DES NG I AENG 454 SPRING ’15
ARCHITECTURE CATALOGUE - VOLUME TWO Students Works for Design Studio IV The American University in Cairo 3
GROUP EXPLORATIONS 08
INDIVIDUAL EXPLORATIONS 58
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PREFACE
TABLE OF CONTENTS
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PREFACE
WHY? This studio’s primary objective is to deepen the understanding of students of architecture with an appreciation of the role of structure in giving form to architecture as a process. It focuses on underscoring the inextricable relationship between structural thinking and design thinking very much like the human body cannot be conceived of without the skeleton that it embodies and is shaped by.
HOW?
The AENG454 learning experience requires of all participants a full immersion, the staff and the students alike. The two groups are co-authors of the exploration and the emergent understandings. Our process has eight steps that move in sequence occupying varying durations yet all at a rather intense speed. The steps require the coauthors to: Plunge … we dig into the field and research to extract threads and clues. Reflect … we attempt to understand the clues and give them some meaning. Envision … another way of giving meaning and expressing our understanding. Make … yet another mode of translating our understanding by experiencing it. Experiment … then we explore more structural and experiential models of translating our understanding. Think … we expand our conceptual understanding into functions that address the same objectives. Design … the final translation of our understanding is into architecture. Reflect … one more pause to reflect but this time on the whole process.
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GROUP EXPLORATIONS
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AUC CENTRE FOR THE PERFORMING ARTS
The idea of the project is focused on finding in the performing arts inspiration and connections for the making of architecture ‌ the making of meaning, experience, function, and structure. The first stage of our project is conceptual, experimenting with the different media of dance, music, and drama and identifying meanings and different modes of meaning making. The second stage is focused on attempts to translate the identified meanings into experiential and structural expressions. The third stage focuses on the making of architecture out of the discoveries understandings emerging out of the first two stages.
In all performing arts there are common keywords they share even though there may have different nuances in each medium; for example: entertainment – series – sequence – steps – movement – structure – speed – rhythm – beat – balance - expression – emotion – release – spatial experience – performance – audience – body-being - aesthetic pleasure … to mention some. Most of these words can be used in reference to architecture and structures. Can we delve into the realm of such resonance … to see what we can learn about making a more relevant architecture to house the performing arts?
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Stage I:Swim in Different Waters a. Working in groups of 3, each group will select one of the performance arts and one historic period to study, understand, and identify a distinguishing essence that sets it apart from all others: • Classical music • Fist half of 20th Century music • Second half of 20th Century music • 21st Century music • Shakespearean theatre • Russian classical theatre • Modern experimental theatre • Ballet • Broadway • Modern dance b. Choose a of that genre genre and this explored above
specific work of art that is representative and time to dig deep to bring out how this era gave meaning to those common keywords we … and try to make see what you see
c. Try to encapsulate your understanding in a telling and rich statement of essence … then try to present that to us in a manner that creatively represents that essence to affect both understanding and impact with your audience
Stage II:Translate your understanding a. The last exercise was your first attempt at translating your understanding into some kind of creative outputs. In this stage you are expected to attempt a physical translation. You are required to create a physical installation that your audience can experience and receive the message you intend to convey. You will work individually for this and the following stage. b. That installation will be constructed from one material only (cardboard) and will have structural integrity to allow for safe and sound interaction with the audience in the manner that suits the experience best. c. Develop a broader story for the experience with a detailed program for that building based on the organizational structure and functional requirements that the proposed activities require. Rely that in a story board with all relevant information. d. The second attempt at translation entails building an experiential model of the broader story, as defined by the story board e. The third attempt at translation requires the selection of a structural system that speaks the language you feel you need to speak and try to re-tell the story through a structural model. 13
AERIALISM
Heba Elsawy - Mona Gaber - Mostafa Gaber
Aerialism is a performance art that falls under the umbrella of Acrobatics, where an acrobatic performance takes place high above the ground on a tightrope, trapezes or other apparatus. Aerialism makes you aware of your own humanly predetermined limitations. You then push the limits of your humanly existence. It forces you to maximize and explore the different realms of our earthly experience, whether the uncharted air, the acknowledged land, the earth, the sky and the in-between‌ to break the limit !
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“SEEK YOUR UNCHARTED REALM OF EXISTENCE”
The initial structure was designed to be of a hexagon shape. That was to complement with the concept. The hexagon helps move and expand in more that one direction and path. The structural technique used was column and beam.
