TABLE OF CONTENTS
2
Warm Up Exercise
4
Research
6
Mapping
42
Design Progress
46
Midterm
57
Daylight
65
Pin-UP
69
Prefinal
75
Final
87
OUTLINE
AENG 3553: Architectural Design Studio 2 (4 cr. hrs) Coordinator: Dr. Magda Mostafa, Coordinator Dr. Alia Fadel, Co-Instructor Teaching Assitant: Arch. Ezzat Ahmed Arch. Salma Nassar Arch. Soha Youssef Arch. Nancy Khoury Arch. Nour Hussein Arch. Hana Shaltout Arch. Zeina Lasheen Catalogue Description: Prerequisite: AENG 2512, AENG 2552. Six-hour studio period. Studio on form, space and composition. Students are required to think of architecture from the “outside-in” approach, with focus being placed on the form of architecture and its composition. An emphasis will be placed on the compositional aspects of spatial designexpression, language, intent, dynamics etc. and their use as tools of concept and functional accommodation. Three-dimensional models play an important role in design development and students will be encouraged to think spatially. Issues of meaning, message and symbolism will be discussed and applied. A critical method of working with architectural precedent through analysis of various works of architects, as well as contemporary design theory, will be reviewed and analyzed to be used as a premise for design. Prerequisites by topics: • Architectural drawing. • Fundamentals of architectural design. • Influence of climatic factors on architectural design. • Components of buildings. • Behavioral analysis, activity mapping, and programming and their role in the architectural decision making process References: • Mills, C., 2005 Designing with Models: A Studio Guide to Making and Using Architectural Design Models, 2nd edition, John Wiley and Sons • Clark, R., Pause, M., 2005 “Precedents in Architecture”, John Wiley and Sons, NJ • Elam, K., 2011 “The Geometry of Design” Princeton Architectural Press • Frederick, M., 2007 “101 Things I learned in Architecture School”, MIT Press, 2007 • Ching, F.D.K., 2012 “Building Construction Illustrated”, Wiley Publishing • Alexander, C., 1977 “A Pattern Language: Towns, Buildings, Construction” Oxford University Press • Lepik, A., 2010 “Small Scale, Big Change: New Architectures of Social Engagement”, Museum of Modern Art • A selection of video documentaries and course links are uploaded on blackboard and should be referred to throughout the semester. Readings: • Pallasmaa, J., 2013, “The Eyes of the Skin”, John Wiley & Sons, NY. • Pallasmaa, J., 2007 “New Architectural Horizons”, Architectural Design, 77(2), pp. 16-23 • Pallasmaa, J., 1994, “Six Themes for the New Millenium”, The Architectural Review, 194(1169), p. 74 Pallasmaa, J., 2006, “Eyes of the Skin- Architecture and the Senses”, Architecture : the AIA Journal, 95(3), p.28-29 • Selected readings from Unwin, S. 2003 “Analysing Architecture”, NY: Routledge • Selected readings from Unwin, S., 2012 “Exercises in Architecture: Learning to Think Like an Architect”, NY: Routledge • Tsukamoto, Y., Kaijima, M., “Behaviorology” in “Atelier Bow-Wow: Behaviorology” by Fujimori, T., Rizzoli • Magda Mostafa. “Learning from Cairo: What Informal Settlements Can (and Should) Teach Us” 14 Mar 2014. ArchDaily. Accessed 07 Sep 2014. <http://www.archdaily.com/?p=486294>
• Selected readings from Alexander, C., 1997 “A Pattern Language: Towns, Buildings, Construction” Oxford University Press Students will be expected to gather reading material appropriate to their research subject using Library OneSearch and the class’ LibGuide. Course Outcomes: After completing the course, students should be able to: 1. Appropriately develop abilities to use graphic skills, fundamental design skills, formal ordering systems and critical thinking skills as an individual within a collaborative environment as part of the architectural design process. (fulfillment of UIA objectives 1,3) 2. Analyze, understand and develop the ability to work appropriately within the framework of architectural precedents. (fulfillment of UIA objectives 2,6,12,16) 3. Understand and develop the ability to appropriately apply the study of human behavior, and users needs to the design process. (fulfillment of UIA objectives 6,7) 4. Develop the ability to prepare an appropriate program- representative of functional needs- and prepare space programming and appropriately translate such into the architectural design process. (fulfillment of UIA objective 6) 5. Understand the impact of site conditions on the architectural decision making process and the ability to apply these criteria to building configuration and form generation. (fulfillment of UIA objective 4,5) 6. Have a preliminary understanding of simple structural systems, building materials and assemblages and their role in the form generation process, through experimentation with manual model making. (fulfillment of UIA objective 8) Grading Policy: Grade 1 Project 1A 5% Research, 25% Project Made In EgyptThe Global Village: Thinking Big, Building Small: The objective of this first project is to expand students conceptualization of design beyond functionality and form-making, to include the deeper values of the role architecture can play in society. Through the investigation of contemporary regional architectural language, in the context of the current socially conscious architectural movement worldwide, students will work to develop an understanding of the intersection of these languages. These intersections will form the conceptual underpinning of the design phase of the project, which begins with a comprehensive and inter-disciplinary understanding of the forces influencing architectural decision making on a given site within the city of Cairo. Students will work in groups for the research phase of the project, and individually for the design phase. Grade 2 Project 1B: 10% Experiential Architecture of the Elements: This project aims at investigating the inter-relationship between materiality and form, and form and the elements- light, air, volume, space and user, as applied to the design created by students in part A of their project. Based on the anti-visio-centric theory that architecture is to be experienced in a multi-sensory way, students work with a single material to create structures and forms, and develop a deeper understanding of the qualities of space and experience. This helps pave the way qualitatively for future investigations of the more quantitative performance of these natural elements. The project is primarily through physical modeling and photography in studio in light of a series of guided experimentations and discussions. Grade 3 Design Portfolio and Comprehensive Final Presentation 15% Grade 4 Mid term assignment- Materiality 10% Class participa-
