Hashim Badar Architecture portfolio 2015_2016 M. ARCh 2 | SCI_Arc
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Hashim Ibraheem Badar
A skilled designer with a practical experience in designing in various types of projects. My attention to detail, excellent problem solving skills, being able to manage critical situations while learning quickly ensure that every project I work on, is done accurately and to the highest possible standard.
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CV
OVERVIEW
A highly motivated person with good communication skills willing to work as part of team, looking for a good career. Cooperation, respect, integrity and team spirit are the four most important values which I learned from my study in the college and which I experienced in the field of work.
EDUCATION Bachelor degree in Architecture, King Abdulaziz University, GPA (3.59/4.00) June 2013
TRAINING & PERSONAL DEVELOPMENT •Saudi IKEA: (Nov 2008 – Sep 2009) Worked as a part time Salesman as well as an Interior Designer.
•AMB Engineering Consultant Office: (Jul 2011 – Sep 2011) During this summer training I learned to read and understand the technical drawings and compare them with the completed work on the site. I also completed different type of architectural concepts and design proposals along with the architecture design team in the office.
•Saudi Arabian Oil Co. (Saudi Aramco): (Jun 2012 – Aug 2012) During this summer training I worked in Ras Tanura Aramco Camp for different maintenance agencies. I learned how to deal with contractors and vendors as well as evaluating the quality of the maintenance of architectural, mechanical and electrical projects.
•Zuhair Fayez Partnership Consultant: (Aug 2013 – Jan 2014 ) Worked as Design Architect.
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COMPUTER SKILLS
REFERENCES
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Dr. Adnan Adas,
LANGUAGES ARABIC / Mother Language. ENGLISH / Very Good.
Head of Architecture Department, Faculty of Environmental Design, KAU. Email: aaadas@kau.edu.sa Tel: +96612-640-2000 Ext.66615 Mobile: +96650-552-2424
Mohammed Maghlouth, Manager of Community Services, Saudi Aramco. Email: maghma0e@aramco.com.sa Tel: +96613-678-6368 Fax: +96613-673-3628
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Autodesk Maya. Autodesk Revit. Rhino. 3D-Coat. KeyShot. AutoCAD 2D/3D. Adobe Photoshop. Adobe Illustrator. Adobe InDesign. Adobe After Effects. Microsoft office.
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Index
2GAX_ FALL 2015
DS 1201 “COMPLEX MORPHOLOGIES” P# 08
AS 3200 “ADVANCE TECTONICS” P# 20
VS 4200 “MODELING, TOOLING AND COMPUTATION” P# 28
CS 2201 “THEORIES OF CONTEMPORARY ARCITECTURE 1” P# 38
2GBX_ SPRING 2016
DS 1201 “GENERATIVE MORPHOLOGIES” P#
AS 3201 “ADVANCED BUILDING SYSTEM” P#
AS 3202 “ADVANCED STRUCTURE SYSTEM” P#
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VS 2538 “EXACT FORMS” P#
CS 2200 “THEORIES OF CONTEMPORARY ARCITECTURE 2” P#
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COMPLEX MORPHOLOGIES
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Course Description.
The studio interrogates the potential of medium specific appearnce-making in architecture, di ferentiating between realism as a representational mode, involving degrees of representational accuracy, and reality–that which is represented. The work also reflects on the potential to create degrees of ‘weird contextualism’ in architecture through a processing of the environment relying on representational modes that engage both various forms of abstraction as well as conventional forms of rese blance, although, fully aligning with neither. The project is therefore a collusion between objects and im ges in the production of architectural form.
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Instructor:
M.Casey Rehm
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The first part of this studio was a chance for us to experiment with free 3D modeling. We utilized several softwares in the making of this exercise. The candy jar seen, has assorted candies with different colors and textures. I selected them, with anticipation of how theywould be manipulated through Processing.
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The nature of the script embedded in the Processing creates a seamless texture that is generaed in a behavior, which runs differently in every iteration. It was a matter of selecting (with percision) the most suitable texture for this exercise’s execution.
