Table of Contents Dance School
01
Good Food
09
a. Analytical Drawing b. Conceptual Cut c. Expanded Cut
PORT FO LI O
Hamidreza Sanjabi
Library
15
a. Double Negative b. Lubrary Space
Stairs
21
Material Stairs
23
Construction Sink
24
Hand Drawing and Rendering
Table of Contents Necropolis: a Death Architecture Dance School
PORT FO LI O
Hamidreza Sanjabi
Good Food a. Analytical Drawing b. Conceptual Cut c. Expanded Cut
Library a. Double Negative b. Lubrary Space
Stairs Metal Stairs Concrete Sink Light at the Exhibition Hand Drawing
Necropolis, a Death Architecture Academic Project | University of California, Berkeley | Spring 2019
ARCH 100D: Fundamentals of Architectural Design IV | Professors: Eleaor Pries | Rhino, Illustrator, AutoCad, V-Ray - Photoshop
Carry Walking Steping
Prayer Funeral
Burial Graves
Muslim Jwish
1
2
3
4
5
6
Necropolis Washing Cleaning Bathing
Wrapping Shrouding
Necropolis is the death architecture. Necropolis is a vertical cemetery. A death city. Necropolis respect to diversity. Necropolis is where people do their death process without being seen by people with different believes. Architectural geometries as domes differ the death sequences.
wake Viewing Open Casket
Christian Bahai
1
2
If modern society runs out of the land and vertical cities are a solution, if people live in vertical cities because earth runs out of the valuable ground, dead bodies can burry vertically. A body could not occupy a piece of land forever. Necropolis prevents a body occupy a piece of expensive land forever all the way to the sky. Necropolis is a solution of “Junkspace.”
3
Clothing
Burial Graves
Sermon Reading Prayer
4
5
6
Nibister Priest
Stacking
Ash
Christian Budhism Hinduism
1
2
3
4
5
Clothing Shrouding Wrapping
6
Cremation
Columbarium
River
Sikh Budhism Hinduism
1
2
wake Viewing
3
Cremation
4
Ash
5
Site, Railway, junk-space, and moving architecture
Rail Sleeper
Track Structure
Permanent Way
Ballast
Blanket Formation
1
Subgrade
Track Foundation
2
3
Napa River
In the Napa pipe site, there are ruined structures of an abandoned factory including railways. One is “other’s” railway that has a80’ train right of way. The other one is factory’s railway that does not follow any ride of way rules. 2
Other’s railway has pushed the site property line. Nothing is made in that train corridor. It has created a “Junk Space.” Urban reaction to the railway is rejecting to have any interaction with the railway. On the other side, there’s Napa pipe factory l’s domestic railway. It interacts with the surrounding environment. It intersects with buildings and goes around the dry dock. It is not a using railway today. The design strategy is occupying Junk Space. A moving space moves along a rail that “fixed spaces” are located around it and connect to them to create a new space.
1
3
Napa Pipe Existing Buildings’ Interact with Rail way
Urban Buildings Reject Interaction with Rail way
Mobility of space is sustainable. Instead of constructing serving spaces inside several spaces, a moving space (the train) serves other spaces which are fixed.
Napa pipe site
Our Railroad (Napa Pipe)
Other’s Railroad (Union Pacific)
80’ Railroad right of way
Extensibility is extending a space. It is a stable architecture. It is a moveable architecture. Architecture should not be static.
Napa River
Christian Cremation
Budhism / Hinduism
Orthodox Chapel
Synagogue
Private Graves Columbarium
Grave Tower
Catholic Chapel Private Graves
Mosque Monumental Graves
Train Entry on the Existion Rails
Mixed Graves in the Drydock
Mixed Graves in the Drydock
River Water for Ashes
River Water for Pray
Death Architecture Necropolis is designed to be on the four drydocks of Napa Pipe Site, two provides water and two serve as graves. Pipe spaces provide not only water for rituals and washing but light and smoke. The largest pipe is a columbarium. Graves also respect to rituals. The size, depth, levels, spacing (to avoid stepping on graves), orientation, verticality/horizontality (for stacking graves), public/private, memorial, and monumentality are how graves might be different in different rituals. Death rituals are categorized into four major sequences. Graves are located at the end of each sequence. Necropolis has narrow openings. Narrow slits bring spirituality and hide the inside form the city view on the west side. However, wider openings ore actually a removed level where provide more light and view on the east, where Napa river is facing the Necropolis. Large openings also reduce glazing from the slits.
The building type is half-enclosed. Very similar to a parking structure. No closed space is needed in a death architecture. Users do not need a fully protected space because they do not have long occupancy in there. The railroads that used to serve drydocks are to serve the trains as moving spaces that bring people and bodies into the Necropolis. The moving space (train) open to the elevator where they can move to the level that their beliefs belong to. Without being seen or see others. People mourn all together but alone at Necropolis. It is how diversity happens at Necropolis.
