2013 undergraduate portfolio_ SACD
movements in a field
4
occupied spatial events
8
analysis of a bound space
12
water wall
16
hybrid space
26
habitable light well
28
sketches in pencil
38
photography
40
university of south florida
hala hilal barakat
4
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structural sketches.
The first part of Movements in a Field was an analysis of the story The Metamorphisis. Two horizontal and linear grounds are created, then placed over each other to create spaces.After focusing on the ground plans and extending them, the second part of the project was to penetrate into the horizontal context and by interesting an object and developing the structure needed to hold it suspended. This model was based on “ in-between� process that bounded the object and created a variation of spaces in its surrounding.
final model under process.
axonometric sketch.
axonometric final drawing.
movements in a field
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6
section drawing of each of the vertical spaces in the model.
8
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perspective of the three moments, where light occurs in different ideas.
pictures of the context, with plexiglass.
occupied spatial events
10
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The occupied spatial events includes vertically defined interventions. Moving from volumetric process models to a massive wood context within the site, vertical events, and a hanging piece. This projects analysis was determined by the analysis of the negative space rather than the positive. The idea was to allow light to occur in different forms through the interventions and then the connection between interventions in the model was represented with plexiglass.
To make the model habitable a range of scales were presented at different points of the model to form variation. The variation was created by the spaces formed by the volumetric mass, the flow of plexiglass throughout the model, linear wood elements, and white board. The linear elements where used to edge spaces and the white board was used as an element to reflect light.
12
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The Heidi Weber Pavilion designed by Le Courbusier is currently a museum. After a number of studies on the building a combination of interior and exterior images were put together along with a section drawing to define the mass and relate to the charactristics of the building itself. The building was constructed in two seperate parts; the first part is essentially two cubes and the other is a massive grey parasol. In the drawings the two cubes are represented by the 1/8 scale section drawing, that also represented the volumes in the building. The grey parasol was reflected through the layering over the section in addition to exterior and interior characteristics of the building, breaking down the boundary and rythm of the building.
sketch of the exterioror wall of the museum.
collage of the interior drawings inside the museum.
section sketch
process section sketch
section and introspection: analysis of a bound space Heidi Weber Pavilion
14
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final elevation.
quick section drawing, based on Bela Bartok’s compostion.
When designing the stretto house Steven Holl was inspired by the Bela Bartok’s composition for string, Celesta and Percussion. The term “stretto” refers to overlappong of two parts. The stretto house was designed with a concept of seperating the service and living areas within the space. Throughout the analysis the sketches were drawn with the influence of Halls techniques; the significance of the surrounding environment on the building and the breaking up of the roof over each edge in the space as a whole. The final section drawing was based on a set of studies of the building, as well as the piece of music. The final elevation drawing is a representation of the rythm within the boundries. The music greatly influenced the movement from heavy to soft pitch which coresponds` to the different materials used in the building in addition to the folding of the roof into the under level.
conceptual sketches.
interior and exterior section sketches.
section and introspection: analysis of a bound space Stretto House
16
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The Water Wall required analysis of three different programs related to water. Zumthor’s Thermal Baths in Switzerland; Nouvel’s Les Bains de Docks in Le Havre, France, and Siza’s Ocean Swimming Pool in Leca de Portugal. Ocean swimming pools also have a connection to a natural form of water. This connection is clearly obvious in Zumthor’s design and wain a main focus for my final project.
water wall
18
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further developement of the study linear models on Siza’s ocean pool. The white board was used to create the wall that was later developed into plexiglass to allow the model to blend into the surrounding more.
sketches of Siza’s pool in Leca de Palmeira, Portgual.
process model.
axonometric drawing of the final project.
20
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collage of images form the final model.
22
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study model showing details and articulations within the wall.
24
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Working on the Zuthmor’s Thermals Baths analysis, it was interesting to understand the movement through the spaces. The final model was inspired by the geometry of the Thermal Baths and then connected in a way where it is carried througout the model as an additional inspiration by Siza’s ocean swimming pools. Researching all the pools and looking at their unique sites was a reason for the enxtension and openess in the model. The large enclosed spaces where bounded by plexiglass so they can seem to be part of the amazing environemnt they are placed in.
26
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The urban wall enabled me to look at things from a perspective point of view. For the hybrid spaced project I captured different perspectives at the University of South Florida, and then stated to think of ways to connect them all together and form a layered graphic drawing that would relate to different times of the day forming different atmospheres. The developed perspectives diffused from different vanishing points created different scales of places. The spaces generated by these graphic drawings are seen as opportunity spaces for other projects.
hybrid space
28
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This design was greatly impacted by the contribution of light. The design process was from the canopy to the ground plane with two major vertical interventions then subtracted at different points to create open spaces and allow light to pass through the mass to the ground. With the ideas of direct, diffused and chromatic light a variation of spaces and shadows were produced.
process model, later developed into the ceiling.
habitable light well
30
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Designing the light well began with additive and subtractive process models. The process models were later developed to compose the body. From the canopy to the ground including vertical interventions of light and reflections were a main contribution to the design of the light well. Starting with a heavy plenum of layered wood and then subtracting and arching to it. The negative spaces after subtraction were meant to create occupiable spaces that would allow the transmission of light from the canopy through the mass to the ground. Light had to occur in different ideas; direct, diffused and chromatic lighting. By taking night shoots the influence of light on a space was more evident. Light made minor details from the interior of the model reflect to the outside.
32
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Final Elevation Plan
The drawings main purpose was to reflect the vertical interventions in the model. Drawing a section of the interventions clearly illustrates the paths of light within and along the habitable spaces.
Section sketches, from the final model.
34
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section sketches of the connections between the canopy and the ground.
process model that was later developed into a vertical intervension.
36
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38
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sketches in pencil, studies of light and shades.
sketches in pencil
40
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Temple of Hercules on the citadel mountain in Amman, Jordan. summer 2012
Jabal Al Qal’a, also known as Citadel Amman, Jordan. summer 2012
photography
42
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interior of the Temple of Hercules. summer 2012
Jerash, Jordan. summer 2012
44
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“The success of the masterpieces seems to lie not so much in their freedom from faults - indeed we tolerate the grossest errors in them all - but in the immense persuasiveness of a mind which has completely mastered its perspective.� - Virginia Woolf The Death of the Moth