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The model has then has developed much complexly. The areas I was most interested in were the double and triple layering of the exterior. Moreover, I started combining other models with the existing one. The surfaces started to intersect and interlock, leaving a very intricate reading of the model. Looking at it from different sides, it creates an ambiguous reading to the model.
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With the model being finely detailed and finalized, I applied the procedural texture, with replacing white instead of the black background, in order to give it a stronger contrast in color. Since the geometry is complex, the texture accentuates the the model overall complexity and ambiguity.
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The destabilization of mass and the blurring of the horizon having a disruptive reading of gravity and solidity. On the one hand l’m kind of producing this kind of mono-listic heavy figure. On the other hand it doesn’t behave like that visually, it behaves like something much lighter. So there is a little bit of contradiction between the for morality and the mono-listicy of the piece.
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I paint along the chrome, l needed the vertical element of the chrome to further destabilize the horizon as by reflecting its context up through the mass so its kind of destabilizing the normal relationship between mass and horizon.
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The way I treat the glazing is always resect into the mass so that glazing itself just becomes a kind of like a carving into the mono-list which actually reenforces everything in the mono-listicy like while the texture doesn’t.
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s 3200
ADVANCED TECTONICS
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Course Description.
The course study looks at the new ability of architects to design, devlop and produce structural assemblies for highly specific performance and applications. Also, explores new materials, as well as the integral manner in wich building systems and structurs are produced - from desgin idea to fabrication and erection - to precisely fit designers specifications and to provide optimized performance. Morover, the study has emphasised on tectonic understanding of glass for Elbe-Philharmonic building. It has covered the processing and manufacturing analysis of float glass, fiber glass and its implication on the building envelope for this project.
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Instructor:
Maxi Spina
Partners:
Omar Busbit, Zach Falor Mohammad Soleimanifeijani
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Detail 1 A. ETFE CUSHION TYPE 1 SYSTEM B. ETFE CUSHION TYPE 2 SYSTEM
A B
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Detail 2 1. 2. 3. 4. 5. 6. 7. 8. 9.
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METAL DECKING STRUCTURAL BEAM CEILING SYSTEM RAISED FLOOR SYSTEM GLAZING GLAZING FRAMING STRUCTURAL TRUSS ETFE FRAMING ETFE CUSHION TYPE 2
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Detail 3 1. STRUCTURAL CONNECTION TO BEAM 2. MULTI-CONNECTOR STEEL PLATE 3. TUBE STEEL 4. ETFE CUSHION TYPE 1 FRAMING 5. ETFE CUSHION TYPE 1
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DETAIL 4 A. ETFE CUSHION TYPE 1 SYSTEM B. ETFE CUSHION TYPE 2 SYSTEM
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DETAIL 5 1 2 3 4
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1. ETFE CUSHION TYPE 2 FRAMING 2. ETFE CUSHION TYPE 2 3. ETFE CUSHION TYPE 2 INTERNAL STRUCTURE 4. TENSION CABLE 5. STRUCTURAL BEAM 6. ETFE CUSHION TYPE 2 SYSTEM MID-SPAN CONNECTION 7. TENSION CABLE CONNECTION 8. ETFE CUSHION TYPE 2 SYSTEM BOTTOM-SPAN CONNECTION
Detail 6 1 2 3 4 5 6
1. ETFE CUSHION TYPE 1 FRAMING 2. ETFE CUSHION TYPE 1 3. TUBE STEEL 4. MULTI-CONNECTOR STEEL PLATE 5. STRUCTURAL GIRDER 6. METAL DECKING 7. CONCRETE SLAB 8. GLAZING
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4200
MODELING TOOLING & COMPUTATION
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Course Description.
The course study explores new seftware technologies that allow variable of time, reproduction, variation and repetion. The intention is to question the relationship of architecture to geometry and the idea of representation as static orgnization of concepts. Also, to search for the possibilities offered by tools of design, thought and producta. So, geometry is considered no longer as a static cartesian system, but as encompassing an array of articulated geometrical variations, affected by new instrumental abilities.