We used smaller units to form the hexagon(one part of a whole) and provided foot-stools that manipulate the user thinking he is moving in the right direction.
It’s a cycle, if you think you are guided and on the right track, you are actually following your preconceived ideas and will end where you started. However, if you challenge yourself, you will open different realms and end up with a different starting point.
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BALLET DANCE
Hadeer Mamdouh - Mai Said - Sarah Ayad
Ballet can be considered one of the classical performing arts in history. It basically relies on effort, pain, balance and precision in order to achieve grace and elegance. To understand the raw elements of ballet, we compared the art of ballet and its aspects be it physically, emotionally and its different perceptions with other arts. We also wanted to take it out of its usual context and experiment with others in order to grasp the very fine essence of ballet.
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“ELEGANCE AND GRACE THROUGH STRUCTURE AND RULES”
We have tried different attempts in order to express our essence. Most of the attempts weren’t strong/stable enough or failed to express what they were supposed to express. We decided to choose simple geometric units [box - circle] and play with their connections
We wanted to reflect the hardness of being able to be a ballerina, therefore we created a riddle at the entrance of the pavilion that one has to figure out in order to enter.
As you solve the riddle, you will be directed to the large space which is surrounded by circles and squares expressing the contradition between the technical steps a ballerina has to learn vs. the graceful free outcome seen on the stage.
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BREAK DANCE
Farah Areny - Farah Hisham - Menna Mansour
Break-Dancing is a journey that starts from the Earth, then translates to a Grounded Movement, then several Rotational Repetitive till it reaches the Peak of Expression until the Break happens, and the performer returns back to the Ground. “-Let’s reconnect with the ground and soil we were bounded from revolting against pressure, power and agression -Back to simple life.. -Let the humans ignite their inner peaceful aura.. -We are still governed by our roots and simple life..”
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“A GROUNDED CYCLE, DEFYING GRAVITY.�
The essence behind our structure is creating the cycle journey whilst reflecting on it and the agony of the break dancer. By the end of the cycle, you take a leap of faith and jump where you are finally letting go of the negative energy held within and reconnecting with your origins.
The entrance of the pavilion is really low so that the user should be grounded. Then, they would gradually move upwards until they are above the ground with the only option to jump off the peak back to the ground.
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CAPOEIRA DANCE
Abdelrahman Anwar - Nadia Abotaleb - Omar Hadidy
Capoeira is all about the rhythm in movements that complements each others. The opponent’s movements seem to create each others. It has a powerful mix of martial arts and dance which was devised by handcuffed slaves in colonial Brazil as a way to disguise their fighting skills and training in the form of a dance. Out of the keywords we came up with, we were able to narrow down the fundamental essence of Capoeira to its metaphysical state.
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“RHYTHMIC REINCARNATION OF INTERDEPENDENT FORCES”
Through our trials to portray the interdependcy, we first built a structure where you move one arm, and the other one responds. Then, we made another trial of a column within another column allowing rotation. We wanted to create a game arena filled with these units.
The final structure represents a twouser experience of interdependcy. We weren’t concerned about creaing a pavilion, but rather creating a mechanism that allows the user to adapt to each other’s rhythm creating a new form from the old one.
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CONTEMPORARY DANCE
Aya Abdelfatah - Mariem Afifi
- Rola Tarazi
Contemporary Dance started as a rebel against the rigid style of ballet and performed movement that was “freer” and involved the body and gravity. It is the art of expressing energy, emotion and other inner forces through an abstract yet obvious motion that resonates so deeply with the audience. Expressing “moving bodies, moving souls”, it is an art whose working material is the movement of humans. It doesn’t have fixed or established movement patterns, but it’s rather in a continous search for new forms and dynamics.
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“TRAP AND RELEASE”
Both essence and model were developed where it started to describe what the performers go through. They release trapped emotions and inspiration. We thought instead of using boxes, it was more effective to make the user suffer and be released at the end.
We used pandora’s boxes as our units where it traps the evil of the world. Pandora’s box means to perform an action that may seem small, but turns out to have a severe effect. So, to us, each box represented the struggle expressed by each performer.
The final model was developed through experiencing and testing each step along the way. As a result, we added obstacles making it as tight, dark and uncomfortable as possible. We also added large surfaces of cardboard to obstruct the vision so that they will not know what happens next.
