Portfolio // 2018

ACADEMIC - PROFESIONAL

HAMZE MACHMOUCHI

YEAR 2016-2018

PORTFOLIO OF WORKS //

MERGING DISCIPLINES Throughout the course of my education, I became fascinated by the transformative ability of architecture specifically in the urban realm. I began investigating the relationship between design and robotics by developing, with a group of friends, a series of responsive installations that challenges the concepts of “identity” and “personalization” by empowering an individual to control and distort the physical qualities of known objects in order to shape new spatial experiences. The goal of this investigation is to carry on the premise of a research that aims to generate a new type of architecture powered by the user’s flexible needs.

Selected Works Personal Research [in]strument dancing under sur•veil•lance Competition Kaira Looro: Competition Academic Framing the North End Temporarily Permanent

[in]strument

Advisor: Peter Atwood Developed at the Autodesk BUILD space Fundraised by the public through GoFundMe Approved for exhibit at ArchitectureBoston Expo (ABX) In collaboration with Pedro Lucas and Brenton Stokes Year: 2018 (ongoing)

[in]strument

CAGE

LINEAR ACTUATOR

CEILING

SAMPLE PAD SET

PLYWOOD WALL

This image: Axonometric diagram of [in]strument Right image: How the ceiling moves

[in]strument

A CUSTOMIZABLE SPATIAL AND SONIC EXPERIENCE [in]strument is an architectural and musical instrument that uniquely translates sound into a spatial experience. Set in a 4’x4’x9’ booth, the user controls a music pad that allows him to simultaneously conceive and render music through a linear actuator powered mechanical ceiling.

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[in]strument

PHASE I breaking the ceiling’s rigidity The first research phase was to establish an architectural element that could react to a moving linear force. We chose the ceiling. Through quick laser-cut studies, we were able to define the tessellation as a means to break the ceiling’s rigidity.

Looking at different precedents, I developed a ceiling assembly made of wood laminated to felt. The purpose was to have a form that would be initially planar before the user’s entrance into the booth.

[in]strument

Top left image: first prototype made with chipboard Bottom left image: raster cut protoype , laminated wood on felt This image: manual lamination of the tesselation onto spandex fabric

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[in]strument

Top left image: 3D printed options Bottom left image: the one we chose This image: 3d print testing wall laminated onto felt assembly

[in]strument

PHASE II form seeking The next step was to study what our booth would like when approached by the user. By developing a series of 3D printed PLA models, we were able to choose an assembly that would be feasible within the budget constraints. We also studied the possibility to laminate the four walls with felt in order to facilitate transportation and assembly (left image). We concluded that the most efficient way was to build a metal framework that would directly host the walls, ceiling, and electric connections.

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[in]strument

PLY

This image: Axonometric diagram of [speaker]

[in]strument

PHASE III First assembly testing: [speaker] CAGE

LINEAR ACTUATOR

[speaker] is the designed, smaller version, of the [in]strument assembly. Like [in] strument, it is a tessellated ceiling that is moved by a linear actuator when the user plays a music pad that is connected to it.

Its dimensions are 2’Wx2’Lx2’H and it will be built out of steel tubes and plywood.

CEILING

SPEAKER

LYWOOD BASE

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[in]strument

Upper left image: ceiling moving up Lower left image: ceiling moving down Middle images: looking and playing with the music pad Right images: assembling the linear actuator

[in]strument

Our first test of the assembly with [speaker] was pretty conclusive and allowed us to make decisions in terms of the material we would like to use. Felt builds memory when stretched and since our concept was to mimic the ceiling as an architectural element while having an individualized experience, we decided to look into neoprene because of its ability to stay planar after being stretched.

Here’s a link that showcases the linear motion: https://drive.google.com/file/d/1r0bqNjQtzX4WcbC99gEzmaQzI8WtQfi8/view?usp=sharing

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[in]strument

PHASE IV wiring and coding on Max and Arduino To define our control pins on Max for live for Ableton, we wired our Arduino to a motor driver and tested which pwm (here ~5 and ~9) input switches the current to counter-current and vice versa. We ran StandardFirmata script on Arduino in order to directly connect to Ableton and started testing our frequency input on Ableton. The linear actuator was very slow so we had to replace it with a faster one to optimize our experiment.

