HassanElghayesh Portfolio
HassanElghayesh C.V.
Personal Info
D.O.B: 15/09/1986 Nationality: Egyptian
Education
(2001_2004) International General Certificate of Secondary Education (2004_2009) B.S. in Architecture, Misr International University, Cairo, EGY (2009_2008) full tuition scholarship the University of Liechtenstein, Vaduz.
Work Experience
(SEP2012_Present) TEACHING ASSISTANT AT THE GERMAN UNIVERISTY IN CAIRO (JUL2011_AUG2012) LOCAL CRAFTS DEVELOPMENT OFFICER AT AGA KHAN FOUNDATION (FEB2010_JUN2011) JR. TECHNICAL OFFICE ARCHITECT (JUN2007_SEP2007) INTERN AT KELLOGS,BROWN & ROOT, USA.
Workshops
(NOV2012) “CITY IN TRANSFORMATION - TOWARDS A DEMOCRATIC PUBLIC SPACE” Collaboration between GUC and ABK-Stuttgart (FEB2013) “ROLLERCOASTING THE CITY” Workshop for producing an Architectural Graphic Novel
Skills
Language: Arabic_Mother tongue English_Excellent German_Intermediate Computer Skills: Contact: Fürst-Franz-Josef-Strasse 17, Vaduz 9490, Liechtenstein hassan.elghayesh@uni.li hghayesh@gmail.com
2015
Floating Hill In my exchange program in Budapest we were asked to propose a residential complex on top of the Szent Gellert Hill on The Buda side. The theme of the Studio was floating and we were encouraged to study buildings that seem to float and coordinate our work with strucure professors to ensure the feasibility of our proposed structural systems.
For The project, I chose to go for a different approach. The Gellert Hill we worked on holds very strong meanings. To add a floating structure would be in a competing situation with the liberty statue on the top of the hill. I chose to go for an apparoach that would compliment the situation. What if I can do a project that would make the whole hill seem to float. I began to think of floating as a magic trick. What if my building is the trick that would create the illusion. I started to develop the idea of a strip that would go all around the hill. The highly structured grid of my building will be at odds with the natural shape of the hill and through the use of highly reflective glazing on the facade; the people on the ground will see the reflection of the sky and the floating illusion of the hill would be complete. Another point I worked on was the introduction of multi use spaces within the structure rather than just residential. Another point that interested me was using a truss structure that would be scaled so big that people can live with in it, these is very different from structure as it encompasses a space for living. The structural system voids and spaces will be the living spaces.
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Unit 2_ Level 0 Scale 1:50 Hassan Elghayesh_Budapest WS15_Floating Hill
The first of the two units was for a couple with one child, the second on the following spread is for an artist to be used as a studio/living space.
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B Unit 2_ Level 2 Scale 1:50
For the second half of the semester, I worked intensively on the structural system and focused my efforts on two units. For the structure I started with a basic grid which later developed to be more interesting spatially. My start point was a very sound structural system that shifted to accommodate the program, in this process of transformation special attention was giving to the spatial quality the structural system can posess rather than the space it creates within.
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Unit 2_ Section B-B Scale 1:50 Hassan Elghayesh_Budapest WS15_Floating Hill
Unit 1_ Level 1 Scale 1:50
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Unit 1_ Level 0 Scale 1:50
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Unit 1_ Section A-A Scale 1:50
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Hassan Elghayesh_Budapest WS15_Floating Hill
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Interior shot of Artist Residence
Shot of public space within structure
2015
The Final Act Multiple Locations, Iceland What if death was a choice? And what if your last action is to find a place to die and build a building there. How would it be like? The ideas are developed further into a rock like structure that represents the heaviness of being and our longing to be light. In the last moments in his room, the user is surrounded by loved ones, they meet in the central space where he passes on his knowledge and wisdom he collected through the years, when the time has come he will say his goodbyes and sail to the west, towards the setting sun.
EROSION
One aspect I find my self drawn to, is the slow action of erosion by water. But there was a need to look beyond it. To what does this quality mean. It means water is patient, water is persistent, water is powerful. through its patient movement agianst stone it can reshape it. It makes its way through the land from mountains by cutting through the ground to create rivers. Through a series of low shutter speed images, I started to understand the movement around stones. With a camera and tripod I took many picture of streams, rivers and waterfalls where water moves against stones. With a gypsum model, I started to experiment with the effect, putting it under running water and with no control of the process I left the water to eat its way through the gypsum cube, simulating the action of water on stone.
