MARIAM JACOB
MARIAM JACOB
Date of Birth: 03-08-1997 mariamjacob.arch@gmail.com (+971) 56 2207479
ABOUT ME I consider myself to be a confident & enthusiastic graduate, actively looking out for professional expertise. I have excelled in several leadership roles, have the strong ability to learn from and balance cultural nuances critically in my designs.
EDUCATION
ACCOLADES
(Sep-Nov 2020) YACademy Architecture for Humanity (2015-2020) B.Arch at American University of Sharjah (2009-2015) New English School, Kuwait
Inspireli Grand Prize for Architecture (2020) Exhibiting work at RIBA d3 Architecture Festival (2020) Chancellor’s Gold Award (2019-2020) CGPA 3.82 Chancellor’s Silver Award (2018) Chancellor’s Bronze Award (2017) Merit’s List Scholarship (2015-2020) Dean’s List Scholarship (2015-2020) Chancellor’s List Scholarship (2016-2020) Dar Jehan Art Award (2015)
DIGITAL SKILLS Rhinoceros 3D I Chaos Group V-Ray I Sketchup I Autocad I Revit I ArchiCad I Grasshopper I Blender I Photoshop I Illustrator I Indesign I Lumion I Premier Pro I Microsoft Office ANALOGUE SKILLS
STUDY ABROAD
Freehand drawing I Painting I Physical Modelling I Metal Welding I Woodwork I Metal Embossing I Pottery
Study Abroad at Enric Miralles
OTHER ACHIEVEMENTS
Young Humanitarian Architects Team - 2020 6 degrees Exhibition Media Team, AUS - 2020 Design Practicum Team, AUS - 2020 Sustainable Action Project, AUS - 2020 Kerala Gov. (India) Flood Relief Housing - 2019 Al Humaidhi Architects Kuwait - 2019 AGI Architects Kuwait & Madrid - 2018
Sustainable Campus Initiative Student Leader MGOCSM (Youth Charitable organization) President Duke of Edinburgh Bronze Award ( Kuwait ) Duke of Edinburgh Silver Award ( Cyprus ) ABRSM Music Exams for Clarinet Level 4 ABRSM Music Exams for Piano Level 3 Lead role in Musical Production (Jekyll & Hyde) Lead role in Drama Production (The Importance of being Earnest: Oscar Wilde) Set Design for Upper School Productions Carnatic Vocal Training
(Barcelona 2018)
WORK EXPERIENCE
FEATURED IN Fletcher, M. (2020). Visual Communication for Architects and Designers: Constructing the Persuasive Presentation.
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THIN TOPOGRAPHIES
HORTUS CONCLUSIS
TIMBER AT HEART - QUEENS
INVISIBLE CITIES
ABU DHABI PAVILION
DICHOTOMOUS BARCELONA
METAMORPHOSIS
SACRED SPACE SLOVENIAN RUINS
01: THIN TOPOGRAPHIES
2020 I INSTRUCTOR: FAYSAL TABBARAH Won Insperili Awards Architecture Grand Prize 2020 In collaboration with: Nada Khalaf The project aims to reinterpret ‘food waste’ in Marrakesh by uncovering the potential of discarded organic material by: re-purposing it for consumption, redefining it for material construction and encouraging a sustainable lifestyle with in the community. The alarming pre-consumption waste that is generated and placed in landfills in north africa was the main focus of the thesis. The project aspires to collect such waste from neighboring farms and markets and then re-purpose the produce in our site that comprises of a processing facility (including zesting, drying, juicing and composting areas), a market, food hall as well as an orange grove and a grape vineyard. Water is also a scarce resource in marakkesh , as a result conservation or efficient irrigation and water harvesting methods are necessary. Hence the macro plan strategy was employed through the formation of ridges and mounds on the ground; as micro-catchments to facilitate the growth of the crops and as well earth walls that support the canopies that demarcate space.