Dance School
Roof
Academic Project | University of California, Berkeley | Fall 2018
Roof
Cantilever Roof Second Floor Windows
ARCH 100C: Fundamentals of Architectural Design III | Professors: Jean-Paul Bourdier | Rhino, Illustrator, AutoCad, V-Ray - Photoshop
First Floor Windows Courtyard Porous Skin
Hall Ways Stairs West/East Dark Rooms South/North Light Rooms
Cantilever Roof Porous Skin View
Entry First Floor Windows
Circulation
South Elevation | 1
Dance School
Roof
Academic Project | University of California, Berkeley | Fall 2018
Roof
Cantilever Roof Second Floor Windows
ARCH 100C: Fundamentals of Architectural Design III | Professors: Jean-Paul Bourdier | Rhino, Illustrator, AutoCad, V-Ray - Photoshop
First Floor Windows Courtyard Porous Skin
Hall Ways Stairs West/East Dark Rooms South/North Light Rooms
Cantilever Roof Porous Skin View
Entry First Floor Windows
Circulation
South Elevation | 2
A
A
Dance Conceptual Sketches
The Form of the Dance school is related to the nature of the dance. Lightness and a playful reaction to the gravity are picked form what people are going to experience inside and outside the building. The exterior steel porous material of the building let people see outside without being seen. However, this quality reverses at night when people can see the second floor light through the porous material. The curves provide a meaning of freedom when they have no start and end. Freedom in movement represents the conceptual understanding of dance. It causes users and visitors to be related to the nature of the dance and know the quality of forms and materials.
Dance Hall
Entry
Locker Room
Courtyard
Courtyard
Janitorial
Dance Hall
Locker Room
Open to Below
B
B
B
Class Room
B
Class Room
Lobby
Locker Room
Courtyard
Open to Below
Courtyard
Locker Room
Mechanical
Dance Hall Entry
Office
Dance Hall
Dance Hall
Section B - B
A
Ground Floor Plan
Conseptual Sketches
East Elevation
East Elevation | 3
West Exterior Elevation
A
Second Floor Plan
A
A
Dance Conceptual Sketches
The Form of the Dance school is related to the nature of the dance. Lightness and a playful reaction to the gravity are picked form what people are going to experience inside and outside the building. The exterior steel porous material of the building let people see outside without being seen. However, this quality reverses at night when people can see the second floor light through the porous material. The curves provide a meaning of freedom when they have no start and end. Freedom in movement represents the conceptual understanding of dance. It causes users and visitors to be related to the nature of the dance and know the quality of forms and materials.
Dance Hall
Entry
Locker Room
Courtyard
Courtyard
Janitorial
Dance Hall
Locker Room
Open to Below
B
B
B
Class Room
B
Class Room
Lobby
Locker Room
Courtyard
Open to Below
Courtyard
Locker Room
Mechanical
Dance Hall Entry
Office
Dance Hall
Dance Hall
Section B - B
A
Ground Floor Plan
A
Second Floor Plan
Conseptual Sketches
East Elevation
East Elevation West Exterior Elevation
| 4
Hearst Gymnasium Classroom Building
Roof Connections
Faculty Club
Dance School
Faculty Club
College of Environmental Design
Music Library
Music Library
College of Fine Arts
Floor Slabs
Bancroft Way
Dance School
Site Plan
Section a - A
Ground Level
Construction Detail
Section B - B | 5
Construction Conceptual Cut
West Elevation
The building is adjacent to the Music Library in the heart of the University of California, Berkeley campus. The site is 170’ by 170’ and the building is 120’ x 120’. Different departments and academic building give the opportunity of being seen by people from different sides of the campus. Therefore, all sides and elevations of the building have the same quality of form also the thoughtful movements of the curves makes the building to perform sustainably and has a reaction to the sun and local winds. The Exterior movements calm down inside the building while it keeps the same grammar of the exterior through the green color of titanium framed the porous material as the roof and cantilevered second-floor roof.
Hearst Gymnasium Classroom Building
Roof Connections
Faculty Club
Dance School
Faculty Club
College of Environmental Design
Music Library
Music Library
College of Fine Arts
Floor Slabs
Bancroft Way
Dance School
The building is adjacent to the Music Library in the heart of the University of California, Berkeley campus. The site is 170’ by 170’ and the building is 120’ x 120’. Different departments and academic building give the opportunity of being seen by people from different sides of the campus. Therefore, all sides and elevations of the building have the same quality of form also the thoughtful movements of the curves makes the building to perform sustainably and has a reaction to the sun and local winds. The Exterior movements calm down inside the building while it keeps the same grammar of the exterior through the green color of titanium framed the porous material as the roof and cantilevered second-floor roof.
Site Plan
Section a - A
Ground Level
Construction Detail
Section B - B
Construction Conceptual Cut
West Elevation | 6
Interior Experience of Space
| 7
Interior experience of Space
East Elevation
West Side Exterior Render | 8
Good Food Academic Project | University of California, Berkeley | May 2018 ARCH 100B: Fundamentals of Architectural Design II | Professors: Roddy Creedon, Tomas McKay | Rhino, V-Ray, Illustrator, and Photoshop
Analytical Drawing The project begins by studying exemplary innovation Center by Alejandro Aravena in Santiago, Chile as a way to learn how other architects have attempt-ed to activate and actualize a set of interests similar to the ones that underlie this design. Learning by example is an essential method of furthering the design knowledge and abilities. In other words it is directly and indirectly related to the larger agenda of the G O O D F O O D. The primary product of this assignment is a Diagram in the form of a sectional ‘slice’ of the precedent.
Food Library Interior Perspective
The ‘slice’ is by definition an abstraction of the building. For our purposes, the slice diagram is meant to reveal the relationships between four categories that will be central to the converstions this design has: [1] spatial organization, [2] structure, [3] envelope, [4] performance, and understanding how construction allows these relationships to unfold. Elements of the building are abstracted in order to amplify the four categories and their relationships to each other.
