RIBA Part 1 Portfolio
Selected Works
Queen’s University Belfast 2021-2024
Personal Information
Date of Birth: May 15 1999
Contact Details: +60 19 3315 779 hazeemlokman@gmail.com
Hazeem Lokman
RIBA Part 1 graduate with a deep interest in architecture as an instrument to improve everyday living conditions. My passion for the field stems from an appreciation for all things design-ranging from wayfinding, to the relationship of the built environment to its urban context. Outside of architecture and design, I enjoy photography, cycling and being outdoors.
Education
September 2018 - June 2019
International Foundation in Architecture (Grade: AAA) INTO Queen’s University Belfast
September 2021 - June 2024
BSc Hons Architecture - RIBA Part 1 (Second Class Honours) Queen’s University Belfast
Experience
July 2022-September 2022
Intern HIJJAS Architects & Planners
January 2023 - April 2023
Apprentice RSUA Professional Insights Programme White Ink Architects
References
1. Stage 3 Design Tutor: Professor Alan M. Jones PPRIBA FRIBA PPRSUA Queen’s University Belfast a.jones@qub.ac.uk +44 771 386 3115
2. Stage 3 Module Coordinator:
Dr. Jasna Mariotti Senior Lecturer in Architecture Associate Editor, Journal of Housing and the Built Environment
J.Mariotti@qub.ac.uk
August 2024
Architecture Summer School
Urban regeneration of the Cathedral Quarter led by Mark Hackettexplored topics such as housing models, blocking and policy
Certifications
June 2021 - August 2021
MIT EDx Sustainable Building Design Course
Software Skills
• SketchUp
• Chaos V-Ray
• Adobe AutoCAD
• Adobe Photoshop
• Adobe Illustrator
Index
Vertical Studios: Balancing Stage 3 Semester 2
Vertical Studios: Re-Pubblica Stage 3 Semester 1
Miscellaneous Works Skills Sessions and Others
1. Balancing
Location: Ballymena, Northern Ireland
Year: Semester 2 Stage 3
Tutors: Alan Jones, Patrick Wheeler Softwares used: AutoCAD, SketchUp, V-Ray, Photoshop
Nestled within the historic Galgorm Castle Estate in Ballymena, the innovative Timber Resources Centre emerges as a beacon of architectural prowess. Designed with a profound sensitivity to its natural context, the structure embodies the ethos of “touching the ground lightly,” harmonizing with the landscape. The architect’s desire to approach this project as a dialogue with the environment is evident, with a deliberate focus on cross-programming, making spaces work harder, and strategically integrating ancillaries within a 3x3m grid.
This architectural gem showcases an ingenious response to rectilinearity, with negative spaces and voids creating a dynamic interplay of light and shadow. The design not only honors the estate’s timber legacy but also proudly exhibits the craftsmanship and technology involved in its construction. The strategic placement of key spaces in the south ensures optimal functionality, while outward views to the East and West frame breathtaking sunrises and sunsets, offering a visually stunning experience. With a lot to play for in terms of both form and function, this notional design captures the essence of designing for the site, seamlessly marrying tradition with modernity.
Local Mapping
Galgorm Castle, a Grade A listed property near Ballymena, Northern Ireland, is a landmark of historical and architectural significance. Constructed in 1618 by Sir Faithful Fortescue, the Jacobean-style castle is one of Northern Ireland’s oldest and most well-preserved manor houses. It reflects the area’s colonial history during the Plantation of Ulster, serving as a fortified residence in a politically turbulent period.
Situated on the banks of the River Maine, the castle sits within a vast 220-acre estate, blending natural beauty with historical gravitas. The estate now includes an 18-hole championship golf course, art galleries, and business hubs, promoting local economic activity while preserving heritage.
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5. Chapel
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7. Golf Club
Early stages of the project included testing various forms, orientations and looking at different parts of the site to find the most environmentally optimal placement.
This decision needed to remain sensitive towards the Grade A listed Galgorm Castle.
The primary driving factors behind the final decision included:
1. Solar gain penetration
2. Terrain
3. Distance to and from the castle
4. Protecting existing views to the castle
5. Working around existing flora
6. Layering of accommodation
Studying various precedents which contained projects with a similar context helped me in understanding how to approach site-making/place-making with a different set of eyes.
