steel Y Column

Steel Clip

2| Glass Ceiling to FRP Wall Detail

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Steel Framing 5/8â&#x20AC;? Exterior Gyp. Board Waterproofing

Interior Wall Steel Clip

FRP Panel

Wood Flooring Rigid Insulation Concrete Floor with Bubble Deck Structural Rebar Suspended Ceiling

1| FRP Wall Detail Design Development

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Steel Framing 5/8â&#x20AC;? Exterior Gyp. Board Waterproofing Steel Clip Interior Wall

Wood Flooring FRP Panel Rigid Insulation Concrete Floor with Bubble Deck Structural Rebar Suspended Ceiling

Glass Wall Steel Mullion

Metal Mesh Panel Metal Frame

Metal Flashing Concrete Casted in Place Insulation

2| FRP Wall to Glass Detail

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Secondary System: 6’X6’ Diagrid

6’X6’ Diagrid Roof

Tertiary System: Attachment of Skin

Primary System: Steel Column- W12X120

2’ Deep Concrete Plinth

Underground Parking

1| Structural System Design Development

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6’X6’ Diagrid Roof Primary Structural Core

Transfer Concrete Slab Concrete Slab with Bubble Decking

Primary System: Square Concrete Column

Tertiary System: Attachment of Skin

Secondary System: 6’X6’ Diagrid

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Steel Framing

5/8” Exterior Gyp. Board

Interior Wall

INTERIOR

Waterproofing

EXTERIOR

FRP Panel

Wood Floor

Rigid Insulation

Steel Clip

Concrete Floor Structural Rebar

Suspended Ceiling

Glass Wall INTERIOR

Steel Mullion

2D FRP WALL TO

1| FRP Wall to Glass Wall Detail GLASS WALL DETAIL A1

SCALE 1’ = 1.5”

Design Development

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Steel Framing 5/8” Exterior Gyp. Board

Interior Wall

Waterproofing

INTERIOR EXTERIOR

FRP Panel

Steel Clip

gid Insulation Wood Floor

ncrete oor Rigid Insulation

Structural Rebar Concrete Transfer Slab

BASEMENT

2D FRP WALL TO

2| FRP Wall to Ground Detail GROUND F1

SCALE 1’ = 1.5”

BASEMENT

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Steel Framing 5/8” Exterior Gyp. Board EXTERIOR

Waterproofing Interior Wall

FRP Panel Glass Panel Gutter

Metal Flashing INTERIOR

Glass Support System

Wood Floor

Rigid Insulation

Concrete Floor 1’ø Steel Diagrid

Structural Rebar Suspended Ceiling

2’ø Steel Diagrid Perimeter

Steel Y Column

INTERIOR

1| FRP Wall to Glass Ceiling with Gutter Detail 2D FRP WALL TO GLASS CEILING DE-

Design Development TAIL 1 WITH GUTTER A1

SCALE 1’ = 1”

2D FRP

SCA

oor

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CJWNAA TEAM NAME:

CJWNAA Asmaa Abu Assaf Julia Arnold Alayna Davidson Yi Ning Lui Cisem Saglam Weiti Wang

Closure Plate

CONTACT:

cjwnaa@gmail.com asmaaabuassaf@gmail.com julia.arnold214@gmail.com andavidson2@gmail.com yininglui94@gmail.com cisemsaglam1@gmail.com gxij123@gmail.com

EXTERIOR

SITE:

Los Angeles 34Â°2'30.1"N 118Â°15'0.67"W

CLIENT:

Southern California Flower Market

ADDRESS:

742 Maple Avenue Los Angeles, CA 90014

PROJECT:

DTLA Flower Market

Glass Panel

Glass Support System

2’ø Steel Diagrid Perimeter

ulation

EXTERIOR

1’ø Steel Diagrid

5/8” Exterior Gyp. Board Waterproofing

Steel Clip Steel Framing

20 19

FRP Panel

18 17

Interior Wall

16 15

INTERIOR 14 13 12

Steel Y Column

2| Glass Ceiling to FRP Wall Detail 2D GLASS CEILING TO FRP WALL DETAIL 2

11 10

NL/AD

REV:

DESCRIPTION:

BY:

SCALE 1’ = 1” SHEET TITLE:

2D Details

CHECK: DA

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Steel Framing

Interior Wall

5/8” Exterior Gyp. Board

Waterproofing

INTERIOR

FRP Panel

Wood Floor Rigid Insulation EXTERIOR

Steel Clip

Concrete Floor

Structural Rebar

Suspended Ceiling

INTERIOR

1| FRP Wall to Glass Ceiling with Gutter Detail Design Development

2D FRP WALL TO CONCRETE FLOOR DETAIL SCALE 1’ = 1.5”