FOOD WASTE VS OTHER WASTE
FOOD WASTE PROCESS’
PROGRAM DISTRIBUTION
CROP PRODUCTION TIMELINE
CHAR-CRETE CONSTRUCTION
TYPICAL CONCRETE CONSTRUCTION
CONSTRUCTION METHOD
ROOD PLAN - MACRO
BUND SYSTEM
ORANGES
HALF MOON NEGARIM
GRAPES
FLOOD WATER DIVERSION WITH RIDGES
COMBINATION OF HALF MOON AND RIDGES
GROUND PLAN - MACRO
SITE SECTION
AERIAL PERSPECTIVE
ENLARGED MARKET PLAN
TRANSVERSE SECTION - MARKET
TRANSVERSE SECTION - FACILITY
MARKET AND FOOD HALL CHUNK
PROCESSIONAL PERSPECTIVES
02: HORTUS CONCLUSIS
2019I DESIGN BUILD I INSTRUCTOR: GEORGE NEWLANDS In collaboration with: Design Build Members This project is located within the campus of the American University of Sharjah and focuses on dematerializing the built structure using vegetation so it blends in with the existing hedge. It
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tation of the walled garden; where the didactic garden with indigenous plants of the UAE (drought and salt tolerant) are viewed through the central axis or through threshold spaces. The vegetation bed is skewed in order to emphasize the forced perspective and enhance the experience of the visitor approaching the site. The structure accommodates public functions such as events to occur on one side with the vines as a green backdrop, and encompasses seating and working spaces on the more private lush side. Overall, this project aims to be a recreational space that also educates the public on how native and indigenous vegetation of the region can be utilized effectively and more sustainably to provide a lush green atmosphere as opposed to preconceived notions.
DEMOLITION PLAN
CANOPY PLAN
GROUND PLAN
SECTION
ENLARGED DETAILS
SEATING SPACE VIEW
SEATING SPACE AND THRESHOLDS
SEATING SPACE VIEW
VEGETATION PLAN
03: TIMBER AT HEART - QUEENS
2019I 4TH YEAR STUDIO I INSTRUCTOR: NEWLANDS In collaboration with: Nada Khalaf ‘Timber at Heart’- emulates the industrial concrete jungle that New York personifies and represents it in a strategic way with a play on concealing and revealing. Instead of manifesting the project entirely in timber, we managed to create a procession in which the exterior is perceived as industrial and steriotomic using concrete and steel but the interior spaces are exclusively made of timber to create an element of surprise and a warm, homelike feeling for the occupants. The project revolves mainly on having a dialogue with its context: Manhattan, Queensborough Bridge, East River as well as the historical Terracotta factory. Moreover, it is divided into two halves based on the central axis that acts as a threshold for circulation as well as providing views to the waterfront. In terms of the massing of the residential towers, they are orientated in such a manner to maximize views to the Manhattan Skyline as well creating a parallel relationship to the adjacent bridge both in terms of height and horizontality.
GROUND FLOOR PLAN In terms of the massing of the residential towers, they are orientated in such a manner to maximise views to the Manhattan skyline as well as creating a parallel relationship to the adjacent bridge both in terms of height and horizontality.
FIRST FLOOR PLAN The functions included within the project are a daycare facility, a sports center, an auditorium as well as residential appartments. The private functions are elevated in comparison to the public along the central axis.
STRUCTURAL AXONOMETRIC OF RESIDENTIAL TOWER The overall structure revolves around concrete being the external frame and cores for fire protection while the interior structure is made up of CLT Panels and Glulam Beams or Trusses. CLT PANELS AND GLULAM BEAMS
HOPES STEEL WINDOWS
TERACOTTA LOUVRE SYSTEM CONCRETE BRIESE SOLEIL C.I.P
CONCRETE FACADE
CONCRETE CORE CORRIDOR TERACOTTA LOUVRE SYSTEM
TERACOTTA LOUVRE SYSTEM CONCRETE BRISE SOLEIL
CONCRETE BRIESE CAST IN PLACE
HOPES STEEL WINDOWS
HOPES STEEL WINDOWS
CAST IN PLACE CONCRETE SLAB GRADE
CONCRETE CAST IN PLACE FOUNDATIONS
WALL SECTION MODEL - SCALE 1: 20 The process of building the model physically helped to make changes in the treatment of materiality between exterior and interior of the residential towers. The suspended ceiling helps break down the scale of the living space.