Through ensuring careful consideration of the history, locality, culture and natural characteristics of the site, this new proposal will be able to truly reflect and also respect the pre-existing identity of the location. Methods such as material selection and attitude towards form and character-serve as a nod to what is already there. By doing so, the past is able to co-exist with the present and there can be a deeper connection between the local users and the proposed building.
Ultimately, this sensitive approach in design helps ensure that the built environment supports both local cohesion and long-term sustainability, creating space and place which are not only aesthetically pleasing and functional-but are also able to resonate with the collective memory and identity of the community.
Site History and Timeline
Cultivating Atmospheres
My architectural project draws profound inspiration from Peter Zumthor’s Atmospheres, embracing his philosophy of crafting spaces that evoke deep emotional resonance and sensory engagement. Zumthor’s emphasis on materiality, light, and context profoundly shaped my approach, guiding me to create a design that transcends function to become an experience. In his work, he highlights the tactile qualities of materials—the way they age, interact with light, and convey history. This inspired my selection of raw, locally sourced materials that resonate with the site’s natural and cultural identity, fostering a sense of authenticity and belonging.
Zumthor’s concept of spatial rhythm and transitions informed my design of pathways and thresholds, where the journey through the building becomes as meaningful as the spaces themselves. Attention to light and shadow plays a crucial role, as controlled apertures create dynamic interplay, responding to the time of day and seasons.
By focusing on creating intimate, human-scaled spaces that evoke quiet reflection and connection, I aimed to emulate Zumthor’s mastery of atmosphere—an architecture that lingers in memory, evoking beauty, emotion, and a profound sense of being.
Key
Reception and entrance threshold
Lockers and storage
Induction space
Workshop and craft spaces
Research and work spaces
Event and lecture space
Staff room with pantry
Bathrooms
Plant room
Service and delivery access
Key
1. Roof construction:
10mm reclaimed slate tiles
25/25mm battens
25/25mm counter battens
50mm ventilated cavity with breather membrane
150mm closed cell thermal insulation
Profiled rain gutter with strut supports
200/50 treated softwood timber
600/250mm glulam
2. Facade construction:
15mm vertical larch boarding
25/25mm battens
25/25mm counter battens
50mm ventilated cavity with breather membrane
150mm closed cell thermal insulation
200/50mm treated softwood timber studwork
600/250mm glulam
3. Floor construction: 15mm timber floorboards 15mm plywood
150mm closed cell thermal insulation inside 225x50 floor joists
15mm plywood subfloor
4. Foundations:
600 x 250 glulam columns to steel screw piles via galvanised steel U bracket connection
A New Centre for Innovation
Through the addition of this timber/woodworking centre, the town of Ballymena is able to receive benefits of a third place, as well as bring more life to the existing Galgorm Estate.
2. Re-Pubblica
Location: Venice, Italy
Year: Semester 1 Stage 3
Tutor: Michael McGarry Softwares used: AutoCAD, SketchUp, V-Ray, Photoshop
Set in the heart of the Venetian Island of Italy, RePubblica is a project which focuses on the adaptive re-design for an existing university building, Pallazo Ca Tron which dates back to 100 years ago.
During the initial stages of this project, the mandatory Stage 3 study trip allowed us to gain first hand experience on the site in addition to absorbing all the art from the 2023 Venice Biannele.
This helped to inform the design decisions made during this project. Through observations of the local condition, my project proposes to build a new textile school in order to honor the lace-making history of the Venetian people.
It aims to provide a space which will serve to produce new ways of thinking and making within the craft. Existing lace-making works will be carried out in conjunction with contemporary methods for other textile works.
Working around the existing building fabric, mapping for the new school will be arranged revolving around 3 functions: i) the production wing ii) the support wing and iii) the domestic wing for staff
3. Miscellaneous Works
Theses works were made during weekly Skills Sessions which served as a way to im prove our technical skills in production of our ideas.
Interior Design Works
Location: The Kasturi Resort, Pahang, Malaysia
Year: 2022
Tutor: (Internship)
Softwares used: SketchUp, Twinmotion
The brief proposed a new interior re-construction for the souvenir and gift shop for the beach-side resort. This revolved around ideas of up-lifting the ambiance for visitors without intervening on the existing structure. Ideas such as an open-plan and a semi-transparent partition propelled the design forward.
