Karim Anwar - Portfolio V.03 by Karim M. Anwar

PORTFOLIO V.03 KARIM ANWAR SELECTED WORKS 2010-2017

Karim Anwar

Egyptian January 1990 CONTACT

00447470097213 Karim.m.anwar@outlook.com Flat 10, 1 Calshot Street, N1 9GX, London, United Kingdom

Karim Anwar graduated from the AAST (Arab Academy for Science a n d Te c h n o l o g y ) w i t h a B a c h e l o r ’s d e g r e e i n A r ch i t e c t u r a l E n g i n e e r i n g ( 2 011 ) . H i s i n t e r e s t i n r e - i m a g i n g a n d a r t i c u l a t i n g a r ch i t e c t u r a l s p a c es pushed him to participate in a number of international and local w o r k s h o p s a n d a r c h i t e c t u r a l c o m p e t i t i o n s s u ch a s t h e R I B A P r e s i d e n t s M e d a l s Aw a r d s , H o l c i m Aw a r d s C o m p e t i t i o n f o r S u s t a i n a b l e C o n s t r u c t i o n , a n d B A B e l B a h r a i n C o m p e t i t i o n . A ft e r t w o y e a r s w o r k i n g a s a f u l l - t i m e t e a c h i n g a s s i s t a n t i n t h e A A S T, w h e r e h e h e l p e d i n t e a ch i n g s e v e r a l a d v a n c e s c o u r s e s , h e m o v e d t o L o n d o n t o p u r s e a M a s t e r ’s d e g r e e i n A r c h i t e c t u r e a n d U r b a n i s m f r o m t h e A r ch i t e c t u r a l A s s o c i a t i o n S ch o o l o f A r ch i t e c tu r e ( A A ) . T h e r e , h e j o i n e d t h e D R L p r o g r a m , w h e r e h i s s t u d i e s f o c u s e d o n d e s i g n r e s e a r ch a n d e x p e r i m e n t a l d e s i g n a p p r o a c h e s . A f t e r s u c c e s s f u l l y g e t t i n g h i s M a s t e r ’s d e g r e e , h e t h e n j o i n e d t h e o ff i c e s o f Fo s t e r s + Pa r t n e r s .

Education

Revit 2016 Architecture

London, United Kingdom

M Arch

2013 2015

Architectural Association School of Architecture

Architecture and Urbanism (AADRL) (RIBA 2 certified)

B Arch

2006 2011

Arab Academy for Science, Technology and Maritime Transport

Architectural and environmental design (RIBA 1 certified)

IGCSE

2003 2006

St. Fatima School Nasr City

3.86 - Excellent with Honors (2nd of Class)

Workshops

March 2012

AA London Visiting School, Connected Tower at Istanbul Technical University, Istanbul

April 2012

AA London Visiting School, Cipher City at NTUA School of Architecture, Athens

Professional Practice

Architectural Assistant 2 Overseas Architect

Foster + Partners

September 2015 - 2017

London, UK

Qatar 2022 World Cup Lusail Stadium, Lusail, Qatar Apple Stores Oceanwide Center, San Francisco, USA D3 East Residential, Dubai, UAE

Full-time Teacher Assistant September 2011 - 2013 Architectural and Environmental Design Department

Arab Academy for Science, Technology and Maritime Transport, Egypt

Junior Architect

Free - Lancing

September 2011 - 2013

Individual Professional Experience

AFH (Architects For Health) â&#x20AC;&#x201C; Student Design Award

2010

Competition

RIBA Presidents Medals Awards

2010

Competition - http://www.presidentsmedals. com/Entry-27161

Holcim Awards for Sustainable Construction with Sherif Tarabishy

2011

Competition

BAB (Bab El Bahrain) Square with Tarek Kattaria

2012

Competition

Skills

Computer Skills

Certified AutoDesk Revit Architect, Microstation AutoCAD, Rhinoceros, Grasshopper, Maya, 3Ds Max, ArchiCAD, Artlantis Studio Adobe Photoshop â&#x20AC;&#x201C; Post Rendering, Adobe Illustrator, Adobe InDesign, Processing, Arduino Google Sketch-up

Other Skills - Languages

Fast learner, well-spoken, efficiency oriented - Fluent in both English and Arabic

Other Interests

3D-modeling, Photography, Drawing/Sketching, Painting, Fashion Design and styling, Graphic Design, Digital Fabrication, Scripting, Digital and Algorithmic Design, visualization, and research

â&#x20AC;&#x153;I believe that the way people live can be directed a little by architecture.â&#x20AC;? Tadao Ando

ARCHITECTURAL PORTFOLIO CONTENTS

H.O.U.S.E - Intense Microcosm Architecture and Urbanism (DRL) MArch 2015 - Architectural Association (AA), London

inFormation Plaster; Structural Surfaces Architecture and Urbanism (DRL) MArch 2015 Design Workshop I - AA

Architecture and Urbanism (DRL) MArch 2015 Design Workshop II - AA

Street Vending Design Proposal, “Design the Process” Pre-Masters Program 2013 - Arab Academy for Science and Technology (AAST), Cairo

Technical School Prototype Graduation Project 2011 - AAST

School of Architecture Design Proposal; An Interpretation of Space Year 4 2011 - AAST

Extreme + Connective Hub; Himalayas

Art Gallery Design Proposal - Architectural Tectonics

Revolution Center: A Community’s Thermometer Holcim Awards 2010/11 Design Competition

BAB Al-Bahrain Open Ideas Competition 2012

AA Istanbul Visiting School 2012: Connected Tower - The Thing

AA Athens Visiting School 2012: Cipher City - ανεμόμετρο

Project: Home

01. FOSTER + PARTNERS 02. ACADEMIC WORKS

03. PROFESSIONAL WORKS

September 2015 - 2017 London, United Kingdom

During my time at Fosters + Partners, I worked on a variety of projects, ranging from the design of a stadium to the layout of apartments in a residential development. Duties at Foster + Partners revolved around competition, schematic design, and design development stages. This helped hone my skills as an architect, as I was involved through the various stages of a project life cycle, starting with conceptualization and going all the way to implementation. During my time there, I worked as a certified Revit architect in planning, designing and managing challenging and complex projects.

Qatar 2022 World Cup Lusail Stadium, Lusail, Qatar (In collaboration with Populous, ARUP)

Envisioned as the centerpiece of the 2022 World Cup, the lusail stadium is designed to accomidate a capacity of 92,000 spectators arond an open air pitch. Working mainly through Revit, tasks on the project revolved around plans development and coordination with different f&b and mechanical needs. In addition, testing diffferent design alternatives through fast 3D modelling (Rhino, and Grasshopper). Project phase: Schematic Design

Apple Stores Working on different design alternatives of the store layouts, a demanding work flow dictated fast production of alternatives for comparison and decision making. Working on 2 different stores, work was carried out through Rhino, Microstation, and Revit. Projects Phases: Schematic Design

Oceanwide Center, San Francisoco USA (In collaboration with Heller Manus Architects)

Comprised of two high rise towers along with an â&#x20AC;&#x153;urban roomâ&#x20AC;? providing a substantial public realm, duties focused on the development of the geometry and material of a raised platform within the public space through 3D modeling (Rhino - Revit) and physical model making. Project phase: Design Development

D3 East Residential, Dubai UAE Located at the east side of the new Dubai Design Destrict, the residential development offers different resi typologies, retail and public spaces. My duties were focused on residential typologies and the transition of the project from microstation to Revit. Project Phase: Schematic Design.

