yazeed Alamasi portfolio STUDENT WORK (2013-2018)
Chosen architectural . Sketches, Photography, Models and Résumé
Research Pattern Typologies
1
Competitions: Iconoclast
3
Art Prison
5
NASA Apps Challenge
7
workshops Morandi-sque
8
School projects Business collage
10
Boston Arcade
13
Dammam Train Station
15
Swaket Devalopment
17
The 21th Saudi House
24
KFUPM Fire Station
25
Althuqbah school
26
Mevlevi Resturant
27
Artwork
table of content
Lines Explosion
28
physical models
29
Pattern typologies
Patterns typologies is basically an experimental method that generates graphical patterns which become the bases of a building!. With the reference to the church typology that consist of only two intersected lines. What will happen if we have more?
“Ongoing personal research, 2018�
What if the lines were in different rotation, thickness, and scale?
1
144 Pattern First step in the experiment is using a single line, then trying to generate set of different patterns using the same line while changing its composition, thickness, scale and rotation degree. The result will be endless. However, new rules of elimination
Patterns set
must be determined depends on the function of the pattern typology. The research is ongoing, reached until now 144 different pattern compositions that have various the pattern compositions now reached 144 pattern board. After refining the available result and categorize them based on function and shape, the next patterns batch will be different and more efficient in the way they are generated.
2
Iconoclast competition
The park within a city is a representation of nature that has been made absent in the urban surroundings, this inherently means the same dichotomy could be applied to the city around the park, as an artificial representation. This
Collaboration with Zaid Kashef Alghata and Fatima Khamis, 2018
hierarchical superimposition of a park that mimics nature creates a false reality, one that is never presented but always represented. To heighten this critical relationship with the visitors, a Cartesian slicing is applied. This allows the city grid to find itself into the park, however, the grid acts a framing device rather than an organization system. By sampling the grid instead of filling its zones, the diagram starts to incorporate more flexibility, where it lets go of the notion of polite setbacks. These steps allow both the ‘urban’ and ‘picturesque’ to intersect more often to increase the moments where representation is no longer that, but the presentation of the object.
3
4
west elevation
south elevation
east elevation
north elevation
the art prison Collaboration with Yasser Al Ali, 2018
Our approach to this intervention focuses on reflecting the spirit of art on the old fortress while respecting its aesthetics and vocabulary. The design process started with a comprehensive analysis of the architectural elements and the treatment of the fortress. After the analysis, we ended up with a typology that worked as a guide to the design. The intervention consists of two lines that respect the continuity of the pathway leading to the fortress and revolve around it. Each line carries several functions, yet different from each other. The lines revolve around the fortress in a way that takes advantage of the external views as well as make new opportunities for internal views and spatial qualities. These lines are composed and designed in a way that work in parallel with the fortress rather than dominating it. They start by rising from the ground upwards then ground around the fortress in different heights. Thus, they do not interfere with the openings and block the views of the fortress. Due to the harmonious performance with the fortress of the two lines, we gave them their distinct character in the skin. The openings of the two lines simulate their movement.
5
n connections to the fortress 3
art academy to commercial connection
5
1
library to commercial connection
2
plan A
plan c
gallery to art academy connecaccess to art hotel 6
4
plan b
6
5
plan d
1. plaza 2. services 3. studios 4. workshops 5. galleries
plaza
6
nasa apps challenge
This project is a collective work by a group of students from various disciplines to participate as a team in NASA international apps challenge. The team consists of five members: Mechanical, Electrical, Software and Chemical Engineering students including my self ( architectural design). The team chose “Mars habitat design” among the rest of the challenges of NASA to reap the third
Collaboration with Hazim Al Qethami, Turki Al
place locally among the rest of the participations . all work must be produced in two days, under
Otaibi, Rakan AlQahtani, Saad AlSuba’e , 2017
the supervision of the organizers.
DESIGN PROCESS After looking into several habitat examples that disrespect the human proportion, psychology and desires, our aim is to create a living space that please the users and make them happier and more productive. Since we have a fixed volume we tried to maintain the best hight for the users, to breath, and to have more open space than compacted one. But with the space program we have, it will be very difficult to do so without dividing the space to create more levels . Here comes our solution: By creating mezzanine levels that allow us to get more hight and help us to divide the zones even more.