tion and reflection 5% Grade 5 Overall COP assessment as represented by and assessed through the portfolio 30% All assignments and projects will be discussed in studio and the students will be graded according to their attendance, participation, and generation of new ideas. The majority of the project grade will be placed on the student’s ability to develop his ideas from concept to finished product, integrating information and critiques at each stage. Students are expected to refer to relevant issues from their discussions, readings and lectures during critiques and throughout assignments. Students must receive a minimum grade of 60% in each of their individual works in order to pass the course, regardless of their attendance, portfolio grade and group work. They must also receive a minimum of 60% in their overall Course Outcome Proficiency assessment as well as 60% of each outcome criteria individually to pass the course. Rubrics are included at the end of this document. The grades will be assigned according to the following criteria. Grade F: student failed to complete the work for the course and/or failed to meet the minimum required competency in all the required course outcomes Grade D: student completed the work for the course at a passing level of competency in all required course outcomes Grade C: student completed the work for the course and illustrated basic acceptable competencies in all required course outcomes Grade B: student completed the work for the course at a high quality and mastered new skills. Many literal issues from discussions, readings and lectures were applied. Grade A: student exceeded expectations of the course and applied many of the design issues from their discussions, readings and lectures to their course work. Grade R: As part of the Architectural Department’s assessment policy, each piece of design work submitted at any point by a student must fulfill the basic threshold pass requirements of that level. Failure to pass this threshold will result in the reward of an “R” grade and a request to resubmit the work until threshold performance is met. Work receiving an “R” grade will not be reviewed at that time until it is resubmitted at a satisfactory level of fulfillment of the design threshold rubric of that level. (see end of document for the threshold rubric) Attendance Policy: Students in all courses at the Department of Architecture are required to abide by the University approved Attendance Policy. The following specifics pertain to the course: - Students shall attend and participate in all classes except for a pre-authorized excuse from the instructor. - Students who have a pre-authorized excuse from the instructor shall coordinate with the instructor the time and place of submitting any missing assignment or taking an in-class missed quiz, test and/or exam. It is the sole responsibility of the student to follow-up with the instructor in this regard. Students who miss more than the maximum three-week equivalent of absences without an authorized approval of the instructor or not in compliance with the University Attendance Policy shall receive an F in the course. Studio Culture: The design studio is the core of the architectural academic process. The experiences in the studio should be the primary mode of exploration and learning. All projects will be presented and discussed as a group/s at every stage and comments resulting from these discussions will be incorporated into the students work through one:one design development sessions with the academic team. This process will be supported with a
series of lectures, guest speakers, video presentations, and readings- all within the studio environment to ensure integration of the presented information into the design processes being learnt. Studio time is to be used efficiently and effectively for independent development of projects, peer review, class assignments and group discussions- not for waiting to have your project reviewed only. During design development stages students will have their work reviewed on a rotating basis, with equal distribution of time for each student. Many of these discussions will be across the entire class, and all students are expected to attend, assess and discuss each others work. Students not engaged in such in-class activity will not be allowed to have this time compensated for individually outside of class. Office hours are available for questions and outside class support. Please email for an appointment. Students are encouraged to apply all the content and skills learnt thus far from his/her other courses into the design process in studio. This will be supported with lectures and possible external reviews of the students work from the related faculty members. Such integration, participation in discussions and design development sessions are a major factor in the students overall assessment. Process, rather than product, is to be focused on, where product is viewed as a cumulative reflection of that process. This multi-disciplinary, comprehensive process will be required to be documented through a design journal, online and physical journal, to be submitted and graded throughout semester. Academic Integrity Issues: For full definition of standards of academic integrity please refer to the University’s Code of Academic Ethics www.aucegypt.edu/resources/acadintegrity/EthicsofAcadInteg.html It should be noted that given the creative nature of this studio particular attention should be given to plagiarism in any form- i.e. presenting others work (professional or non-professional), whether in whole or in part, as your own, even with alterations. Failure to adhere to the university’s Code of Academic ethics in any form will result in severe penalties and failure of the course. For a broader understanding of principles of plagiarism and copyright protection in international architectural standards refer to http://www. archdaily.com/772313/want-to-work-internationallyheres-what-you-need-to- know-about-copyright
3
WARM UP EXERCISE 4
Description
In this exercise we were asked to create something tangible that takes instructors from their chair in the classroom to chairs in our house were we work. I decided to create a model that represents how I feel when I am working at home. My workspace is located in the maid’s room of our house since no one uses it. This room has poor ventilation and its irregular shape makes it seem smaller and hard to furnish use in terms of functionality. There’s is a very small window similar to the ones found in toilets that allows sunlight in. While working in this room I feel isolated and not really connected to the outside world. I hear the voices of people walking by and cars and the music coming out from the sporting club near me yet I can’t join because I need to finish my work. Also I hear my family talking and the tv noise coming through the room’s door and it seems to me that I am missing on a lot of events. I decided to express what I feel creating 3D model of my room and by having the sky as the background of the model to show isolation and feeling of living in another world. I did two openings in the model to emphasize them and used red coils to represent the noise and events that are going around me where and window and room door are the source of them.