WALL SECTION AXON OF RESIDENTIAL TOWER
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TERACOTTA LOUVRE
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TERACOTTA FACADE
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ELEVATIONS SHOWCASING GRID SYSTEM AND MATERIALITY The childrens day care facility is carefully interwoven with the terracotta factory in the articulation of the facade materiality that shows continuation.
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04: SITE ANALYSIS & SITE PLAN DIAGRAMS SHOWCASING RESIDENTIAL MODULES
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HOPES STEEL WINDOWS
BAFFLE WOOD SUS. CEILING
GLU LAM BEAM CONC. BRISE SOLEIL
HARDWOOD BOARD
SPATIAL AND INDOOR QUALITY FOR RESIDENCE Each housing module type excluding the micro apartment, has double height spaces allowing for cross ventialation as well as views to both sides of the residential tower.
BRIESE SOLEIL AND TERRACE SPACES The placement of the macro modules according to the program distribution requirements allows for subtractions that act as communal terrace spaces for the residents.
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BLEACHED WHITE WOOD
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CONC.BRISE SOLEIL HOPES STEEL WINDOWS
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CONC. SKYLIGHT / BENCH GLULAM TRUSS BRIDGE
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LONGUTIDINAL SECTION : SPORTS COMPLEX AND RESIDENTIAL Another integral aspect to the project was the connectivity in the waterfront. This was maintained by raising the residential blocks on pilottis and creating a continous path connecting the park and the adjacent industrial site.
CONC. PARAPET
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CONC. DECK
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LONGUTIDINAL SECTION : CHILDREN’S FACILITY AND RESIDENTIAL The site was levelled at 6m and a ramp that extends towards the waterfront was created. This acts as a public space at which the axis terminates and creates a dual condition of a raised deck as well as sloped stramp condition for communal activities.
CONC. AUDITORIUM
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CONC. SKYLIGHT / BENCH GLULAM TRUSS BRIDGE
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DURING DAYTIME - SKYLIGHTS AND SEATING
DECK SPACE AT NIGHT - LIGHTING AND SEATING
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MULTIFUNCTIONAL SKYLIGHTS ON DECK
TERRACOTTA LOUVRE SYSTEM
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SMOOTH FINISH CONC. BRISE
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TERRACOTTA LOUVRE SYSTEM ON GLASS CURTAIN WALL
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TERACOTTA LOUVRE SYSTEM BOARDFORM CONCRETE
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LONGITUDINAL SITE ELEVATION SHOWCASING MATERIALITY
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04: INVISIBLE CITIES IN OUR SURROUNDINGS 2015 I 1ST YEAR STUDIO I INSTRUCTOR: JUAN ROLDAN
The whole concept of this project is to identify possibilities of invisible cities from mundane surroundings that we live in. The first drawing is a one point perspective drawing of one of the corridors in the architecture building of the American University of Sharjah. The focus is primarily on the ceiling with the exposed systems. The second drawing flips the orientation so that the scale of the space increases tremendously, and the ceiling system gets transformed into an underground network. The third drawing is a two point perspective drawing of one of the same corridor. Once again, the focus is primarily on the ceiling with the exposed systems. The last drawing transforms the space further by adding scale, tall buildings as well as dramatic lighting to amplify the space itself.