Due to confidentiality of projects, material canâ&#x20AC;&#x2122;t be shown in portfolio. 11

AADRL

A A - D R L

H.O.U.S.E Intense Microcosm

Architecture and Urbanism (DRL) MArch 2015 -Patrick Schumacher (Zaha Hadid Architects) Studio Architectural Association (AA), London TEAM: Karim Anwar, Victor Corell, Daniel Simaan Franca, Maha Habib

R i ch a r d H a m i l t o n’s “ J u s t w h a t i s i t t h a t m a k e s t o d a y ’s h o m e s s o d i f f e rent, so appealing?” Collage presents this st atement of how not only the space - shelter - that creates the modern house but also focuses mainly on the conduits and amenities that really make spaces inhabi t a b l e . W i t h t o d a y ’s f a s t p a c e d l i f e a n d t h e c o n n e c t i o n t o ‘ t h e d i g i t a l ’, spaces are now more perceived through its interconnectivit y rather t h a n i t s p hys i c a l e n t i t i e s a n d ch a r a c t e r i s t i c s , a ffe c t i n g h ow s p a c e s a r e a r r a n g e d a n d p l a n s l a y o u t . Ye t , w i t h t h e i n t r o d u c t i o n o f t h e s e c o n d u i t s and infrastructure into the building , it rendered spaces st atic, striated a n d d e p e n d a b l e o n t h e d i ffe r e n t e n e r g y a n d wa t e r s o u r c e s , r o o t i n g a r ch i t e c t u r e t o t h e g r o u n d . Th e p r o j e c t a i m s t o r e s e a r ch t h e p o s s i b i l i t y o f p u s h i n g s ys t e m a r t i c u l a t i o n a n d a ch i e v i n g a m o r e h o l i s t i c a p p r o a ch i n r e g a r d t o s y s t e m d e s i g n . Th e d e s i g n r e s e a r ch fo c u s e s o n t h e d eve l o p m e n t o f a n ew h o u s e p r o t o t y p e , u t i l i z i n g t h i s n e w a p p r o a ch , i n a b i d t o r e i n s t a t e t h i s n a tu r a l s t a t e o f b e i n g , i n c o n t r a s t t o t h e i n d e p e n d e n t t r a d i t i o n a l a p p r o a ch e s . House systems, including vehicle and interface with the urban environment, are reinterpreted and juxtaposed as a multi-functional comp o s i t e a r r a n g e m e n t , i n c o r p o r a t i n g t h e d i ffe r e n t ch a r a c t e r i s t i c s a n d b e h a v i o r o f a l l s y s t e m s t o g e t h e r, a c h i e v i n g a u n i v e r s a l s t a t e ; t h a t i s a d a p t a b l e a n d i n t e r ch a n g e a b l e . T h e h o u s e s p a c e s a r e t h e n s u b s i d i a r y organs that are a consequence of both people and external stimuli – a c o nve r s a t i o n b e t we e n a r ch i t e c tu r e a n d h u m a n . Sys t e m s a r t i c u l a t i o n t h u s ch a n g e s f r o m t h e s u p e r f i c i a l t o t h e i n t e g r a t ed. Behavior and adapt abilit y then becomes the ornament and initiate a n o n g o i n g e xch a n g e a b l e i n t e r a c t i o n a n d d i a l o g b e t we e n t h e u s e r s a n d ‘the Monocoque’ composite.

HOUSE S PA C E S

MONOCOQUE ORGANS

S T R I AT E D S PA C E

S M O O T H S PA C E

STRUCTURE

INCENTIVE

The initial morphology of the different house iterations are denoted by both site and spatial considerations. Adaptation to site puts forward different ranges in consideration to approaches, heights and neighboring structures, while spatial relations based on public/private hierarchies and circulation sets the different rule sets for the spatial arrangements and the generation of the preliminary surface that creates the monocoque. According to the specific site the house is situated in, and analyzing approaches, points of interest (waterfront in current site chosen), proximity to neighboring structures, heights, and climatic considerations, a number of different â&#x20AC;&#x2DC;rangesâ&#x20AC;&#x2122; are specified for the spaces to situate in accordingly, starting with the most open and public spaces as the connective and focal elements. On the other hand circulation and fluid flow act as the main incentive connecting the different spaces together. Maintaining the approach in creating a fluid space and looking back at the Maison Domino, its traditional vertical staircase core only acts as another limitation much like other building and infrastructure systems, where spaces are then only attached to. Thus circulation is thus part of the spatial arrangement creating a loop formation. Spaces are thus related together as connected triangulations achieving both a horizontal and vertical loop connections, and also allowing for the main structural elements to be formulated. This continuous triangulated arrangement thus allows for the formation of a connected fluid system looping through the house and equally distributed.

SITE

SITE: KINGS CROSS - (min height range)

SPACE

SITE: CAMDEN TOWN

SITE: ANGEL - (max height range)

17 meters

14 meters

12 meters

Adaptation to different height ranges

Adaptation to different Spatial Hierarchy

SPACE AND CIRCULATION A

LIVING AREAS (Fluid Space) PUBLIC

LIVING AREAS (FLUID SSPACE) PRIVATE

16 Focusing on the selected site, a number of iterations are produced testing the relation of space to circulation loops.

SERVICES (Inter-spatial spaces)

Slabs (Horizontal surfaces)

Intersection

3 SPACES INTERSECTION

5 SPACES INTERSECTION MAIN STRUCTURAL FOUNDATIONS

10 SPACES INTERSECTION INTER-SPACE

A. PRELIMINARY STRUCTURAL SYSTEM

B. CIRCULATION MAIN CONNECTIONS

C. INTER-SPATIAL SPACE

Calculating loads on the different living areas, allows for the generation of a primary structural system that would allow for the loads to be distributed and voxels reinforcing areas of support. The structural system forms three main arched spines.

Using the circulation routes established from the spatial arrangements, voxels are added to ensure a continuous surface between all.

Using the same approach the intersections between spaces are voxalised to create the inter-spatial space taking in consideration heights and flat surfaces. 3 Main Service Spaces are defined as following

Envelope trials.

SITE: KINGS CROSS

SITE: ANGEL

SITE: CAMDEN TOWN

Loads

Support Points

Force-Flow Lines Analysis

C. PURE COMPRESSION LINES ACTING ON INNER STRUCTURE

Structure Reinforcement and Network Generation

In achieving an integrated monocoque, structure was used as the incentive in creating the building systemsâ&#x20AC;&#x2122; networks. Through reinforcement patterns, other infrastructural networks can make use of the intertwining form, creating an intertwining network supplying spaces

Converting the mesh into a low polygon version to analyze it for force flow. The supports are defined as the connection to the rest of the form while loads are specified as the main walkable and flat surfaces. In this example on loads on the inner surfaces are calculated ideally all the system should be working together. Mapping of the force analysis onto the original mesh to allow for material utilization, surface corrugation and channel distribution Further analysis of the surface to identify main force flow lines using the Karamba plug-in, correspond to the fields mapped.

Foundation points are identified as 3 main regions connecting the structure to the ground. Considering loads as the forces acting mainly at all walkable flat surfaces, a topological optimization analysis is used to understand force flow and material utilization.