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INT

FRP Panel

Wood Floor

TEAM N

Steel Clip

3/4” Rigid Insulation

CONTA

Concrete Floor

erior ard

Structural Rebar

SITE:

CLIENT

oofing

Metal Frame

ADDRE

Suspended Ceiling

RP Panel

EXTERIOR

INTERIOR

PROJEC

Glass Wall

EXTERIOR

Metal Mesh Panel

Steel Mullion

l Clip

21 20 19

INTERIOR

EXTERIOR

18 17 16 15 14 13 12 11 10 09 08 07 06 05 04 03 02 01

2D FRP WALL TO

REV:

METAL MESH DETAIL 2| Glass Ceiling to FRPF1Wall Detail SCALE 1’ = 1.5” SHEET

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Steel framing with vertical bracing Metal Channels FRP panel

Glazing unit

A1 A-018

Corrugated metal decking Dropped ceiling

175’- 0” 10TH LEVEL

W24 x 76 Steel Beam

A1 A-019

160’- 0” 9TH LEVEL

145’- 0” 8TH LEVEL

130’- 0” 7TH LEVEL

115’- 0” 6TH LEVEL

Natural Stone FRP tile panel Joint and interlocking channel Reinforced concrete wall

97’- 0” 5TH LEVEL

83’- 0” Metal Channels

4TH LEVEL

FRP panel Steel support Concrete bubble deck

68’- 0” 3RD LEVEL

F1 A-018

53’- 0” 2ND LEVEL

32’- 0” 1ST LEVEL

1| Office Section Design Development

F1 A-019

333’- 0”

20TH LEVEL

284’- 0”

19TH LEVEL

269’- 0”

18TH LEVEL

254’- 0”

17TH LEVEL

239’- 0” 16TH LEVEL 175’0”

239’- 0”

171

F1 A-019

Double glazed window panel

Natural marble FRP panel

Reinforced concrete wall

Dropped ceiling

Bubble deck concrete flooring

16TH LEVEL

10TH LEVEL

F1 A-020

160’- 0” 9TH LEVEL

149’- 0”

10TH LEVEL

145’- 0”

F1 A-020

Double glass shingle panel Double glass shingle panel main steel frame main steel frame steel division frames steel division frames metal connection cables with connection metaljoints connection cables with connection joints

8TH LEVEL

134’- 0”

9TH LEVEL

130’- 0” 7TH LEVEL

119’- 0”

8TH LEVEL

115’- 0” 6TH LEVEL

104’- 0”

7TH LEVEL

A1 A-020

97’- 0”

A1 A-020

5TH LEVEL

89’- 0”

6TH LEVEL

83’- 0” 4TH LEVEL

74’- 0”

5TH LEVEL

68’- 0” 3RD LEVEL 59’- 0”

59’- 0”

4TH LEVEL

53’-44’0” 0”

East Elevation Scale 1:200

44’- 0”

2ND LEVEL 3RD LEVEL

3RD LEVEL

29’- 0” 32’- 0”

29’- 0”

2ND LEVEL 1ST LEVEL

2ND LEVEL

14’- 0”

1ST LEVEL

0’- 0”

