FA R I S
A H M E D
A R C H I T E C T U R E
Po r t f o l i o
2 0 1 9
03. Aretha Franklin P School 23. Case Weste
Interferences Workshop Recreation Center 45. D Arts Center 51. The B Density D
Performing Arts High ern Medical Library 35. p 37. Jesse Owens North Dance and Performing Beautiful Hut 55. High Drawings
01 Aretha Franklin Performing Arts High School This project is a study of plastic systems which looks to activate the role of the surface in architecture as an interface between the techniques of practice and the image of architecture in our current culture. It is interested in the spatial effects of color such that color becomes architecturalized. It’s no longer used to emphasize form but more acts on its own accord. It brings into focus its own merits and dynamism. Along with experiencing these spatial effects of color, it facilitates thresholds between an overload of saturation and austere white, devoid of color. From outside the perimeter walls, an invitation; inside the walls, a reward, inside the building, a betrayal; and through the thresholds to move throughout the building, the delivery. Three threshold spaces, intimately connected to the inside and outside. Creating worlds within worlds. If you will deal with color saturation. If you go back to the discourse of color. Peter Eisenmann was the first who used color as an architectural material. Using color as architecture is radical. Artificial lighting is really important, painting and spot lights as the key moments in architecture. These moments become the most performative spaces. A world of sensorial delusion and sculptural dynamism. The graphic in a visual sense represents a digital way of working. Layers are a collapsed into one such that they blend into one another or are explicitly differentiated. It’s visually changing and dynamic similar to the form but in its own way. All of the spaces are stitched together by transitioning between the austere and the sensorial.
Studio Design 5 | Autumn ‘ 18 | Viola Ago | 14 weeks
3
4
5
Surface Drawing
6
Site Plan
4th Floor Plan
7
6th Floor Plan
Section
Ground Plan
10th Floor Plan
11th Floor Plan
8
Exploded Axonometric
9
10
Elevation 01
11
Elevation 02
Elevation 03
Elevation 04
12
Facade and Graphic Swatches
13
14
Perspective Section
15
16
Site Model
17
18
Sectional Model
19
20
Sectional Model
21
22
02 Case Western Medical Library The project was inspired by Kazimir Malevich’s Architectons and his idea for objectlessness. Its main premise follows the idea that art should not be concerned with the depiction of objects but rather, the feeling or spatiality that is evoked. The building’s essence results from early studies to create a mesh like a Gestalt Field, based on the Fibonacci sequence. This Fibonacci mesh covers the whole site and reveals an inherent purpose to the building’s structure and organization. Early on, the Fibonacci mesh inherited separate enclaves as a result of a weaving organization. Primarily, this model focuses on the main book stacks separated into four enclaves that organize medical knowledge based on the levels of organization in biology: molecular, cellular, organ, and organ system. This organization follows the Fibonacci mesh’s implications of relating the micro to macro given the logarithmic scale increase. Similarly, the spheres that encircle are scaled according to the books stacks they are associated with and encapsulate the study carrels/computer workstations. Beyond the organization of information, the movement throughout the building takes on a sub narrative of representing the nervous system. The entrance is located right next to the classrooms, symbolizing the stimulus to retrieve and seek knowledge. Then the slender cones extend to areas where information is stored and processed. It opens up to spheres that hold study carrels and computer workstations— encapsulating biological information processing. Its location around the book stacks constitutes the literal and symbolic storage of information. Given the studio’s focus on drawing, the drawings are hyper-indexical and saturated with information to imply the pragmatics and translation into a building.
Studio Design 3 | Autumn ‘ 17 | Stephen Turk | 07 weeks
23
Plan Study
Section Study
24
Axonometric
25
Site Axonometric
Plan
26
Plan
27
28
Transverse Section
29
30
Section
31
32
33
34
03 Yessios Workshop: Interferences The workshop is called interferences to “refer to the various means through which the projects might weave, reframe, or disrupt contemporary modes of digital design.” The workshop focused on interactivity: How a user would interact with digital models. My script takes an amorphous model and immediately splits it up. It is a take on the typical exploded axon except it explores multiple angles, scales and orientations. Unlike the exploded axon, it is not concerned with coming back together or fragmenting according to specific parts. It is simultaneously a mode of viewing/interacting with a model as well as a means to infer or explore other notions. Upon opening the program, the form fragments. It allows the user to pull apart the pieces as well as rotate around the model. Additionally, the view will periodically change to force a new perspective: a new angle and a new scale. Explore here: http://officeca.space/workshop/A.html
Yessios Workshop | Autumn ‘ 18 | Galo Canizares | 2 days
35
36
04 Jesse Owens North Recreation Center The redesign of Jesse Owens Rec Center revolves around an aggregation of five crystalline forms that separately occupy diverse purposes and atmospheres. Despite these local differences, as a whole, they maintain overall coherence. The local difference is maintained by the type of exercise it houses as well as the light quality provided by the fenestration skin. Additionally, each unit features a light well that is oriented to a different cardinal direction. The physically similar crystalline form and the fenestration pattern create overall coherence. There are four areas of exercise: aquatic, cardio, strength training/ general fitness, and courts. Formally, the organization of the units are dictated by points of intersections from the axes of primary paths leading to the site. Areas of overlap provide space for miscellaneous activities that do not fit into the groups, such as a rock climbing wall and locker rooms. Additionally, a running track allows one to experience the varying quality of spaces as it loops through multiple zones. Furthermore, a glass-veiled tunnel runs through the mid-base of the building, allowing an all-embracing view of the multiple exercising zones for someone, like a visitor in an aquarium—without one actually entering into the Rec’s space.