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HANS ZIMMER
Amina Adel - Mariam Eissa
- Noureldin Essam
The german-born composer is recognized as one of Hollywood’s most innovative musical talents. Zimmer’s work has been nominated for several awards for successful movies such as “The Lion King”, “Batman Begins”, “Interstellar”, etc. We figured out that Zimmer always starts with a story, shaping it through the rhythm of the piece where the story’s depth intensifies through the progressive notes until reaching a certain climax at the most important point in the scene, and then takes you into full immersion where you fully absorb the idea.
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“FROM LIFE PROGRESSIVE IMMERSION”
We tried stable big triangular units because it would allow us to make stronger joints and express the progression and immersion through the shape of the unit and the shape of the structure itself.
In order to express the essence, we had to have a beginning like an aisle that its walls progress and increase in height as you walk through, and then turns and takes you into an enclosure that resembles total immersion.
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KABUKI THEATRE
Hany ElBoghdady - Islam ElBanna
- Marina Guirguis
Kabuki is a popular traditional Japanese art of theater which dates back to the early seventeenth century. The plays combine between real life social dramas as well as imaginary stories through singing and dancing. In addition, the actors, with their impressive costumes, portray and bring back many major events from the Japanese history. It emphasizes on the idea of re-incarnation of the past.
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“RE-INCARNATION”
At first, we wanted to create a three dimensional unit that is stable, expandable, flexible, reflective of our essence. We decided to use regular columns and beams so that we can easily create variations of them.
We wanted to create a structure that grows which represents human life growth. The idea is to allow the users to feel the reincarnation by falling back into a continuous cycle, repeating the way of being.
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JAZZ MUSIC
Christina Matta - Dina Bahaa
- Gannah ElSabbagh
The beauty and magnificence of Jazz is how it combines elements like harmony and melody with improvisation, and how history flows out of every horn playing jazz, every rhythm and every word sung by a jazz singer. Jazz musicians go into the performance, whether live or in studios, and compose in the moment giving the jazz its immediacy flair. After further research into its origins, we came to explore how the jazz musicians feel that jazz is their ultimate resort to find freedom and liberty.
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“RELEASE FROM OPPRESSION THROUGH SELF EXPRESSION AND IMPROVISATION”
Building a pavilion where you feel oppressed as you go through its short and tight entrance. Then, you start to improvise your way through it as you have different options as you enter.
You keep going up and up, using the cardboard grabing parts of it for support. The ceiling keeps getting higher until you reach the top part which is a platform with no ceiling and with light bulbs fixed in it.
You finally feel released and free on the very top, and you still have the choice to go down through the steps, jump or even go higher on the side part of the structure.
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PINK FLOYD
Karima Borhan - Nour ElHelbawy
- Yasmeen Abouelnour
The music of pinkfloyd explores themes of abandonment and personal isolation be it the loss of a father, abuse of teachers, an overprotective mother or even breakdown of marriage. All of these themes contributed to the eventual self-imposed isolation from the society using a metaphorical WALL. Therefore, we chose this art because we could relate to our lives and feel the depth of its music and its lyrics.
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“THE SELF REALIZATION TRANSPIRING FROM LIFE’S EMOTIONAL DEPTH.”
We changed the unit to be a triangular one to create a harsh experience for the inside and smooth external appearance. The path of the structure was designed to create a sense of chaos followed by a sense of order.
The idea was to create a wall that had many obstacles. We were able to create horizontal and vertical walls leading with the connections representing intrusions. The structure, however, wasn’t harsh enough as we wanted it to be.
The path gets deeper and harsher as the person goes inside where he can no longer stand up straight. The sharp edges are all problems which get more inside until a path is found. This path, however, leads to another obstacle which is finding a way to break out.
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PROGRESSIVE ROCK
Rana Eid - Shady Gad
- Sherouk Tarek
Progressive Symphonic Rock combines elements from the three genres: Electronic Music, Rock Music and Symphonic Music. It creates something that was better than the sum of its parts. Each instrument, on its own, sounds incomplete as if it is playing something that is meaningless. However, only when you combine several instruments, you get to hear this whole new complete piece. One of the greatest bands is Muse, and we specifically chose one of their finest tracks: The 2nd Law: Isolated Systems. The piece tells the story of small isolated systems that are born in obscurity, then rise and evolve creating a bigger isolated system. The evolution, however, does not stop.
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“CATHARTIC EMERGENCE OF HIGHER LEVEL ORDER FROM OBSCURITY”
Influenced by Muse’s piece, we created a contrast between perfect pyramids and suddenly deformed ones, as well as the directionality and edginess of the element itself to symbolize catharsis.
