JAVED KHAN
CONTENTS
HORIZON ART HOUSE Allen expressway redevelopment CONSTRUCTABLE furniture design RC Harris water educational facility PHILIPS HOUSE beyond the rain RFAC rideau front art centre
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HIDA BENCH smart craft studio DESIGN THROUGH WANDER drawing as thesis WELCOME TO WONDERLAND a narrative architecture
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Horizon Art House allen expressway re-development
SITE STRATEGY
existing context
subtract: excavate
add: elevate slope
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support: retaining wall
insert: program
As part of the Lawrence heights restoration project, we have proposed the design and development of an arts community centre. What is being referred to as the Arts-Bridge is a plan in which to create a center, a gathering or celebrated space to promote and encorage the growth of a community. The project aims to capitalize on the continued development of the Lawerence Heights area by providing a space for both creative development and a space of celebration to encourage both visitors as well as its inhabitants to the site to gather and interact. The project is situated on the west side of the Allen expressway with a pedestrian bridge creating a east-west access accross the Allen. The scheme developed and certain small moves were implimented into the design to acknowledge the concept of differientiating these volumes, weather it was a change in material or a reveal strategically placed at the transfer from one space to the next as a gesture towards the double wall design. These gestures, paired with these four volumes pertruding towards the Allen expressway all interconnected with a communal circulation provided an open space plan that prompted the use of these spaces as a public program, inviting people to travel and experience where they choose to, to lead themselves to spaces that intrigued them or spaces where they can be taught or just as spectators there to admire and appreciate.
horizon art house axonometric
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+
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The main concept was derived out of a series of “excavations” within the site defined by courtyards. the excavation into the site left with it these seamless voids which acted as the placement for the programs. Using these “excavations” we were able to differientiate programmatic spaces from the public use(courtyards), this in turn broke down the “building complex” into a series of rhythmic masses. The process began by a treatment of the site, using this idea of excavating land to provide programmatic space we utilized a similar approach in creating service space as well as a scheme to develop the site. We chose to raise the land in order to add sufficient space underneath in order to have proper functional height for service equipment as well as to create a through passageway acting as a main circulatory system for pedestrian passageway. the excavation as well as the raising of the site allowed our building to remain pure in a sense and maintain a relatively low profile while achieving sufficient height for the designated programs.
horizon art house ground plan (+) refer to Fig.02 detail
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Fig.01 exterior view looking west
Fig.02 interior view of multi-purpose and public auditorium
+5000 top of roof @1.5% slope
R1
+1500 top of exterior grade ramp
W1
F1
-2000 top of ground floor slab
-4500 bottom of auditorium
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R1
WHITE CAP SHEET 2 PLY MEDIUM BITUMEN\ 50 OVERLAY BOARD 100 RIGID MINERAL FIBRE INSULATION 1.5 THICK SELF-ADHERING RUBBERIZED ASPHALT COMPOUND LAMINATED TO A HIGH DENSITY POLYETHLYENE FILM 305 CONCRETE POURED @1.5% SLOPE ON METAL ROOF DECKING
W1
TYPE-X GYPSUM BOARD W310 STEEL FRAME RIGID MINERAL FIBRE BOARD 1.5 THICK SELF-ADHERING RUBBERIZED ASPHALT COMPOUND LAMINATED TO A HIGH DENSITY POLYETHLYENE FILM 100 RIGID MINERAL FIBRE INSULATION BUILDING PAPER FILM 20 PRECAST CONCRETE CLADDING W/TX ACTIVE COATING 150 CAVITY(GRANULAR FILL) 305 CONCRETE SHEAR WALL RIGID MINERAL FIBRE BOARD 50 RIGID MINERAL FIBRE INSULATION 1.5 THICK SELF-ADHERING RUBBERIZED ASPHALT COMPOUND LAMINATED TO A HIGH DENSITY POLYETHLYENE FILM RIGID MINERAL FIBRE BOARD
F1
305 CONCRETE FLOOR SLAB 50 RIGID MINERAL FIBRE INSULATION 1.5 THICK SELF-ADHERING RUBBERIZED ASPHALT COMPOUND LAMINATED TO A HIGH DENSITY POLYETHLYENE FILM 610 CONCRETE BEAM 150 TAMPERED CRUSHED STONE 95% COMPACTED SOIL
Fig.03 detail wall section | multi-purpose space
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Fig.04 - exterior view of main entrance
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C O N S T R U C TA B L E furniture design
The Construc(table) uses computer-based design and computer numerical control (CNC) manufacturing to create a highly adaptive, multi-purpose table. As a whole, the cross bracing of the brackets creates a strong and stable structure, capable of resisting movement and weight shifts. The unit can be fully disassembled and transported with interchangeable variations of the design. An ethereal inspiration of the Japanese dragon remained evident in the design process. Prominent curves detail the brackets and a cantilever hints at an extension of the dragons’ head. This also offsets the regularity of the traditional Japanese bracket system. The Construc(table) continues the old tradition of Japanese joinery, that accentuate form and density and merges with passing horizontal beams that contrast space and projection.
