Abrar Portfolio 18

KHAN Portfolio Selected Projects Abrar Khan B.Arch AIUB M.Arch UoN (Distinction)

2018 A brief excerpt of selected projects from the Bachelors and Masters of Architecture programme

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Content University of Newcastle Australia M.Arch 2017-2018

Project Boora Point: Interpretive Centre

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5th year, M.Arch.

Research through Design: Matter & Memory

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4th year, M.Arch.

Newcastle city renewal: Honeysuckle

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4th year, M.Arch.

Lava smartphone pavilion | DITF 2014

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First Prize in General Stall Category.

American International University of Bangladesh B.Arch 2008-2014

Combined Military Museum of Bangladesh

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Fifth Year | Best Thesis Award.

Language Movement Museum

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Third Year.

Art Gallery for Paul Gauguin Third Year.

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Project Boora Point: Interpretive Centre Fifth Year | M.Arch UoN.

Tutors: Peter Stutchbury, Richard Leplastrier, Kira Martin.

Architecture Design Studio 10.

T

he Boora Point project is a design intervention in Sydney's one of the most representative landscapes; the 'Malabar Headland National Park'. It is a rich, complex and a vague site that recently opened to the public after almost 100 years, and is one of the last remaining, unmodi ed bushlands in the area with substantial heritage. The rich biodiversity and aboriginal history of the headland are of scienti c and educational signi cance. The Interpretive Centre uses a heritage trail as its host site, containing a set of abandoned, derelict WW2 structures, to tell the stories of the land.

The project explores issues of the terrain vague and draws upon the values of the urban landscape beyond nature and play. It examines how various qualities and complex functions can co-exist together, retaining a site's true memory and values through the creation of a 'layered matter'; representative of our past, present, and future.

The aim is to create a place for the dissemination of knowledge, stimulating awareness and enriching the visitor experience by helping them understand the signi cance of the site. It is about a facility which is essentially, elements in the landscape that bring us closer to nature and heritage.

Image: nswnationalparks.gov.au patty jansen Image: abandonedaustralia.com

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Fig: Drawings and sections of the existing ruins on the site.

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Terrai

Element

Sit Force

Tracks.

Wider tracks with vehicle access.

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DN

Fig: Master plan of Proposed Design..

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Research through Design: Matter & Memory | Terrain Vague Fourth Year | M.Arch UoN.

Tutors: Dr. Neena Mand, Chris Collignon Architecture Design Studio 8.

Link to the full Research Portfolio: https://issuu.com/khanshaheb01/docs/khan_abrar_arbe6232_neenamand_4asse

T

he project examined matter in sites considered as 'terrain vague' through memory. An investigation into how the erasure, preservation and perpetuation of memory is connected to matter and vice versa. For its theoretical foundation the studio draws from the process of memory formation and matter transformation.

Students investigated the interaction of form, time, space, movement with matter and memory and how it can be rethought and transformed. Considerations were made into both visible and invisible matter and also their extensive and intensive differences, and the external and internal forces acting within the matter.

For the research through design process, a research hypothesis was constructed by investigating, recording and interpreting how matter and memory are interrelated in sites conceptualized as 'terrain vague'.

Second, conceptualization and experimentation on the sites's matter and memory formed the basis of responses at a schematic level. A large part of the process involved abstraction of research theories/data and precedent case studies. Then mapping of these abstractions were crucial to the process, which lead to further digital and analogue experiments.

Finally a combined and re ned hypothesis was conducted in a group of two, for further development and resolution. The idea was to create an architectural project that is a multi-authored script for memory making and action. The studio used cinematic and digital techniques, and physical sets / models in these interpretations. Crafting and experimentation into material making was to move beyond the purely technical and functional aspects, and to consider the sensorial aspects related to memory and matter.

P 16 Fig: Renders from the schematic design response for the Terrain Vague site in Narayanganj, Bangladesh.

Step Depth analysis 1.

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VGA Graph Visual graph analysis.

Least Integrated

Less Focused

Step Depth:

More Focused

1

Most Integrated

2

3

4

Step Depth: 1

Zoning trauma on the oor plan from the fractures.

2

Step depth analysis showing cumulative isovist

and sequence of spaces.

3

4

GSEducationalVersion

Identifying three dierent translucencies.

Reective

Translucent

Transparent

Integration of materials in mesh.

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Overlay of Trauma on the other layers.

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Fig: Studies and experiments from the hypothesis; ‘Manipulating focus in post-traumatic sites alters the perception of trauma resulting in resilience’

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Fig: Drawings from the final design response for ‘Post-traumatic resilience’ at the Christchurch Cathedral New Zealand.

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Honeysuckle.

Fourth Year | 2017.

M.Arch UoN.

Tutors: Chris Tucker, Cristina Aranzubia.

Architecture Design Studio 7.

The proposal focuses on the connection between Hunter Street and the waterfront. Situated between the city center and the water front, Honeysuckle possesses Newcastle s few remaining opportunities to connect the two. To capitalize on the site s potential, the building uses commerce as an instrument to actively reunite the city to its harbor.

