Yazeed Alamasi Undergraduate Portfolio

yazeed Alamasi portfolio STUDENT WORK (2013-2018)

Chosen architectural . Sketches, Photography, Models and Résumé

Research Pattern Typologies

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Competitions: Iconoclast

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Art Prison

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NASA Apps Challenge

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workshops Morandi-sque

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School projects Business collage

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Boston Arcade

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Dammam Train Station

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Swaket Devalopment

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The 21th Saudi House

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KFUPM Fire Station

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Althuqbah school

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Mevlevi Resturant

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Artwork

table of content

Lines Explosion

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physical models

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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?

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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.

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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.

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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.

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n connections to the fortress 3

art academy to commercial connection

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library to commercial connection

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plan A

plan c

gallery to art academy connecaccess to art hotel 6

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plan b

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plan d

1. plaza 2. services 3. studios 4. workshops 5. galleries

plaza

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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.

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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.

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BOTTLES INTERPRETATION/ CONSTRUCTION DRAWINGS

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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.

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UP DOWN

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SOUTH WEST SKELETON

NORTH EAST SKELETON

section A-A

section b-B

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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.

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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.

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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.

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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.

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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

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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#

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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

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3.9 KING FAHAD ST. DETAIL

King Fahad St. Section

4th St. Section

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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.

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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.

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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

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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.

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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.

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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.

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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)

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