Going downstairs, the pavilion’s entrance could not be seen before reaching the ground floor reflecting obscurity. The pyramids would all be moved upwards by the user, and they would all fall down when reached the end after walking through two handles which reset the system.
Moving inside the pavilion, the user has to lift the pyramids at first. In the first half of the journey, the pyramids are poiting outside. However, when the system is overused, in the second half, the pyramids point inside attacking the user.
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SALSA RUEDA
Ghada Khamis - Nada Khalil - Omar Qathab
Salsa Rueda is a very interesting dance that invites people of different backgrounds and disciplines to collaborate and dance together. We chose Salsa because there is a level of depth to dance. It is a group dance performed by two or more couples. The basis of the dance is to constantly switch partners’ and keep the circle moving. It is very dynamic and requires a high level of concentration and indulgence as each and every single dancer is following the ‘Caller’. The Caller is the person shouting out the move.
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“TIMELESSNESS THROUGH STRUCTURE AND DUALITY.”
We portrayed in our structure the duality and dynamic characterstics found in Salsa Dance. We built two structures, one being more dominant than the other. Both structures use the same language as they are related, and they complete each other.
As one first gets in, he walks into a narrow space where there are many distractions created by the structure itself. Then, some light enters the structure and people have to turn and change direction.
Following the path of light, he ends up in a part that is more spacious and free. This indicates the process of timelessness where it is a heightened level of awareness .
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INDIVIDUAL EXPLORATIONS
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Stage III: Design a building a. In this stage of our exploration, you will attempt to use your previous understandings to make architecture. b. Can you translate your experience and story into a building that stands and speaks the language you want it to?
Stage IV: Document your experience a. There are two dimensions to your experience that require documentation: • Architectural design • Creative exploration b. Documentation stage should be approached as a problem in itself. Besides being comprehensive it should be reflexive: questioning and seeking to understand what actually happened c. All the stages of development shall be documented in your final outputs which shall include •Full set of architectural drawings and models professionally capturing the Architectural Story •Audio-visual presentation capturing the Full Story addressing a general audience •Creative and reflexive Story Book of your Development Story
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AERIALISM
CONCRETE RIBBON
Heba Elsawy
My concept was aiming to recapture the stillness that has been robbed in this age of distraction that we live in. To let the building be a reminder everyone of who they really are.
The concrete ribbon structure engulfs you and reminds you of who you are. Each step along the curved surface shifts your center of gravity. Each step will be a reminder to force you to be aware of yourself. Stillness is all about awareness.
My design prolem was trying to grant users the right to silence and moments of intimacy that comes with silence.
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Floor Plan
Diagram
Diagrams
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Floor Plan
Elevation
Floor Plan
Section 67
AERIALISM
FRAMES
Mona Gaber
CONTEMPORARY DANCE A musician can incorporate installations into music to liberate himself from having to perform. He creates abstract images of sound by playing on the frequency.
Reflecting on Arealism, by centering the theatre and creating an optimal path passing through multispacial areas rather than a one directional performance space.
My main design aim is to indulge the user in the music experience. I wanted to bring the audience closer to the performance.
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Layout
Floor Plan
Elevation 71
AERIALISM
SPACE TRUSSES
Mostafa Gaber
My preliminary experimentation was with suspended cable structure. It created dynamic spaces.Then, I moved to steel arches which equally distributed loads, so I settled with space truses.
My intent was to move the user through a natural light experience, an option to an underground zone, leading to an ultimate show in a dynamic structure.
My main design aim was to convey a different spatial experience between lightness, openness, g l o o m i n e s s , reflectivity, and transparency.
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Improved Graphic communication, reworked the entrances to have a more appealing and interesting effect on the users. Created a mezzanine for the ultimate theatre to give another layer of visitor view.
Ground Floor Plan
Elevation
vities were moved to the underground to on the benefits of underground.
was directed to the underground zone for a resting user experience.
Underground Floor Plan
Sections 75
BALLET DANCE
STEEL FRAMES
Hadeer Mamdouh
“SHOWING THE DUALITY IN A BALLERINA’S LIFE USING STEEL FRAMES TO REFLECT THE FREE STANDING AND STRONG CHARACTER OF A BALLERINA.”