Javed Khan, Kaveh Baradaran, Taylor Balodis
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a
A REINVENTION OF TRADITIONAL JAPANESE BRACKET CONSTRUCTION SYSTEMS a. view from the top: revealing the orientation of the bracket system b. perspective: the second stage focusing on the supporting bracket system c. detail: bracket system d. front elevation: as shown it demonstrates the same unique qualities and mimics the elevational view of the traditional japanese joinery from which it was based on e. view from the bottom: revealing supporting pier f. perspective: the first stage showing the base and legs of the construc(table) as well as the brackets which support the next set for the structure of the table g. perspective:the completed table constructed of three stages showing an emphasis on the extended cantilever
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b
c
d
e
f
g
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RC HARRIS water educational centre and public swimming facility
96 .00 + A
0+ 1.4 10
SITE STRATEGY
orientation
urban context
form
access + views
Situated on the east end of Toronto, the RC Harris water treatment plant has been a vital part of the identiy of Toronto’s infrastructure as well as becoming a historical monument. To this day the plant is fully functional and is still providing water to the city and region. Given the site sensitivity surrounding heritage buildings, a proposal to develop adjacent programs to compliment the current structure and provide facilities to both educate as well as utilize the purpose that the plant has held; which is to provide clean water to recreational uses. Using the steep sloping terrain to our advantage, a strategy was developed for the recreational facility to step the platforms and orientate the alignment in accordance of the topography to achieve an integrated and subtle form ; that sits on the site without overpowering the existing context. 22
+ .97 84
B
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86.51+
south elevation
longitudinal section A | water educational centre
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cross section B | public swimming facility
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PHILIPS HOUSE beyond the rain
A lush healing landscape flows across the North York General Hospital’s Phillip’s House site. A diverse array of native plants fill the gardens of this landscape. They are the vital element in promoting the health and wellbeing of the ambulatory and transitional mental health clients. Much of the rain that falls on the site will flow into these gardens. The pitched roof of the building will shed water onto the landscape. The landscape is sloped in order to direct this runoff. The gardens are nurtured by this water. The gardens then, in turn, nurture the patients of the Philips House; a healthy environment to promote the health of the occupants. 28
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south elevation - rear of house
longitudinal section
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R FAC rideau front art center
The Rideau Front Art Center tackles issues regarding the acknowledgement of artists in Ottawa, the contradictory between urban and residential fabric and the isolation of residents across the Rideau River towards New Edinburgh park. To solve the issue of the gated community which resides across the Rideau River we developed a program that would interact with both ends with respect to the context in which they resided in. The designation of the programs relied on the amount of traffic that was to be expected , therefore on the King Edward street side, a much more heavily condensed part of Ottawa in comparison to New Edinburgh was chosen as the site that would mantle the main entrance of the Art Gallery, which the expected traffic flow was varied. The Studios and classrooms, which would adhere to a more consistent crowd of individuals or a more stable traffic flow would be best suited to maintain a sense of privacy with respect to the residents of New Edinburgh and therefore being a much more settled program it was chosen as the centre which resided on the New Edinburgh side of the river. Javed Khan, Hussain Patwary
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Fig.01 - north exterior perspective of studio entrance SITE STRATEGY
SITE
rideau river | city hall alexandria bridge | hilltops
BRIDGE
gallery set against water, sky and land
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ORIENTATION
free piers | solar orientation views
Fig.02 - interior perspective at the intersection of connecting structures
SEPARATION
gallery | studios classrooms
CANTILEVER
expressive gesture programmatic clarity
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ACCESS
renew bridge program | provide universal access via ramps
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AXONOMETRIC
structure
AXONOMETRIC
overview
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Fig.03 - model | north aerial exterior view
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Fig.04 - model | south aerial exterior view
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HIDA BENCH smart craft studio
Fabcafe Hida photo by Akiko Moriguchi
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The concept of the Hida Bench derived out of a need for a product that could be integrated through the fabric of the city of Hida-Furukawa; that formally acted as a tribute to the craftsmenship of the Japanese culture. Before the invention of mechanical fasteners Japanese craftsmen honed their skills to craft complex interlocking joints to connect pieces of wood, otherwise known as Kumiki Joinery. This unique trade brought with it a character identified through Japanese culture that can still be seen today in the works of modern architects and craftsman. We utilized the style of the Kumiki joinery to craft the base of our bench; it was to create an important element of the bench that stands proud while remaining subtle in its purpose.