Food Festival Space
| 9
Slice Diagram - Precedent Inovation Center, Chile by Aravene
Good Food Academic Project | University of California, Berkeley | May 2018 ARCH 100B: Fundamentals of Architectural Design II | Professors: Roddy Creedon, Tomas McKay | Rhino, V-Ray, Illustrator, and Photoshop
Analytical Drawing The project begins by studying exemplary innovation Center by Alejandro Aravena in Santiago, Chile as a way to learn how other architects have attempt-ed to activate and actualize a set of interests similar to the ones that underlie this design. Learning by example is an essential method of furthering the design knowledge and abilities. In other words it is directly and indirectly related to the larger agenda of the G O O D F O O D. The primary product of this assignment is a Diagram in the form of a sectional ‘slice’ of the precedent.
Food Library Interior Perspective
The ‘slice’ is by definition an abstraction of the building. For our purposes, the slice diagram is meant to reveal the relationships between four categories that will be central to the converstions this design has: [1] spatial organization, [2] structure, [3] envelope, [4] performance, and understanding how construction allows these relationships to unfold. Elements of the building are abstracted in order to amplify the four categories and their relationships to each other.
Food Festival Space
Slice Diagram - Precedent Inovation Center, Chile by Aravene
| 10
B
B
B
B
Conceptual cut
KITCHEN 2 MECHANICAL ROOM
Similar to the analytical work, the premise that underlies the conceptual cut i s that the essential characteristics, qualities, systems and conditions of a building reside in a representative cut o f the building a t its p erimeter. When u nfolded, the cut [section] pro-duces the language of the building at its surface [elevation]. The section and elevation are describing the same moment in the building, like a hinge. The design / c onceptual cut i s developed f or a h ypothetical building, and describes a spatial, structural and performative premise for the building through this one cut. The cut entails one w all s ection through a cornercondition o f the building, with the corresponding partial elevation that is being cut, and the elevation that would then turn the corner.
TERRACE
LAB 2 CONFERENCE 2
LIBRARY
RESEARCH
CONFERENCE ROOM 1 ENTRY
LOBBY
C
C
TERRACE
C
C
C
C
C
C RESEARCH FARM
FARM PACKING AREA
MARKET and EVENT HALL
MARKET
LIBRARY
A-FRAME FARM
FARM
A
A
A
A
ENTRY
GROUND FLOOR PLAN
B
Ground Floor Plan
Natural Light in the Kitchen
11 |
LAB 1
KITCHEN 1
COMPOST and LOADING
A A
A A
BIKE PARKING
SECOND FLOOR PLAN
B
Second Floor Plan
THIRD FLOOR PLAN
B
Third Floor Plan
FOURTH FLOOR PLAN B
Fourth Floor Plan
Good Food Physical Model
| 12
B
B
B
B
Conceptual cut
KITCHEN 2 MECHANICAL ROOM
Similar to the analytical work, the premise that underlies the conceptual cut i s that the essential characteristics, qualities, systems and conditions of a building reside in a representative cut o f the building a t its p erimeter. When u nfolded, the cut [section] pro-duces the language of the building at its surface [elevation]. The section and elevation are describing the same moment in the building, like a hinge. The design / c onceptual cut i s developed f or a h ypothetical building, and describes a spatial, structural and performative premise for the building through this one cut. The cut entails one w all s ection through a cornercondition o f the building, with the corresponding partial elevation that is being cut, and the elevation that would then turn the corner.
TERRACE
LAB 2 CONFERENCE 2
LIBRARY
RESEARCH
CONFERENCE ROOM 1 ENTRY
LOBBY
C
C
TERRACE
C
C
C
C
C
C RESEARCH FARM
FARM PACKING AREA
MARKET and EVENT HALL
MARKET
LIBRARY
A-FRAME FARM
FARM
A
A
A
A
ENTRY
GROUND FLOOR PLAN
B
Ground Floor Plan
Natural Light in the Kitchen
11 |
LAB 1
KITCHEN 1
COMPOST and LOADING
A A
A A
BIKE PARKING
SECOND FLOOR PLAN
B
Second Floor Plan
THIRD FLOOR PLAN
B
Third Floor Plan
FOURTH FLOOR PLAN B
Fourth Floor Plan
Good Food Physical Model
| 12
Expanded cut The building is a conjunction of multiple and varied programs centered around a common set of interests, which could generally be described as food awareness and education, challenging the norms of mass food production, advancing food research, slow food, promoting and supporting urban farming and food production, and the celebration of good, healthy, local food. The productive merger and interaction of the different programs and the spatial typologies is an essential agenda for the project, and should inform your thinking from the outset.
An expanded version of the conceptual cut as a way to continue along the path of using building performance as design-generative. The best projects tend to leverage the conceptual cut as signment, but transform the systems to address the additional complexities of program and site, and expand the spatial strategy to address the building as a whole. It isimperative that it work simultaneosly on the synthetic model and the ‘expanded cut,’ letting the two inform each other. In particular, the cut should be used to help develop a rich and vigorous spatial system for the project.
