maitham almubarak
undergraduate portfolio Architecture, Art, and Design.
2014
maitham almubarak
undergraduate portfolio
2014
Architecture, Art, and Design.
3
TO BAHRAIN
where the heart is.
EDUCATION
SAVANNAH COLLEGE OF ART AND DESIGN. Architecture B.F.A/ Professional M.Arch Degree Savannah, Ga, USA. 2010 - Current
PEACE BUILDING AND THE ARTS TRAINING PROGRAM. Brandeis University, Boston, MA. April 2013
ALTA’AWON SECONDARY BOYS’ SCHOOL. Sanad, Bahrain. 2007 – 2010
ALBA DEBATE TRAINING PROGRAM. Crown Prince’s Training Program for Youth, Bahrain July 2009
LEADERSHIP COURSE. Crown Prince’s Training Program for Youth, Bahrain July 2009
COMMUNICATION COURSE. Crown Prince’s Training Program for Youth, Bahrain July 2009
MANAGEMENT AND BUSINESS SKILLS COURSE. Crown Prince’s Training Program for Youth, Bahrain July 2009
COMPUTER SKILLS
ADOBE CREATIVE SUITE 4, 5, 6 MASTER COLLECTION. AUTODESK REVIT ARCHITECTURE 2012, 2013. AUTODESK AUTOCAD 2012, 2013. AUTODESK MAYA 2013. RHINOCEROS 4.0. GOOGLE SKETCHUP 7, 8. APPLE FINAL CUT PRO X.
EXPERIENCE
CO-FOUNDER OF THE SILVER CORD. Freelance design group. (2007, 2012-current www.thesilvercord.co) CO-FOUNDER AND BUSINESS MANAGER AT JUNE. Local fashion design business. (2012-current www.junebahrain.com) INTERIOR DESIGN PROPOSAL FOR MUSEUM’S GIFT SHOP. Bahrain National Museum (December 2013) INTERNSHIP AT PAD. Janusan, Bahrain (July 2013 www.pad.bh) INTERNSHIP AT OBAI AND HILL. Bahrain Financial Harbour (December 2012 www.obaiandhill.com) CIVIL ENGINEERING INTERNSHIP. Bahrain ministry of works. (2010)
ACTIVITIES AND ACHIEVEMENTS
THE WORLD TURNS STILL EXHIBITION. Albareh Art Gallery, Bahrain. (January 2014) THE VOICE WITHIN/ THE VOICES WITHOUT EXH. Bahrain fort site museum, Bahrain. (September 2013) DWELL EXHIBITION. Hidd, Bahrain. (August 2013) ULAFA’A INITIATIVE SOCIAL ART EXHIBITION. Featured group work in Brandeis University, Boston, MA. (April 2013) ONE OF THE TOP 60 CANDIDATES FOR 2010 CPISP. ONE OF THE TOP 60 CANDIDATES FOR 2008-09 YES EXCHANGE PROGRAM. ACADEMIC HONOR ROLL ALTA’AWON SECONDARY BOYS’ SCHOOL. (2007-09)
7
CONTENTS
A
B
ACADEMIC ARCHITECTURE
01
ARCH 404
502. Amsterdam
15
02
ARCH 302
NOLA
27
03
ARCH 301
EYES WANT TO CARESS
43
04
DSGN 225
SCAD CAPOEIRA
57
05
DSGN 224
MUSEUM OF POP-ART.
67
NON-ACADEMIC ARCHITECTURE
01
C
CASAS DE BUSAITEEN
77
ARTWORKS AND EXHIBITIONS
01
ARCH 421
02
EXHIBITIONS
NEVER TRUST A MACHINE
91 97
9
This portfolio holds a collection of some of my academic, and nonacademic works in architecture, art, and design. Each project had it own means of presentation, but for convenient, they’re all presented in this book in a similar layout, while keeping the original presentation’s spirit.
11
A ACADEMIC Architectural projects. Savannah College of Art and Design.
13
Altlanta, Georgia.
01
a
ARCH 404
502. AMSTERDAM
Professor Deitz. Fall 2013.
The Atlanta BeltLine is the most comprehensive transportation and economic development effort ever undertaken in the City of Atlanta and among the largest, most wideranging urban redevelopment programs currently underway in the United States. The Atlanta BeltLine is a sustainable redevelopment project that will provide a network of public parks, multi-use trails and transit along a historic 22mile railroad corridor circling downtown and connecting
01
architecture Architecture Design Studio VI.
many neighborhoods directly to each other. This project is located in sub-area 6 of the Beltline, and surve as a transportation hub, as well as a mixed use developement.