Studio Design 3 | Autumn ‘ 17 | Ryan Keener | 07 weeks
37
Perspective Section
38
39
40
41
42
43
44
05 Dance And Performing Arts Center The Dance and Performing Arts Center project required program spaces of a large performance room, a medium performance room, 3-5 formal encounter rooms, as well as informal encounter rooms. Service spaces, such as bathrooms were disregarded due to the short time span and complex program. Furthermore, the building was organized by raumplan such that each performance room had to placed on a different level. The building flips the conventional hierarchy of spotlighting the large performance auditoriums and instead focuses on the spaces for informal encounter. It does this with a continuous circulation path in which the circulation and the informal encounters are one in the same. By prioritizing the informal encounters, it promotes a comprehensive experience throughout the building where creativity flows outside the performance rooms rather than being secluded.
Studio Design 2 | Spring ‘ 17 | Stephanie Sang-Delgado | 05 weeks
45
46
47
48
Plan 01
Site Plan
Plan 02
Plan 03
49
Plan 04
50
06 The Beautiful Hut Given an archetypal hut as a template to design, strategies of ornamenting it were employed using two-dimensional patterns. The sine curve pattern derives from initial experimentation with Processing as a way to develop pattern using code. An array of sine curves cover the interior vertical walls such that the pattern is oriented perpendicular in relation to a particular wall’s adjacent walls (i.e. the east and west interior walls have vertically oriented curves while north and south are horizontally oriented). The curves then create an overlap on the interior ceiling. Due to an awkward joint that results at the center of the ceiling from the overlap, the hut gets split along that diagonal and provides an entrance/exit that one would slip into. Additionally, the color of the walls correspond to the wall thickness, with the thin walls as white and the thick walls as black to further articulate the difference. Exterior walls become solid black or white and also reflect the wall thickness. Similarly, the exterior ground opposes the corresponding wall condition and also creates an instance in which one would enter on the white surface and exit onto the black surface or vice versa. Also, the interior floor is tiled with black and white tiles that have different variations of sine curves and overlaps.
Studio Design 4 | Spring ‘ 18 | Jane Murphy | 1.5 weeks
51
Axonometric
52
Top-Down View
Worm’s Eye Axonometric
Unrolled Interior
Elevations
53
54
07 High Density Drawing The seminar focuses on creating high density drawings. The first step was to create a catalog of scale figures, trees, furniture, and hatches. Additionally, there was a workshop in which different color palettes were experimented with and created. This catalog could then be used to populate the following series of drawings. The final culmination of the seminar consisted of a reinterpretation of a 1930 map of Ohio State that was divide amongst the class. It was inspired by the Roma Interrotta. My section includes the site of the Wexner Center which is not on the 1930 map. Instead of inserting just the existing Wexner Center, I envisioned it with all the competition entries and the Armory building previously on the site. In addition to redrawing the map, this is a redrawing on multiple levels - Each entry is represented to correspond with Eisenman’s Axon drawing rather than how they were initially presented. Overall, it has remnants of the past, insertions of the future, and possibilities of what could have been The second drawing illustrates my individual commute to Knowlton. It focuses in on the beginning and end destinations while the middle part of my commute zooms out to reflect the density in between as well as my tendency to zone out on my walk and therefore only recollect the end and beginning. The third drawing illustrates my view of Knowlton in 2104, 100 years after it was built. Humans have relocated to another planet, possibly Mars, but in order to preserve Knowlton as an iconic building, it gets uploaded to a virtual archive. The virtual space exists on an infinite grid where you are free to create and manipulate the space however you wish. Also, the scale figures are depicted wearing black and neon because that’s the fashion of the future.
Seminar | Spring ‘ 18 | Emily Mohr & John Rieke | 01 week (per drawing)
55
56