A. WATERFRONT LEVEL

B. ENTRY LEVEL

C. UPPER LEVEL

A. Compression-Stress Lines

A. Extracted Anchor Lines

B. Principle-Stress Lines

B. Anchor Lines

C. High Concentration Load

C. Weight Map

stretch resistance

20.0

rest length scale

0.3

pressure method

-12.0

gravity [z]

0.0

The use of particle simulation to simulate fluid flow through out the surface accounts for the different infrastructural systems. Using the achieved compression lines as the main reference for the vector field affecting the particle simulation results in an intricate networks that accounts for both structural and infrastructural systems, a structural channel system of the monocoque. On the other hand the â&#x20AC;&#x2DC;inter-spatial podsâ&#x20AC;&#x2122; house the main service and wet areas, as they are directly connected to the house infrastructure network and the different living spaces, thus allowing for a more adaptable approach in how spaces are rendered usable. Having multiple approaches the inside is divided down to multiple smaller spaces connected together through a common space.

Inner structure simulation

A. Reinforcing Strand Formation

B. Channel Generation

C. Monocoque Generation

D. Prototype

ENTRY POINTS FUNCTIONALITY SOFT VS RIGID

B. Common space that can maintain some adaptable characteristics through soft surfaces

Design Iteration 1: Connecting two different levels, the inter-spatial space is divided down to two main levels (common space) and then bifurcates to smaller spaces that are divided between the levels.

Smaller private spaces

Private spaces

A B

Common Space

Design Iteration 2: Considering the whole inner surface as stepped slopes that can be used for both circulation and seating spaces, the main common space thus becomes the inner surface breaking down to smaller private spaces that are reached through the steps.

Infrastructure

Stepped common space

The conceptualization of the role of car (vehicle) in architecture has always been a rarely touched upon topic. This crucial urban interface as a vessel of communication element between user and city was never part of the design agenda, yet it did affect greatly how cities and towns are planned only due to functional and safety challenges. However, a number of proposals were put for ward in an attempt to allow for a more integrated, coherent interface. Le Corbusier fascination of the automobile and speed in the twenties pushed him forward to design and propose a number of futuristic city concepts that were centered on the concept of transportation and the car as a true communication machine. A machine that will allow for the reinstatement of the countryside instead of the overcrowding of the center. 9

interface.01 entry

These notions go hand in hand with the same approach Frank Lloyd Wright proposes for Broadacre city, where again he argues for the decentralization of large towns and cities. Yet this was again not possible unless the design was all based around the use of a link between the city center and the suburbs, the automobile. Frank Lloyd Wright goes a bit further and imagines a flying vessel that allows for more seamless connection with the new proposed acre centered houses. The interface between house and car has scarcely changed over the years, again due to the neglect and complete disregard of car as an integral part of user needs, where it always remained a subsidiary element to the house. A holistic approach to house design demands requisitioning this interface/connection, as part of this established system design. interface.02 docking

VEHICLE AS PART OF HOUSE - A PLUG IN SYSTEM

interface.03 integration-furniture

GENERATIVE PROCESS | INITIAL RESULTS

1. WHEEL SYSTEM

R.V01

R.V02

R.V03

R.V04

R.V05

R.V06

R.V07

R.V08

R.V09

R.V10

R.V11

R.V12

R.V13

R.V14

R.V15

A. Back Wheels Side movement

B. Front Wheels Locking system

1. SIDE VIEW | HUMAN x MECHANIC SPACE | NEW PROPORTION

2. SECTION | HUMAN x MECHANIC SPACE

FRAME 1 VEHICLE CLOSED

FRAME 2 VEHICLE SEMI-OPEN

FRAME 3 VEHICLE OPEN 03

COCKPIT AS CONTROL CENTER | MULTIPLE POSSIBILITIES A. Current Proportions of a Vehicle Ferrari´s main design lines respect certain dimensions and respond to aerodynamics issues, which give hints about aerodynamics and the overall shape of sportive cars. 4.6m 1.3m

B. Initial result from Generative Process The initial skeleton iteration, resulting from the generative process, presented certain scale issues, as well as a traditional approach towards the idea of a frame for the vehicle.

C. Wrapped Envelop The initial skin iteration, resulting from the wrapping geometry process, also presented scale issues, as well as a traditional approach towards the idea of panels that simply cover a vehicle´s frame.

D. Shape Refinement - Skin/Skeleton to Composite

Shape Refinement - Enhanced Cockpit space

The refinement process proposed intends to eliminate the separation between skin and skeleton, pursuing the idea of a monocoque that represents the overall thesis intentions.

The reinterpretation of the cockpit area became a focal point for the vehicle design and opened up the possibility for different uses for the car according to place where it is and its user needs. 4.6m 1.3m

A l t h o u g h h av i n g a p r o t o t y p i c a l a tt i tu d e , t h e n e w protot ype creates a new experience as a result of the performative. The met aphysical dimension of a house and conversation bet ween man and space is hence articulated, where the house att a i n a c e r t a i n ch a r a c t e r f r o m i t s i n h a b i t a n t s .

L I V I N G S PAC E S

MONOCOQUE PROTOTYPING

Prototyping and fabrication starts with questioning the build-ability and scalability of the composite system. Having complex geometry, a chunk system was introduced where the house is broken down and then assembled on site. The prototype tested out different connecting techniques that would support structural integrity and channel connection. A tongue and grove approach proved the most successful. It also allowed for creating perforations (flexible patches) and opening to transverse between the inside and outside of inter-spatial spaces.

RESIN PROTOTYPE: The Prototype system is made out of 3D printed channels and resin surfaces. Channels are connected through the connections and provide main support for the chunk system.

The monocoque surface is of translucent material (resin in prototype) to allow for the connection between user and the performative. It is kept flat for functionality while corrugated on the underside to showcase and celebrate the infrastructure systems/

MONOCOQUE

inFormation Plaster Structural Surfaces

Architecture and Urbanism (DRL) MArch 2015 Design Workshop I - Theodore Spyropoulos - AA TEAM: Camilla Degli Esposti, Georgios Pasisis, Karim Anwar, Wan-Shan Wu

Using plaster as a generative material, the workshopâ&#x20AC;&#x2122;s main aim was the exploration of analogue manipulation of the material in generating geometry, in this case structural surfaces. Taking inspiration from different structural planes, both natural and artificial, like the branching patterns in leaves, Gothic ornaments architecture, and the works by Michael Hansmeyer, the main tool of manipulation was the patterning of flexible form-works to control the plaster formation and create some kind of structural ribs. The exploration slowly develops from horizontal and vertical structural planes, to composite casts. Throughout the experiments different parameters were identified and tested in an attempt to reach a more precise control of each cast. The main parameter was creasing of the fabric (flexible form-work in which the plaster was casted in) using mainly the idea of wrinkling. Other parameters include stitching and pinch points, fabric tension, pouring, fixing points, and fabric dimensions.

The three different phases shown explore the process in reaching control over the patterning process without over constraining the characteristics and flow of plaster.

PHASE 1

Experimentation casts for horizontal surfaces consists of two layers of fabric that creates the flexible form-work, where patterning is done in the lower layer while the upper layer maintains horizontality through extra tension. The formwork is stitched together and fixed to a wooden frame of the desired dimensions of the final cast. Pouring points are marked and plaster is cast in between the sheets.

Patterning of the fabric becomes the main tool in controlling plaster casting. The research focuses more on wrinkling as it allows for surface definition and the formation of structural ribs in the surface. Wrinkling is generated by pulling two points together in the fabric sheet while maintaining a small distance in between to allow for a continuous cast. Pinch points are added to further define wrinkles when cast.