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BALLET DANCE
SPACE TRUSSES
Sarah Ayad
“ CREATING AN EXPERIENCE OF ELEGANCE, DECEPTION AND PAINFUL BEAUTY, JUST LIKE THE BALLERINA’S.”
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BALLET DANCE
SPACE TRUSSES
Mai Said
“MY JOURNEY WAS INTENDED TO REFLECT THE PROCESS OF BALLET; FROM PHYSICAL EXHAUSTION TO FEELING TRAPPED AND REACHING THE CLIMAX.”
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Layout
Elevation
Ground Floor Plan
Section 83
BREAK DANCE
SPACE FRAMES
Farah Areny
Break dance makes you break from all the norms, rules and constraints we have created for ourselves. It is expressive in the most humble, raw and primitive of ways.
Break Dance is dynamic and multidmensional in perspective. On the other hand the essence of space frames is its great dynamic and versatile spans and its spacial quality.
Break dance makes you break from all the norms, rules and constraints we have created for ourselves. It is expressive in the most humble, raw and primitive of ways.
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Ground Floor Plan
Section
First Floor Plan
Section
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BREAK DANCE
FOLDED PLATES
Farah Hisham
We chose break dance because we felt it conveyed a message. It is grounded, spontaneous and revolutionary.
I selected folded plates as my main structural model as it was the best fit for the break dancing statment I created; Breaking from the norms through a spontaneous, revolutionary and grounded cycle.
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Ground Floor Plan
Section A-A
First Floor Plan
Section C-C 91
BREAK DANCE
FOLDED PLATES
Menna Mansour
The design intened to build architecture that reflected the rebilious, spontanity and strength of breakdance. Transforming a thought into architecture is defying gravity.
The essence comes to life in different forms. The obstacle was knowing the structure well enough in order to be able to manipulate it enough to break its norms.
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Ground Floor Plan
Section/Elevation
Floor Plan
Section
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Underground Floor Plan
Details 97
CAPOEIRA DANCE
FRAMES
Abdelrahman Anwar
My main challenge in this course was to dig deeper to find the essence and transform it into architecture. I wanted to reflect the struggle that capoeira performers go through and the interdependecny between them.
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Floor Plan
Sections
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CAPOEIRA DANCE
FOLDED PLATES
Nadia Abotaleb
My ideas was to focus on two different rhythms occuring at the same time; an idea of interdependance.
At first, I wanted to connect between the different folds with frames, however, they looked as if they are beams. Therefore, I started to emphasized on the usage of the folds throughout the whole project to enrich the user’s experience.
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Layout
Section AA
Ground Floor Plan
Section BB 105
CAPOEIRA DANCE
DIAGRID STRUCTURE
My aim was to create center that would act for all arts. A journey experience making them
Omar Hadidy
a performance as an incubator that users would flourish.
Three key players were present for my design; visitors, performers & mentors. Those three players interact creating the main zones and the final product which should look like a unified body.
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B'
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C E'
A
C'
A'
Ground Floor Plan B
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El Hadidy Section 900112949
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A-06 Section A-A' 01 1:200
A-02 G 01 1
B'
D'
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C
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A-07 Section C-C' 01 1:200 C'
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First Floor Plan
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A-02 Fir st Fl 01 1 :200
Section DD A-07 Section D-D' 02 1:200
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S
CONTEMPORARY DANCE
FRAMES
Aya Abdelfatah
Individual Work - Experiential Model
Two trials to translate the essence into the experience the user will go through within the building. The idea is to be as “non-architectural� as possible and focus more on the journey and experience the user will ponder on within my struc-
My aim was to create a journey of distraction that ends with release whereas tricking users thinking that they are trapped in Contemporary theatre and It also aimed to show how the users wi First trail aimed to show the difference between the right underground Art that theatre a barrier in compariso hand side vs. the left hand side where the user experienc- act asthrough release. es the classical theatre vs. the modern theatre.
The second trial developed into a more chronological linear experience where the user goes through three different theatrical spaces based on a historical time line to emphasize the idea of being trapped through different Themind, idea was create a reach chronological mediums; time, andto space. Until they the final peak: release.
ment they will undergo within the mo
It also aimed to show how the users is distracted and tric throughout the journey that the third stop is th release w lies that they are mentally trapped within contemporary t underground Art then finally acts as the release; breaking
rence between the right It also aimed to show how the users will view the classical linear experience theatre where the user goes through a barrier in comparison to the engagehere the user experiencthrough three different theatrical ment they will undergo within the modern one. dern theatre. spaces based to emphasize in different space. Until release.
on a historical time line the idea of being trapped mediums; mind, time, and they reach the final peak:
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Structural Plan
Elevation
Ground Floor Plan
Section 113
CONTEMPORARY DANCE
SPACE TRUSSES
Mariam Afifi
ERTAIN ESSENCE (DIVERGENCE)
ICT IN OPINIONS, INTERESTS, WISHES,
E CONFLICT OR STRUGGLE EXPRESSED BY
My main aim was to create a process of releasing trapped ideas through a flowing configuration of space.