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Instructor:
M.Casey Rehm
Partners:
Khalid Alattas
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= = = What’s happening here is that the software is treating each pixel in a certain behavior separately from other pixels. What I was aiming here for in this script code was to blend sea and land to make them feel like they’re one composition and speculate a new reality.
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After being familiarized with the software’s logic and understanding, here I aimed to start experiencing with multiple scripts running simultaneously under one experimentation.
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The background of the canvas replicates the centered form’s three distinct textures but have a pixel manipulation behavior rather than playing a video clip of their instances. Each time the centered form moves away from its original location, the previous instance pixel blends with the background. Overall, the whole intent of this exercise was to experiment with colors and shapes and their complicated relationship.
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s 2201
AWKWARD POSITIONS
THEORIES OF CONTEMPORARY ARCITECTURE1
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Course Description.
The seminar study focuses an emergent from of post-vanguard practice that empoloys testing and prototyping to create design knowledge, or design intelligence. it deatails the emergence of this new intelligence paradigm through reading drawn from a variety of contemporary debates in philosophy, science, strategic gaming and other areas, before turning to a series of firm-specific case studies that explicity address the role of intelligence in contemporary design practice.
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Instructor:
Marcelyn Gow
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AWKWARD POSITIONS Andrew Zago
- Contortionist Clifton Gerry III
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- Hypothesis: The focus question to ask is to what extent can we abstract an object in such ways that it does not lose its identity, to make it look awkward. My approach to answering the question stated will be by switching different objects, that has its own identity, to figure out, if the object will still keep its identity, or will it lose it. - Introduction: Who are we to criticize about what is Awkward and what is not Awkward? As the saying goes, “All is fair in Love and War” and nowadays, in my opinion, all is fair in SCI_Arc, in other words, SCI-Arc is open to new ideas and suggestions granting students the ability to think outside of the box. Firstly, I will take the step to identify the word awkward. Awkward comes in different forms, contexts, shapes, and sizes. However, people agree to disagree about what does Awkward refer to. People comprehend the word Awkward differently, although, some will think that awkward is “unique” and it is compared to the words mastery and authentic. In order to be convincing to others about anything you invest your time in, you should be passionate about it. In addition, having background knowledge
on the topic, you present to your readers. According to Zago, “the architect should have some measure of talent, intelligence, industriousness, and experience, the notion of mastery suggested more than a combination of these attributes.” (Zago page 210) nothing comes easy and Zago states “at the novice level, a small increase in expertise can bring about a significant improvement in the work, while, at the master level, enormous advances in knowledge bring work only asymptotically closer to perfection.” (Zago page 211). With every experience or knowledge you gain, it adds something to your work and brings you closer to your goal. Moreover, in architecture, for example, we look at buildings or statues that people may not necessarily accept, but the shape, size or form of an object stands out making it look unique; leading to limitations.Trying to be the master, not the follower. Our culture has taught us two things, and that is, if something does not withhold our beliefs we must fear it or be cautious and if it does we must like it. Leading that to the limitations of our imaginations. In comparison to architecture,
we may not be accepting of awkward things, objects, shapes or sizes but having an open mind and background knowledge can lead to a better understanding and acceptance of the art of architecture. To others, the awkward position is a matter that remains the same to some people. However, they try to gain beneficial knowledge for their own experience. In this case, when I first see or experience something entirely different I would try to acquire helpful knowledge in order for me to understand the concept behind it. The matter of the awkward position varies depending on what you make of it or how you interpret it. In my understanding an awkward position can be applied to many forms: it could be to architecturally or culturally. An awkward position affect could either be positive or negative regarding to the surroundings acceptance. I will test this hypothesis by switching different example of things.