A. Radial Pattern

Moving forward from the basic wrinkle model and testing different wrinkling patterns, 4 main techniques proved useful in space definition; Triangular wrinkling, Radial wrinkling, Linear wrinkling, and Cross wrinkling. B. Cross Pattern

Radial and triangular wrinkling showed more potential in forming more prominent creases and defined structural elements.

C. Triangular Pattern

D. Linear Pattern

Identifying the main parameters to control plaster thickness and form structural ribs, models were scaled up to test how will this affect the casting process and if the procedure was applicable on bigger scales. Using 60cm*40cm frames, a fabric form-work of two layers (upper layer shorter than the wrinkled one) was cut and patterned using first one wrinkling pattern to test only scalability. The pattern used was the triangular wrinkling as it proved to be the most successful of the first four models in forming space definition and clearly forming ribs throughout the surface.

INITIAL TRIALS OF PATTERNING TECHNIQUES

STRUCTURAL PLATES

PHASE 2 Turning the focus to Vertical Surfaces the focus shifts from not only forming aesthetic features in the surface but also ribbing the surface to achieve structural integrity. Such approach made it essential to focus on creating ribs that transverses through the whole surface and transfer loads down. A number of models begin to apply the same techniques used in the surface forms to achieve the required morphology. The initial trials was based on a double fabric form-work with a hollow core. Yet the unconnected double surface proved too lose to hold the plaster and stretched too far on the bottom part creating inconsistent results. However Initial tests provided two new parameters; fabric tension and pinch points (through the whole diameter) to counter act the pressure and weight of the plaster due to gravity. The Second set of models utilized only one layer of fabric to create the form-work (solid core). The pinching through the fabric holding opposite sides created enough force to hold the plaster in shape and articulate the rib formation. Using symmetrical patterning also proved more helpful for ribs to be connected and continuous throughout the full length of the model.

Hollow core; Initial Trials

Solid core; Adjusted trials

FRAME DIMENSIONS: 60cm*40cm*30cm FABRIC DIMENSIONS: PATTERNED SURFACE (OUTER) - 60cm*47.12cm TENSION SURFACE (INNER) - 40cm*25cm

Combining both horizontal and vertical surface patterning and casting techniques, experimentations were done to produce composite elements of both horizontal and vertical surfaces together as one cast. The aim was to examine the possibility of producing structural ribs that would transverse through both surfaces and allow for structural stability. Scaling up the casts, the strength of the pinching techniques were also put to the test. When cast the pattern formed the required connection between the two surfaces. Utilizing main wrinkle patterns that connect together (radial - linear), four symmetrical ribs were formed at the surface and moved down the column. Yet at the middle of the column pressure began to fill up and a huge bulk was formed. Analyzing the digital simulation, the use of a loose pattern and an over pinched base created a pocket in which plaster escaped to and began to adapt to the pattern differently. Pressure filled up till reaching maximum elasticity of the fabric then continued through. Thus, in bigger scale models, pinching should be more considered and distributed along the whole vertical surface to give a more uniform reaction of the plaster.

Side Elevation

FRAME DIMENSIONS: 60cm*60cm*130cm FABRIC DIMENSIONS: PATTERNED SURFACE (SURFACE) - 48cm*48cm PATTERNED SURFACE (COLUMN) - 70cm*45cm

Front Elevation

Side Elevation

Back Elevation

Cellular Automata; Verge of Collapse

Architecture and Urbanism (DRL) MArch 2015 Design Workshop II - Mostafa El-Sayed - AA TEAM: Karim Anwar, Victor Corell Gasco, Alexandra K. Lipezker, Maha Habib

Design Workshop II focuses on the digital testing and manipulation of generative systems. Using Conway’s Game of Life as the main testing grounds, the emergent nature of complex behavior is broken down to simple rule-sets and are altered in an attempt to gain some creative design control, where the slight change yields drastic different formations. The testing is carried on two scales, both 2D and 3D. “The Verge of Collapse”is an understanding of these components and rule-sets that generate 3D cellular automata morphologies and patterns. However it pushes the system more by trying to add external forces in an attempt to gain more design control. Identifying ‘gliders’ as the main agents that interact together and onto which the external forces are applied, the process reaches a point where a slight hint of change collapses the whole design. It is a game of pull and release - poking the system to generate designed formations without breaking down.

CELLULAR AUTOMATA AND GAME OF LIFE

Conway’s Game of life is an emergent cellular automation system that depends on simple rule-sets and cells’ initial states. The original rules are: - If the cell is alive yet it has less than 2 neighbors around it, it will die. Condition is lonely, Survival if 2 only. if (voxels[i][j].state == 1 && neighbors <2) voxels[i][j].state = 0;

- If the cell is alive yet it has more than 3 neighbors around it then it will also die. Condition overcrowding, Survival of 3 only. else if (voxels[i][j].state == 1 && neighbors >3) voxels[i][j].state = 0;

- If the cell is dead, then it will be born if its neighbors are exactly 3. else if (voxels[i][j].state == 1 && neighbors == 3) voxels[i][j].state = 1;

The change in initial state patterns and rule-sets allow for the generation of different patterns in both 2D and 3D - 3D is considered here as only the recording of each generation and accumulating them onto one another.

R(111)

Initial state patterns

R(111)

3D recording of generations

R(111)

Extreme variation in rule-sets either generate more intricate formations or collapse the whole system

Game of Life

Collapse

External Forces Simulating bundling

PHASE 1

The research was broken down to two phases; first understanding the potential and different parameters of game of life, and then the limits of adding external forces to the system to manipulate it at well. The initial alteration of starting patterns (initial states of cells) and rule-sets began to give desirable effects which then came to be known as bundling, the integration and disintegration of cells through out generations created these intricate branches that can be seen of architectural quality. Yet again not all explorations of rule-sets worked out where again some reached collapse state. Filtering out, here is a sample of the selected rule-sets. For the sake of clarity rule-sets are abstracted to â&#x20AC;&#x2DC;Survive (no. of Neighbors), Born(no. of Neighbors)â&#x20AC;&#x2122;

1.2 if (voxels[i][j][0].state == 1 && neighbors <2) voxels[i][j][0].state = 0; else if (voxels[i][j][0].state == 1 && neighbors >3) voxels[i][j][0].state = 0; else if (voxels[i][j][0].state == 0 && neighbors == 3 || neighbors >6) voxels[i][j][0].state = 1; Rule 1.2 - 2,3(3, >6)

Rule 3.3 - 2,3 (3,6,7)

Rule 1.3: 2,3 (3 || >7)

Rule 1.1 - 2,3 (3, >5)

Rule 2.3 - 2,3 (3,7)

Rule 3.2 - 2,3 (3,5,6)

PHASE 2: GLIDER & BUNDLING FORMATION

In Conway’s Game of Life the continuous interaction, birth and death of cells create what is know as ‘gliders’ that oscillate and collide into one another. There are different types of gliders that range in size from 2 to more than 5 cells. The stack of glider’s interactions became the main agents in creating the different branches and bundling effect through out the formations. Analysis of their movement reveal that the smaller the glider the faster and more interacting it becomes, articulating the bundling effect.

IDENTIFYING GLIDERS Through identifying the neighbors of each voxel on scene, Gliders are clustered in arrays (of class Glider) that are then divided into types according to the number of voxels in each array. Three different types are identified.