ICELAND EMOTIONAL SCENARIOS Iceland was an overwhelming experience, In order to capture our first impressions and to sum up our stay we worked on emotional scenarios that best captures our feelings about the amazing island. I tried to stay true to my earlier work, capturing the short videos and focusing on my theme of water movement along rocks. Yet, two new ideas started to develop, firstly, the idea of finding a place which I strongly distinguish from finding a place “to build”. I belive it is a skill we used to have but lost as we became more and more urbanized. This was inspired by the Alting of Iceland, and how 3 years were spent to find the place that will hold the meetings of the Icelandic clans. The second Idea was the nostalgic feeling one gets in Iceland. We have been to the flea market of Reykjavik where there was an abundance of postcards and letters. Being on an isolated island makes the act of sending letters very important it is the only way. When we visited the beaches of Iceland I could imagine waiting for the boat that holds dear ones to come. without means of communication. A wife would come out every day to the beach to wait, probably spend the whole day waiting. Waiting, Rememberance and Nostalgia became important things that needed to be demonstrated in my scenarios.
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I will find a place Where the sand is black Where the soil is fertile So I can be one with earth
Around the fireplace I will sit with loved ones to pass along what I know and to share what I feel
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Within the rock that is the heaviness of being the choice maker while be on the edge of lightness
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Between two rocks I will find a place Where the sand is black So I can rest my soul
Between two rocks I will find a place Where the sand is black So I can rest my soul
The platform leads to the west where I will sail towards the settign sun With its fading light my light will fade away I will find a place where I will die And cease my attempts to escape
By the ocean where the waves are strong where the waves never stop So I can be one with the cycle of things 1:200 1:50
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2014
ALP House Traunstein The Studio was based on four main themes; city planning, alpine architecture, handcrafts and sustainability. My choice to work with hay was dictated by my interest in the changing seasons the alpine valley goes through as well as it’s potential as an environmental friendly building material. A main stairway leads the vi itor through the building as if on an alpine hike, different programs are arranged on platforms with varying heights ending at a peak from which the whole space can be observed. One roof covers all spaces to further enhance the working space for the craftsmen whol will call the workshop home.
cafeteria
house keeper
workshop office
house keeper storage
material storage
workshop office
office networking
office
office innovation
office
utilities
workshop 2 communal space
lockers
seminar 2
wokrshop 1
seminar 1
reception
ground floor
first floor
office education center
office education center
exhibition space office
exhibition
copy room
pantry
library
office
library
seminar 3
self-learning cubicles
second floor
third floor
west elevation
south elevation
section 1
section 2
section axonometric
Interior Shots
2015
The Aesthetic of the Now; digital image making Renders are soulless, with the advancement of CAAD, architects rely heavily on computer produced visualizations in order to communicate their visions. In this course we are asked to create a visualization with a soul an ambience to counter the mass produced renders that all look the same. I chose a quote about the now, the moment we live. While, pictures represent the past, renders represent the future but what about the now. A visualization that would engage with the people in the current moment. I chose an aesthetic inspired by social media platforms, where the people are engaged in an everchanging collage of square pictures. The ready made preferences for photo editing are associated in people`s minds with the idea of now. I go for recreating them for my render.
“ One thing I wish I could tell my younger self: take photos of everyday life, not special occasions; later, that’s what will be interesting to you. “ #Gretchen Rubin
2011
HURGHADA INTERNATIONAL AIRPORT My first job was at a construction firm operating on-site. My first project was to produce architectural shop drawings for a large scale international airport to be used on site. The task at hand was to study the plans provided by the designer, co-ordinate it with different departments (electrical,mechanical, structural) and to co-ordinate it with the sub-contractors for materials,equipments and such. After all necessary alterations were made the drawings would be sent to the designer for approval before starting work on site. The job offered a relief from the frustration of working on paper. Allowing me to go deep into the construction process.
2005
THE HOUSE OF ORPHALESE For this design studio we were asked to design a house for a character of our choice, being at this time facinated by the fictional character Almustafa from the book The prophet by Kahlil Gibran I chose him. The book is divided into chapters in which Almustafa (the prophet) discusses different aspects of life (love, marriage, work, children). One chapter is about the house. The design studio became a challenge of inerpreting the available text into an architectural representation.
“Build of your imaginings a bower in the wilderness ere you build a house within the city walls. For even as you have home-comings in your twilight, so has the wanderer in you, the ever distant and alone. Your house is your larger body. It grows in the sun and sleeps in the stillness of the night; and it is not dreamless. Does not your house dream? And dreaming, leave the city for grove or hilltop? Would that I could gather your houses into my hand, and like a sower scatter them in forest and meadow. Would the valleys were your streets, and the green paths your alleys, that you might seek one another through vineyards, and come with the fragrance of the earth in your garments. But these things are not yet to be. In their fear your forefathers gathered you too near together. And that fear shall endure a little longer. A little longer shall your city walls separate your hearths from your fields. And tell me, people of Orphalese, what have you in these houses? And what is it you guard with fastened doors? Have you peace, the quiet urge that reveals your power? Have you remembrances, the glimmering arches that span the summits of the mind? Have you beauty, that leads the heart from things fashioned of wood and stone to the holy mountain? Tell me, have you these in your houses? Or have you only comfort, and the lust for comfort, that stealthy thing that enters the house a guest, and becomes a host, and then a master? Ay, and it becomes a tamer, and with hook and scourge makes puppets of your larger desires. Though its hands are silken, its heart is of iron. It lulls you to sleep only to stand by your bed and jeer at the dignity of the flesh. It makes mock of your sound senses, and lays them in thistledown like fragile vessels. Verily the lust for comfort murders the passion of the soul, and then walks grinning in the funeral. But you, children of space, you restless in rest, you shall not be trapped nor tamed. Your house shall be not an anchor but a mast. It shall not be a glistening film that covers a wound, but an eyelid that guards the eye. You shall not fold your wings that you may pass through doors, nor bend your heads that they strike not against a ceiling, nor fear to breathe lest walls should crack and fall down. You shall not dwell in tombs made by the dead for the living. And though of magnificence and splendor, your house shall not hold your secret nor shelter your longing. For that which is boundless in you abides in the mansion of thesky, whose door is the morning mist, and whose windows are the songs and the silences of night.�
The regular house is closed in on itself, fitting itself within a box or a rectangle. with a clear boundary between inside and outside.
