Portfolio
Behruz Hairullaev
www.hairullaev.com 2019 Behruz Hairullaev Architectural Portfolio featuring selected projects. All work represented in the book are solely made or led by Hairullaev. Projects are designed across a wide spectrum of typology.
PORTFOLIO
CONTENTS
01
02
03
Holographic Reality
Zoetic Center
Fabbrica di Chihuly
P 01-08
P 09-16
P 17-24
Skyscraper London, England Public Space
Manhattan Marine Transfer Station New York City, New York, Mix Use
Chihuly’s Factory Venice, Italy Museum / Public Space
315 sq. ft.
40,000 sq. ft.
150,000 sq. ft.
04
05
06
La Fortezza Selvaggia
Stripped Folly
Undulating Wall
P 25-28
P 29-32
P 33-36
The Wild Fortress Siena, Italy Urbanism
Wooden Installation Morristown, New Jersey Public Space
Digital Installation Black Rock Desert, Nevada Public Space
394,000 sq. ft.
400 sq. ft.
500 sq. ft.
07
08
09
Algorithmic Scripting
Digital Fabrication
Painting
P 37-38
P 39-40
P 41-42
Glass Waves
CNC
Acrylic - Charcoal
Transparent & Opaque Acrylic
12” X 12” Foam / Wood Base
16” X 16” Canvas
01 Holographic Reality Skyscraper London, England Public Space 315 sq. ft. Type: Competition Publishings: ARCHITECT Magazine, ARCHUE, BOOOOOOOM, C A G E, designboom, idealista, KooZA/rch, The Archiologist, Vagrant Press, Web Urbanist
For decades, films and media outlets have portrayed holograms as the technology synonymous with the future. Through advancements, scientists and designers alike have been able to create scattering lights that create forms, but only at a small scale. As of now, we have three-dimensional viewings through two-dimensional screens. Oftentimes, this comes with many limitations and its redundancy is quite monotonous. In its’ place, Virtual and Augmented Reality has been rising in popularity as it attempts to link the digital and physical worlds. However, this technology is severely falling short of becoming a truly interactive experience. VR/AR innovations, like most of today’s technologies, have changed social norms, causing a paradigm shift towards social diversion. Ironically, a commodity that is intended to connect and draw people closer, has actually driven us apart. More specifically, the recent VR/AR phase has isolated its users by having them put on a headset for an individual experience. When using these devices, people are absorbing content alone, unaware of their surroundings and unable to share their encounters. It is time for the world to witness and interact with the hologram revolution led by “Holographic Reality”. 02
billboards
entertainment
information
advertisement
light-shows
education
art istallations
news
CONCEPT In an effort to counter the treatment of technology as a personal endeavor, this venture aims to provide a versatile communal experience to a static environment. “Holographic Reality” is a physical structure with a virtual application. Calling it a skyscraper merely scratches the surface. Instead, it can more appropriately be described as an open canvas, ready to showcase various forms of media without hassle. Observers can take in the relaxing activity of bird watching by day and rejoice over their favorite sports team’s victory by night. No matter what the application, one common theme persists: being outside and appreciating shared digital environments together.
04
Get up close and personal at live broadcasted EVENTS at the same time throughout the world. Head outside to enjoy live-streaming events of international importance.
Experience a new dimension of ENTERTAINMENT by becoming a part of the show. Constraints of a physical stage fade away producing more engaging moments to share.
New forms of DIGITAL MEDIA create immerse three-dimensional encounters that inspires onlookers. Direct interaction with the film allows spectators to become part of the story.
URBAN APPLICATION Making the city more enganging with its local
06
APPLICATION The beauty lies within the structure’s simplicity, versatility and practicality. Billboards no longer need to be replaced, demolition projects no longer need to occur, time no longer needs to be wasted and resources no longer need to be exhausted. With holograms, one can see, sense and connect with art, advertising and entertainment in greater depth than ever before. All things considered, the dynamic nature of “Holographic Reality� will bring digital technology to the forefront of the physical experience while rethinking and reviving human intercommunication.