It intersects over the existing edge condition due to the railway corridor, making it accessible from all sides.

The idea was to give the site a de nition and a sense of destination, with a strong building footprint touching all the sides of the site. It breaks the monotonous east-west orientation of the city, yet retains the spatial de nitions and identity.

South Elevation.

The urban corridor is given a strong border with a sense of enclosure, along the way reactivating everything with public activity.

The northern side is reformed into an intimate urban plaza, with cafes, retail and galleries on both sides ending with an open amphitheater for public events and activities. The southern end near Hunter Street has commercial of ce spaces connected with residential units on the west and active recreation spaces in between.

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Fig: GF Plan showing southern end of site.

Fig: TECHNICAL SECTION. Wall and roof section of residential block.

Blocking

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Stratco Angle Purlins

Packers

Flashing

15°

2105 295

1688

Tapered PFC

Glazing channel on blocking ?ush with sof?t

708

Sixth Floor roof

23°

RL 21.6 Hanger Fifth Floor

Fold Line

Cantilevered Beams

191

RL 18.2 533

241

Rondo trim and clip

102

Lights Batt insulation stuf?ng

Metal tie

Modular Brick 50mm Air space

Vapor retarder

Rigid Insulation Flashing

Vent

Fourth Floor

RL 14.9

Rondo Dry wall suspension system

12.7mm Gypsum board

TYP Double Brick Exterior wall construction Modular Brick (Seamless)/ Exterior 50.8mm Air cavity.

50.8mm Bradford Rigid Insulator 50.8mm Vapor Retarders Ancon adjustable wall ties Modular Brick/ Interior

508

JAMB

548

Head

Modular brick layout stretcher bond

HEAD

772

Trends Extreme sliding window system

3353

710

Sill

814

Jamb

Third Floor

TYP Floor Construction Premium Oak eager strip ?ooring 14mm Craft paper / Building felt 14mm Plywood ?ooring nailed into concrete 101mm Flat Slab with steel dowels and grout 50.8mm Concrete topping slab

RL 11.58

Sealant and Backer rod

Blocking and jamb extrusion

Rondo Shelf angle

1219 2934

Crestlite Windsor 102mm sliding door system

1054

72mm wooden base trim/ skirting

Second Floor

RL 8.23

318

Floor Joist

Ground Level

Grouted bond beam

RL 0 Foundation Retaining wall

Ledger Joist

Fig: DESCRIPTIVE SECTION. Wall and roof section of residential block.

Tapered metal construction roof angled at 23 degrees, with a cantilever of 1.8 meters beyond the exterior plane.

The structure is insulated over angled perlins and steel beams.

Full height curtain glass ?ush with sof?t on blocking.

Sixth Floor roof

RL 21.6

Fifth Floor

RL 18.2 Exposed columns and beams on the exterior with fair-face concrete texture.

Double-brick cavity wall system.

Cantilevered terraces with concrete railing on two sides and opens up with a steel and glass railing system towards north. The concrete is fair-face texture with slight grove markings from the framework.

Fourth Floor

RL 14.9 Concrete shading devices extruding 0.6m from the beams. Provide shading over full height windows for protection against the summer sun.

Seamless modular brickwork on the exterior and desired portions of the interior. Preferred method of brick work is the Stretcher bond.

Trends Extreme sliding window system.

Third Floor

Rondo Drywall system used for false ceiling. It has a lightweight capacity, achieving spans of up to 1600mm without the use on suspension hangers makes it ideal for use in small rooms.

RL 11.58

Crestlite Windsor 102mm sliding door system.

Custom steel railing system, coated in white paint. Attached with a 12mm tempered glass and wood work hand rails.

Second Floor

RL 8.23

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Concrete planter-box along with terraces

Ground Level

RL 0 Retaining wall with grouted bond beam to support basement parking beneath.

Fig: GF Plan showing southern end of site.

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Lava Smartphone Pavilion First Prize in General Stall Category | DITF | 2014.

Technology constantly reinvents itself. It sways in time to create newer de nitions of style. The store strives to retain the brand values of Lava, and embodies its unique concept of interaction and shopping- one that unites culture and consumerism onto a single experiential realm. The cube experience zones serve as working experiments and provide a laboratory for exploring newer spatial relationships, materials, technology applications and service strategies, in its attempt to diversify the cliched shopping experience offered today.

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Innovation and exploration of colour, material, spatial typologies and technologymerge to create a dynamic backdrop to the merchandise displayed in Lava s latest stall.

It was intended to introduce the visitor to a highly interactive environment rather than just another retail space, rede ning in its wake the relationship between the material and the immaterial.

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Military Museum of Bangladesh Fifth Year | Best Thesis Award.

B.Arch AIUB.

Tutor: Ashik Iqbal Architecture Design Studio 10.

The basic conception for the project proposal arises from the absence of quality infrastructure, a strong parameter determining the quality of life for the dwellers of the 21st century. It arises from the importance, necessity and social responsibility as an architect, to add value to the public domain.