First Step was to re-arrange the spaces. By simply shifting the program, and at some other points extruding. The outside is now part of the house penetrating through the middle.
Extruding the heights adds another aspect of openness to the house. Certain walls are extruded beyound the house. The wall on which his bed lays, another his workspace wall, and lastly the gathering wall.
SOUTHERN ELEVATION
EASTERN ELEVATION
RECEPTION
COURTYARD
M.BEDROOM
BATHROOM
LOBBY
KITCHEN
LIVING ROOM
BEDROOM
BATHROOM
PLAN
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The house blurs the line between inside and outside. The Entrance leads you to a space inwhich the outside is framed. Like the text, it sacrifices privacy and security for the sake of openness and freedom. The outside is dealt with as a finger that penetrates deep within the house offering maximum views for every room in the house. The text takes direct physical manifestation in some cases as in “the eyelid that guards the eye� in the shape of the walls perpendicular to openings that go beyond the boundaries of the house.
2008
SULZER-HERZ Oberwintethur is facing the problem of disappearing, what was once a striving industrial site, lays empty as switzerland shifts further from heavy industries. Like most industrial sites, Oberwinterthur inherits well-connectivity and large plots of land. The development plan addresses these problems along with the problem of how to be sustainable and economically feasible at the same time through the attraction of investors.
OBERWINTERTHUR NOW Human Hostile Industrial Objects
Domination of Infrastructure
KEY ISSUES
- Awake the investment activity: introduce site on the market, bring richer mix of working people. - Activation of site - wide range of facilities focused on regional/neighboring users.
INTERVENTIONS
1- Gateway with landmark quality to act as symbol and label. 2- Definition of space, spaces with potential to be perceived as public square (West Blue Square & Hall 710) 3- One shot events of regional character to create a mental image. 4- Green belt composed of landscape along the tracks with Cores for exercise, BMX bikes/skate park & small gardens. A path that incorporates existing parks.
KEY ISSUES
- Attract new residents and employees. - Focuse on temporary/permanent uses and observe the interactions
INTERVENTIONS
1- housing of more recreational/ individual character with ground floors reserved for commercial use. 2-Spatial definition of „East red square“ and Else-Züblin Strasse Anchor points – fixing of activation by means of temporary uses: a_open-air cinema b_improvised stage c_ open air market 3- Replacement of low barns with compact office buildings
KEY ISSUES
- Increasing population of the area and fixing of the facilities. - Variety of conditions and possible scenarios – leave the potential open
INTERVENTIONS
1- compact blocks of city character in the central part. 2- housing of more recreational character at the areas of green belt. 3- Re-use of the large industrial Objects and Halls as contemporary office buildings. 4- Reconsidering of the temporary anchor points, fix or offer alternatives Possible scenario – points are fixed a_cinema (indoor) b_permanent stage
PHASE_04 KEY ISSUES
- Densifying of the area - Networking of landscape
INTERVENTIONS
1- Mostly housing of smaller scale in the recreational parts of site 2- New commercial and office objects replacing the low storage halls and the big event fields. 3- Strengthening of „west“ anchor point – sport facility. 4- Closing the network of green paths through bridging fragments of landscape network.
2028
PHASE_03
2023
PHASE_02
2018
PHASE_01
2013
2008
Instead of going for a strong one shot intervention, I chose to go for a long term slow intervention, with 4 phases implemented in 20 years with 5 years in between each intervention. The interventions are meant to act as guiding strategies rather than suggesting an only right way of investing.
STRATEGY FOR OBERWINTERTHUR - Design of process contributing to lively and mixed uses environment. - Achieving of self-sufficiency in each phase of the process. - Keeping balance between community´s and investor’s interests. - Drawing a mental map of Sulzer Oberwinterthur.
STRATEGY OUTCOME AFTER 4 PHASES
forces and their spatial manifestation, participants
Business Plaza
Cultural Plaza
Market Plaza