- Discussion: First, let me start by illustrating the awkward position in cultural context. The first example, a building can be awkward within some cultural context but not in other. Marc Kushner, who is an architect that did a Ted talk about how buildings are shaped be it surroundings, he give an example of two libraries that were built in the same year, 2004. Library number one, was built in his hometown, which was a small countryside, traditions were the main focus, modernism was not a big interest of that community people went to libraries for reading only, and because of the nature of that community it reflected on the buildings in he area, he said while showing a photo of an old looking library building : “This is the Livingston Public Library that was completed in 2004 in my hometown, it’s got a dome and it’s got this round thing and columns, red brick, and you can kind of guess what Livingston is trying to say with this building: children, property values and history. But it doesn’t have much to do with what a library actually does today.” he then compared the old library building to another building that was built in that same year, in 2004, on the other side of the country,
It was built in Seattle, however the library looked so different from the one that was built in his hometown, Marc Kushner said, referring to the second library “This library is about how we consume media in a digital age. It’s about a new kind of public amenity for the city, a place to gather and read and share” (Marc Kushner). an old looking library building : “This is the Livingston Public Library that was completed in 2004 in my hometown, it’s got a dome and it’s got this round thing and columns, red brick, and you can kind of guess what Livingston is trying to say with this building: children, property values and history. But it doesn’t have much to do with what a library actually does today.” he then compared the old library building to another building that was built in that same year, in 2004, on the other side of the country, It was built in Seattle, however the library looked so different from the one that was built in his hometown, Marc Kushner said, referring to the second library “This library is about how we consume media in a digital age. It’s about a new kind of public amenity for the city, a place to gather and read and share” (Marc Kushner).
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where libraries are not just a place for reading, it is more, it is a place that people gather, and socializes, the building was built to reflect the nature of the place it was in. The library was built to reflect the modern city, it had glass mirrors everywhere, it had areas for coffee, and arms for reading only, and another area for people to socialize, it also had a playground for kids. Since the city library was a place for people to enjoy and not just to read. If we decided to switch these two buildings and put the countryside library building in Seattle, and the modern Seattle library in the countryside, even though they both are libraries and serve the purpose of reading, it will be an awkward position. The reasoning behind the awkwardness is not because the building looks different, which never the less, is a factor, but the more important factor is that we changed the surrounding around the library. The people that live in the countryside are used to the library being for reading only, and they will think, why are the does a library has, playground, and coffee place? This awkward positions can be either positive or negative. Positive that if the countryside old
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traditional library, switched into a modern library, by people adapting the new style of using libraries as a place for more than reading. The negative impact, however, would b for the city library to be switched the traditional old style library.
- The Livingston Public Library
- The Seattle Central Library
Second, let me illustrate my hypothesis of the awkward position in architectural context. For example, if we switch a mosque and a church they are withholding the same purpose as being a place for worship. If we take a look at the structure of both places, they are designed differently in the sense that the dimension of the church can not be compared to the dimensions of the mosque. In addition, the Mihrab known as a section that is cut into the wall and is faced a certain direction as guidance for the prayers to face the Pilgrimage when praying. Mosques are designed for prayers, and lecture services on Fridays, or on the two Holidays, unlike Churches, where it is for celebrating weddings, and furfurals. In mosques prayers are done in a big open area, where should be no objects that might be I the way of the prayers. So, if we switched these two buildings, the awkward positions will happen in the sense of that activities that are designated for each holy building, will be interrupted. By that I mean, if let say, Muslims went to pay in a church, they will find it hard to pray because of the chairs in the way, on the other side if Christians went to pray in a mosque, the will
find it hard because there are no chairs. This could also be explained with the decoration of both buildings, while mosques have minimum decoration, and only limited with calligraphy are, churches might have statutes, colored glasses, and so on. This might be awkward in the sense that, each of the people belonging to one the holy places will find the other place not suitable for them, but at the same time, it won’t be a negative impact, it is easy to adapt to such examples, by reconstructing the organization of each place. Another sense that falls under the awkward position, is the each holy building have it’s own way of architectural style, for instant, the way the mosque is built, it is strongly shaped by the regional traditions where it was built and to look like a square rather than a rectangular shape.