E WORLD. ACTION THAT MAY SEEM SMALL, BUT
ING EFFECT/CONSEQUENCES.
TARTED MUST END.
OX,
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BEST EVIL,
ORMER.
RTICAL
GROUP PICTURE WITH FINAL MODEL
All stages are designed to pull you from one to the following smoothly. This process is intended to release the CONNECTION trapped inspiration within the users. This is why I chose Space trusses as well as Steel Geo-Dome in order to have SUPPORT) a flow in structure.
IDUAL BOX (VERTICAL SUPPORT)
PPORT)
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Layout
Section
First Floor Plan
Details 117
CONTEMPORARY DANCE
SPACE TRUSSES
Rola Tarazi
My main idea was to create a free atmosphere that the user can experience in it different kinds of art that show him how to conquer his mind entrapment.
As it is believed that the most threatening trap is the mind’s trap, my experiential model intended to show how free the user can feel inside the project experiencing different forms of art requiring different skills and how these different forms acheive same release goal.
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Layout
Section
Floor Plan
Sections
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HANS ZIMMER
CONCRETE RIBON
Amina Adel
“AT THE END, YOU ARE SIMPLY EMBODIED AS A RIBBON.”
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Layout
Section
Floor Plan
Section 125
HANS ZIMMER
TENSILE STRUCTURE
Mariam Eissa
“Extreme measures”
I started having ni main aim triangular structur
My was to have an unconventional arts center, which is more like a museum where people will be a part of the show rather than just watching it.
Experiential Models I started by imagining what I want the building to ref people. I imagined a building that gets bigger and wider with an enclosure at the end to reflect the greater degrees of depth throughout the building with total immersion at the end.
Ii w re th “I w im refl pattern to the model so that it can reflect the concep People will not only see the paintings and sculptures but they will watch it come to life, through camouflaged dancers, all will create a story and engage people as the art surrounding them comes to life.
The bui
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Layout
Section
Floor Plan
Section 129
HANS ZIMMER
FRAMES
Noureldin Essam
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Floor Plan
Section
Floor Plan
Section
133
KABUKI THEATER
SPACE TRUSSES
Hany ElBoghdady
My aim was to create a walkway of differnt zones that represent the
PAST AND PRESENT EGYPTIAN MUSIC.
OF
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Floor Plan
Sections
Floor Plan
Section 137
KABUKI THEATER
FRAMES
Islam ElBana
“IT’S ALL ABOUT DESIGNING A CONSTANT PROCESS OF INTERCHANGEABLE EXPERIENCES THAT CREATE A MEANING.”
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Layout
Section
Floor Plan
Section 141
KABUKI THEATER
FRAMES
Marina Guirguis
“THE REOCCURRING PROCESS OF CHANGE THROUGH EGYPTIAN MUSIC AND USER EXPERIENCE; REINCARNATION OF THE NOTE”
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Floor Plan
Elevation
Floor Plan
Section 145
JAZZ MUSIC
SHELL STRUCTURE
Christina Matta
CONTEMPORARY DANCE
My main design aim was to emphasize the idea of improvising and following your senses; the thirst for creativity and knowledge. I wanted to have two experiences; one above the ground and the other below.
The one above reflects a more structured, typical learning experience; classrooms, while the one below is a more improvised where the user gets to choose his path. The same idea of creating your own path is reiterated in the slopes that basically make up the whole building and can take you forward and downward.
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Layout
Elevation
Sections
149
JAZZ MUSIC
SHELL STRUCTURE
Dina Bahaa
My aim was to create a center for Jazz, that would allow users to experience improvization, freedom and feel the continious fluid form of the building.
I used concrete shell structure because I found it th emost suitable to show flexibility, continuity and integration between indoor and outdoor spaces. The same shell that creates a ceiling continues to create a wall then turns to a shed, this helps the fluid form. This as well as giving a sense of freedom.