GROUND LEVEL

2| Residential Section

East Elevation Scale 1:200

Natural marble FRP panel

Metal Channel

Corrugated steel decking

Steel support

172 Santee Str

eet

Pedestrian Pavement

Map

S Cecilia S

A1 A-151

E 8th Str

eet

treet

Residential E

Flower Market Entrance

1| Site Plan Design Development

Flower Market Entrance

E 7th Street

ple Ave

173

Courtyard Entrance Loading Zone

Entrance

San Julian Street

Wall Street

A1 A-151

174

2 30.0

30.0

24.0

B C 41.9

A1 A-151

24.0

30.0

E F

1| Ground Floor Plan Design Development

3 30.0

4 30.0

5 30.0

6 30.0

7 30.0

30.0

9 33.2

10 20.0

1 20.0

175

12 20.0

13 20.0

14 20.0

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16 20.0

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18 20.0

19 20.0

20 20.0

21 20.0

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23 20.0

24 20.0

25 20.0

26 20.0

27 20.0

28 20.0

A1 A-151

176

2 30.0

30.0

24.0

B C 41.9

A1 A-151

24.0

30.0

E F

1| Typical Floor Plan Design Development

3 30.0

4 30.0

5 30.0

6 30.0

7 30.0

8 30.0

9 33.2

10 20.0

1 20.0

177

12 20.0

13 20.0

14 20.0

15 20.0

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17 20.0

18 20.0

19 20.0

20 20.0

21 20.0

22 20.0

23 20.0

24 20.0

25 20.0

26 20.0

27 20.0

28 20.0

A1 A-151

178

2 30.0

30.0

24.0

B C 41.9

A1 A-151

24.0

30.0

E F

1| Typical Floor Plan Design Development

3 30.0

4 30.0

5 30.0

6 30.0

7 30.0

8 30.0

9 33.2

10 20.0

1 20.0

179

12 20.0

13 20.0

14 20.0

15 20.0

16 20.0

17 20.0

18 20.0

19 20.0

20 20.0

21 20.0

22 20.0

23 20.0

24 20.0

25 20.0

26 20.0

27 20.0

28 20.0

A1 A-151

180

Details Details This course is an investigation into the future of the architectural detail. Beginning with the question, â&#x20AC;&#x153;what is an architectural detail today?,â&#x20AC;? the course will first consider a range of accepted definitions- from the architectural motif (perhaps best exemplified by the Gothic), to the tectonic expression of a structural logic (Prouve, for example), to the autonomous architectural device (from Scarpa to early Morphosis). A number of contemporary architects, from Ben Van Berkel to Zaha Hadid have suggested that the relevance of the architectural detail has faded in favor of more subservient part to whole relationships. There is no denying that, given the simultaneous technological advancement and material development of our era, the idea of seamless continuities are on the horizon (if not at our fingertips) at least from the standpoint of constructability. But, is that really the best we can do? Or might the future of the architectural detail lie in a more nuanced approach that draws from a wider range of definitions? Based on the five architectural detail definitions outlined by Edward Ford, each student will be asked to position themselves through 5 categories, or to place themselves between more than one of them. Drawings from that position on the topic, students are then asked to design (and construct at half of full scale) an architectural detail.

Details Details

FALL 2018 AS 2509 ( 3GAX ) Instructor: Dwayne Oyler Team: Asmaa Abu Assaf, Alayna Davidson, Julia Arnold, Heidi Au Yeung

181

182

1| Detail 01 Stair

183

2| Detail 02

184

1| Detail 01 Stair

185

2| Detail 02

186

1| Stair Prespective Stair

187

2| Stair Prespective

188 1/2” Thick Birch Plywood Contoured Cap/Handrail 1/2” Thick Birch Plywood Outer Edge of Cap/Handrail

1/2” Thick Birch Plywood acts as Infill in between Steel Contours 9/64” Diameter drilled hole

1/2” Thick Birch Plywood acts as Infill in between Steel Contours

9/64” Diameter drilled hole

1/8” Thick Cold Rolled Steel Countoured every 1/2” and sandwiched between 1/2” Birch Plywood

9/64” Diameter drilled hole

1/8” Thick Cold Rolled Steel Plate Welded to Steel Exterior Stair 1/8” Steel Rod Inserted into Steel and Wood Pieces then Welded on each Steel Exterior Face

1| Axon of Three Treads Stair

189 1/2” Thick Birch Plywood Contoured Cap/Handrail 9/64” Diameter drilled hole inserted with 1/8” Steel Rod and then welded to Exterior Steel Sheet

1/2” Thick Birch Plywood acts as Infill in between Steel Contours

1/8” Thick Cold Rolled Steel Countoured every 1/2” and sandwiched between 1/2” Birch Plywood 9/64” Diameter drilled hole inserted with 1/8” Steel Rod and then welded to Exterior Steel Sheet 1/8” Thick Cold Rolled Steel Plate Welded to Steel Exterior Stair

Exterior of 1/2” Thick Birch Plywood Contoured Cap/Handrail

Interior of 1/2” Thick Birch Plywood Contoured Cap/Handrail

1/2” Thick Diameter Steel Threaded Rod Welded to 1/8” Thick Cold Rolled Steel Plate 1 1/2” Birch Plywood Base

2| Section Through Treads and Steel Plate

190

1/2” Thick Birch Plywood Contoured Cap/Handrail 1/8” Thick Cold Rolled Steel Laser Cut Steel

1/8” Thick Cold Rolled Steel Laser Cut Steel

9/64” Diameter drilled hole inserted with 1/8” Steel Rod and then welded to Exterior Steel Sheet 1 1/2” Birch Plywood Base

1/8” Thick Cold Rolled Steel Plate Welded to Steel Exterior Stair 1/2” Thick Diameter Steel Threaded Rod Welded to 1/8” Thick Cold Rolled Steel Plate