08
02 Zoetic Center
Manhattan Marine Transfer Station New York City, New York Public Space 40,000 sq. ft. Type: Academic Awards: NJIT - Super Jury 2015 Publishings: Arch-Report
The task was to design a Marine Transfer Station (MTS) for a site on the west side of Manhattan along the Hudson River. The program for the project was to include an industrial recyclable transfer facility combined with an environmental and community center. It needed to have a pile supported steel structure consisting of three interrelated physical elements. These include: (1) an upper level or “tipping floor” that is accessible via a ramp and an access road, capable of accommodating up to thirty vehicles per hour; (2) a lower or “barge slip” level within which two open hopper barges can be positioned to directly receive recyclables discharged by vehicles from the “tipping floor” above; (3) and an enclosed public area including a lecture and exhibit hall with a separate entrance from which conducted transfer operations can be observed. The land adjacent to the site needed to be modified as well, which is the midpoint between the MTS and the Whitney museum. The overarching goal of the Manhattan Transfer project is to create a dynamic, educational and culturally valuable amenity to the park and the city at large. The building is translucent from all views into and out of the building. A key distinction between this facility and others, is the celebration of the process of a transfer station. This is achieved by stripping all the walls along the perimeter of the building, and attaching glazing only in areas were the program needs it to be enclosed. 10
New York, NY
OBJECTIVE The goal of the facility along with the park was to rethink what a transfer station was and what it needed to be in this era. ‘Zoetic Center’ does not hide its program with walls. The facility was physically and visually open horizontally to its surroundings. In the vertical direction, there are powerful column modules that hold up the horizontal planes. A bold gesture was taking away the ability to inhabit inside these columns. In turn, the top and bottom of these modules were pierced to the sky above and the water below. They are iconic and monumental, and they are structurally complex yet visually simple and elegant. The hyperbolic structural supports are made of continuous lengths of steel arrayed in a way that when combined, it acts as a unit. The product is a spectacle. The building is translucent both by openings and glazing. The building disappears into the river when viewed from the surrounding skyscrapers because of the blue roof feature. Besides the given program, it also incorporates a museum, an auditorium, and a learning center. 12
VEHICLE CIRCULATION Trucks filled with recyclables emerge from the road and cut through the site. Along the north perimeter of the building, trucks go up the ramp and turn into the building on the second floor. Then they would follow a one-way circulation around the core which features the holes that the trucks back up and dump the recyclables into.
PHYSICAL MODEL The slabs were laser-cut from white reflective sheets of acrylic plastic. The hyperbolic column modules were 3D printed by the process of sandblasting. The piers were also 3D printed, but they were done in a conventional layered system. LED lights were placed under the model and illuminated it in a way of how it would be lit up at night.
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SOUTH ELEVATION
NORTH ELEVATION
EAST ELEVATION
SECTION A
WEST ELEVATION
SECTION B
1. Auditorium A
2. Interpretive Center / Gallery
3. Bathroom
4. Roof Access
B
5. Tipping Floor
A
B
5 1
2 3
GROUND LEVEL
1
4
SECOND LEVEL
SECTION - ENLARGED
16
03 Fabbrica di Chihuly Chihuly’s Factory Venice, Italy Museum / Public Space 150,000 sq. ft. Type: Academic
Venice is an island that has all sorts of tourist attractions all over it. At this key site location, for the project to be a gateway to the city, it needed to stand out while staying within the context of its neighboring buildings. It needed to be ‘the’ attraction that Venice craved. The project had to be powerful, iconic, monumental, and simple enough for all tourists to use. From the exterior, the building is visually locked with a few cracks along the perimeter. This way, what happens inside does not affect the grand Venice as a whole. The program is a factory for Chihuly, a museum for glass works, and a mixed-use plaza for the public to explore. The site is broken up into grids. The first layer of the grid system is all the enclosed program. Afterwards, at each grid center point lies a column that are enclosed with a movable-wall. Those walls can be shifted and rotated along the grid points. This allows the ever-changing landscape that can be altered by the tourists or Chihuly himself. The modification to the walls gives flexibility and adaptability to different zones that can showcase various glass-works. The column’s core is made up of a rack and pinion gear, planetary gear, and a bevel gear.
18
ENTRANCE There are two entrances to the city of Venice. One is by train and the other is by boat. The route the boats take in is perpendicular the site. The acts as the gateway for locals and tourists into the city. It was important to create an iconic gesture as the first site of Venice. Something that doesn’t give away what’s behind the walls but integrating enough to attract outsiders. The northern wall height matches its neighboring buildings, giving the impressions that it belongs on the site. But it doesn’t share the same texture and materiality.