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Structural Plan
Elevation
Floor Plan
Section 153
JAZZ MUSIC
SHELL TRUSSES
Gannah ElSabbagh
“CREATING A SEQUENCE OF EXPERIENCES THAT WOULD PORTRAY THAT OF THE ESSENCE OF JAZZ. FROM OPPRESSION TO IMPROVISATION LEADING TO THE ULTIMATE PERFORMANCE AREA.”
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Elevation Scanned by CamScanner
Layout
Scanned by CamScanner
Floor Plan
Section
157
PINK FLOYD
CABLE NET
Karima Borhan
My idea for the experience was to start calm then speed up, that’s why I used ping pong balls in my experiential model.
The idea was to reach self realization transpiring from life’s emotional depth.
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Ground Floor Plan
Elevation
First Floor Plan
Section 161
PINK FLOYD
FOLDED PLATES
Nour ElHelbawy
My main aim was to translate the statement into my plan. This has to show during the journey of the viewer inside my building till they reach “The Self Realization.”
“THE FOLDS OF THE STRUCTURE SHOW THE STRUGGLE THROUGH ONE CONCRETE SHEET. THUS, THE STRUCTURE WOULD BE REFLECTING THE STORY”
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SECTIONS:
Floor Plan TIONS & ELEVATIONS:
Elevation/Section
SECTIONS:
Floor Plan
Section 165
PINK FLOYD
FRAMES
Yasmeen Abouelnour
In order to reflect the concept, I twisted the structure and made it accessible from above. Also, the plan was harsh and angeled just like my structure was.
“MY CONCEPT IS THE TWIST OF LIFE, AND THE WHIRLPOOLING THE LOW TIMES AND THE HEIGHTS”
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Basement Plan
Ground Floor Plan
First Floor Plan Floor Plans
Elevation
Section C-C
Sections
Section B-B
Elevation
Section C-C
Section B-B
Layout
Section A-A
Section 169
PROGRESSIVE ROCK
SPACE FRAMES
Rana Eid
“A STRUCTURE THAT ELEVATES AS THE ENERGY WITHIN INCREASES, CREATING HARMONY WITH THE EXPERIENCES OF THE USERS. My first choice was space frames, but as I continued researching I found that the use for space trusses would help both my structural integrity and the experience.The golden ration Spiral idea served the pupose of creating an enclosed isolated system on campus.
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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
Layout
Elevation
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
173 Section Ground Floor Plan
PROGRESSIVE ROCK
SHELL STRUCTURE
Shady Gad
My concept was built on having two parallel experiences that start from two different pvvoints, the two paths meet at the centre of the structure embracing one another , creating a whole new massive system.
Both experiences inspire their target users in the way they are stimulated the most. For the performers, an acoustic boulevard was designed to create chaotic pieces of inspiring music. For the audience, their experience is based on denial and reward.
My idea for the center was inspired from the cardboard project using the surroundings, the parallel experience and the strong directionality of the structure.
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+4.00 FFL
0.00 FFL
-3.90 FFL -4.50 FFL
Basement Floor Plan
Elevation
Ground Floor Plan
+4.00 FFL
0.00 FFL
-3.90 FFL -4.50 FFL
Section 177
PROGRESSIVE ROCK
FRAMES
Sherouk Badr
The model intended to translate the abstract essence into physical spaces. The experience combines the six phases: inspiration, isolation, interaction, exploration, chaos and catharsis.
I chose my structural system to be steel frames and wanted to show the evolution of steel frames in parallel with the evolution of the experience of the users.
The aim was to engage the users in the natural process of emerging from a simple state of inspiration to more complex levels of isolation, interaction, exploration, chaos to reach this desired Catharsis.
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GROUND FLOOR PLAN
ELEVATION AND SECTION ELEVATION AND SECTION Ground Floor Plan Sherouk Badr 25, May 2015
Elevation/Section
Scale 1:600
ST FLOOR PLAN
SECTIONS
Structural Plan Scale 1:600
Sherouk Badr 25, May 2015
Sections Sherouk Badr
181 Scale 1:600
SALSA DANCE
SPACE TRUSSES/ FOLDED PLATES
Ghada Khamis
Two main structures were chosen being olded plates and space truss. They are two different systems but they complete and support each other.
I decided to relate the structural ystem to the Function. For spaces related to dance, it’s performances, practice and workshops spaces. For spaces related to theatrical performance arts I used Folded Plates.