Type A: Smallest glider type with a maximum number of 4 voxels

Type B: Second smallest glider type - number of voxels range from 4 to 6 voxels

Type C: Average glider type in formations - number of voxels range from 10 to 15 voxels

PARAMETERS

MOVE CONDITIONS

GAME OF LIFE RULES

PATTERN

RESz

According to number of gliders on scene and count number, movement conditions are applied according to each glider type.

Alternating between the first two sets identified in the first phase, helps in maintain the different components in continuous reaction and prevents the collapse of the formation.

Cross formed patterns proved to be the most effective in the formation of clear strands and bundling morphologies.

An overall z res of 50 and 60 steps were typically used for both being enough to yield clear results and technical purposes.

Gliders either move in towards center, or scatter away from center. ex. if(count<#) moveCondition (move in, scatter);

Moving gliders was focused on type A and B as they work as accelerators as mentioned before, and thus allows generate interaction when the system almost reaches a stable state. Movement is either inwards towards the center or outwards as seen in the following diagram, yet too much intervention and the system either collapses or ends up with stacked strands with no bundling in-between as seen in the bellow diagram.

GLIDER A MOVEMENT

INTERVENTION

COLLAPSE AND REVIVAL

The addition of external forces not only allowed for some control over the generative process but also when tested against collapsed iterations, it allowed for their revival, creating more intricate formations and spatial qualities.

ACADEMIC

Street Vending Design Proposal â&#x20AC;&#x153;Design the Processâ&#x20AC;?

Street Vending Design Proposal â&#x20AC;&#x153;Design the Processâ&#x20AC;? - PreMasters Course 2013 AAST, Cairo Team: Karim Anwar, Aziz Metry, Sherif Tarabishy

The design was envisioned as a prototype module for legalizing street vending, and giving them some sort of structure and order. Street vending has become a major problem in most of the world mega cities, yet they compose a significant portion of the population. The proposed design helps integrate this phenomenon with the urban fabric of these cities and still maintain their presence. The designed module is composed of three main elements which are the Node, Platform and structure. The node acts like a tree defining a shaded space underneath for the vending process. Its triangular form and modulation helps in its adaptability to different locations around the city and organic growth. The nodes are plugged in the infrastructure to provide street vendors with fundamental needs. The platform is composed of panels that can be manipulated to create display surfaces and seating. The structure finally is embedded within the platform and can be raised to provide more storage and display space.

MODULE DESIGN

Triangular shading elements forming the module. Each shading element defines a vending space underneath for street stalls to plug in, provided with fundamental services, and utilizing the platform underneath

LIGHTING SURFACE

Aggregation Iterations

CART

Design Iterations A. Iteration 1: Walkable Platform

B. Iteration 2: Seating Arrangement

C. Iteration 3: Display Surfaces

Implementation on a street section; the modules not only serve street vendors but can also act as urban fabric, in this case the models are used as a bus stop in the morning and as selling space in the after hours

A. Street

B. Terminal Space

TECHNICAL SCHOOL PROTOTYPE DESIGN PROPOSAL 2011

Module

Graduation Project 2011 - AAST

Taking on a prototypical approach, the main concern while developing the project was to emphasize its educational value and develop a functional, contemporary learning environment. Education is an ever evolving process that changes to adapt to the needs of time. One particular approach that might have been successful years ago, will probably fail to inspire and motivate students to learn in modern times. In order to get students motivated and inspired these days, they are to collaborate more while not forgetting to cater for individual educational experiences where it is appropriate, â&#x20AC;&#x153;Collaboration is the stuff of growthâ&#x20AC;? as put by Sir Ken Robinson. Placing more emphasis on group based interaction and using diverse spaces to empower such experiences has quickly become the key factor in success when it comes in delivering a fruitful education. Using these concepts as inspiration, the project attempts to design a learning environment that is composed of a passive, transparent and flexible space that encourages collaboration among its users. Transparency provides a connection between the students and their surrounding environment, which allows the character of the place the school is in to seep in to the students, thus making every school using this design unique in terms of the experience it provides to its inhabitants.

The project slowly develops from a malleable design strategy to create a pattern that can virtually be applied to any kind of technical school. The design is loosely based on flexible spaces and modular elements that allows the users to modify it as they see fit whilst retaining a passive transparent, space constantly links the users with the site, which in this case is the main character and main presentation of life style. Taking this idea and applying it to the field of fashion design is a challenge and a proof of concept at the same time. The field of fashion design is highly dynamic and volatile and will stretch the design ability to bend and fold to its occupants needs.

WORKSHOP SPACES ARE PUNCTURED WITH GREEN OUTDOOR SPACES THAT ACT AS OUTDOOR WORKING AREAS KEEPING A CONNECTION WITH NATURE

WORKSHOP SPACE (ART WORKSHOP) +2.00m

INDOOR SEATING AREA

SHOP MODULES

Workshop Modules Plan

Classrooms Level Plan PREPARATION WORKSHOP (-2.00m)

BACKFILL

Entry Level Plan

WORKSHOP SPACE (TEXTILE DESIGN) +5.00m

FASHION EXPO (-1.00m)

WORKSHOP SPACE (TEXTILE DESIGN) +5.00m

SEATING PLATFORM +3.50m

TEXTILE EXPO SPACE (-2.00m)

Using a square shaped classroom helps in accommodating different arrangements and clustering of seating allowing for a more interactive environment that helps in making all students participate. The classes are separated by operable partitions that can be opened creating a shared studio overlooking the workshops underneath.

View of Classrooms

Module

The partition system is the key for the adaptability of space, accommodating different needs. In the tested scenario of a fashion technical school, the following examples showcase the different uses and arrangements possible.

It divides the space down to either four separate small workshop spaces (think tanks), two separate workshops, or one corporative space. It gives different ranges of interaction that works as an incentive for better education.

Allowing for the space to work as one becomes more useful in fabrication and the interaction of the different production phases.

The shape of the panels serves two purposes: light and ventilation. The panels are curved in a concave manner in relation to the sun in order to collect as much light as possible and reintroduce it into the building as diffused light. The light enters the building through perforations in the panels. The perforations or vents are bend to provide amble ventilation to the building’s interior and prevent the build up of heat. “Sail Shades” or “Fabric shades” are tensioned fabric installments that help control the daylight entering the workshop space preventing excess light and glare effect. Such installments take inspiration from traditional techniques in shading streets and public places as the traditional toldos. Glass louvers, operable from the service cores, open to allow in ventilation to interior spaces, the louvers are based on low tech solutions to be easily built. The partitioning system moves in a vertical fashion to allow the creation of open spaces of any form to be utilized for conferences and exhibitions. The panels attached to the partitioning system can be used as display areas that serve the function being held within the newly created space.

METAL CLADDING INFUSED WITH SOLAR PANELS

“SUPPORTERS”

WOOD PANEL CLADDING

School of Architecture Design Proposal; An Interpretation of Space

Year 4 2011 - AAST

The whole design was derived from the main statement of “Architecture is about space”. A lot of work in architecture these days focuses more on the form or the vessel, but in my design I was more focused on the fact that architecture is all about creating useful space. Following a minimalistic approach, I wanted to emphasize the concept of space and allow the user to easily identify with it. In order to drive this point home, I chose to present my design in an abstract package that is anti-contextual to the world around it. Since the school of architecture is an academic institute, I chose to maximize the amount of open, shared spaces as I believe that is the most effective way to allow students to communicate, collaborate and synergies. A student studying at this school will thus come to learn that architecture is but an instrument used to build spaces that induce a certain atmosphere on their users.