1| Section Through Treads Stair

191

Project Description The project was to redesign a stair in relation to the Eames House. Within this project we found ourselves designing a stair in regard to the autonomous or subversive detail and the detail as abstraction. This stair, through a series of repetitions, hides the true, joint detail and leaves the aesthetic detail. This makes the visible details abnormal, and the true, joint details unexpected. In reference to the Eames House, this stair is clearly an autonomous detail, looking nothing like anything within the house, yet works in parallel as a detail of abstraction, hiding the true construction. While the original stairs within the house do use wood and metal, this new version takes the simplified detail as motif, and revamps the design as an aesthetic architectural stair that makes a statement of its own. Detail Definition This stair is an inception of repetitive modules. A singular tread is made of sandwiched metal and wood pieces that are held together by connection pins. These pins that are in multiple locations, help hold the stair together through welded joints that are then grinded to make no appearance. Each stair is then repeated at a higher level. In reguard to the base plate, the stair meets the ground in a shadow box, that serves for aesthetic purposes, but also allows us to hide the threaded rod below. This threaded rod that is welded to the base plate, is then drilled in place through thick wood keeping the stair upright.

2| Text Description

192

Stair

193

194

Connect the Dots The act of searching for something on google has become part of the everyday. Counterintuitively, you already know what you are looking for before you even type the search in. However, Google still pulls up hundreds of things that match your search but are not quite what you were looking for. This project harnesses the untapped creative potential of the act of searching and questions what it means to be creative in an age where information is flattened and abundantly available. The program we designed, named/called “Create”, transforms traditional search parameters into absurd, playful outputs. Create’s version of creativity is one that plays with words and form. Language, the medium we use to type in what we’re looking for, is extrapolated to things and things are combined to make objects. Create uses a double encrypted poly alpha numeric coding system as a means of translating words to things. In this case, the creative process is a journey of collection and aggregation of information. This creation engine functions as a combiner of collected search parameters. The cart carrying with it information from all previously visited worlds and progressing through as many nodes as words entered into the create engine. The topology of the landscape guides the cart, generating paths and roads. This process of collection is one that takes advantage of the physical power of making connections; with words, but most importantly connections with the context of collection. The infinite potential of the Creation machine is in the hands of the user. You have the power to create endless playful objects with the all new groundbreaking, “Create”.

Design Studio

SPRING 2019 DS 5000 ( 3GBX ) Instructor: Natasha Sandmeier Team: Asmaa Abu Assaf and Akhil Mathew

195

196

1| A Series of Four

Creation Objects

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198

1| A Series of Four

Creation Objects

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200

1| A Series of Four

Creation Objects

201

202

1| A Series of Four

Creation Objects

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BFI

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206

Draw the Line The seminar will explore a playful new mode of drawing at the convergence of digitality and analogicity. Linked to postdigital visual culture and material conditions, drawing exercises will exploit the tension between abstraction and figuration, identification and deception, materiality and immateriality. During the first half of the semester, students will work handson in Robot House layering up techniques through a series of structured exercises. Line, multi-line, and outline drawings will be produced using Montana graffiti markers attached to robots with custom end-arm tools. To create graphic effects, marker nibs/ tips may be swapped from extra fine to extra wide multi-line with different ink colors. The drawing may be affected in real-time by adjusting the robotâ&#x20AC;&#x2122;s registration, direction, speed, and pressure.

Visual Studies

SPRING 2019 VS 2733 ( 3GBX ) Instructor: Devyn Weiser and Curime Batliner Team: Asmaa Abu Assaf, Julia Arnold, and Rebecca Fitzgerald

207

208

1| A Series of Four

Robot Drawings

209

210

1| A Series of Four

Robot Drawings

211

212

1| A Series of Four

Robot Drawings

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214

Animal House Little Brown Bats are considered endangered with a population loss of approximately 90%. This is partly because they choose to live in caves that are usually filled with moisture leading them to get White-Nose Syndrome killing over one million brown bats since 2006. The disease is named for a distinctive fungal growth around the muzzles and on the wings of hibernating bats. It is caused by the fungus Pseudogymnoascus destructans, which colonizes the batâ&#x20AC;&#x2122;s skin making them unable to breathe or fly. No obvious treatment or means of preventing transmission is known, and some species have declined more than 90% within five years of the disease reaching a site. The massing is used as a protection to keep predators from breaking into the enclosure easily; it is thickly layered, allowing little scope for brittleness or strain. Overlapping layers whose openings do not necessarily overlap would be ideal for this enclosure. Since the White Nose Syndrome is the major cause of bat deaths in the past five years, the enclosure should ideally be as watertight as possible, leaving little scope for moisture creep. To ensure that bat does not get a leg or a wing stuck in the surface of the enclosure, the size of the openings should be minimal, but still allowing the required natural sunlight in. As an extra feature, luminescence of the enclosure can help the bat attract prey, since insects are attracted to bright light and color. We chose the Day Roost on a tree branch as our case for developing the enclosure. Day Roosts require ample sunlight but protection from predators since the bat stays there from dawn to dusk.