[in]strument

Top left image: Arduino on Max for Live on Ableton Bottom left image: connections to the motor driver This image: playing on the music pad

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[in]strument

Left image: second iteration Middle image: welding the cage right image: wiring the arduino to the h-bridge

[in]strument

PHASE V Second assembly testing We recently got approved to exhibit at ArchitectureBoston Expo (ABX) and were given the opportunity, through a fundraising campaign that I led on GoFundMe, to develop a second iteration of our [speaker] prototype. We had a faster linear actuator but also welded a cage that would follow the actual conditions of a bigger assembly. The material tested for our ceiling assembly was not thick enough in order to make our ceiling planar so we couldn’t create the motion that was first experienced in the first iteration of [speaker]. The result pushed us to try new ceiling assemblies that we will test in the near future.

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dancing under Developed at the Boston Architectural College In collaboration with Pedro Lucas and Wael Fakhreddine Year: 2018

“dancing under� is a stage installation that is inpired by a ceiling grid physically distorted by the weight of water in order to shape our perception of light through the frequency of sound.

dancing under

PHASE I testing light’s initial reaction to water In order to test the initial reaction of light onto water, we developed a prototype that was constituted of a two by two wooden frame that is bolted to a plastic tarp filled with water. We then started emulating different types of vibrations and observed the propagation of the ripples when we would project light from above and under. the goal of this first prototype was to test the resistance of the plastic tarp that we have established as our carrier but also to document how light would reflect and refract light.

dancing under

Top left image: setting up the frame.

Bottom left image: pouring water This image: observing ripples from above

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dancing under

Top right image: pouring water Bottom right image: projection onto water This image: setting up the frame

dancing under

PHASE II projecting on a larger surface For our second prototype, we developed a 10’ x 10’ wooden framework and put our initial assembly to test. We started using actual projections to see what type of distortions we would get but also what how light would be propagated on a larger surface. We started to notice the lack of resistance of our plastic tarp when covered on a larger surface. The need to distribute its weight became necessary.

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dancing under

PHASE III distributing the water weight using a grid For our third prototype, we developed a new assembly that was made of a 4’x4’ frame attached to a fish line grid. We also chose to experiment with transparent vinyl that would be prepped with grommets that we will attach with zip ties on the wooden frame. When projected with light, this iteration held the most conclusive results. The ability of music’s frequency to alter and unlock such dimensions when projected with light strengthened our concept.

dancing under

Top left image: setting up frame Bottom right image: after pouring water This image: observing projection onto water

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dancing under

Top right image: pouring water Bottom right image: projection onto water This image: setting up the frame

dancing under

PHASE IV applying the grid on a larger surface We decided to develop a new iteration that we would present to the student government association at the Boston Architectural College (BAC). Their interest was to exhibit this installation in one of the rooms that would host the annual Parti event at the BAC. For this prototype, we simply applied the grid from our previous iteration on a larger 10’ x 10’ wooden framework.

We used the same materials but decided to attach grommets on hooks locked into the frame instead of our previous joinery. The result was well received overall and excited the majority of the students that it was presented to.

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dancing under

dancing under

PHASE V presentation

STEEL TENSION CABLES

HOOK

For our last iteration, we developed an assembly that suspends over the people underneath with heavy lifting clamps and cables. We clamped the whole assembly onto the beams because it would allow us to remove our installation without altering any initial conditions of the space used.

The results of “dancing under” have set the premise for the development of [in]strument. The public reception was very positive overall and we were able to stand underneath the installation and perceive both the distortion of form but also of light.