05: ABU DHABI PAVILION- IRTIQAA’
2018 I YEAR OF ZAYED I INSTRUCTOR: NEWLANDS Shortlisted Competition Entry 2018 In collaboration with: Nada Khalaf The pavilion is called Irtiqaa’ which means ‘Evolving in a positive manner’ in Arabic. The ascendant growth that UAE experienced during the Sheikh’s period is showcased in the overall form. The pavilion wraps around a central courtyard which is typical of the housing typology of the region. The frame appears to ‘evolve’ from the ground at the end of the pavilion and rise incrementally in height to the point it soars upwards at the entry. Irtiqaa’ aims to provide homage to the great leader Sheikh Zayed, who used his efforts and wisdom to inte-grate the seven emirates to the prosperous United Arab Emirates. This is showcased by the porous area with the ropes or cables which becomes unified towards the conditional space.
RISING FROM THE GROUND AND SOARING TO THE SKY The courtyard also plays an integral role in the scheme allowing for multiple communal activities to take place during the day and night. Through the simple design and choice of materials, which is sustainable and cost-effective; a transformative experience from the new to the old is created in the pavilion for the users. The dynamic shadows cast on the plaza, the indirect natural lighting within the conditioned space and the twisted cables as well as patterning on the facades, provide various interactive and compelling experiences.
EAST ELEVATION
ELEVATION A
To walk through and interact with this pavilion, one experiences a story of the development and growth of this nation.
WEST ELEVATION
ELEVATION B
RO O EN
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Y TR SE
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EA
PRI VA TE AR EA PRIVAT
E AREA
COURTYARD COURTYARD
EA C ARAREA PU BLIPUBLIC
ROOF PLAN WITH PROGRAM PARTII
ROOF PLAN OF PAVILION WITH PROGRAM PARTI
CABLE SYSTEM
CONDITION A: SOUTHERN FACADE ACTS AS SIGNAGE (ROOFING)TENSION CABLES TO ROPES
THE PATTERN IN ARABIC - 2019 YEAR OF ZAYED
STEEL TENSION CABLES PATTERNED CABLE & ROPE FACADE
TENSION CABLES
KNOTTED TRADITIONAL ROPE
STRUCTURAL & ENCLOSURE SYSTEM
VIEW
CONDITION B: NORTHERN FACADE PROVIDES VIEWS AND INDIRECT LIGHTING POLY-CARBONATE ROOFING SISAL ROPE
A POLYCARBONATE GLASS
B
CORTEN STEEL FRAMES
CABLE ROPE
PAVILION FORM
CONTEMPORARY ASPECT OF PAVILION
VIEW
OLDER ASPECT OF PAVILION
06: DICHOTOMOUS BARCELONA 2018I 4TH YEAR STUDIO I INSTRUCTOR: IGOR PERAZA In collaboration with: Nada Khalaf The park was transformed from a citadel fortress with negative connotations into an exhibition space for the 1881 universal exposition. We can see that ‘Art & Nature’ was used as a form of repurposing the space and bringing the community together. Currently, the station and the zoo are at the brink of losing its function. As a method of rehabiliting the space we wanted to blur the line between what was built and what is natural through the addition of vegetation (nature) as well as repurpose the space by means of adding program related to sculptural and contemporary art. We also anticipated the gradual take over of the station by the park. This was facilitated by removing the street that acted as a barrier between the two historic and culturally significant parts of our site. Our building acts as a landmark and attempts to the tie the two entities together. The Monumentality of the project echoes the grandeur within the station, it also follows the structural grid of the main arch system.
ANALYTICAL COLLAGES OF EXISTING CONDITIONS ON SITE
The parking lot has barriers preventing views to the park
The interior of the station is filled with steel structural trusses
The metal awning overhang between the parking and train station is disjointed
DICHOTOMY BETWEEN OLD & NEW BARCELONA The collage aims to show the transformation that went through Barcelona and draws attention to the dichotomy between the change in function between old and new Barcelona. Barcelona started off as a roman city that was heavily reliant on its maritime and fishing industry. On the left side, it shows the Basilica de la Mar, Estacion de Francia as well as the Zoo, which are historically and culturally significant. However, now it is at the brink of redundancy due to lac of social interest as well as advancements in transportation. On the right side, one can notice the significant increase in tourism due to the Olympics in 1992, which led to the building of sculptural and monumental structures as well as the oversaturation of the beach by tourists.