Robotic Fabrication

SPRING 2019 AS 2374 ( 3GBX ) Instructor: Herwig Baumgartner and Garrett Santo Team: Asmaa Abu Assaf, Ruquia Akter, Sara Alsubhi, Swetha Arunkumar, Phonthakom Srisawat, and WeiTse Yuan

215

216

1| Massing Bat House

217

218

1| Massing Bat House

219

220

Emergent Ruin This project looks for a way of negotiating the awareness of a past that coincides with modern efforts to destroy, develop, forget and make obsolete the legacy of all pasts. In a place that is frozen in time, trying to find a way forwards; the question is how can we retain the physical symbol of a building after destruction, while also bringing new life to it. Too often restoration is about nostalgia and not about speculation. How do you take a ruin that connects to the people and to a history and respect it while also imagining its reuse? In retaining the building, and using the shell as a memorial, and in a way, a site in itself, a future is constructed that doesnâ&#x20AC;&#x2122;t overlook the past, but comes to terms with its history and finds a trajectory towards the future. It is the tension between the old building, and the new intervention, that creates something different. The project aims to insert a radical interior, highlighting the use of luxury materials such as marble and gold in contrast with the worn and aged, decaying materials like concrete within a building that has gone through war. While preserving the shell, the interior has been carved out to create a large void where three large discs are inserted. These discs host a series of shops, a program that detracts and clashes with the buildingâ&#x20AC;&#x2122;s past. In order to heighten the contrast between the interior program, and the exterior history, the shell and facade are kept a singular concrete material, a single homogenous object. The exterior of disks are the same material language in order subdue / dilute to apparent contrast. All the while the interiors of the shops play with hyper luxury materials. The massing is split and pulled apart to symbolize the split nature of the buildings ownership (the Kuwaiti and Lebanon). One half tilts to display the geo-political instability of the immediate area. The split is subtle on the structure, considering the sheer size of the building, this subtle becomes a powerful moment that reveals, when looked at from the right vantage point, the intervening disks.

Graduate Thesis

SUMMER 2019 DS 1420 ( GT ) Instructor: Elena Manferdini Team: Asmaa Abu Assaf

221

222

Exterior Model

223

224

Interior Chunk 01

225

226

Interior Chunk 01

227

228

Interior Chunk 02

229

230

Interior Chunk 03

231

232

Interior Chunk 04

233

234

Cyprus Retreat Moving beyond the cultural assumptions that structure our conventional understanding of landscape, this project embarks on a journey into the unmarked and unfamiliar realm of an experiential design process. This implies that we, as designers, do not construct â&#x20AC;&#x153;objectsâ&#x20AC;? so much as we orchestrate a complex network of sensory phenomena through the instruments of spatial, physical, and psychological perception.

Architecture Design Studio One FALL 2013 ARC 201

Instructor: Faysal Tabbarah Team: Asmaa Abu Assaf

235

236

FIRST FLOOR PLAN

GROUND FLOOR PLAN

SCALE 1:100

1| Plans Cyprus Retreat

237

SECTION AA

SECTION BB

2| Section

SCALE 1:100

238

1| Diagram Cyprus Retreat

239

240

Live/ Work Polemical segregations implied by wet/dry, work/rest, in/out, and light/dark shroud the complex overlaps and shifting spatial occupations familiar in daily experience. The project brief aims to create architecture that moves beyond mere accommodation to engage a full spectrum of the bathing ritual. Beyond the conventionally privileged realm of vision, the spectrum of senses provide numerous, often ignored design tools that sponsor operative speculations. Immersed in the complexity of a specific place/project, the project explores the process of designing as an act of tactile engagement influenced by variations that resist reductive codification.

Architecture Design Studio Two SPRING 2014 ARC 202

Instructor: Christine Yogiaman Team: Asmaa Abu Assaf

241

242

1| Plans Live/ Work

243

244

Live/ Work

245

246

Community Center Local building codes require that new architecture does not exceed the volumetric parameters established by the height and width of the existing adjacent buildings. This project is an infill to the existing urban pattern located in Sharjah, United Arab Emirates. The Community Center is spatially designed around a courtyard-like space that responds to the environmental features in this particular region.