15
a
The mixed-use building divides the program into its different platforms. Starting from the bottom: is the services entry, on the opposite side is the artistic platform with the art gallery and its open green space. At the Beltline level, is the light-rail platform, also housing the streetlevel program. The third platform serve as the tower’s podium.
a
01_ 03
perspective rendering view from the park
fall 2013
17
a
b
The site on the Beltline have had a great inspiration on the design of this piece of architecture. The two main, direct, approches to the site are from the Beltline itself or Amsterdam Ave. Both routes have interesting series of surroundings changes as well as level changes.
a
01_ 04
a
site approach from the Beltline
b
site approach from Amsterdam Ave.
section
fall 2013
19
01 02 03 04 05 06 07 08
PROPOSED RESIDENTIAL (4-9 STORIES) PROPOSED PARK SPACE MONROE DR NE EVELYN ST NE PROPOSED RESIDENTIAL (SINGLE FAMILY) EXISTING RESIDENTIAL (SINGLE FAMILY) AMSTERDAM AVE NE PROPOSED MIXED-USE
01 a 01
02
04 05
03 06
b
b
07 08 a
0
100
400 ft
08
PROPOSED PARK
a-a
EXISTING PARK
b-b
a
01_ 07
site plan
site sections
fall 2013
21
a
01_ 8
programmatic zoning diagram
fall 2013
23
05
06 01
02
07
UP
UP
UP
UP
UP
08
UP
UP
UP
UP
UP
UP
UP
UP
UP
UP
03 UP
UP
04
09
UP
11
UP UP UP
UP
UP
UP
UP
UP
UP
10
01
lightrail weather protection
05
bus stop
09
parking structure
13
02
light-rail hub
06
bus stop hub
10
art gallery
14
retail 0
resturant 0
80 80
03
bike-shop
07
hub storage/ Lockers
11
art gallery office
15
04
cafe
08
main plaza
12
hotel lobby
16
a
01_ 10
floor plans street level: transportation hub first floor, and ground floor: transportation hub ground floor.
balcony lounge
160 ft160 ft
18
12
19
20 UP
UP
UP
UP
UP
UP
UP
13
UP
21
DOWN
UP
UP
UP
22
UP
15 14
17
16 UP
17
bank
21
mechanical/ electrical
18
swimming pool
22
conference/ training
19
fitness center
20
information and security
0
80
160 ft
0
floor plans second, and third floor: tower podium.
40
fall 2013
160 ft
25
New Orleans, Louisiana.
02
ARCH 302
NOLA
Professor Madson. Winter 2013.
Understanding the coexisting of the good situation and bad location in the city of New Orleans by looking at it from the Urban scale. Taking the lessons learnt and applying them to a smaller scale, the urban block. Objective_ Giving a life of quality to those who never lost hope. Recreating community through the social space without sacrificing the privacy of one’s dwelling.
a
02
architecture Architecture Design Studio II.
27
a
a
The area now known as Bywater was mostly plantation land in the Colonial era, with significant residential development beginning the first decade of the 19th century as part of what was known as “Faubourg Washington”, part of the predominantly Francophone “Downtown” section of New Orleans. Many people from France, Spain and the French Caribbean settled here. During the century, it grew with both White Creoles of French and Spanish descent, as well as other mixed raced.
and Central Business District, located on a canal connecting the Mississippi River to Lake Pontchartrain and Lake Borgne. This neighborhood’s demographics have undergone major shift since Hurricane Katrina, in racial distribution, median age and average household size. The combination of these factors suggests a socioeconomic group of a higher status moving into the area, a possible recognition of its beneficial siting on the above sea-level banks of the Mississippi.