C-CLAMP

clamp detail

Here’s are links that showcase the experiment: https://drive.google.com/open?id=1TFzpultG5ane4gOqNQH9HLinilO_K3VS

plan

https://drive.google.com/open?id=1U4HEF4mrUOOQ5iEYAxHK8X-UURspSUtR

section Left images: setting up the suspended frame Middle image: result after water is poured

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sur•veil•lance Developed at the Boston Architectural College In collaboration with Stephen Hopkins and Christian Borger Year: 2018

you are being watched by the object that entertains you

sur•veil•lance

Pondering the age of telesurveilance a screen that pokes out to interact with its recorded audience sur•veil•lance is an interactive installation that utilizes a screen that is pushed out of the wall in order to show a live recorded projection of people moving around the space. The goal is to reflect on the impactful use of telesurveilance on the individual’s psyche by entertaining the audience with the very object that observes them. The use of plastic and wooden frameworks adds depth to the installation and projects layered forms and shadows coming from different angles of the room.

sur•veil•lance

Top right image: wooden framework Bottom right image: assembling the frame This image: setting up the screen

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sur•veil•lance

Right image: assembly close-up Bottom left image: setting up plastic screens Top left image: setting up the orojector

sur•veil•lance

WEBCAM

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sur•veil•lance

Top right image: exhibit Bottom right image: behind the plastic This image: person looking at herself through the screen

sur•veil•lance

During the installation, an interesting phenomenon occurred. The video recording had a 30-second delay leading the screen to project past events into the present.

This encouraged a new type of interaction with the screen that is driven by Time.

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unity through water Competition: Kaira Looro Advisor: Kyle Sturgeon In collaboration with Kotayba Qadour, Darya Bellavusava, Vlad Magera, and Stephen Hopkins Year: 2017

unity through water

EARTHLY

1. 1.

THE BETWEENEARTLY EARLYAND ANDDIVINE DIVINE THERELATIONSHIP RELATIONSHIP BETWEEN

DIVINE

EARTHLY

2. CREATION CREATION OF 2.

OFRELIGIONS RELIGIONS

EARTHLY

3. UTOPIA UTOPIA 3.

DIVINE

EARTHLY

4.4.FORM FORM INTERPRETATION INTERPRETATION

Exploiting the pivotal presence of water in religions as a unifying source of gathering Water is the most important substance for mankind, which is why it serves such an essential, symbolic role in numerous faiths. The presence of water is pivotal for ablution before prayer in Islam, for blessings and Baptisms in Christianity, and for Animists to celebrate as an element of life.

Our site in Tanaf, Senegal is stricken with drought, non-drinkable water, and a severe lack of resources to obtain clean, hygienic water. With this taken into account, we see water as a ritualistic substance that should be treated with a deep and tender respect, as well as a vital, life or death resource for the people of Tanaf, and it must function as both.

unity through water

Bottom right image: section 1 Bottom left image: site plan

WATER AT ATER HARVESTI HARVEST ARVEST RV T NG RVEST RVES G MESH SH S H

W WATER COARSE ARSE R E GRAVEL RAVEL CHARCOA CHARCO CHARCOAL O COARSE CO OARSE ARSE S SAND AND FINE NEE G N GRA GR VEL CLOTH CLOT LOTH OTH TH

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unity through water

The main water collection system captures steady rain-flow as well as fog moisture with an opening in the roof. The water falls through the opening and spills down unto a harvesting mesh directly underneath. The water then flows down the mesh, into a system inspired from homemade filtration methods. This filtering system features layers of gravel, charcoal, coarse sand, fine gravel and a cloth that water will seep through into a large water basin, ready to be used for prayer, cleansing, ritual, and drinking.

The other two forms feature angled roofs made out of iron in which rainwater will flow through a gutter system along the interior sticks and will be stored in a manually accessible underground reserve tank for unfiltered water to be used during the arid season.

The structure is organized within three forms, and four main spaces: the main water collecting structure, a communal prayer space, a communal gathering space, and an intimate prayer space on the upper level. The main prayer space accommodates the celebratory needs of people from all of these different religions. The circular geometry of the space allows Muslims to pray towards the Qibla, Christians to conduct mass, and for Animists to gather around in celebration. The openings near the top of the form welcome in a soft, spiritual natural light that guides reflection and prayer. The third form has two floors, the lower one being a community gathering space, and the top being a smaller, more intimate prayer space for people to reflect and practice alone.