An addition example that illustrate the architectural awkward positions, are the pyramids. The pyramid in Egypt compared to pyramid in the Louver Museum, Paris. Both these structures are designed exactly the same, they are both pyramids, however, the Egyptian pyramids have it’s own different identity, it is known for being built in the desert as a symbol of how architect was a used since back in the day, on the other hand, the French pyramid are more modern, and they are symbols of modernism. if we switch those tow building, it will a very awkward position to both of them and by switching them they will end up losing their identity and what they are symbolizing.
A similar example, What if France decided to switch the Eiffel tower with the American Statue of Liberty? Even though, both statues could be considered French styles. The statue of Liberty was sent to America as a gift from the French people giving the alliance of France and the United States during the American Revolution, the statute of Liberty represented much more to the american than just a proposed gift, so if we decide to take the Statue of liberty back to its original place, France, it won’t the same. The Eiffel tower has become an image of the brain of France and also became one of the most recognized structures that symbolize France. People from all around the
- The pyramid in Egypt
- The Louver Museum
-Eiffel tower
- Statue of Liberty
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world come to visit this monument. Each of the constructions have it’s own identity, any by switching those statues; they will lose what they stand for, it won’t be accepted Culturally. One more similar example, Thanksgiving, is known to be a feast that gathers families together, if we decided to switch the feast that contains a variety of food dishes, mainly the turkey as the main dish, and serve sushi in everyone’s plate, instead, the people will feel that something is awkward, because they got used to something, which is a tradition, and changing it to something that has no relation once so ever. In the case, we changed the identity of Thanksgiving interlay.
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A personal example I would like to use is my 2GAX project for Fall 2015, it was the first time for me to build up a building using three different pictures, that are from the surrounding around the building I was planing. I would like to consider the idea, as if we built a hut in a forest using woods from the trees souring the hut, everything goes together, because they are all from the same environment. even though the hut is not from nature, but because of the usage of woods from the trees it will make it look like it always has been there. I used a photo of The Panthéon in Paris, a photo of Saint-Étienne-du-Mont church and a photo Bibliothèque Sainte-Geneviève library. I created an interlay different building from combining those three different photos of the constructions, and wand up with a building that match the surrounding. The idea seemed to look like what Zago did with his chair, when he decided to use different objects including the little pony outline. This example is how we can use many abstract objects, and at the same time, we can end up creating our own signature. This example is different from the other past example in the form off not having to switch
anything, but using new objects and combining those new objects and replacing it identity completely to form a new awkward positions, in this sense, I would call it, “Unique” because by changing somethings identity, I still got away with creating my own signature identity.
- 2GAX project for Fall 2015
- Conclusion: From examining the switching examples, I found out that, sometime by switching things, we can come up with a better alternative, as in the case of switching the old library with the new modern one. The switching could also be useless, as in the case, of the old library switching it by the modern library. The switching can make something loses its identity, as in the case of the Statue of Liberty and the Eiffel Tower. By switching many forms and combining them, we could come up with new ideas, or we create our own signatures. By switching I also noticed, that sometime an awkward position does not have to be implied on the object it self, looking different or, not fitting the style of the surrounding, awkward positions can be resulted because of people reactions and how they perceive things, for the example of the libraries, the building were not the issue, the sounding was what made the structure be perceived as awkward, because they did not get used to it. To sum up, as Zago said, “A post-ironic authenticity could begin by posting techniques that are, by intention, incorrect. Where traditional mastery strove for a perfection of form,
new mastery stumbles into an awkward position” also “abstraction was seen as a necessary feature of authenticity”. So, do not judgment anything and do not say awkward like it is a bad thing because you need to see all the picture before judge and I quote “The awkward requires the architect to perform contrary to his or her best judgment”.
- Jeff Koons, Balloon Dog series, Installation view of Re-Object, Kunsthaus Bregenz, 18 February–13 May 2007
- Table, Greg Lynn FORM’s Toy Furniture
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eMail. hashim.sciarc@gmail.com phone. +1(619)995-8399