7
ELEVATION interpretation PLAN interpretation
morandi’s Painting
Morandi-esque: Still Life After Dark
This workshop engaged in architectural acts of translation; advancing an understanding of how the shift from a painterly perspective that Peter Eisenman describes as ‘merely a membrane, a line between a gure and
“Workshop by Zaid Kashef Alghata, 2018”
ground’ to an architectural ‘pro le [that] is a three-dimensional, formed container’ producing a gap in the semblance between what can be construed as either a speculation of the painter’s imagination and the physical reality of the authentic object. e legible correlation between representation and the represented, inherent to the practice of architecture, between the drawing and the model, or the drawing and building, involves techniques of analysis,
the interpretation
construction, translation and documentation. Morandi stated that ‘there is nothing more surreal or abstract than reality’; therefore, the work was produced using literal translation of the painting. Attempting to render the objects with a certain degree of autonomy, yet ensuring they strongly coalesce with their source. Paradoxically, the inclusion of a certain degree of estimation is germane in the interest of constructing information that is not made visible. e work followed Robin Evans’s understanding of architectural drawing as not ‘dominate but always interacting with what it represents’, which was used to justify Morandi’s subtle variation in representing the same group of objects. e presence of such imaginative discrepancies yields formal improprieties and produces objects that exist in multiple guises. e initial exercise required a rigorous geometric method of tracing the object’s silhouettes, through the use of arcs of a circle. e traces were threedimensionalized through projections using the distance of the object from the painting’s horizon line and their perspectival angle, preventing distortion to Morandi’s outline.
8
BOTTLES INTERPRETATION/ CONSTRUCTION DRAWINGS
9
Business collage
Level: Third year Duration: 1 Semester
1. THE PROGRAM
This project was a result from an experimental
The first stage of the design process was
design studio. Students were equipped to
a case study we did for business collages
come up with a design technique in order
and then tried to get the best program out
to integrate three different components;
of it with respond to the site analysis of the
academic, commercial. Eventually, through this
project. see the figure on the left
unconventional approach, the designer will come up with a unique language.
2. DESIGN TECHNIQUE
3. THE INTEGRATION
At this stage, each student has to came up with
This stage is about integrating the two extremes:
his own technique by creating his own design
The ideal functional program of the collage and
vocabulary that he will follow till the end of the
the design technique with its complicated form.
project. The technique in this project is dealing
after modifications and developments, this form
with the main functions of the program as a single
achieved the best solutions for both.
lines, that overlap and twist but not intersect at all. The reason behind that is to explore how we’re going to perceive architecture if it’s not intersecting objects as we always perceive it.
10
UP DOWN
11
SOUTH WEST SKELETON
NORTH EAST SKELETON
section A-A
section b-B
12
DESIGN PROCESS (PART 1) The design process of this project consists of three different parts: First, each student was assigned to a building. Students were asked to analyze the facade and discover the techniques behind them. Next, all the analysis of previous assignment were used to recreate a new design techniques and use them for creating our own facades. The technique has to be systematic and based on certain factors (ex: proportion, texture, etc). it also has to be completely different from the precedent one and related to it.
FACADE DESIGN The compositions of the facade are: - the depth introduced by the rough skin of the facade, - the extruded windows that cast different shadow effects Level: third year Duration: 1 Semester
Boston Arcade
This project was done during the study abroud
- the gradient distribution of the windows.
program at Syracuse University, NY, U.S.A (fall2015). Working on a mixed-use building located in the city of boston. Respondeing to the surrounding and context.
13
DESIGN PROCESS (PART 2)
the architectural drawings
Since the whole project is about �Arcade� the aim was to
The main design vocabularies of the previous facade are
blend the building with its context by reversing the design
reused and shown clearly in both facade treatment and
process to be from outside to inside. coming to the last
spacial design. In plan, the progression appears vertically
part which is linking the facade design with the spacial
in the height of the arcade that goes lower till the
program by using the same design vocabulary that were
arcade ends. The same horizontally, the plan starts very
used in the facade design. the focus in this part is on the
narrow and gets wider and wider tell you reach the other
spacial experience of the arcade and how all the building
point of the arcade. In both the elevation facade and the
parts are well integrated .
arcade facade, the use of progression is presented again through the different sizes of the windows.