FLOOR I

Opennings in to alloow light lightt in and hott air out o

Mudb M dbbric rrick ick iccckkss

Unde d rgro rg und u d unfi unfilter unf f lter t ed ed wat r collec wate lection tion tan t k

unity through water S2

S1

S1

COMMUNITY SPACE CLEANSING AND WATER SOURCE LARGE COMMUNITY PRAYER SPACE

SMALL PRAYER SPACE

FLOOR II

CLEANSING AND WATER SOURCE LARGE COMMUNITY PRAYER SPACE

S2

Section 2

RAINWATER GUTTER SYSTEM

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[in]strument

framing the north end Arch01 studio Instructor: Scott Bascom Year: 2016

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[in]strument

A ferry terminal at the crossroad between past and present The Transportation Hub’s main intention for this project is to solve the circulation conflict between three main groups of people: the commuters, the residents and the tourists.

By connecting the Freedom Trail to the ferry terminal, the space is providing a focal point on the first floor where all groups meet. In addition, the form is adjusted to capture a view of different symbolic monuments. Indeed, the second and third floors are choreographed to dispense views of the Zakim Bridge, the Clock Tower, the Bunker Hill monument and Boston’s Harbor in small, controlled doses. To provide structural stability while also framing the city was the biggest challenge I had to face. My answer was to use a collonade because of its gesture, a gentle and light series of pilotis holding heavy and brutal boxes. The collonade would also divide the spaces while guiding the circulation, and filter light. It would also provide a forced frame of the city itself.

Freedom Trail // Tourists Commuters Boardwalk // Residents Users

Circulation

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Storage Office

Restrooms Freedom Trail

Bike Racks

Collonade

Bar Balcony

Cafe Ticketing

Boarding/Landing

Leisure

Waiting area 53

ZAKIM BRIDGE HARBOR BUNKER MARINAS / HARBOR

HILL

LEGEND FRAMING THE CITY FRAMING THE MONUMENTS

Views

Section

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temporarily

permanent Class: Arch 04 Studio Instructor: Bob Gillig in collaboration with Romain Peallat Year: 2017

a symbiosis between “traditional” and “experimental”

temporarily permanent

IN

I

ER

T EX

OR

SK

D

KE

NA

INTERIOR PERSPECTIVE

3

1

temporarily permanent

the monolethic

the historic

the site

Aerial Site Perspective

TRANSLATING AN

OXYMORON INTO A TAUTOLOGY

Located in the North End, Boston, Massachusetts, this experiential museum defies our perception of forms through its simplification and complication. The result is two different entities that coexist in a juxtaposed symbiosis where the “complex” shape serves as a vessel for the “simple” shape. The goal is to break away from Boston’s monolithic forms and create a space that allows for an interactive and spiritual experience. By using these methods to go against what Boston has to offer, it has given us the opportunity to combine traditional ways of construction with more unconventional ways, such as leaving the scaffolding onto our structure as a threshold into the museum. Inside the museum at its center, there is an immersive space, inviting individuals to experience arts in non-traditional ways.

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INTERIOR PERSPECTIVE

Similar to a core-shell structure, the immersive exhibit space is the central piece of this museum. It links structure, circulation, light, and shadow. The space is born from the same formal matter of the exterior skin (a square). It is however compromised and “imperfect” in order to reflect a different spatial and formal identity than its shell.

SPACE DIVISION DIAGRAM

FALL EQUINOX

SPRING EQUINOX

AUTUMN EQUINOX

WINTER EQUINOX

2

temporarily permanent

SCAFFOLDING

WIDE FLANGE BEAMS

PROCESS MODELS WIDE FLANGE COLUMNS

TENSION CABLES

HANGED RAMPED FLOORS

SPATIAL TRUSS SYSTEM

CONCEPTUAL PLAN EGRESS CORES

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temporarily permanent

2

1

Public Bathrooms

Parking

temporarily permanent

Boiler Room

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temporarily permanent

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Parking

temporarily permanent

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machmouchi.hamza@gmail.com