Architecture Design Studio Three FALL 2014 ARC 301

Instructor: Emily Baker Team: Asmaa Abu Assaf

247

248

1| Diagrams Community Center

249

250

AUS Security Booth

251

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Institute of Architecture Shotcrete is an all-inclusive term that describes spraying concrete or mortar with either a dry or wet mix process. However, shotcrete may also sometimes be used, incorrectly, to distinguish wet-mix from the dry-mix method. The term shotcrete was first defined by the American Railway Engineers Association (AREA) in the early 1930s. By 1951, shotcrete had become the official generic name of the sprayed concrete process, whether it utilizes the wet or dry process. Understanding structural typologies gives the design process another starting point. With this project primary physical models were done in order to better understand a specific structural system, namely the vault structure. Institute of architecture + other things is a project made of shotcrete or sprayed concrete. Shotcrete is concrete, or sometimes mortar, conveyed through a hose and pneumatically projected at high velocity onto a surface, as a construction technique. It is also reinforced by conventional steel rods, steel mesh, or fibers. The projects explores this construction technique for its structural and experiential features.

Architecture Design Studio Four SPRING 2015 ARC 302

Instructor: Faysal Tabbarah Team: Asmaa Abu Assaf

253

Foam

Shotcrete

Mesh

Reference Surface

Glass

Metal Rib Glass

Reference Surface

Shotcrete

254

A2 PROTO - ARCHITECTURES

ARCH STRUCTURE

ITERATIONS

GENERATIVE DIAGRAMS

Institute of Architecture

255

PRIMARY RIBS

SECONDARY RIBS

SHOTCRETE SKIN

ASMAA ABU ASSAF | 47501

256

Institute of Architecture

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Institute of Architecture

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Institute of Architecture

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Domed The study models resulted from a collaboration between four students. Initially, The students conducted analysis on surface active systems. The project outcome was a dome structure made from compression and tension members. Wood and springs are the materials used in this project.

Structures for Architects SPRING 2015 ARC 342

Instructor: Faysal Tabbarah Team: Asmaa Abu Assaf, Meera Al-Mazooei, Ibrahim Ibrahim, Marwan Saksouk

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Domed

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London Nursery An old rural English village in the middle of an old forest promises to offer children of all ages a warm and cozy, yet fun and playful learning environment, allowing the children of the nursery to interact with the old and the new in a way that encourages their creative mind. Re-foresting the site with native trees gives back to the community what the project took from the construction process. The re-forestation would take years to complete; however, it would give the community plenty back for the years to come. The treatment of the landscape, inspired by the idea of a forest within an industrial area offers a clean, welcoming environment. The children of the nursery will witness the growth of the trees in their stay at Village Tree, learning and growing.

Architecture Design Studio Five FALL 2015 ARC 401

Instructor: Rafael Pizarro Team: Asmaa Abu Assaf

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London Nursery

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London Nursery

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Pavilions and Chair These set of project briefs concentrates on the specific demands on CAD systems by the architecture and building professions. The projects applies CAD systems to the different phases of planning: preliminary design, design, construction documents, extraction of volumetric data and transfer to spreadsheet and/ or database software, rendering software, post-rendering work in pixel-editing software, and technical drawing layout software. These projects apply nHair and nParticle in order to create spatial and functional objects.

Advanced Computer-Aided Design FALL 2015 ARC 465

Instructor: Faysal Tabbarah Team: Asmaa Abu Assaf

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Pavilions and Chair

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Studio Arts Building A collaboration between two students, The proposed Studio Arts Building functions as a circulation zone for the American University of Sharjah campus. Being located at the heart of AUS, the project explores the potential points of interaction between the various users circulating around the building. The major circulation path that connects the residential area to the main building is housed within the project, allowing it to become accessible from various points and aids in re-directing the pedestrians into and under the project. Contextually, the project iterates the rhythm of the nearby arcades. The Studio Arts Building adheres to the typology by creating an inverse relationship between the spacing of the arcades and their adjacent openings. Formally, the projectâ&#x20AC;&#x2122;s envelop consists of a series of massive piers that begin to house service zones as well as vertical circulation. From the exterior, the project is conceptually a thick wall with users circulating around and under it. However, from the interior, the spaces are arranged around green atriums that filter light and allows for views within the project. Since the climate in the region is a harsh one, buildings need to be in close proximity to one another, adding vegetation that shades creates a more adaptable space for the users.