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1
2
3
4
A
5
6
B
C
D
E
F
0
5
50m
25
N
GROUND LEVEL
ROOF PLAN
A
A
1
2
3
4
5
6
7
8
10
11
12
15
9 13
14
01. storage (outgoing / incoming) 02. storage (raw materials / equipment) 03. factory workspace a 04. factory workspace b 05. employee quarters 06. chichuly’s office 07. outgoing material 08. assembling area 09. silica sand 10. soda ash 11. dolomite 12. equipment 13. electric furnace
14. electric furnace 15. glory hole 16. pipe warmer 17. blowing area 18. annearler wall 19. male bathroom / locker room 20. female bathroom / locker room 21. lounge space 22. offices 23. open shared workstations 24. bathrooms / locker rooms 25. private chihuly office 26. purblic chihuly office
A. voids B. elevated platforms C. pool D. greenscape E. filter F. inverse
SECTION - ENLARGED
SECTION A
5 1
2
3
8
9
11
6
4 7
0
0 5
25
5
25
50m
50m 22
VOIDS
ELEVATED PLATFORMS
POOL
GREENSCAPE
24
EXISTING
04 La Fortezza Selvaggia The Wild Fortress Siena, Italy Urbanism 394,000 sq. ft. Type: Academic
PROPOSED Centuries ago, when the fortress was built, the goal was to create a strong barrier to keep the people of the city safe and to keep the surrounding wildlife out of the city. Today the fort stands as an open park, not necessarily needing its capabilities of the past. The fortitude of the structure captures the wild once it enters inside the walls. The fort provides shelter for both local species and migratory birds. This provides the city of Siena a new function to become a destination for bird watching. The inner square of the topography of the fortress is both skewed and carved. This layout allows for the cultivation of several trees, while maintaining a constant height canopy, even with the surrounding walkways. The topography and trees create different zones. These areas come together to form a mini ecosystem inside the fortress, which over time will flourish into a new fortress of wilderness. The image on the left portrays the existing conditions, and image on the right depicts the proposed layout of the fortress. The main concentration is in the middle of the fortress. Instead of excavating the elevated planes or filling in the compressed land, the proposal would even out the landscape naturally.
26
BIRD MIGRATION Throughout the year, all types of birds circulate around Europe. Depicted below is the path the routes based in Italy. A key circulation intersection point is based around Siena.
light water roots foliage living organisms
28
05 Striped Folly Wooden Installation Morristown, New Jersey Public Space 400 sq. ft. Type: Firm - Kimmerle | Competition Publishings: Kimmerle
What is an architectural folly? According to Webster’s dictionary, a “folly” in architecture is described as “a building constructed primarily for decoration but suggesting, through appearance, some other purpose or of such extravagant appearance that it transcends the range of garden ornaments.” Its roots stem from both French and English landscape traditions. They are the subject of regular inquiry in the fields of design and architectural education. The objective was to create an installation from reclaimed pieces of wood. The concept was trying to find the wood piece’s attributes and exploring thought provoking ways to represent them. The wooden strips serve as a wall system that wraps around a container, which functions as the landscape. The objective in the creation process was to make the ordinary into the extraordinary. The next step was to create a new vertical wall system by incorporating a new element to the design. The frames were replaced with slanted and curved framing systems that the wood pieces would be attached to. This created a curvilinear continuous striped wall structure. The concave and convex zones constructed created areas for different activities. The concave openings were integrated into a benching system while for the convex zones, the height was increased to create pockets of standing spaces.
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Site with various scale of trees
Line-work of boundary
Framework custom to each datum
Horizontal attachments
The site had varying sizes of trees and that were randomly located. One of the first exercises was to create a boundary outlining the division of the ground and its intersection with the trees. The supports 2” x4” studs were put together in a triangular module. Each of the framing was custom in size. 1” x 4” wood pieces were used for the curvilinear horizontal strips. In order to give more flexibility and play into the strips, each of them had to be sliced into two pieces. Essentially, they were 1/2” x 4”. This made it easier to nail and make overlaps, as well. The installation is thirteen foot tall at the high point and six foot tall at the low point.
LINEAR
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06 Undulating Wall Digital Installation Black Rock Desert, Nevada Public Space 500 sq. ft. Type: Academic
The intended location for the build started with the idea for the installation to be experiential and observational. Hence, the location of Burning Man Festival was selected. The system was created using a module that was arrayed over the vertical plane using parametric algorithms. One master module was shaped from a square plane. The square was altered by displacement of the edges, so it would be three dimensional without having the qualities of a cube or any prisms. After it was applied to the surface, each module became custom. Two out of the four edges acted as connectors between each module, while the two other lips were extended outward. The base plane itself had its own curvature that dictated the overall look of the modules. Generally, walls are explicit in terms of blocking the user from interacting with the opposite side. The form has openings making it translucent and inviting.
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ELEVATION A
ELEVATION B
ELEVATION C
SECTION
TOP PLAN
GROUND PLAN
36
07 Algorithmic Scripting Glass Waves
Transparent & Opaque Acrylic
ORIGINAL IMAGE The perspective is an unprocessed image of water as it is rippling. There is an appropriate amount of sunlight hitting it to give it a good amount of contrast between the cliffs of water. There is also a good sense of placement of brightness from the top to the bottom.