Design Breakdown Skylights allow natural light to penetrate deep within space

FACADE DETAIL

The minimal pure forms are wrapped in a double skin of fabric and glass, utilizing the new fabric cladding material “Stamisol” to create a breathable skin. The inner glass panels are operable to allow cross ventilation to occur, moving from the inner light wells and exiting through the outer skin. The fabric also presents a great deal of transparency creating a free, light breathable space.

Amphitheater

The whole design was derived from the main statement of â&#x20AC;&#x153;Architecture is about spaceâ&#x20AC;?. A lot of work in architecture these days focuses more on the form or the vessel, but in my design I was more focused on the fact that architecture is all about creating useful space. Following a minimalistic approach, I wanted to emphasize the concept of space and allow the user to easily identify with it. In order to drive this point home, I chose to present my design in an abstract package that is anti-contextual to the world around it. Since the school of architecture is an academic institute, I chose to maximize the amount of open, shared spaces as I believe that is the most effective way to allow students to communicate, collaborate and synergies. A student studying at this school will thus come to learn that architecture is but an instrument used to build spaces that induce a certain atmosphere on their users.

Extreme + Connective Hub; Himalayas

RIBA Presidents Medals Awards 2010 - PART 1 http://www.presidentsmedals.com/Entry-27161

The mountain range of the Himalayas, located in Central Asia, is currently the highest mountains on Earth. Though it is considered one of the harshest places on Earth, it is also the water source for one third of Asiaâ&#x20AC;&#x2122;s population (known as the water tower). As water on these mountains mainly exist in the form of glaciers, recent increases in climate temperatures have caused these glaciers to retreat. Taking no action to stop such retreat will eventually lead to drought, which in part will bring famine to one of the most populous continents on Earth. My concern while designing the research hub was to create a compact research facility and expo to deliver this exotic landscape to the world, raising awareness about this area and the impact of global warming on it. The design process was built mainly upon spatial experience, to capture the emotional impact that the landscape induces upon its viewer, thus enveloping him with emotional concern about maintaining this area in its pristine form and saving it from the ravishes of pollution.

Preliminary abstract study model

The project was developed through experimental conceptual models to develop interior spaces of the exposition. It is through this that the visitor would experience the true essence of the landscape and journey taken. This spatial experience is divided to three main stages, based on the emotional impact one gets from the magnificent scenery. First, the landscape is intimidating, desolated, and harsh, but then as one moves through it, he touches its serene beauty, peaceful ora, and vulnerability. This flow through different feelings is an ascendant through knowledge (past, present, and future) and soul, reaching self serenity. The interior spaces transform form the harsh, bold lines of the exterior envelope to much softer, curvaceous lines guiding the visitor to the pure, undisrupted scene. As one understands such beauty beyond this abstract landscape, he connects and is eager to contribute, sending a distress signal to the world to stop global warming. Physical models were the primary tool in the development of interior spaces. The spaces were meant to show a certain spatial experience composed of three stages. Each stage is designed t deliver a certain emotional aspect related to the Himalayan adventure.

Final Model Depicting Expo Space: Built around 3 Glacier Cores, the experience transforms from intimidating to adventurous to serene.

The final model showcases the three stages of the spatial experience within the expo space. Beginning with how the landscape is seen as intimidating and then as one ventures through he gets to connect with its serenity

EXHIBITION SPACE MAIN PLAN - (+12m)

RESEARCH FACILITY MAIN PLAN - (+7.52m)

62 FRONT ELEVATION

The form in its abstract shape is a reflection of the harsh drastic environment. It draws its edgy lines and dynamic form from the flow of nature and glacier movement. It cantilevers over the entrance inducing an intimidating approach. Yet the dynamic lines draw in the visitor. The form reacts to the environment it sits in, bending towards adjacent heights and stretches, reaching out to Everest, an iconic character symbolizing the mountains cape. It is a rather abstract, desolated form against this minimal landscape. The following diagrams depicts the pattern of the openings on the facade. The pattern is a representation of snow fractals and sastrugi flow lines. As one gets closer more detail is seen while on the inside the openings gradually shows glimpse of the exterior.

Mapping of Openings on Facade

EXPO SPACES A-B-C A: The exposition is reached through an escalator that punches through the research sector, thus allowing visitors to see a glimpse of the work done in the research labs. As one reaches the exposition level, he enters an introductory space that continues the intimidating approach initiated outside. Dark Grey monolithic walls surround the user, while bluish white LED lights softly sets a dark ambiance. The LEDs slowly fades as users come closer retreating into the main space. Screens embedded in the wall begin to bombard the user with various information about the expo’s main message. This vagueness strengthens the INTIMIDATING/DESOLATED feel required. B: As the user moves further inside, he enters the main expo hall “Glacier Expo”.The space opens, transforming into a more VAST welcoming space. It’s soft curvilinear lines in contrast, yet Grey colors give a sense of life and adventure. Scientific information is displayed through hologram interactive 3D models and screens. Glacier cores carrying history of the place stretch vertically guiding the visitor up the ramp where he begins to explore LIFE ON THE EDGE (second stage of expo). Panoramic screens simulate the climbing experience of past mountaineers, while other panels display the belongings and history of monks and Sherpa. Their names are engraved in light in their traditional language C: Ascending to the “Platform”, the visitor attains of the undisturbed scene, and this understanding of the beauty beyond the abstract landscape. A bond is formed between the visitor and the Himalayas. Positively charged the user becomes eager to contribute. Broadcasting Pods are located nearby for any visitor to add his voice in stopping global warming. The “Wall of Sounds” displays those who come before; ranging from regular people to celebrities that have chosen to join the campaign.

A: Visitors Approaching Expo Space

B: (Left) Glacier Expo C: Serene Space

SHOWCASING THE EXTREME ENVIRONMENT Using different hologram 3D forms and interactive screens, visitors slowly unravel the different secrets of both nature and culture, while glimpse of the outer environment keep the journey situated and maintain a constant connection between visitor and scene.

The whole project is elevated above ground to not built directly onto the permafrost which would melt from heat generated from the building

1) Entrance Lobby 2) Labs 3) Administration Offices 4) Exposition Introductory Zone 5) Restaurant 6) Kitchen 7) Main Lobby 8) Main Exposition Hall: “Glacier Expo” 9) Communication Sector 10) Vertical Glacier Cores 11) “Living on the Edge”

For more details about the project visit: http://www.presidentsmedals.com/Entry-27161 67

ART GALLERY DESIGN PROPOSAL ARCHITECTURE TECTONICS

ENTRANCE FLOOR PLAN

LONGITUDINAL SECTION

Year 4 2011 - AAST

A design proposal for an art gallery acted as the testing grounds for detailing and articulating the different design tectonics. The design and form generation was mainly driven by the plot shape resulting in two intersecting triangular volumes. Having one acting as the main gallery, the other housed all the offices and infrastructure. The challenge was adapting the forms to the different spatial and circulation needs while still maintaining a minimal feel to the exhibition and not interfere with the main function of showcasing. Drawings included also the design of lighting/electrical, HVAC and plumbing systems that would be implemented.