Architecture Design Studio Six SPRING 2016 ARC 402

Instructor: Marcus Farr Team: Asmaa Abu Assaf and Meera Al-Mazooei

277

Plastic Roof Pre-Cast Concrete

Concrete Floor Metal Mesh Panels

Concrete Finish Floor Coffered Concrete Ceiling

Travertine Finish Metal Railing Sand Gravel

278

1| Ground Floor Plan Studio Arts Building

279

2| Ground Floor Reflected Ceiling Plan

280

1| First Floor Plan Studio Arts Building

281

2| First Floor Reflected Ceiling Plan

282

1| Second Floor Plan Studio Arts Building

283

2| Second Floor Reflected Ceiling Plan

284

1| Roof Plan Studio Arts Building

285

2| Parking Plan

286

Studio Arts Building

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Studio Arts Building

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Studio Arts Building

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Studio Arts Building

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Studio Arts Building

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Renders

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Wax Model. Sand Model The assignments focus on studying the physical properties of a material and incorporating them in the design process. The goal is to consider the inextricable relationships between tools , geometry, and materials. As well as analyzing a natural form and understanding its underlying construction logic, which in turn will be used in the design process. The assignment concentrates on using the robotic arm to interact with physical models. Both the wax and sand projects were a collaboration between two students.

Advanced Topics in Digital Fabrication SPRING 2016 ARC 463

Instructor: Ammar Kalo Team: Asmaa Abu Assaf and Omar Khaireddin

299 3

456

9 8

7 10

14 15 16

11 17

1 2

4 + TOOL

D = 2cm

D = 2cm + TOOL

2 6

D = 2cm

3cm

m 2c

D= D = 2cm +

14 +T

+ TOOL

5cm

TOOL

2cm

+ TO

D = 3cm + TOOL

+ 5cm

TOO

D = 3cm + TOOL

16 5 3c

D = 3cm + TOOL

D = 5cm +

TOOL

6 1

17 13

5 .5

W= 40 SEC

67 5

7.5

5cm

3cm

W= 40 SEC

D = 5cm

H = 30 mm

+ TOOL

.75

49 5

W= 40 SEC

.75

W= 40 SEC

W= 80 SEC

W= 40 SEC

W= 120 SEC

W= 80 SEC

W= 120 SEC

14 W= 80 SEC

D = 2cm + TOOL

W= 80 SEC

D = 2cm + TOOL

D = 3cm + TOOL

W= 120 SEC

D = 3cm + TOOL

W= 80 SEC

D = 5cm + TOOL

W= 120 SEC W= 120 SEC

D = 5cm + TOOL

4 D = 2cm + TOOL 5 6 7 10 11 17

D = 2cm + TOOL

D = 2cm + TOOL D = 2cm + TOOL

D = 3cm + TOOL

D = 5cm + TOOL

300

Sand Model

301

TWO

THREE

FOUR

200

ONE

200

200 800

NODES

ATTRACTORS VS REPELLERS NODES

FIELD GRID

DEFORMED GRID

FIELD PATTERN

FACE THREE

STEROTOMIC BASE

STEROTOMIC BLOCK

FACE THREE

BASE CURVE GUIDE CURVE

200

302

Object. Cluster. City The project continues the experimentation of compositions using both digital and analogue skills. This assignment focuses on advanced digital modeling techniques, rendering and photoshop in order to construct layered ‘clusters’ and aggregates of objects and/or environments. These photoshop collages aim to construct dense urban settings and address the notion of the ‘city’, be it vertical or horizontal. The work focuses on technical and material specificity, new geometries and systems and environmental realities, such as light, texture, depth of space and atmosphere.

Illustration and Rendering SPRING 2016 ARC 311

Instructor: George Katodrytis Team: Asmaa Abu Assaf

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Illustration and Rendering

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306

AUS Security Booth The project loosely references the region’s vernacular architecture to provide passive cooling strategies and relief from the sun. The security guard’s comfort is aided by an all-encompassing screen that expands the typical role of the mashrabiya as an insert in the building into a primary envelope. The building interior is subsumed within this bar grate exoskeleton which provides much needed shade while still allowing cross ventilation. These passive strategies are augmented by active solar power generation and the provision of water and a garden focused on the underrepresented members of the campus community, the guards, and the landscape workers. The expanded mashrabiya shelter provides the underserved community shade and water. The inherent qualities of the bar grate mashrabiya, being visually permeable, balances the need of the dual role of the security guard to see and to be seen. The word mashrabiya, coming from the original word ‘mashrab’, means a place to drink water. Within the architectural meaning of the word, comes a sensibility towards a shared drinking space or in other words a “Mae Sabeel”. Therefore the project program evolves from a modified expression of the shade and ventilation provided by a mashrabiya, but also from this earlier poetic reference to a shared drinking space.