COURTYARD COURTYARD
One area in which building performance must improve is in its relationshipto environmental considerations. This goal needs to be understood not in simplistic or reductiveterms [i.e. ‘sustainable’], but in the multiple ways that construction as a process and buildings as artifacts have implications on both the quality of the environment at the global scale, as well as the potential delight that can occur at the more immediate scale of occupation and inhabitation. This will be a major focus of our work in studio this semester. We will start by grounding ourselves in knowledge about what is and what could be [precedent/research], with the intent of understand-ing the potential for design to activate our collective disciplinary responsibility, as well as engage our individual desires to challenge and transform the world we make, for the better.
T seat rucks ing STAIRS / ELEV. / VENTILATION RESEARCH
KITCHENS
LIBRARY LOADING
FARM
FARM
MARKET
Spatial Organization
SECTION B-B
Section b-b
| 13
SECTION C-C
SECTION C-C
Section c-c
Expanded cut
CONCEPTUAL CUT
CONCEPTUAL CUT
Expanded cut The building is a conjunction of multiple and varied programs centered around a common set of interests, which could generally be described as food awareness and education, challenging the norms of mass food production, advancing food research, slow food, promoting and supporting urban farming and food production, and the celebration of good, healthy, local food. The productive merger and interaction of the different programs and the spatial typologies is an essential agenda for the project, and should inform your thinking from the outset.
An expanded version of the conceptual cut as a way to continue along the path of using building performance as design-generative. The best projects tend to leverage the conceptual cut as signment, but transform the systems to address the additional complexities of program and site, and expand the spatial strategy to address the building as a whole. It isimperative that it work simultaneosly on the synthetic model and the ‘expanded cut,’ letting the two inform each other. In particular, the cut should be used to help develop a rich and vigorous spatial system for the project.
COURTYARD COURTYARD
One area in which building performance must improve is in its relationshipto environmental considerations. This goal needs to be understood not in simplistic or reductiveterms [i.e. ‘sustainable’], but in the multiple ways that construction as a process and buildings as artifacts have implications on both the quality of the environment at the global scale, as well as the potential delight that can occur at the more immediate scale of occupation and inhabitation. This will be a major focus of our work in studio this semester. We will start by grounding ourselves in knowledge about what is and what could be [precedent/research], with the intent of understand-ing the potential for design to activate our collective disciplinary responsibility, as well as engage our individual desires to challenge and transform the world we make, for the better.
T seat rucks ing STAIRS / ELEV. / VENTILATION RESEARCH
KITCHENS
LIBRARY LOADING
FARM
FARM
MARKET
Spatial Organization
SECTION B-B
Section b-b
SECTION C-C
SECTION C-C
Section c-c
Expanded cut
CONCEPTUAL CUT
CONCEPTUAL CUT
| 14
Double Negative
Library
The discussions about the spatial drawing will be directed towards identifying an implied formal and/or spatial language which will be used to inform the Double Negative models. For the model, it began with a ‘solid,’ fully enclosed volume, 8” x 16” x 4”. The model is generated through the strategic introduction of voids into the solid volume, although it cosiders the voids as negative volumes in their own right. The voids should be made as subtractions from the solid, developed so that it intersects to define a third condition produced through its interaction. As well as transforming the solid volume, the voids transform each other, and the spatial effect of their intersections are greater than what is produced by any individual void. The design is the intersection. This is a three dimensional construct with no designated top.
Academic Project | University of California, Berkeley | Fall 2017 ARCH 100A: Fundamentals of Architectural Design | Professors: Lisa Iwamoto, Mia Zinni | Rhino, Illustrator, Sketch Up, Photoshop
Creation of Double Negative Moment f
i
d
h e
g i
e d
a b c
f
h
d
a
g
b c
e i h
f g
a
b
c
bottom or side. The position of the voids are not privilege a particular orientation, although they have directionality. The number of voids is two. You may have more, but be aware that having which relies upon an implied balance or ‘compositional tension’ between the solid volume and the volume of the voids.
f
i
d
h e
g i
e d
a b c
f
h
d
Double Negative is a strategic decisions about the technique or tectonic method used to develop the models. the act of voiding the solid is undertaken conceptually or literally in terms of how the model is made. The voids are formed through the subtraction of mass, like carving or ‘boolean’ operations with the computer, through building up solid material, or the folding of planar pieces, or the unfolding of a digital model. The model is not visibly hollow or planar. It is made to read as solid/void.
a b c
e i
a
b
c
h
f g
a
d
g
e
h
b
c
f
Double Negative Moment
INTERIOR PERSPECTIVE | 15
i
Double Negative Moment Axonometric
g
Double Negative
Library
The discussions about the spatial drawing will be directed towards identifying an implied formal and/or spatial language which will be used to inform the Double Negative models. For the model, it began with a ‘solid,’ fully enclosed volume, 8” x 16” x 4”. The model is generated through the strategic introduction of voids into the solid volume, although it cosiders the voids as negative volumes in their own right. The voids should be made as subtractions from the solid, developed so that it intersects to define a third condition produced through its interaction. As well as transforming the solid volume, the voids transform each other, and the spatial effect of their intersections are greater than what is produced by any individual void. The design is the intersection. This is a three dimensional construct with no designated top.