THIRD FLOOR PLAN

CROSS-SECTION

PROFESSIONAL

Revolution Center A C o m m u n i t y â&#x20AC;&#x2122;s T h e r m o m e t e r

72 72

Holcim Awards 2010/11 Design Competition Team: Karim Anwar, Sherif Tarabishy

D i ffe r e n t b u i l d i n g t y p e s i n a r ch i t e c tu r e o c c u r r e d i n response for the various need of the people. One of those needs that travel nowadays bet ween countries is the people need to revolt, not just against a ruling part y but against ever ything that is not right i n t h e i r o w n l i ve s . H o w c a n a r ch i t e c tu r e i n t r o d u c e a new building t ype in response to this need; just like hospit als were created for those seeking reme d y, w h a t w i l l i t s u s e b e , w h o w i l l b u i l d i t , w h o w i l l h ave a c c e s s t o i t , w h a t c a n i t o ffe r t o e n h a n c e or regulate this need. All these questions lead to t h i s p r o j e c t ; t h e r e v o l u t i o n c e n t e r. T h e c e n t e r e x i s tence will be like a grid covering the whole count r y, t h e s i z e d i f f e r a c c o r d i n g t o t h e w e l l b e i n g o f the surrounding context in education and income level, where both are high; the centers there will be the main ones that funnel volunteers and funds to the rest of the centers. As a trust bond bet ween the government and the people, governments only i s s u e t h e l a n d s fo r t h e c e n t e r s a n d o ffe r a s t a r tu p fund, and then they have no control over the cent e r, o t h e r n e c e s s a r y f u n d s s h a l l c o m e f r o m o t h e r entities. The centers shall be operated completely by the people. Through light sources bet ween the skin and others bet ween the cubes, emphasis on the center is c r e a t e d by t h e l i g h t ch a n g e r e d o r g r e e n n o t t h e a r ch i t e c t u r a l f o r m b e c a u s e t h a t i s w h a t r e a l l y r e p resents the voice of the people and that is what will be understood by ever y single person no matt e r t h e i r b a ckg r o u n d o r c u l tu r e . The main use for the center is to help anyone with a problem, people go with their problems to the center or can access the center website from their home, volunteers categorize the problems in the centers common dat abase, and they deliver them to the appropriate authorities and then tag the problem with a countdown, with the piling of problems that ended their countdown and no received answer from the authorities; this automatically controls the grading of the center light from green to red, announcing a near protest, the size of the protests depends on how many centers still have unanswered problems. Other functions include Illiteracy eradication classes, political awareness c l a s s e s , t e ch n i c a l wo r k s h o p s , c o m p u t e r c l a s s e s , exhibitions and art galleries, seminars; the centers can also be used during elections as poll centers, etc.

BAB El-BAHRAIN BLURRING THE EDGE

1) Serene Space 2. Cascading water,Children Museum Underneath 3. Cascading water with Postal Office underneath 4. Event Space 5. Shaded Eating areas near vendors in Gove. Avenu 6. Green Elements help soften the plazaâ&#x20AC;&#x2122;s edges inviting people in and changing scene throughout the year. 7. BAB

Open Ideas Competition 2012 Team: Karim Anwar, Tarek Kattaria

“From the day of its inception, Bab Al-Bahrain formed a connection between the lives of Bahrain’s citizens and their primary lifeline at the time: the yearly pearl expeditions. The Bab formed a two–way portal: one for the citizen’s to access that harbor and the sea beyond that and one for the seafaring merchants that came to sell their merchandise to access the thriving city. Over time, the Bab was shadowed by monoliths of modern architecture that symbolized the cities progression into the new millennium and its metamorphosis into a global business hub. This disrupted the homogeneous urban scale that was established as the city’s cultural identity since its days of being a nexus connecting the horn of Arabian Peninsula to the Tigris and Euphrates rivers of Iraq. The introduction of the new skyscrapers, that now dominate the shoreline, formed a sharp contrast in scale between them and the rest of the city. This formed a DE-facto barrier between the city and the sea. This was further emphasized by the highway separating the majority of the city and the new land reclaimed recently. Since the connection between the people and the sea was long severed with erection of the new towers, we were motivated to bring back that connection through our proposal. We envisioned a space that brought the citizens of Manama together, provided them with an abstract link to their past (the sea) and future (skyscrapers) and kept at its core Manama’s identity: the Bab.”

Event Space

Starting with a clear space to cover the whole plaza, the platform transforms along the main axis of the BAB that once reached the nearby harbor. A main element rises at the highway end forming a direct access to the BAB instead of the roundabout re-fixing it as the city’s portal. The raised platform leads pedestrians to a ‘serene’ space where the essence of what forms the seafront is captured, the horizon of “sea” and “sky”, blurring the skyscraper edge created.

75 LONGITUDINAL SECTION

CONNECTED TOWER: THE THING

AA Istanbul Visiting School 2012 Team: Karim Anwar, Sherif Tarabishy, Omar Etman, Gulcan Ay

“ C o n n e c t e d To w e r ” t a c k l e s t h e c h a l l e n g e o f r a d i c a l l y d e c o m p o s i n g t h e tower in order to liberate it from its current fixed t ypology dominated by t h e M o d e r n i s t p a r a d i g m . V i s i t i n g S ch o o l O v e r v i e w I n a p p r o a c h i n g t h e d e s i g n o f t h e t o w e r, w e w a n t e d t o c r e a t e a t r u e l a n d m a r k t h a t wo u l d b e fe l t a n d c o n n e c t e d w i t h f r o m a l l r e g i o n s o f I s t a n b u l , y e t m a i n t a i n a t r a n s p a r e n t a p p r o a ch t h a t w o u l d n o t i m p o s e ove r t h e ex i s t i n g r i ch s k y l i n e o f t h e c i t y e i t h e r p hys i c a l l y o r a c o u s t i c a l l y. T h e t o w e r w o u l d a l s o a r t i c u l a t e t h e s o u n d s o f t h e c i t y t h a t c r e a t e i t s r i ch a m b i a n c e a n d p r e s e n t t h e m i n a u n i q u e m a n n e r t o t h e v i s i t o r s c o u p l e d w i t h f r a m e d v i e w s o f t h e c i t y. T h e t o w e r ’s s h a p e i s c r e a t e d f r o m t h e b u n d l i n g o f i t s e x t e r i o r s k i n c r e a t i n g “ S o u n d Po d s ” t h a t f o c u s e s t h e c i t y s o u n d s . T h e t o w e r i s d i v i d e d t o d i ffe r e n t l ev e l s t o c a t ch t h e d i ffe r e n t l e v e l s o f s o u n d e x p o s u r e , f r o m t h e b u s y c i t y s t r e e t s t o t h e e ch o i n g p r a y e r c a l l s o f t h e m o s q u e s and finally the serene wind sounds on top. The Bundling densit y on the exterior skin helps in blending the tower with the surroundings t h r o u g h o p e n i n g a t t h e m i d d l e g i v i n g a d e l i c a t e f e e l t o t h e b o d y.

Using the new “Soundlazer” technology that focuses sound like a laser beam to specified points, the tower broadcasts different sounds to different regions of the city. The sounds help in activating the city, and creating a chance for interaction. This keeps a direct connection with the tower even if not seen. The Soundlazer system is not heard except for who intercepts the projected sound beams, thus preventing the tower from competing with the traditional city sounds, breaking the traditional image of just a static landmark.

Sound Pods - Exhibition Spaces

Form Generation and Development

A. Base Case

B. Altering Rule-sets

C. Generating Sound Pods

D. Final Form

The first level (Ground level) introduces a more live public scene in the rather bland office oriented district. Green spaces are introduced and extends onto the tower’s skin, filtering the noise coming from the highway and shelters this green oasis. This captures the busy diverse sounds of the traditional Turkish squares and streets. Second comes the sound “PODS’ that help focus and filter the city sounds as one ascends the tower, breaking down the sounds to different levels of exposure. The pods’ shapes are inspired from mosque and church domes that help transfer sounds through its walls focusing sound on to the user. As one reaches the platform, the sounds reach their minimal which are the abstract sounds of the wind and the complete scene of Istanbul.