Architecture Design Studio Seven and Eight FALL 2016 ARC 501 and SPRING 2017 ARC 502 Instructor: William Bill Sarnecky and Micheal Hughes Team: 16 Design Build Students

307

308

May sabeel and garden area

ARC 50

TA R K E E B 2 DESIGN/BUILD STU

CAAD SECURITY BOO

1 - Standard security

4 - Pulling edges to produce the

booth form

may sabeel space and garden

www.aus.edu

100

200

500mm

Measuring Unit: Millim

PROGRAM:

Bench

Security Booth Interior

Booth: + Seating + Compartments

2 - Pushing in face to

5 - Pushing in surface to create

house the interior of the security booth

bench. Pulling edges to create better enclosure for may sabeel and garden area

+ Fridge + Lighting + Power Outlet + Table + Trash Can + HVAC Ducts + Door + May Sabeel + Hangers

Skin/Deviation:

May sabeel and garden area

+ Seating + Step + Bike Rack + Signage +Oculus + Garden

Oculus Porch Area

Security Booth Interior

Porch area

Drawn by Checked by

6 - Creating a wider edge to

allow for oculus opening. Extending edge at may sabeel side to allow for zone for planter and water drainage

1 A011

Formal Diagram

Sheet Title:

FORM DIAGRA

BOOTH FORM DIAGRAMS NO SCALE

A011

309

ARC 501 TA R K E E B 2 . 0 DESIGN/BUILD STUDIO

CAAD SECURITY BOOTH

1024 285

306

53 38

www.aus.edu

102

100

200

210

105

37 105

500mm

Measuring Unit: Millimeters

PROGRAM:

Booth: + Seating + Compartments + Fridge + Lighting + Power Outlet + Table + Trash Can + HVAC Ducts + Door + May Sabeel + Hangers

Skin/Deviation: + Seating + Step + Bike Rack + Signage +Oculus + Garden

ARC 501 TA R K E E B DESIGN/BUILD Drawn by Checked by

2 . 0 STUDIO

CAAD SECURITY BOOTH

Sheet Title:

Elevation A

1024

1 A302

Elevation

53 53

306

SCALE 1:25 102

102

306 102

102

53 102

Elevation

A302

SCALE 1:25 www.aus.edu

100

200

500mm

Measuring Unit: Millimeters

PROGRAM:

Booth: + Seating + Compartments + Fridge + Lighting + Power Outlet + Table + Trash Can + HVAC Ducts + Door + May Sabeel + Hangers

Skin/Deviation: + Seating + Step + Bike Rack + Signage +Oculus + Garden

Drawn by Checked by

Sheet Title:

ELEVATION 1 A304

Elevation

Elevation SCALE 1:25

1 A303

285

1 A305

Elevation

A304

SCALE 1:25

38 5

210 105

37 105

310 A

306 102

102

210

285

105

T.S.

50X120X4 mm CONT. CROSS BEAM

STEEL COLUMN, (2) C5X9

TYP. OF (8)

50X120X4 mm PERIMETER BEAM BELOW U-CHANNEL

ORDER2016 OF OPERATIONS August August 28, 2016

1 A104

01_Site Analysis and Community Outreach

Site Analysis and Community Outreach

Order of Operations

September 2016 September 6, 2016

02_Design Charrette

Design Charrette

September 2016 September, 2016

FLOOR PLAN 03_Design Development

Design Development

SCALE 1:25

November 2016 November, 2016

04_Structural Analysis

Structural Analysis

November 2016

November, 2016

05_Construction Drawings

Construction Drawings

Mock-Up

CAAD SECURITY BOO

311 C

1024 306

306

53 www.aus.edu

102

100

200

500mm

Measuring Unit: Millime

PROGRAM:

Booth: + Seating + Compartments + Fridge + Lighting + Power Outlet + Table + Trash Can + HVAC Ducts + Door + May Sabeel + Hangers

Skin/Deviation: + Seating + Step + Bike Rack + Signage +Oculus + Garden

Drawn by Checked by

ecember 2016 December, 2016

February 2017 February , 2017

March 2017 March, 2017

April 2017 April, 2017

May 2017 May, 2017

Sheet Title:

FLOOR PLAN

06_Mockup Construction

Construction

07_Purchasing Raw-Materials and in-house construction

Purchasing Raw Materials and In-House Construction

08_Frame Construction

Frame Construction

09_Metal Finishing

Metal Finishing

10_On-site Assembly

On-Site Assembly

11_Completion Ceremony

Completion Ceremony

A104

312

AUS Security Booth Renders

313

314

1| Night View

AUS Security Booth

315

2| Exterior View

316

1| Exterior

AUS Security Booth

317

2| Exterior

318

1| Details

AUS Security Booth

319

2| Details

320

Asmaa Abu Assaf

321

322

Asmaa Abu Assaf