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Ground Floor Plan
Section A-A
First Floor Plan
Section C-C 185
SALSA DANCE
SPACE TRUSSES
Nada Khalil
I was thinking of making a building composition that expresses duality through two compositions intersecting each other each should be dynamic in shape and revolves in an endless way in order to continue on what we began .
I had a very primitive sketch expressing the structural model I had. I used steel truss to cover the gathering area and give harmony and integration between folded plates structures and the more static ones which have simple structures and concrete frames.
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West Elevation B'
Ground Floor Plan Music Rehearsal Rooms
Music Rehersal Rooms
s
n
Administratio
Dressing Room
Faculty Office
Entrance Area
Reception
Storage
Entrance Court
Proscenium
Folding Door
Painting Worksop
Backstage
Carpentry Workshop
Orchestra Pit
A
Emergency Exit
Scenes Furniture
Ochestra Dressing Room
Patio Maneuvers
Patio Maneuvers
Ssenery Workshop
BIGLIETTERIA
BIGLIETTERIA BIGLIETTERIA
Storage
Meeting room
Gallery
Shared Workshop Space
Emergency Exit
Scenes Furniture
Dressing Room
Storage
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
Customs Warehouse
A'
Small Workshop room
Administration
Instructor Office
Gallery
Lecture and Meeting room
Admin. Office
Acting Room
UP
Storage
Workshop
Storage
Workshop
Toilet
Toilet
Instructor Office
Workshop Room
Workshop Room
Shared Workshop Room
Administrative Office
Tickets Office
Acting Room
Workshop Room
Administrative Office
Instructor Office
Instructor Office
Lecture and Meeting Room
Entrance Lobby
Toilets
Admin Office
Cafeteria
Toilet
Rehearsal Room
Practicing Room
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
B
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
Structural Plan
Section A-A 189
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
FINAL PRESENTATION
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STUDIO TEAM
DR. AMR ABDEL KAWI An educator since 1981 in the schools of architecture of Ain Shams University, the Arab Academy of Science and Technology, and now at the American University in Cairo since 2010. Professionally, he practices architecture and interior design, and now is MD of Rhimal Design Management. Also Editor in Chief of Medina and Magaz, both architecture & design magazines.
DR. ASHRAF BOUTROS Dr. Ashraf Botros holds a PhD in Architecture from Cairo University on architecture and culture. He is lecturer at MSA University, Moden Academy and Arab Academy for Science and Technology. Practicing urban development and architectural design, he has worked with The German Technical Cooperation [GTZ] as a project manager as well as the Aga Khan Foundation as a Chief Architect of the Historic District Rehabilitation Project Team.
AHMED BORHAM An independent urban researcher, practicing architecture and teaching in the Arab Academy for Science and Technology & the AUC. Holds a MSc degree with a thesis on Resilient Rules: Culture & Computation in Traditional Built Environments. Co-founder of Cairo from Below and Madd, initiatives encourage inclusive urbanization in Cairo. Maintains the Drawing Parallels blog drawing comparisons between urban conditions in Cairo and other cities in search for emergent patterns.
KAREEM EL NEMS Kareem Nems is a practicing architect, Teaching assistant and independent researcher. His main research interests are in the area of intersection between architecture as a functioning typology and the city as a set of Images, behaviors and qualities. He also has some trials for what might categorized as a visionary architecture.
MALAK MAHER An architect and artist based in Cairo, with interests in combining art and architecture. Involved with teaching different fields to different age groups: art and sports for children and architecture at university level. Holds a Masters of Architecture titled “Astronomical Space: Experiencing the Beyond Within� from Oxford Brookes University, UK.
ALY MUHAMMAD Aly Muhammad, Graduated in 2008 from Alexandria school of fine arts with bachelor degree in architectre. Earned his master degree in 2013 from politecnico di milano. teaching assistant at AUC & AAST since 2014.
HADWA YOUSSEF Hadwa Youssef, an architect and teaching assistant, graduated in Spring 2014 with a Bachelor of Science in Architectural Engineering from The American University in Cairo. She has an interest in digging for the narratives told by decayed architecture and forgotten spaces. She is currently exploring different trials in the field of book-design and editing.
SALMA EL ROUBY Salma ElRouby, an undergraduate teaching assistant seeking an Architectural Engineering degree while trying to stay involved in the urban initiatives taking place around Cairo.
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©Rhimal Design 2015 Book Design by Hadwa Youssef and Salma El Rouby