City Sounds

Sound Shadows Creating Sub-Spaces

CYPHER CITY:

ανεμόμετρο

AA Athens Visiting School 2012 Team: Karim Anwar, Sherif Tarabishy, Omar Etman

The AA Athens Visiting School will embody in the design process, materials and scientific devices as vital parts of the end-creations. It will use those to bridge the two worlds of the inanimate and animate and in its’ methodology, it will rethink habits of designing, building and experiencing space in its’ horizontal dimension. Here, moving from one place to another becomes the starting point for developing a working kinetic prototype, energized by motion upon horizontal planes... In “CIPHER CITY”, horizontality becomes essential reference as dynamic, plane pathways of information get unfolded into parallel waves of beautifully crafted experience models. Visiting School Overview The quiet street of “Apostolou Pavlou” located just under the acropolis, Athens, is often viewed as a secluded and desolated area. The design developed from the idea of creating a wall that would help in activating the street through reacting to external stimuli. The wall would be an abstract presentation of “WIND”. Wind always have been an important element in the Greek mythology. The wall would showcase wind in different phases, affecting pedestrians walking up and down the street. The wall detects the current air speeds and creates accordingly gathering nodes and event spaces.

Different adaptations of the wall to the seasonal winds and how it helps in creating gathering nodes and activities in accordance to the wind quality and speed.

CALM

Huge vertical protrusions deflects the winds away, creating pockets and enclosures for people to rest and sit in.

LIGHT BREEZE

WINDY

Small protrusions create light wind speeds, appropriate for gathering areas and public events.

Random strong protrusions help either break strong winds or accelerate weak winds causing people to move further ahead.

STRONG WINDS

Bigger horizontal protrusions help focus wind and thus accelerate its speed, dispersing away people.

The wall detects the movement of people along the street, and reacts through creating different profiles, altering the wind speed throughout, through which it gather people at nodes or disperse them according to their density.

ανεμόμετρο

Different wall sections, creating different wind speeds which in turn affects the circulation of pedestrians passing through the street.

W5 Creating Sheltered Areas

W1 Multiple Protrusions to Collect and Accelerate Weak Winds

W2 Accelerating Strong Winds - Manipulating pressure

W3 Accelerating Weak Winds

W4 Breaking Down Strong Winds

W6 Multiple soft protrusions creating a light breeze for gatherings, while numerous openings keep air passing through preventing the collection and acceleration of winds

W7 Mimicking Wind Movement

Soft Protrusions; Light Breeze

Strong Protrusions; Strong Breeze

PROJECT: HOME

Private Residential Project

Located in Cairo, the client wanted diverse mood boards for the living areas, that can give him a chance to mix and match yet also feel coherent. With the ever changing market and economy of Egypt, the availability of furniture elements are up to grabs, thus the selection was based on creating a youthful yet eclectic feel that commands a sense of a cool, comfortable place where one can feel at ease and identifies with. Aiming for a light airy atmosphere, the design proposals utilizes natural materials, pastel colors, and patterns creating different corners and spaces that each say something about how the client uses the space. The proposals were presented as Hipster chic - Industrial - Contemporary On the other hand, a detailed design for the wet areas were asked for. Being the informal center of home, where spontaneous talks unravel and life issues discussed, the kitchen design is more of a vintage homage that creates a warm corner in the flat. A place where a simple meal can be enjoyed while having a chitchat. The bathrooms around the flat were designed to be as literal bathhouses with only the dominant sense of earth (material) and water act as the main character. The advantage of having service areas not overlooking an inner court or shaft gives the opportunity to actually enjoy these spaces more than just service spaces but rather to unwind. The Design is kept minimal to enhance the serenity of the space.

HIPSTER CHIC

INDUSTRIAL

CONTEMPORARY (REINTERPRETED CLASSICS)

An Industrial Interior makes use of the raw finish of materials; bricks, steel, reclaimed pieces and wood. This example shows a composition of different pieces together yet maintains a clean fashionable look rather than the usual rugged look that became stereotypical

Dark bricks, and concrete set a more complex mood.

Metal Legs with clear visible connections and screws maintains the rugged feel

The use of an avant grade portrait (e.g. Allen Jones Portrait of Kate Moss) allows for teasing a more trendy and fashionable feel. A black leather couch softens the atmosphere yet maintains a clean raw look.

Rugs are swapped for cow hides and organic looking cuts

Hipster Chic is both a mixture of minimal features and the fashionable reinterpretation of the old vintage essences. The first alternative is inspired by Nordic interiors with a main element as the focus here the teal blue sofa.

Pale whites and vintage wood makes out the main setting

As it is with clothes, artistic contemporary patterns puts the “hipster” in the scene Osaka Sofa - BoConcept Furnitures; The vibrant teal color focuses the space around the sofa, it allows for the different colors to be teased out and appreciated

Low tables give a more youthful feel to the space and the use of raw concrete again is a material statement

In this alternative the classical feel of natural wood colors and complementary blue tones down the industrial feel and brings it more closer to a classical 20th century interior. Stacked portraits, concrete material, copper pendants and iconic set pieces maintain the youthful, industrial, and dynamic feel of space.

Tom Dixon’s “beat” pendants coupled with the “void” pendant

Creating a smooth transition between background and foreground and increasing the contrast between wood and fabric brings out the beauty of both

Monaco Sofa - BoConcept Furnitures

The use of gold and copper satin textures ties in the copper pendants and highlights the space

Hans Wegner Shell Chair

Kitchen Design

Lighting levels from the ceiling is kept as an ambient while working lighting levels are all produced from spots underneath the upper cupboards. Integrated Counter-top Light - Warm led light strip - Ikea

Protruding Porcelain Sink

ELEVATION B

Wall paint - off white color, ceramics will only be applied in patches as shown

Subway Ceramic tiles (4.5m x 3m)

Vintage - textured Extract unit, matte black color - Even though extract is electrical, the unit acts as a highlight against the ceramic wall

Seating, a cushioned 2 seater + steel chair (preferable to be kept to 1 chair only, due to space considerations)

Vintage-Edison Pendant Light; allowing for a soft warm ambient, that reflects softly on the ceramic facets - giving a soft glimmering effect and accentuates the form and texture of the ceramics

The use of sudden strong colors, the blood-red stove, sea-foam chair and patterned cushions help in creating different - yet spaces out focal points in the space that help create different corners of atmosphere

Separate Stool - An incentive for small chats while cooking and preparing food.

Dark - Black slate flooring, antic finish, Can be split down to a fridge and a freezer, the design is based on the biggest dimensions available

Bigger area of Ceramic tiling to be left clear as a celebration of material and the smooth faceted surface.

Subway tiles - or can be substituted with the referenced tile picture - Source: Mahgoub - PORC CARRARA MOSAIC BLANCO - Number: 0681001600751010 4.5m x 3.0m total area needed

White - off white wall paint

Black Slate flooring - antic finish, maintain a subtle reflect that would help reflect daylight and brighten up the space Natural stone texture should be checked before buying batch.

The Ceramic Area is located between the beginning of the column on the left to the center of the beam on the right side.

Location of Extractor is considered in regard to kitchen furniture size and appliances to be located above stove

ELEVATION A

PYRAMID