Javed Khan, Chiehping Chen, Kana Hagiri, Chun-heng Lin, Martin Lui
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D E S I G N T H R O U G H WA N D E R drawing as thesis
untitled project digital media 2016
“Architecture connects us to daily life, clarifies our relationship with one another and to the realities of place and time – Among other things, architecture is about fit, revelation, and prediction. It should fit with what is there and what transpires, and it should reveal what is there and how events change. And the fit and revelation are not just now, at the start of design, but over time, in the future; thus prediction.” – Joseph Esherick
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the Flâneur graphite on paper, digital manipulation 2016
The Flâneur(2016) began as an exploration into the spatial qualities of a labyrinth. In this instance I began to use the notion of a labyrinth to represent a sense of constant movement through spaces defined simply by an arrangement of walls. It evolved through the idea of how narratives, multiple narratives with multiple truths begin to imply itself onto the built environment and how that in turn starts to impact the way we perceive space, and even more so how our navigation through that space becomes an experience. It was through this implied idea of wandering and the connotations of its associations that the term flâneur came about. It was coined by Charles Baudelaire in 1863, to describe a quality of an individual, but I interpreted it more as describing the experience of wandering, it was not just about the wanderer, but the idea of wandering for the purpose of wandering, of letting your environment and a sequence of events guide you through spaces and this is the sort of experience I would like to invoke on my architecture. Therefore architecture materializes the narrative through the mediation of the physical and the bodily experiences to reveal something, weather it is the culture, the society or the history; it becomes a bridge to connect individuals on personal experiences and/or past events. A narrative, being a story that reflects the notion of a sequence of successive spaces/moments, therefore the relationship between narrative structure, perceptual experiences and representation is the aspect of narrative that is most relevant to architecture. With these set of drawings, Spaces within the Field(2016), I investigated the capacity to combine instinct, knowledge, my own understanding and imagination to depict spaces found within the labyrinth to represent the relief spaces, the moments of pause through a labyrinth which insists on movement. These spaces, although abstract and ambiguous offers interpretation through the act of wandering and seeks to find what we consider “moments”. An idea of exploration comes about with looking into creating a taxonomy of thresholds, this obviously pursuing the idea that the possibilities of the thresholds, these in-between stages at the point of change create that sense of reveal into a new space. Therefore the space alone does not act singularly as the conduct for experiencing architecture but it is also in the transitions that maintain the consistency as the experience found through wandering.
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We l c o m e to Wo n d e rl a n d A Narrative Architecture
Architecture is a story, with its own set of truths, deceptions and distinctions. Inspired by the fantastical qualities within Lewis Carrol’s Alice’s Adventures in Wonderland, this thesis rejects prescriptive standards---standards that have become tropes through todays drawing expectations and conventions leading to the hyper-real--- to create an understanding of architectural space that does not conform to that understanding of expression, and returns to a more intuitive and personal expression . Overlaying the allegory of “Wonderland”, the thesis is superimposed upon the observed “realities” of the city.This thesis aims to create a discourse achieved through the specific act of sketching as an operation of a temporal, and necessarily incomplete drawing. The act that binds the mind of observation to the hand-sketch, itself becomes an analogue of mediated story-telling, within a known context, allowing for thoughtful projections---and opening up a space of the imagination--- while avoiding predictions or prescriptions of its occupation. The sketch lends itself to its author, becoming a medium that is unapologetic and remains in a state of incompleteness. This allows the validity of the drawing to be read as a ‘precise sketch’.
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Chapter 01 all in the golden afternoon graphite on paper 2016
Chapter 05 every adventure requires a first step graphite on paper 2016
Chapter 06 its no use going back to yesterday graphite on paper 2016
Chapter 07 its always tea time graphite on paper 2016
Javed Khan http://jkhan97.wixsite.com/javedkhan j_khan@live.ca