The neighborhood of Bywater is East of the French Quarter
The shift in racial makeup could be the result of active
02_ 03
a
new orleans Louisiana
redevelopment aimed toward this higher socioeconomic group, a form of gentrification. Its adjacency to the Lower Ninth Ward, an area still plagued by crime, could hinder the development.
winter 2013
29
a
b
COMMERCIAL
MIXED USE
Commercial development has historically been at the waterfront ports, on the river and lake, but has recently developed in mid-city areas. The areas highlighted in blue are almost purely commercial but are not separate from the activities found in adjacent mixed use areas. New Orleans is a highly diverse
and heterogenous city, so it is not uncommon to find other business in small pockets around the city. Additionally, future land use designation indicates commercial districts at the city periphery.
a
URBAN ANALYSIS City land-use profiles
02_ 04
Pockets of mixed use development have evolved with infrastructure along primary corridors in the city. They consist of small businesses, churches, residences, hospitals and nightlife. Sucessful mixeduse streets that have developed run east to west between residential developments establishing these corridors
as a place for community and social engagement. Primary of these mixed use streets include Magazine St, St. Charles Ave, South Claiborne Ave, and Tulane Ave. Other mixed-use development has reestablished in renovated bodegas throughout the city.
c
d
BUSINESS
GREEN AND OPEN SPACE
The industrial areas of the city are largely responsible for pollutant runoff in flood events, when levees fail; areas in districts at lower elevations are at risk.
Preserved vegetation within the parish is a small fraction of the wetlands that used to exist in the delta. The city’s two major parks (Audubon Park to the south and City Park to the north) are the primary greenspaces available to city residents. Due to the density development, few pocket parks exist in the urban fabric of
the city, not including underutilized vacant lots. The large expanse of park to the east is one of few r maining wetland areas, and lies outside of t he m ajority o f d evelopment i n t he parish.
winter 2013
31
e
f
RESIDENTIAL
INDUSTRIAL
Residential densities vary based on geographic desirability, topography and public transit infrastructure. After Katrina, some areas remain depopulated while others increase as the density of the city reestablishes equilibrium. This map displays in varying shades of orange the level of residential density
reestablished after Katrina. It is not uncommon to see that spreading around these densely repopulated areas the level of density lessens progressively. This again is due to d sireability of pre existing residential conditions as well as knowledge of potential flood areas.
a
URBAN ANALYSIS City land-use profiles
02_ 06
Industrial use is located with convenient access to the Mississippi River and the industrial canal connecting the river to Lake Pontchartrain. These industrial areas are heavily used and have a dramatic effect on the hydrology of the city.
g
h
INSTITUTIONAL
TRANSPORTATION
Tulane University; Loyola New Orleans; Louisiana State University; Xavier University; Delgado Community College; Dillard University; University of New Orleans. These colleges reside heavily on the west side of New Orleans, often at higher elevations in the city or on the ridge. The colleges act as catalysts to
for social and cultural change in the city. Economic develo ment is fostered by the colleges in their respective neighborhoods, most of which are characterized by mixeduse districts within a walking radius of campus, lower density housing development and caucasian majorities.
This pollutant concentration dramatically effects the New Orleans ecology and water quality. Adjacent business properties and transportation corridors round out New Orlean’s industrial infrastructure.
winter 2013
33
a
b
c
a
02_ 08
a
site Lesseps St.
b
site Poland Ave.
POPULATION
5,096
3,337
DENSITY
5,093
3,811
HOUSING UNITS
2,725
2,498
VACANT UNITS
462
735
HOUSEHOLD SIZE
2.2
1.8
RACIAL DISTRIBUTION
32% White, 61% Black
HOUSEHOLD INCOME
$ 35,652
MEDIAN AGE
36.5
TRANSPORTATION
Car at 57.1%
56% White, 33% Black $ 43,504 40.5 Car at 67.8%
On the above sea-level banks of the Mississippi. The shift in racial makeup could be the result of active redevelopment
On the above sea-level banks of aimed toward this higher socioeconomic group, a form of the Mississippi. The shift in gentrification. Its adjacency to the Lower Ninth Ward, an area racial makeup could be the still plagued by crime, could hinder the development. result of active redevelopment aimed toward this higher socioeconomic group, a form of gentrification. Its adjacency to the Lower Ninth Ward, an area still plagued by crime, could 17 hinder the development.
c
site st Claudes Ave.
winter 2013
35
a
02_ 10
a
block organization Initial concept
HOUSING
GARDEN
PARK
The terrace-style housings response to the summer breeze with an outdoor space angled to the true south. Each unit is designed to have a unique look, and at the same time, they create a rhythm from the repetition.
The community garden has an easy circulation based on a very basic grid with a shed on a platform.
The family public park adopts the minimal design approach of the block with open meadows and terraced grass separated by a series of travertine walls.