Academic Project | University of California, Berkeley | Fall 2017 ARCH 100A: Fundamentals of Architectural Design | Professors: Lisa Iwamoto, Mia Zinni | Rhino, Illustrator, Sketch Up, Photoshop
Creation of Double Negative Moment f
i
d
h e
g i
e d
a b c
f
h
d
a
g
b c
e i h
f g
a
b
c
bottom or side. The position of the voids are not privilege a particular orientation, although they have directionality. The number of voids is two. You may have more, but be aware that having which relies upon an implied balance or ‘compositional tension’ between the solid volume and the volume of the voids.
f
i
d
h e
g i
e d
a b c
f
h
d
Double Negative is a strategic decisions about the technique or tectonic method used to develop the models. the act of voiding the solid is undertaken conceptually or literally in terms of how the model is made. The voids are formed through the subtraction of mass, like carving or ‘boolean’ operations with the computer, through building up solid material, or the folding of planar pieces, or the unfolding of a digital model. The model is not visibly hollow or planar. It is made to read as solid/void.
a
g
b c
e i
a
b
c
h
f g
a
d
g
e
h
b
c
f
Double Negative Moment
i
Double Negative Moment Axonometric
INTERIOR PERSPECTIVE | 16
Library The library design began with concepts from Double Negative. It is not, however, simply use the same solid/void space in building. Just like the last project was an evolution of the double negative, the library is an evolution of double negative too. This does not mean that it is the same – the library has program, and cannot have such large amounts of poche. You could, however, it is conceived of the bookstacks as poche for example, a connection from the front of the building on 20th street to the parking lot one level below is created. This was a necessitates to cut into the ground.
1. Spitball by Tony Smith
2. Operation: Mirror and Rotation Finding a Movement in between
3. Intersection: Spitball Void and Operated Sculpture
4. Replacing Spitball Void and Operated Sculpture for clearer Void
SKY LIGHT
SKY LIGHT
OUTDOOR
OFFICE SKY LIGHT
STORAGE COMPUTER
YOUNG ADULTS SOCIAL
Double Negative
SKY LIGHT
5. Intersection of Viods with a Box
SITE AXONOMETRIC North Elevation
The site is the “former” Potrero Hill Branch Library on 20th street in San Francisco. For this project, it was assumed that the library is no longer there and that the site it formerly occupied transformed into a new public space. The site slopes was noted significantly and the main level off of 20th street is one to one and a half stories above rear (north) side of the site.
2D Drawing of the void/Negative Moment
STORAGE
creation of negative Moment
Site Axonometric | 17
6. Intersection of Negative space and Box
LOBBY
7. Boolean Intersection and Box RESTROOMS
LOBBY
8. Double Negative RESTROOMS
PARKING ENTRY
Library The library design began with concepts from Double Negative. It is not, however, simply use the same solid/void space in building. Just like the last project was an evolution of the double negative, the library is an evolution of double negative too. This does not mean that it is the same – the library has program, and cannot have such large amounts of poche. You could, however, it is conceived of the bookstacks as poche for example, a connection from the front of the building on 20th street to the parking lot one level below is created. This was a necessitates to cut into the ground.
1. Spitball by Tony Smith
2. Operation: Mirror and Rotation Finding a Movement in between
3. Intersection: Spitball Void and Operated Sculpture
4. Replacing Spitball Void and Operated Sculpture for clearer Void
SKY LIGHT
SKY LIGHT
OUTDOOR
OFFICE SKY LIGHT
STORAGE COMPUTER
YOUNG ADULTS SOCIAL
Double Negative
SKY LIGHT
5. Intersection of Viods with a Box
SITE AXONOMETRIC North Elevation
The site is the “former” Potrero Hill Branch Library on 20th street in San Francisco. For this project, it was assumed that the library is no longer there and that the site it formerly occupied transformed into a new public space. The site slopes was noted significantly and the main level off of 20th street is one to one and a half stories above rear (north) side of the site.
2D Drawing of the void/Negative Moment
6. Intersection of Negative space and Box STORAGE
LOBBY
7. Boolean Intersection and Box RESTROOMS
LOBBY
8. Double Negative RESTROOMS
PARKING ENTRY
creation of negative Moment
Site Axonometric | 18
MEETING
STREET ENTRY
DN
COMPUTER
REFRENCE DESK
PUBLIC OUTDOOR
DN
COMPUTER
OPEN TO BELOW
OPEN TO BELOW
OPEN TO BELOW SKY LIGHT
DN
OPEN TO BELOW
LOBBY
OFFICE CHILDREN’S SOCIAL
PUBLIC OUTDOOR
REFRENCE DESK
DN
LOBBY
MEETING
STREET ENTRY
CHILDREN’S SOCIAL
STORAGE
SKY LIGHT
OFFICE OUTDOOR
OPEN TO BELOW
STORAGE
OPEN TO BELOW
MEETING
OFFICE
STORAGE
SKY LIGHT
STORAGE
READING
COMPUTER
SKY LIGHT
YOUNG ADULTS SOCIAL