ELEVATION This is the finished product of all three layers of stacked glass. The 10” x 10” sheets were placed into cut slots made of white acrylic plastic sheets. These sheets were also laser cut to fit the thickness of the glass. With the inclusion of the base, the whole piece is 12” wide, 6” deep, and 10” high.
The goal was to generate a series of lines on a surface from an image. This was achieved through the use of C# and grasshopper. The RGB values were extracted and translated from three sets of numbers to one set. That set was divided into four sections by how dark or bright the pixels were. In each section, the pixels were then coded to connect to its neighboring pixel. This created a horizontal array of lines. This information was then transferred onto three sheets of transparent glass, by scoring from a laser cutter. The lightest layer got omitted from the print. Finally, as all the pieces are stacked, they abstractly convey the original image. When introduced to sunlight, the shadows move and ripple like waves of water. The potential use could range from architectural building enclosure to exterior large-scale installations.
SEGMENTED IMAGE This is one the stages featuring the four sections of water that will be translated into three sheets of glass. The brightest layer, which is primarily in the top, is not be showcased and omitted. Thus, this allows most of the density to be on the lower half of the panes.
LAYERED IMAGE Each sheet was placed an equal distance from one another. This allowed the static image to move as the perspective of the view shifted up and down, emulating the motion of walking. It also allows the shadows cast from the scores to ripple as the sun moves throughout the day.
38
08 Digital Fabrication CNC
12� X 12� Foam / Wood Base
The contours were generated from three curves; the outer perimeter curve, the hourglass shaped curve, and center vertical curve. A custom algorithm was made to create curves in-between the original three in order to achieve clean parametric transitions. A small round bit was used for the CNC to make it as smooth as possible without the loss of any details. Once the wood was carved, a reflective chrome paint was applied. The reflective property allowed light to play a big role in defining and emphasizing the three-dimensional contours of the pattern. WOOD
The idea was to take a typical accordionlike geometry and introduce curvilinearity into it. The constraint was to keep the angles on all sides constant, and to only sway the extrusions to the left or right in the body of the base. A separation between each score was made as well as the use of a large angled bit to create the cuts which gave an undulating textured effect to the surface of the foam. Afterwards, the foam was photographed in a dark space with very concentrated and directed colored lighting. The image was later digitally altered to create higher contrasts in the saturation. FOAM
A floral pattern was made and then altered several times to achieve the desired look. The pattern was then applied onto a wave-like square plane. Once the foam was carved, an image was taken for postprocessing. The highlights, saturation, and levels were then altered. The indentations, which were the floral pattern, were given a color to showcase its hierarchy compared to the plane itself. For some, this piece might look like what an archeologist would come across and identify it as a fossil.
FOAM
Within a one-by-one frame platform, the goal was to explore the creation of patterns. The process began with developing a digital pattern that would later be transformed into a wood or a foam base. Major changes in the detailing came post the digital creation. By changing the bits on the CNC cutter, various effects were achieved. Once the base was complete, the patterns were further explored through the uses of color, light and computer-generated effects. Various ideas such as repetition, focal point, symmetry, scale, and threedimensionality were all utilized to create these forms. The goal was to treat each product independently with idea that it can be applied to any scale, rather than combining or tiling the patterns into a singular product.
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09 Painting
Acrylic - Charcoal
16� X 16� Canvas
This portrays the idea all paths leading to the same place. The perimeter leads a journey with many convoluting sharp and twisting lines. This gives the impression that all lines are unsystematic. However, the conclusion is proportionally the same as the introduction. Hence, nothing changes.
RADIAL
The series explores the spatial three-dimensional capabilities through the use of drawing illustration. The collection has rules and boundaries that each piece follow. Within a one-by-one frame, a series of repetitive lines are created showcasing faces and edges of one plane. The context is manipulated by these parametric and algorithmic repetition of lines. The contrast and gradience plays a key role in defining the extents of the geometries. The collection as a whole draws the attention, rather than the individual parts. The space that is created is the architectural context that the user is in. These studies were created to visualize the perception of architectural forms in different ways. The perspective being placed very symmetrically, casts a very powerful effect on the view. No figures or silhouettes were used for scale in these studies, because the intent is that the space can be applied to any scale.
The piece is about the juxtaposition of the verticality and the horizontality. Both directions play a vital role in setting up the scene. Ultimately though, the scene is defined by the perspective, which breaks the orthogonal elements and creates a sense of depth.
LINEAR 42
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