Apparently, Military technology is the most sophisticated form of technology, and currently the most widely budgeted and funded industry world-wide. It determines a lot from regional in uence, foreign affairs, economy, to cultural integrity. In short, a worthwhile investing sector for the future of a country. Bangladesh having a history rich in years of military intervention, and an Independence earned through a unique paramilitary force, gave way to the theoretical foundation of the project.

The idea was to design a distinguished, modern-day, combined-military museum for the Bangladesh Military, equipped with all the sophisticated, state of the art technologies available for an interactive experience.

A conceptual thematic museum with emphasis on experience, participatory factors, and a story based circulation. As opposed to other thematic museum proposals such as the Liberation war Museum or Museum of Independence, this one had a very strict time-line which is part history and focuses more on the present and future directions Fig: Conceptual sketches.

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Since the museum belongs to a speci c force, it was important to chalk-out their most unique features and put emphasis on them. The army's extensive contribution in the UN, disaster-management, and civil-construction, is given special attention with dedicated galleries. The museum is designed to instigate young minds on re-thinking the concept of war. The galleries are designed to host activities such as learning military strategies, assessing terrains and geography, experiencing various typologies of hardware (exhibits), artifacts, immersive audio-visuals halls, and land/air based simulators. The museum is essentially built around these exhibits, designed from the inside out, with an outlook that is thought to represent the military best.

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'The Walk of Capitulating', the very rst space that pulls the audience inside the permanent underground galleries, starts from the gruesome experiences of 1971. The walk down the dark lane forces the audience to inherently have an understanding of 'asymmetric warfare', the then new concept of modern war, where surrendering to superior forces could only lead to a state of freedom.

Fig: Axonometric view and section of ‘Surrender Gallery’.

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The 'Surrender Gallery' acts as a preparatory foyer to the story. The walk through the dark narrow aisle, with the muzzles of the T40s and glare from their search lights, aimed right at the head height, creates a strong feeling of helplessness. A clear depiction of 1971.

Fig: Axonometric and perspective view of ‘Genocide Corner’.

Once inside, the visitors come across a Genocide corner and strategy-board rooms. With augmented projections, these spaces chronologically show the history of how military advancements took place during the liberation war.

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Fig: Ground Floor Plan and Blowup.

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Fig: Axonometric and Section through the Gallery.

Coming out of the underground gallery, the visitor is gradually brought to light, creating an uplifting experience. A narrow pathway leads to the 'Birsrestho Galleries'; a series of seven connected cylinders, each dedicated to one of the seven martyrs.

With the use of dioramas and audio-visuals, the volumes tell the legacy of the honored individuals.

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The pathway eventually transcends from the dark past to the 'Hall of Fame', an open oor that hosts weapons and hardware considered to have had extensive contribution in Bangladesh.

It also showcases hardware and military systems for future prospects. The audience can participate in activities and training such as wall climbing, repelling, simulations and indoor sky-diving.

The hall leads to galleries which showcase unique features and contributions of the forces through models, dioramas, audio-visual rooms etc. The journey eventually ends in a temporary exhibition space and cafeteria.

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Language Movement Museum Third Year. B.Arch AIUB.

Tutors: Dr. Masum Iqbal, Sudipta Barua Architecture Design Studio 6.

In 1952, the Language Movement catalysed the assertion of Bengali national identity in East Pakistan and became a forerunner to Bengali nationalist movements, including the 6-Point Movement and subsequently the Bangladesh Liberation War of 1971. In 1999, UNESCO, and in 2008, UN, declared 21 February as International Mother Language Day, in tribute to the martyrs of the Language Movement and the ethno-linguistic rights of people around the world.

With the ever increasing signi cance of the event, the studio was given the task to design a museum for it.

The objective of the design was to depict the complexity of the movement, which was essentially achieved by a cluster of Brutal-Organic masses. Architectural gestures such as leggings, blobs, envelops were used to depict motion and retaliation in a dramatic fashion.

Fig: Conceptual sketches and Ground Floor plan.

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North Elevation

SectionDD ’

Section CC ’

Fig: Sections and Elevations.

Section BB’

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West Elevation

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Art Gallery for Paul Gauguin Third Year. B.Arch AIUB.

Tutor: Arefeen Ibrahim Architecture Design Studio 5.

The studio was given the task to design an art gallery dedicated to a speci c artist (Paul Gauguin) at a given site of the capital city. The goal was to achieve a contemporary design that re ects the speci c style of the given artist. The prerequisites involved the understanding of the artist s philosophy, inspirations and approach, the combined juxtaposition of which was to be re ected in an architectural language.

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The objective was to design a circulation that is a very good storyteller of Gauguin s inspirations and work.

The spaces were broken up into zones with distinguished characteristics, each depicting various phases of his life.

The gallery tries to be true to the uctuating nature of Gauguin s art and tries to express his ideas and transitions with the use of light and form.

Fig: GF Plan showing chronology of spaces.

Through extensive research and analysis of the paintings, a chronological list of the exhibits were established which eventually guided the whole design process.

West Elevation.

Section AA’.

South Elevation.

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Section BB’.

Fig: Sections and Elevations.

Abrar uz Zaman Khan University of Newcastle Š, 2018, all rights reserved.