SKY LIGHT
READING
STORAGE
READING
LOBBY
RESTROOMS
YOUNG ADULTS SOCIAL
LOBBY
RESTROOMS
PARKING ENTRY
CHILDREN’S SOCIAL
Unfolded Fecade PARKING ENTRY
YOUNG ADULTS SOCIAL
PARKING ENTRY
OUTDOOR
MEETING
OFFICE
STORAGE
STORAGE SKY LIGHT
READING
LOBBY
SKY LIGHT
Ground Floor Solid and Void Diagram CHILDREN’S SOCIAL
RESTROOMS
MEETING OFFICE
COMPUTER
STORAGE
READING
YOUNG ADULTS SOCIAL
YOUNG ADULTS SOCIAL
RESTROOMS
STORAGE PARKING ENTRY
LOBBY YOUNG ADULTS SOCIAL
RESTROOMS
READING MEETING
READING
Fourth Floor Plan
STORAGE
MEETING
STORAGE
SKY LIGHT
SKY LIGHT COMPUTER
MEETING
SKY LIGHT
OUTDOOR
SKY LIGHT
SKY LIGHT
PUBLIC OUTDOOR
LOBBY
RESTROOMS
READING
SKY LIGHT
YOUNG ADULTS SOCIAL
SKY LIGHT
CHILDREN’S SOCIAL
SKY LIGHT
YOUNG ADULTS SOCIAL LOBBY
Second Floor Solid and Void Diagram PARKING ENTRY STORAGE
RESTROOMS
YOUNG ADULTS SOCIAL
LOBBY
RESTROOMS
CHILDREN’S SOCIAL
PARKING ENTRY
Third Floor Solid and Void Diagram
CHILDREN’S SOCIAL
Fourth Floor Solid and Void Diagram
SECTION C-C
Negative/ Positive (Solid and Void) Mass Model
| 19
Section Model
SKY LIGHT
SKY LIGHT
SKY LIGHT STORAGE OFFICE
PUBLIC OUTDOOR
Third Floor Plan
SKY LIGHT
SKY LIGHT
STORAGE
READING
Second Floor Plan
Ground Floor Plan
LOBBY
READING YOUNG ADULTS SOCIAL
Floors Solid and Void Organization
Double Negative Interior Perspective
SECTION D-D
Double Negative in Library Design
MEETING
STREET ENTRY
DN
COMPUTER
REFRENCE DESK
PUBLIC OUTDOOR
DN
COMPUTER
OPEN TO BELOW
OPEN TO BELOW
OPEN TO BELOW SKY LIGHT
DN
OPEN TO BELOW
LOBBY
OFFICE CHILDREN’S SOCIAL
PUBLIC OUTDOOR
REFRENCE DESK
DN
LOBBY
MEETING
STREET ENTRY
CHILDREN’S SOCIAL
STORAGE
SKY LIGHT
OFFICE OUTDOOR
OPEN TO BELOW
STORAGE
OPEN TO BELOW
MEETING
OFFICE
STORAGE
SKY LIGHT
STORAGE
READING
COMPUTER
SKY LIGHT
YOUNG ADULTS SOCIAL
SKY LIGHT
READING
STORAGE
READING
LOBBY
RESTROOMS
YOUNG ADULTS SOCIAL
LOBBY
RESTROOMS
PARKING ENTRY
CHILDREN’S SOCIAL
Unfolded Fecade PARKING ENTRY
YOUNG ADULTS SOCIAL
PARKING ENTRY
OUTDOOR
MEETING
OFFICE
STORAGE
STORAGE SKY LIGHT
READING
LOBBY
SKY LIGHT
Ground Floor Solid and Void Diagram CHILDREN’S SOCIAL
RESTROOMS
MEETING OFFICE
COMPUTER
STORAGE
READING
YOUNG ADULTS SOCIAL
YOUNG ADULTS SOCIAL
RESTROOMS
STORAGE PARKING ENTRY
LOBBY YOUNG ADULTS SOCIAL
RESTROOMS
READING MEETING
READING
Fourth Floor Plan
STORAGE
MEETING
STORAGE
SKY LIGHT
SKY LIGHT COMPUTER
MEETING
SKY LIGHT
OUTDOOR
SKY LIGHT
SKY LIGHT
PUBLIC OUTDOOR
LOBBY
RESTROOMS
READING
SKY LIGHT
YOUNG ADULTS SOCIAL
SKY LIGHT
CHILDREN’S SOCIAL
SKY LIGHT
YOUNG ADULTS SOCIAL LOBBY
Second Floor Solid and Void Diagram PARKING ENTRY STORAGE
RESTROOMS
YOUNG ADULTS SOCIAL
LOBBY
RESTROOMS
CHILDREN’S SOCIAL
PARKING ENTRY
Third Floor Solid and Void Diagram
CHILDREN’S SOCIAL
Fourth Floor Solid and Void Diagram
SECTION C-C
Negative/ Positive (Solid and Void) Mass Model
Section Model
SKY LIGHT
SKY LIGHT
SKY LIGHT STORAGE OFFICE
PUBLIC OUTDOOR
Third Floor Plan
SKY LIGHT
SKY LIGHT
STORAGE
READING
Second Floor Plan
Ground Floor Plan
LOBBY
READING YOUNG ADULTS SOCIAL
Floors Solid and Void Organization
Double Negative Interior Perspective
SECTION D-D
Double Negative in Library Design
| 20
Stairs Academic Project | University of California, Berkeley | Fall 2017 ARCH 100A: Fundamentals of Architectural Design | Professors: Lisa Iwamoto, Mia Zinni | Rhino, Illustrator, Sketch Up, Photoshop
The stair design is a sequence and public space that links 20th Street to a parking lot and a green space below in San Francisco hills. The program for the project is: - Vertical and Horizontal Circulation (Stairs, Ramps and Paths) - Two contemplative viewing spaces for 1-3 people - Small gathering area for 15 people - Outdoor courtyard or terrace The public stairs that connect those streets are spaces woven through the urban context providing unique opportunities for public space. It considers the outdoor sequence as more than circulation defined by limitations [height and access] but as occupied public space within the urban environment that provides opportunities for program. and experience. The design is created by triangular facets that make negative/voids around two intertwining stairways
Floor Plans
PARKING
Urban View
Landscape
Downtown SF Landscape
Neighbor’s Backyard
Stairs Stairs
Neighbor’s Backyard
Urban View
Elevations
| 21
LANDSCAPE
SIDE WA
Stairs Academic Project | University of California, Berkeley | Fall 2017 ARCH 100A: Fundamentals of Architectural Design | Professors: Lisa Iwamoto, Mia Zinni | Rhino, Illustrator, Sketch Up, Photoshop