14
Level: final project Duration: 1 Semester
Dammam train station
Dammam train station is an existing station that is not functioning well anymore due to it’s old structure and it’s limited capacity. However, The
“Graduation project”
Saudi Railways Organization (SRO) is asking students and professionals to submit new design proposals for a larger station following new set of rules that matches the vision of Saudi Arabia (VISION 2030)
FORM COMPOSITION
VISION REQUIREMENTS
The first step is to create a simple rectangle facing the main street
“self-dependency” is the most important requirement that vision 2030 is focusing on. Having a station that
to maximize the views. Then, twist the rectangle so it creates a clear
makes it’s own revenue and use it in order to operate with no governmental aids. Thus, the commercial
entry point. This operation will separate the mass into two. The
component must be dramatically expanded and the program has to be modified to be open to the public.
transparent one on ground acts as a public zone and the bigger
Acting not only as a station for traveling, but also a truism destination.
one on top for travelers.
15
Travelers experience Since the train stations always in a state of motion with people running around, training moving so fast, etc. The experience of space here is imitating this motion and it goes along with the travelers until they reach the train. Through the massing itself and the stripped skylights that goes with massing movement to feel like you are inside a loop of endless motion.
16
Level: forth year Duration: 1 Semester
swaikit development
Collaboration with: Yasser Al Ali and Mohammed Bafail
This studio emphasizes the comprehensive nature of
Swaikit is the oldest commercial market in Alkhobar, Saudi
We approached the case through conducting analysis then
architectural design. Students utilizes a compressive design
Arabia. It is a major attraction for people in the country as well
diagnosing the issues. Our intervention was to renew the area
approach that addresses and integrates various architectural
as the arabian gulf. The site consists of 36 blocks divided to 4
and enhancing its quality while preserving the valuable buildings
and urban issues as related to the context.
groups. Our group took the 14 blocks in the south.
and giving priority to pedestrians.
1) ANALYSIS 1.1 site & accessibility
1.2 NOISE
1.3 STREET THEMES
The Type of Shops each Street Has
1.4 WALKABLE DISTANCE
17
1.6 STREET SECTION
1.5 SUN, SHADOW, AND TEMPERATURE 9 AM
2 PM
1.8 PLOT STATUS
1.7 PARKING SCENARIO
5 PM
1.9 PROGRAMMATIC USE
1.10 STORE FRONT PROGRAMS
1.11 BUILDING HEIGHTS
SITE
+10 year-old building
-10 year-old building
emplty
under construction
under reinnovation
1.12 FACADE & SIGNAGE ANALYSIS
facades Parti type 1#
Residencial
Commercial
Religious
Vacant
Coomercial
Realestate & contractor
Maintenance
Restaurant
ATM
Equipment
COMMON FEATURES
facades Parti type 2#
18
2) PROBLEMS, GOALS, AND OBJECTIVES 2.1 PROBLEMS
A. lack of pedistriam movement B. inadequate circulation C. random elevations, zoning, and proportions
3) CONCEPT & IMPLEMENTATION 3.1 DEMOLISH PLAN
3.2 NEW STREET THEMES
3.3 NEW ZONING
3.4 NEW HEIGHT REGULATION
3.5 NEW BUILDING MASS AND GEOMETR REGULATION
3.6 NEW BUILDING MASS AND GEOMETR REGULATION
As an outcome of the previous analysis, this map indicates the blocks that could be demolished and replaced with new buildings. Also, it shows the blocks that must not be touched.
The new zoning was based on the demolish plan and the arrangement of the street ciculation as well. The main change was turning King Fahad St. to a pedistrian street.
2.2 GOALS
A. reordering the district but keeping its diversity.
2.3 OBJECTIVES
A. harmonizing street themes B. establishing an attration focal point C. setting new regulations
3.7 STATISTICS AFTER THE NEW PLAN
3.8 FACADE FOR NEW BUILDINGS
cutting tunnels through the blocks to create pathways leading to King Fahad St. in order to enhance the pedistrian experience.
3.8 FACADE FOR OLD BUILDINGS
19
3.9 KING FAHAD ST. DETAIL
King Fahad St. Section
4th St. Section
20
Level: forth year Duration: 10 days
swaikit art gallery
The second phase is an individual work. It is focusing more on the architectural aspect through chosing one plot of the urban fabric then design a building in it that follows all the urban analysis and the solutions suggested in order to
“Second phase�
test them.
Simple shape
Elevated for social activities underneath
Following new hight regulation
Artistic features
project importance According to its location, prince sultan street has the most historical values among other streets in the site, and one of the solutions proposed to enhance the street and make it blend with the modern surrounding is to have it like an art street with paintings all over the street and hosts lots of activities such as: out-door bazars, galleries, book stores, etc. Also, having a galley that catch the eyes of the visitors and give the street its art theme is the aim here. The gallery will attract both families and singles (art lovers). It will be also a distention that adds to the importance of King fahd street.