01_ Unique shape of the second floor, with room for future expansion. 02_ Outdoor space (porch). 03_ Private garden and main entrance.
04_ Storage shed, and community gathering space. 05_ Concrete raised beds. 06_ Wooden walk-board between the raised beds.
SQUARE
MARKET
The square provides the main circulation to the block, as well as the western and eastern thresholds to the different spaces.
TThe market have easy access from the street, the public park and the circulation square. It provides both indoor and outdoor market spaces, as well as the outdoor events area.
10_ Green space. 11_ Threshold.
07_ Open meadow. 08_ Terraced grass facing south with circular seating. 09_ Playground.
12_ Outdoor market space. 13_ Market events main entry. 14_ Market storage space. 15_ Market seating. 16_ Market gathering space. 17_ Permanent market.
0
25
winter 2013
100 ft
37
a
02_ 12
site plan axon
HISTORY The area now known as Bywater was mostly plantation land in the Colonial era, with significant residential development beginning the first decade of the 19th century as part of what was known as “Faubourg Washington”, part of the predominantly Francophone “Downtown” section of New Orleans. Many people from France, Spain and the French Caribbean settled here. During the century, it grew with both White Creoles of French and Spanish descent, as well as other mixed raced.
winter 2013
39
a
02_ 14
house exploded axon
market exploded axon
winter 2013
41
Midway, Georgia.
03
a
ARCH 301
EYES WANT TO CARESS
Professor Montgomery. Fall 2012.
This studio design project will be composed of two phases: first, an earth art installation that expresses notions of place, time, and history. Second, the design of a Memorial Chapel (or a Praise House as the enslaved used to call it) to accommodate various functions and events that take place at LeConte Woodmanston Plantation throughout the year. This place will express notions of time of lifetime.
03
architecture Architecture Design Studio I.
43
a
In the nineteenth century, two hundred and thirty one west African-Americans were enslaved in LeConteWoodmanston, the largest plantation in Liberty County, Georgia. Those slaves were brought from west Africa where rice was cultivated, to grow rice for profit since they already had the knowledge and skills. Growing rice involved clearing the land, building dams and dikes, planting, harvesting and preparing the product for shipment and delivery. On top of that, those AfricanAmericans were tanners, shoemakers, blacksmiths, carpenters and masons. They
also participated in hunting, gardening, caring for the house and children and guarding the Le-conte-Woodmanston plantation.
03_ 03
presentation Section
fall 2012
45
a
03_ 04
proportions diagram Universal, Ideal proportion system
b
HUMAN
Today, the descendants of the first 231 slaves still connected to site. They come back every year from wherever they live now to celebrate the Rice Festival. Occasionally, individuals who live close by come to fish in the pond. Those descendants say they have always felt that this place is their home even though most of them live hundreds of miles away, and that going to the Praise house has always been something they are eager to do. They say that being in plantation and looking at what their grandparents have done makethem proud.
Colonial South Carolina and Georgia grew and amassed great wealth from the slave labor obtained from the Senegambia area of West Africa and from coastal Sierra Leone.Slaves from this region of Africa brought the highest prices, in recognition of their prior knowledge of rice culture, which was put to use on the many rice plantations in the South. Along with their knowledge, they brought their culture, the Gullah-Geechee culture, and this explains the strength of this culture in this plantation.
b
site sketch Ink on paper
fall 2012
47
CONCEPT
a
Intro
Intent
Objective
Architectural idea
The difference between extreme light and extreme dark. The difference between the spacious and the narrow. The difference between awareness and ignorant. And that one ray of hope at the point of new, pure start.
A sense of security is achieved if a human can feel confident and safe in his environment. Architecture could fulfill this need, but no matter how thick the walls one is behind, he could never find a true sense of security without a sincere faith in a higher power. A place for no religion, and all religions, indwelling the energy of being together: Monumental, Universal, and Timeless.
Creating a place of gathering and worship for a group sharing a history of pride. A place for them to celebrate, and where their ancestors are celebrated. A place for them to come back home to.
Employing the Platonic Ideals to create a heavenly form of truth, which one can reach after walking up seven floating horizontal planes. Using the proportions of Solomon’s Temple (ad triangulum and quadratum proportioning) to create timeless architecture that marks time using sunlight.
03_ 06
concept diagraming graphite on paper
fall 2012
49
a
b
a
03_ 07
a, b
presentation section model front, rear views.