The stair design is a sequence and public space that links 20th Street to a parking lot and a green space below in San Francisco hills. The program for the project is: - Vertical and Horizontal Circulation (Stairs, Ramps and Paths) - Two contemplative viewing spaces for 1-3 people - Small gathering area for 15 people - Outdoor courtyard or terrace The public stairs that connect those streets are spaces woven through the urban context providing unique opportunities for public space. It considers the outdoor sequence as more than circulation defined by limitations [height and access] but as occupied public space within the urban environment that provides opportunities for program. and experience. The design is created by triangular facets that make negative/voids around two intertwining stairways
Floor Plans
PARKING
LANDSCAPE
SIDE WA
Urban View
Landscape
Downtown SF Landscape
Neighbor’s Backyard
Stairs Stairs
Neighbor’s Backyard
Urban View
Elevations
| 22
Metal Stairs
Concrete Sink
Hamidreza Sanjabi | Parisa Aoladi | Pedram Mesbah
Hamidreza Sanjabi | Parisa Aoladi | Pedram Mesbah
My Role: Design Process, Welding, and Cutting metal sheets
My Role: Design Process, Making Frame, Bending re-bars, Pouring and Curing Concrete
Academic Project | University of California, Berkeley | Spring 2018
Academic Project | University of California, Berkeley | Spring 2018
ARCH 160: Introduction to Construction | Professors: Dana Buntrock, David Jaehning, Eiji Jimbo
ARCH 160: Introduction to Construction | Professors: Dana Buntrock, David Jaehning, Eiji Jimbo
4. Welding the Bar Connections
1. Reviting the Sheets to the Angles
a. Frameworks and Rebars
1. Smoth surface of the concrete sink created by wood formwork
1 3
Wood Formwork and Rebars 4
2 5. Design of the Risers and Treads
2. Twisted Shape of the Stairs
The stairs above is a cantilevered platform, made of 1.5 x 1.5 squire shape 18 gage tubes, angles, and steel and 18 gage steel sheets. The design of the pieces is in a way that tubes and angles have welded connection and the sheet is connected to the angles with riveting. In other words, this structure carries the load with minimum labor, was made by the rapid assembly and has lightweight and thin materials.In terms of design. Stairs have a different profile on the risers and t reads are a continuous sheet that was wrapped around the structure. In other words, most of the structure is hidden by 11 x 17 inches stairs. 3. Stair sheet is wrapped around the structure
b. Poured Concrete
1. Since the design of the sik has a curve on the surface for the sake of gathering water to the hole, the formwork was made out of wood. Therefore, the side and bottom peiece were bent and kept in place to create the desire curvy shape.
2. 1/8” thick Rebars are Point welded
2. The rebars are #1 (1/8” thickness) and used to reinforce concrete. the shape of the reenforc-ment covers all the stressed point such as around the hole and the bottem middle part where there is a high tention force. The whole system was welded and kept in the formwork by designed paper chairs or spacer.
c. Cured Concrete
3. The concrete were poured in a sunny day and cured for seven days before opening the formwork. The surface of the wood helped to have an smooth surface required for a sink and this is why the bottom part of the formwork is the top of the sink.
6. Opposite Side of the stairs
3. Reinforcment system was kept in the formwork by designed paper chairs. | 23
Metal Stairs
Concrete Sink
Hamidreza Sanjabi | Parisa Aoladi | Pedram Mesbah
Hamidreza Sanjabi | Parisa Aoladi | Pedram Mesbah
My Role: Design Process, Welding, and Cutting metal sheets
My Role: Design Process, Making Frame, Bending re-bars, Pouring and Curing Concrete
Academic Project | University of California, Berkeley | Spring 2018
Academic Project | University of California, Berkeley | Spring 2018
ARCH 160: Introduction to Construction | Professors: Dana Buntrock, David Jaehning, Eiji Jimbo
ARCH 160: Introduction to Construction | Professors: Dana Buntrock, David Jaehning, Eiji Jimbo
4. Welding the Bar Connections
1. Reviting the Sheets to the Angles
a. Frameworks and Rebars
1. Smoth surface of the concrete sink created by wood formwork
1 3
Wood Formwork and Rebars 4
2 5. Design of the Risers and Treads
2. Twisted Shape of the Stairs
The stairs above is a cantilevered platform, made of 1.5 x 1.5 squire shape 18 gage tubes, angles, and steel and 18 gage steel sheets. The design of the pieces is in a way that tubes and angles have welded connection and the sheet is connected to the angles with riveting. In other words, this structure carries the load with minimum labor, was made by the rapid assembly and has lightweight and thin materials.In terms of design. Stairs have a different profile on the risers and t reads are a continuous sheet that was wrapped around the structure. In other words, most of the structure is hidden by 11 x 17 inches stairs. 3. Stair sheet is wrapped around the structure
b. Poured Concrete
1. Since the design of the sik has a curve on the surface for the sake of gathering water to the hole, the formwork was made out of wood. Therefore, the side and bottom peiece were bent and kept in place to create the desire curvy shape.