INITIAL SKETCH OF THE ATMOSPHERE & MONUMENTALITY WITHIN THE STATION
NARRATIVES SHOWING THE GENERATIVE PROCESS
INTERVENTIONS INTO THE STATION arches cover is partially stripped off and a new form is created as a displacement of the existing station.
FORMING LINKS AND THRESHOLDS Threshold created between arches and new form, as a double glass wall. Arches covering becomes transparent to reinforce continuity. The form is directed towards the park.
EXTENSION OF STRUCTURE TO CREATE Form gradually increases in height and is directed away from the southern light. Frames extend from the arches structure and changes direction to hug the refined form.
REINFORCEMENT OF CIRCULATION Form is lifted off the ground to free up the plaza circulation. Vertical circulation cores carry structural load.
REINFORCING CONNECTION TO STATION Bridge connects the station building to the new building, both in terms of circulation and visually. Thinner frames added between primary structure to reinforce connection and provide shade.
REINFORCING CONNECTION TO PARK Bridge extends out to the park and vegetation from the park bleeds into the tracks that are no longer in use.
COLLAGE SHOWING THE CONCEPT OVERLAYED WITH THE SITE PLAN
BLENDING THE STATION AND THE PARK The road that used to divide the station and the park, was converted into a pedestrian and cyclic path. Thus reinforcing the link between the two entities.
04: SITE ANALYSIS & SITE PLAN
SECTION C
SITE PLAN
04: SITE ANALYSIS & SITE PLAN
GF PLAN
1F PLAN
SKIN VARIES IN HEIGHT TO CREATE VARIED SPATIAL CONDITIONS
SEATING CONDITIONS FOR PUBLIC
RENTABLE PAVILION SPACE
FOREST OF POLES FOR KIDS
FRAME SWINGS FOR KIDS
INTERVENTIONS INTO THE PARK
07: METAMORPHOSIS 01:
2015 I 1ST YEAR STUDIO I INSTRUCTOR: PATRICK RHODES
2015 I 1ST YEAR STUDIO I INSTRUCTOR: PATRICK RHODES I FOUNDATIONS
This project comprised of several stages. I- Documentation of the Tile itself: by rubbing it and photographing it II- Abstracting the crack on the tile by forming a composition based on Field Point Space Drawings of Sol Lewitt III- Drawing regulating lines and then simplifying these to form construction lines IV- Making a skeleton based on these regulating lines, then surfacing the triangulated surfaces to obtain a plaster mould. V- Integration of the folded arches paper with the triangulated Plaster Surface.
Initially , a tile from the main plaza was selected based on individual criteria such as the cracks formed on the surface. Then documentation of the tile was completed by rubbing it with a self made jig with pencils as well as photomontages. Sol lewitt approach of plotting density of aggregate
Composition of field, point, space drawing
Regulating lines obtained from FPS Drawing
Simplification of FPS Drawing with regulating lines
Close up detail of tile rubbing made with jig
Close up detail of abstracted arches drawing
Skeleton of FPS Regulating Lines
Triangulation of skeleton as bracing
Final extracted plaster mould from FPS Drawing
Surfacing of triangulated surfaces
Pouring plaster into the mold with voids
Various iterations of paper folds inorder to incorporate it effectively with the triangulated surface of the poured plaster mould. The final fold which is braced with basswood sticks in anchored into one of the voids in the plaster piece.
Frontal view of the integrated paper folds
Top view of the folds camoflauged with the poured plaster mold
08: SACRED SPACE
2018I 3RD YEAR STUDIO I INSTRUCTOR: MARIA OLIVER The project is located in Al Khan , near the Sharjah Corniche area in UAE. The client asked for an urban piece which could also be used as a sacred space for the community. The specifications included gender segregated spaces as well as ablutions. It also required a separate residential space for the spiritual leaders who visited. The main design driver was the strip like formation that warped around the lagoon. Hence the project comprises of a strip that undulates to create the spaces according to their functionality. The spaces have separate entry sequences which is situated along urban corridors allowing constant mobility for pedestrians in the community. The materiality also helps create a contrast between exterior and interior spaces. The white GFRC panels on the outside helps unite it with the urban condition, whilst the warm wooden panelling leads to a comforting spiritual space. The structure also plays an integral part to the design. The spaces are spanned by metal trusses, while the entry sequences are emphasized by concrete masses.