SUN
ORIENTATION
IThe sun plays a very sensitive role in this design. The “glass box” of the Praise House is completely covered by thick walls, and there is only one gap where light can come inside. The Praise House is oriented so that a ray of sunlight could enter the space in a perfect angel of 45 degrees in the first day of the year.
The architecture works as a time-keeping device marking the full working day of a slave.
A cut on the western facade, working to divert the rain water to the reflecting pool, marks the end of the day sunset.
The only source of natural light into the Praise house is an opening orientated towards the rising sun. Sunset, on the other hand, is marked by the orientation of the “wall of senses”. The water takes its cycle inside the spiritual space, and ends it reflecting the orange sun and back to the water pool.
fall 2012
51
a
03_ 10
a
axon bird’s view
b
axon wall of the senses
fall 2012
53
a
03_ 11
presentation Elevations, Plans, and Mechanical details.
fall 2012
55
Savannah, Georgia.
04
DSGN 225
SCAD CAPOEIRA
Professor Woods. Spring 2012.
This design seeks to attach the stillness of the dead (site ruins) to the moving alive new structure, and creat a relationship between the two like the relationship between the snail’s alive part within its shell. Likewise, the idea of building within a building is represented on the smaller scale in the outside skin with the simple concrete structure.
way the space is devided, and a more literally in the skin movement.
This preforemance space is inspired theoretically by the preformance nature in the
a
04
architecture Architectural Fundamentals Studio III.
57
Capoeira is a Brazilian martial art that combines elements of dance and music. It was created in Brazil mainly by descendants of African slaves with Brazilian native influences, probably beginning in the 16th century. It is known by quick and complex moves, using mainly power, speed, and leverage for leg sweeps. Capoeira is usually done in a roda. roda, meaning “wheel” or, more appropriately in this case, “circle” in Portuguese, is the circular formation within which participants perform in any of several Afro-Brazilian dance art forms, such as
a
04_ 03
Capoeira, Maculelê and Samba de roda. by extension, the whole event may be called a roda (as in “we will have a roda next saturday”). Likewise, sometimes a roda may not take the shape of a circle; it may be, for example, a half-circle if the event is a public performance, in order for the public to be able to see the performers easily.
importantly the outdoor preformance space, or the “roda”. the roda spectators could informally stand up and watch or sit directly on the structure.
This performance space is designed to host this activity. besides the administration space, and the private residence, it has a 54-seat auditorium, and most
concept image Graphite, Ink, and watercolors.
spring 2012
59
a
04_ 04
presentation image Graphite on photo collage.
spring 2012
61
SITE SCAD MOA ruins area: The site is an extension behind the SCAD museum. It offers a uniquely visual location as well as a very dense fabric to pull from; it is currently an area with enormous potential for visibility. In that it sites along a major route (M.LK blvd.), it is therefor one which could add immense impact to an intervention that exploits it properly. It allows for a natural flow from the SCAD museum to the magnificent court yard.
a
04_ 06
site sketch Approach and entry
a
b
c
PROCESS
tested to creat a representation of the chosen form. In the case of this design, a skin made out of custom made gluelam wood louvers would.
As a design inspired from the body movement, it is important to understand how the muscles work. From the movement, and after abstracting it, came the form. Different forms could have been created from different ways of abstracting, each form would be put to the test of being in the site. The site would also have its influence on the form to creat the architecture.
b A top view form that is made out of two pieces conected by a very steep slope. c A sketch of a top view form that shows a twist in an angular form.
The chosen form would be manipulated to be able to contain useable spaces. Finally, different systems would be
a
butterfly kick Move by Alfred Hsing.
b_ c
conceptual sketches Graphite on paper.
spring 2012
63
01 02
03 04 05
06
A
B
09 10 11
08 07
0
1
01
hollow core concrete slab
05
horizontal reinforcing
09
concrete slab
02
camber varies along span
06
gluelam wood louvers
10
vapor barrier
03
c.i.p wall
07
mechanical system
11
gravel
04
vertical reinforcing
08
drain
4 ft
0
OUTDOOR PERFORMANCE SPACE. INDOOR AUDITORIUM. LADIES’ RESTROOMS. MEN’S RESTROOMS. INFORMATION DESK. WAITING AREA. CAFE. STORAGE. EMPLOYEES RESTROOM. OFFICES. PRIVATE RESIDENCE. PRIVATE PATIO. SCULPTURES GARDEN.