21
22
23
Recently, the issue of identity is getting more attention than before. Globalization is one good reason for this reaction of bringing the identity back anyhow. This exercise was about designing the Ideal Saudi house in the 21th century. For me, identity should be reached ONLY by using the past organization elements. Since they’re the only elements that were put based on factors that we still dealing with till now. Such as climate, culture, etc. While decoration elements were only representing that period of time (it’s not for our time anymore). If the idea is already there and it proved its efficiency why don’t we just modify it to mach our time and needs.
Level: forth year Duration: 1 week
the 21th Saudi house
My proposal is to have the element of “court yard” that goes back to the old traditional Saudi houses and it solves most “if not all” the problems that the 21th Saudi house now is facing. Such as privacy, harsh climate, etc. The idea in this proposal is to have more than one court (light well) instead of having only one large court as it used to be in the past. Tracking the sun path and placing the right court in the right place with the right angels will provide indirect sunlight to all spaces in the house without the need of having large openings (windows). This house model could be clustered as well, to reduce the number of surfaces exposed to the sun and to creat small passages for pedestrian in between.
24
Level: second year Duration: 4 weeks
K.F.U.P.m fire station
The design of King Fahad University of Petrolum and Menerals Fire Station. The concept is to represent fluidity through this organic form which is the basic element that is used in fire fighting
N
N
25
Level: second year Duration: 2 months
Althuqbah intermediate school
The design of an intermediate school in Althoqbah neighborhood. The idea is to have an environmental friendly school, responding to althoqbah polluted environment that’s due to the large industrial area which is part of althoqbah. Pushing the building down, creating a public park on the roof of the school (specially that althouqbah has no parks), and using the thermal mass under the ground will save a lot of energy in cooling the building with lots of other green and sustainability methods and techniques.
26
Level: second year Duration: 2 months
DESIGN CONCEPT
MEVLEVI RESTAURANT
GENERAL INFORMATIONS The Mevlevi Order is a Sufi order founded in
The identity of the restaurant was chosen based on the lack of Turkish restaurants in the town. It was also based on a survey handed to the public around the site. The survey results indicted that most of the site visitors go there (cornaich) either for BBQ or for
Since the identity of the restaurant is a turkish
Konya (in Turkey) by the followers of Jalal ad-Din
grills, the concept came from a very popular
Muhammad Balkhi-Rumi, a 13th-century Persian
Turkish heritage that played a great role in the
poet, Islamic jurist, and theologian. They are also
Turkish history and culture, which is the Mevlevi
known as the Whirling Dervishes due to their
order!
famous practice of whirling as a form of thekker (remembrance of God).
exercising, which brings the idea of the Turkish grills restaurant, that will please both types
In 2005, UNESCO proclaimed the “The Mevlevi Sema Ceremony� of Turkey as amongst the
By understanding the Turkish
Masterpieces of the Oral and Intangible Heritage of Humanity.
restaurants program and the Turkish culture I came with mevlevi design concept s
the architectural drawings
The restaurant is divided into two sections, between them is the kitchen. In the ground level we have the indoor dining while the outdoor dining is on the first level. The ramps and curves of the building is an important aspect that I want every visitor to experience.
27
In the future, horizontal planes are not the dominant anymore, Gravity is not an issue at all, future landscapes will have millions of different planes that doesn't have to be horizontal. It will have so many crossing planes in all directions, with all of the 360 angles, if not more!
art work “lines explosion”
In the future, horizontal planes are not the dominant anymore, Gravity is not an issue at all, future landscapes will have millions of different planes that doesn’t have to be horizontal. It will have so many crossing planes in all directions, with all of the 360 angles, if not more!
This art work was selected to be showcased at “futuer landscape gallery” that held in Vince, Italy 2017.
28
Physical models
In every project we have, the physical model is an essential requirement. It is the best way to illustrate and explain your idea in a thorough manner. The way of making models differs from one project to another. Through all my projects, I explored a wide variety of model making methods and techniques from the typical methods into the most advanced ones. For me, modeling is a captivating field in architecture, I just love making models. Within two years in the architecture school, I have done more than 16 models.
“here are some models of several projects� Those are models from different levels. using different techniques in modeling ( 3d printing, laser cutting, manual cutting and origami)
29