GFRC PANELS
LAMINATED SICA
LATERAL WOOD BRACING
LONG. WOOD BRACING
INTERIOR WOODEN PANELLING
METAL STEEL TRUSS
GFRC SCREENS
TBEAM FLOORS
CONCRETE INTERIOR WALLS
STRUCTURAL ANALYSIS
SINGLE ACRYLIC STRIPS ARE BENT RESULTING IN VARIED SPATIAL CONDITIONS
SKIN VARIES IN HEIGHT TO CREATE VARIED SPATIAL CONDITIONS
BLURRING OF EDGE CONDITIONS- SKIN BECOMES ROOF/ WALL
SKIN BECOMES A WATER FEATURE FOR MEN’S ABLUTION
MORPHOLOGY
LAGOON
PEDESTRIAN ZONE
2000
RUBBISH DEPOSITED
GREEN BELT AS TRANSITION
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2008
SKYLINE VIEW
PAVEMENTS
PEBBLES AND SAND
EDGE CONDITIONS
WET ZONE
NATURE CREATED EDGES
CHANGES IN THE AREA OVER TIME
LAGOON
PEDESTRIAN ZONE
SITE
CORNICHE STREET
PLASTER RENDER
STRIPS AND ZONES
SITE
PAVILION SIDE
REFLECTIVE GLASS
MANMADE EDGE
MARBLE CLADDING
MASHRABIYA PATTERN
VEHICULAR EDGE
PATTERNED MARBLE
TRANSLUCENT GLASS
BOARDFORM CONCRETE
CHUNKY ROADS
CORNICHE STREET
SITE
TILED PAVERS
MARBLED TILES
EDGE BY TILES
ROAD EDGE
ALUMINIUM
PAVILION SIDE
04: SITE ANALYSIS & SITE PLAN
04: SITE ANALYSIS & SITE PLAN
04: SITE ANALYSIS & SITE PLAN
09: FRAMING THE PAST; DOOR TO THE NEW In collaboration with: Nada Khalaf The spatial intervention uses the reflection of the existing salt pans to frame the ruin and integrates planar elements to echo the entrance that was present in the former salt pan house in SeÄ?ovlje, Slovenia. It creates awareness amongst the locals to preserve the picturesque historic ruin; which is an embodiment of their culture and heritage, like a piece of art. Meanwhile, the structure that is offset from the boundary of the ruin, acts as a door to view the present functions of the area, thus embarking on a new status quo. The sculpture exemplifies a plethora of other dichotomies such as the scale of the intimate vs the monumental in terms of the varied spatial conditions that engage with both the human and the avian. In addition to that, the composition of elements in relation to the ruins have a play on the dynamic vs sympathetic aspects of the sculpture. Although the usage of CLT is minimal, the placement of CLT members is based on alignments i.e. voids present, relative heights, thickness of ruin walls etc. Therefore, the intervention is a simple yet bold connection to the existing ruin.
Placement of CLT Members creates a frame that addresses the threshold whilst creating a focal point around the ruin, and extending past its boundaries in either dimensions.
Integration of planar elements to echo the entrance that was present in the former salt pan house and facilitating a semi-enclosed spatial condition betweeb the old and new.
Reinforcement of the relationship with the primary wall of the existing ruin in terms of alignment and thickness, as well as expansion upwards and outwards.
Visual penetration of the sole intentional edge in the existing ruin which was a former window, and the celebration of that moment in the sculpture, through a pivotal transition into steel.
GROUND PLAN
ROOF PLAN
CLT DETAILS
EXPLODED DETAIL
SECTION AA’
SECTION BB’