10
20
40FT
b
B
S C A D
10
20
02
40FT
01
03
04
M U S E U M
0
05 A
A R T
B
O F
A
06
c 0
OUTDOOR PERFORMANCE SPACE. INDOOR AUDITORIUM. LADIES’ RESTROOMS. MEN’S RESTROOMS. INFORMATION DESK. WAITING AREA. CAFE. STORAGE. EMPLOYEES RESTROOM. OFFICES. PRIVATE RESIDENCE. PRIVATE PATIO. SCULPTURES GARDEN.
a
01
outdoor performance
05
private residence
02
indoor auditorium
06
sculptures garden.
03
cafe
04
offices
wall section outdoor fence, and typical wall.
10
0
b
section a-a
c
floor plan
20
10
spring 2012
40FT
40 ft
65
Savannah, Georgia.
05
a
DSGN 224
MUSEUM OF POP-ART.
Professor Woods. Winter 2012.
The new Ludwig Múzeum seeks to find the absolute truth in architecture by using mathematics to creat balance, understanging the man’s movement, and respecting the existing.
06
architecture Architectural Fundamentals Studio II.
67
STORY Ludwig museum, the museum of contemporary art collects and displays masterworks of modern and contemporary art. the permanent collection contains valuable pieces of american pop art (andy warhol, claes oldenburg, robert rauschenberg etc.). yet focusing on eastern and central european art, it also puts a special emphasis on presenting the hungarian art of the 60’s to recent days in an international context. besides, temporary exhibitions showcase leading artists of the international scene as well as the best-
a
05_ 03
known hungarian masters. in 2012, the current museum director mr barnabĂĄs bencsik have decided to open a smaller verison of the museum in the united states of america. he choose the city of savannah, georgia as a home for the new museum which will only contain some of the pop-art collection.
presentation image Graphite on photo collage.
winter 2012
69
a
05_ 04
a
presentation model back view.
winter 2012
71
04
03
02
01
b
a
01
02
03
04
SITE PLAN.
FIRST FLOOR PLAN.
SECOND FLOOR PLAN.
THIRD FLOOR PLAN.
This site plan shows the landscaping, outdoor pathways, car parking as well as the surrounding builings and the shadow of a winter morning.
This plan includes the shop, the coffeeshop’s prepairing area, the bathroom and the stairs down to the outdoor seating.
This plan includes the gallery space and the stairs down to the shop.
This plan includes the entrance, the lobby area, and the stairs down to the main gallery space.
05_ 07
plans CAD drawings.
presentation model top view.
winter 2012
a
b
73
B NON-ACADEMIC architectural projects.
75
Busaiteen, Bahrain.
06
ESKAN BANK AWARD
CASAS de BUSAITEEN
www.eskanbank.com Winter 2013.
Eskan Bank is a leading financing lender and real estate finance developer in the Kingdom of Bahrain, dedicated to providing affordable housing solutions, developing cohesive communities and improving the quality of life for all Bahrain citizens. The competition is for Bahraini students to develop a masterplan of 240 to 360 semidetached houses, Apartment buildings of 480 to 720 flats in a site in Busaiteen, Muharraq.
project team Almubarak, Maitham. Alshaikh, Batool.
b
01
competition Architecture Design Studio I.
77
OBJECTIVE To offer an appreciable life quality to the residents by creating a straight forward network and architectural solutions to ease their lives and to help them develop as individuals and as a comunity.
b
01_ 03
apartment building axon drawing.
winter 2013
79
ARCHITECTURAL IDEAS Following a grid system inspired by the earliest planned cities. Building a connection between the old neighbouring village and the new housing project. Considering climate issues when planning the site zones. Answering users concerns of space privacy and organization. Investing in natural materials by creating valuable open spaces and courtyards.
b
01_ 05
b
a
presentation image open areas atmosphere.
b
detached house axon drawing.