2. 1/8” thick Rebars are Point welded
2. The rebars are #1 (1/8” thickness) and used to reinforce concrete. the shape of the reenforc-ment covers all the stressed point such as around the hole and the bottem middle part where there is a high tention force. The whole system was welded and kept in the formwork by designed paper chairs or spacer.
c. Cured Concrete
3. The concrete were poured in a sunny day and cured for seven days before opening the formwork. The surface of the wood helped to have an smooth surface required for a sink and this is why the bottom part of the formwork is the top of the sink.
6. Opposite Side of the stairs
3. Reinforcment system was kept in the formwork by designed paper chairs. | 24
Light at the Exhibition Hamid Sanjabi |Heidi Ramli | Daniel Callejas | Devi Chandra Academic Project | University of California, Berkeley | Spring 2019
ARCH 140: FEnergy and Environment | Professors: Stefano Schiavon, Nathan Brown, Megan Stenftenegel | Sefaira, Climate Consultant, Sketch-Up
SUMMER SOLSTICE 75
SUMMER SOLSTICE 75 FALL/SPRING EQUINOX 52
FALL/SPRING EQUINOX 52
WINTER SOLSTICE 29
WINTER SOLSTICE 29
0
FACTOR SECTION
Daylight Diagram Location: Moab, Arches Orientation: East-West
0
Moab has an arid climate (hot summer and chilly winter) with the highest mean temperature reaching up to 82 F in the month of July. While the lowest mean temperature is recorded at 28 F in December. As seen on the temperature range chart the mean annual temperature recorded is below the comfort zone except during the summer season where it is above the comfort zone. Monthly Diurnal Averages chart shows that the temperature has a lot of fluctuations throughout the day (hot day, cool night) and the area experiences very little precipitation. Moab has a warm dry climate during the summer where temperature is high but humidity remains low. As seen on the Pyschrometric and Dry Bulb x Relative humidity chart
we can conclude that the best design strategy to achieve comfort during the winter months (relative humidity: low) is to add heating (add humidification if needed) which contributes 41.2% to comfort. During summer months, relative humidity is low and thus evaporative cooling is needed (22.4%). According to Sun Shading chart, during the summer months shading is required on east, south and west side but especially on the south and west. Sky cover chart shows Moab is mostly clear annually and more cloudy between February and March. The area experiences less than 10% of sky cover, 44% of the time especially during the summer months ranging from May to July. With the high
temperature and high sun exposure during summer (May to mid-August), shading is very much needed to keep the indoor temperature and lighting comfortable. Meanwhike, sun is needed during the rest of the months. Minimizing sun exposure during the summer is important in considering the project design by creating openings with minimal window area to maximize natural light. Although the temperature might be cold at night, the gallery space will be mostly occupied during the day and so minimizing heat gain would be the utmost priority in this project.
DA
ACHIEVED DAYLIGHT FACTOR PLAN 14
10 8 6 4
Daylight Factor (%)
12
2
Achieved Daylight Factor Section
0
1’ = 1
Model in the Light Room at UC Berkeley
N
1.2
1.4
1.5
1.2
1.4
1.5
0.6
0.6
3.0
3.8
0.8
0.8
3.5
3.5
0.5
0.5
4.0
1.8
1.0
4.0
0.8
0.7
6.3
Heating
Cooling
AHU
AHU
AHU
Zones
Heat Rejection
Zones
Humidification
Zones
Interior Lighting Equipment
6.3 7.9
0.5
0.6
1’ = 1/4”
12.9
Daylight Factor Plan Location: Moab, Arches Orientation: East-West
1’ = 1/4”
Pumps
Fans
Other Gas
SUMMER SOLSTICE
SUMMER SOLSTICE
FALL/SPRING EQUINOX
FALL/SPRING EQUINOX
WINTER SOLSTICE WINTER SOLSTICE
SUMMER SOLSTICE
29
29
FALL/SPRING EQUINOX
52
52
75
75
52
WINTER SOLSTICE
75
29
INTERIOR LIGHTING ANALYSIS
9:00 9:00am AM
June 21 Summer Solstice June 21
Fall Equinox
Fall Equinox September 21 September 21
Winter December Solstice 21 December 21
INTERIOR LIGHTING ANALYSIS
12:00 PM
INTERIOR LIGHTING ANALYSIS
3:00 9:00 AMPM
12:00 12:00 pm PM
June 21
June 21
Fall Equinox September 21
Fall Equinox September 21
December 21
December 21
Interior Lighting Analysis
9:00 AM3:00 PM
12:00 PM
3:00 pm 3:00 PM
SHADING MASK DIAGRAM
N
N 21 June - 21 December
38° N
19
6
17
9 14
13
12
11
6
17
8 15
5
18
7 16
W
19
5
18
21 December - 21 June
7 8
16
E
10
S
W
15
9 14
13
12
11
E
10
S
warm/hot > 75°F 68°F < comfort < 75°F cool/cold < 68°F
South Window Shading Mask Diagram Location: Moab, Arches Orientation: East-West
Hand Drawing and Rendering
THE END | 25
Interior Hand Drawing and Rendering
| 26
Hand Drawing and Rendering
| 27
Hand Drawing and Rendering
THE END
Hand Drawing and Rendering