winter 2013
81
01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16
ROW HOUSES PLAYGROUND MOSQUE TRAFFIC LIGHT POST OFFICE COMUNITY CENTER RETAIL PARKING PRODUCTIVE FAMILIES CENTER CONVENIENCE STORES KINDERGARTEN APPARTMENT BUILDINGS SEMI-DETACHED HOUSES OPEN SPACES KINDERGARTEN MOSQUE
01
02
03 04 05 06 07
08 09
12 10
11
13
14
15
16
b
01_ 06
master plan proposal
a
b
a
open spaces design spirtual
b
open spaces design family activities
winter 2013
83
a
b
e
b
01_ 08
a, c
typical floor plans first, and second floor plans
b, d
typical floor plans ground floor parking, and structural plans
c
12
d
34
56
78
91
01
11
21
31
41
51
61 7
A
A
B C
B C
D E
D E
F
F
12
34
56
78
91
01
11
21
31
41
51
61 7
f 0
e, f
elevations front, and side
15
30 ft
winter 2013
85
b
01_ 08
typical elevations front
0
typical elevations side
8
winter 2013
16 ft
87
C ARTWORKS AND EXHIBITIONS acadamic, and non-acadamic
89
Savannah, Georgia
07
c
ARCH 421
NEVER TRUST A MACHINE
Professor Thagne. Spring 2013.
Is a group of artworks that i produced in the Advanced Architectural Presentation class. It aims to bring the thread of the laten idea to fruition through my communicative work and understanding the role of the embodied perspective as it relates to ideation within that work. It is, also, a story book of my ten weeks exploration journey with digital architecture
01
artworks Advanced Architectural Presentation.
91
c
01_ 02
While both biomimicry-digital architecture and architecture that existed before computer look at nature, they both look at in with completely different lenses. Earlier forms of architecture, including but not limited to modern architecture searched for beauty in nature. And they did so by looking at proportions in nature, and applying those proportions to architecture to give it perfect proportions. On the other hand, architecture using biomimicry looks in nature for efficiency.
It looks at how nature creatures do certain jobs in a great efficiency, and try to mimic these organic behaviors on the larger scale to find efficient solutions to the current architectural problems.
15 x 11� Acetone transfer, Acrylic Paint , Graphite powder, Graphite pencil.
winter 2012
93
According to Surrealist theory, the most powerful imagery was that which caused the greatest surprise. In order to create marvelous images, Surrealist poets juxtaposed two terms that appeared to conflict with each other but were secretly related. The power of the resulting imagery was directly proportional to their apparent dissimilarity.
c
01_ 05
digital
winter 2012
95
Bahrain
09
EXHIBITIONS Ulafa’a Initiative www.ulafaainitiative.org 2013, 2014
Ulafa’a is an art project that aims to set a comfortable creative environment to listen to different stories regarding socio-political issues in Bahrain. The program included a series of public events to interact with the community through different creative approaches. The reflections of this experience would be presented through several exhibitions. My role in these exhibition is to design all the graphics, advertising material, as well as exhibiting my own artworks.
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artworks Advanced Architectural Presentation.
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artwork Digital
THE WORLD TURNS STILL January 4th - 11th, 2014 Albareh Art Gallery, Adliya.
THE VOICE WITHIN/ THE VOICE WITHOUT September 7th - 14th, 2013 Bahrain Fort Site Museum.
DWELL August 27th - 29th, 2013 Akbar house, Hidd.
This exhibition is a manifestation of each of our personal perspectives on our complex interwoven lives. On how interconnected we are, and how disconnected we can be, and what experiences have molded us, and stayed with
us long after they had passed. Each artwork’s concept differs from the other, although they are in essence our individual perceptions on engraved memories, the impact of connecting to people, and our hopes for the future.
The idea behind this exhibition is to deconstruct the various compositions that make up our personal values and beliefs – what do we value, what makes them so valuable and what are we willing to do to preserve those values?
The cycle of a home changes constantly as if it has a lifespan of its own. As many of the old houses in Bahrain surrender to the effect of time, we loose more architectural evidences for our connection with the past. Since our connection with
the world turns still Albareh Art Gallery
the old houses comes from our families, and our relationship with them forms who we are now; here we pay a tribute to them through the art of storytelling, reflected in various mediums such as photography, illustration, and installation.
winter 2014
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exhibition graphics Entry room
dwell Akhbar house, Hidd.
summer 2013
101
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artwork, and exhibition graphics
the voice within/ the voice without Bahrain Fort Site Museum.
summer 2013
103
maitham almubarak
malmub20@student.scad.edu www.maithamalmubarak.com
227 we. Hall street, Savannah, Ga 31401 USA.
house 1979, road 3639, block 736, A’ali Bahrain
+1 (912) 507 4090
+973 (36) 755575
Š 2014, maitham almubarak.
www.maithamalmubarak.com