MARAM NAZMY 900160119
MAPPING EXERCISE
After the discussion we had in the lecture regarding what everyone created, it seemed that many students focused on creating something abstract and focused more on emotions rather than focusing on the main aim of the exercise. Most of us didn’t take the literal function of the task and thought of creating something that would recreate the mood and atmosphere of their workspaces. This task is interesting because it proves that overthinking and focusing on beautifying things can sometimes make us deviate from the main function or goal of a task.
Figure 1 Top view of the project
Figure 2 Idea Sketch
Figure 3 Window of the room
Figure 4 Door of the room with a slanted strip to imply being locked inside
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
Reflection
5
RESEARCH 6
“Made in Egypt: The Global Village” Thinking Big- Building Small Building on the work of previous semesters, which focused on
OUTLINE
developing an appropriate vocabulary for contemporary Egyptian
approaches of classifying architecture, and explore the “why” and
using a combination of text, images and graphic analysis. Please
“how” of architectural manifestations and organizations, rather
refer to (Lin, 1993) from the syllabus reference list for guidance. The
than the “what”. In other words the analysis will be more process
specific structure and organization of the analysis will be proposed
and philosophy driven rather than product oriented.
in class, but each group is responsible for developing creative
architecture, this semester expands that understanding to frame
At the end of this research stage, students will be required to
means to communicate their work. Students are responsible for all
Egyptian vocabulary, not as something that is unique, but something
design a simple architectural project within a local Egyptian context
material presented and discussed in class and during studio. All
that is part of a larger global language. This past decade has seen a
for a specific user using the conclusive design criteria of the first
work will be developed and discussed in studio and students will
surge worldwide in the questioning of the role of architecture in our
stage of the project.
be graded based on their individual contributions and discussions
society. Working beyond the “starchitect” model, contemporary practice has begun to witness a rise in the understanding of the
Working in groups of 5 students, the works of the following regional architects will be studied as a start point:
in class. Any non-participating member of a group will receive zero credit for the assignment.
wider, more immediate social role of architecture towards the
1. Hassan Fathy
communities it serves. The recent International Union of Architects’
2. Ramsis Wissa Wassef
World Congress titled “Otherwhere” is witness to that.1
3. Abdelhalim Ibrahim Abdelhalim
syllabus. This research stage will be graded according to the
4. Rami El Dahan and Soheir Farid
following rubric:
Inspired by Andres Lepik’s “Small Scale- Big Change” 2 at New
York’s Museum of Modern Art in 2010 this semester looks at the
Assessment Criteria: The timeline for this stage of Project 1 is outlined in the course
5. Rassem Badran
· Content (20%)
power of socially conscious design to influence communities and
This collection of works should be framed against a transactional
people’s everyday lives in a comprehensive and responsible way.
comparison with the works included in Lepik’s collections. These
Reference will be taken from the work included in the curation
can include but are not imited to: 1. Anna Heringer, Germany
follow-up “Think Global- Build Social: Architectures for a Better
2. Elemental, Allejandro Aravena, Chile
World” displayed at the Townhouse Gallery in Cairo, 2015.
3. Teddy Cruz, USA and Mexico
successful works, in the region and beyond, to address the current
4. Urban
Think-Tank,
Hubert
· Comprehensiveness (20%)
Klumpner
5. Peter Rich, South Africa
of the current Egyptian architectural context, one not uncommon
6. Carin Smuts, South Africa
across the globe, has reached a heterogeneous state of characterless
7. Francis Kere, Germany, Burkina Faso
styles of the corporate sector and increasingly superficial elite stylistic images of western architecture. Few examples exist that are comprehensively expressive of the identity and character of the Egyptian culture in all its varied sectors, nor facilitative of its social and environmental needs. The objective of this project is to address this dynamic through research and design. Beginning with the understanding of design as a complex,
and
Alfredo
Brillembourg, South America
identity crisis of contemporary Egyptian architecture. The quality
mass housing, informal settlements, pluralistic neo-international
References: Awan, N., Schneider, T., Till, J. 2011 “Spatial Agency: Other Ways of Doing Architecture”, Routledge, UK Lepik, A. 2010, “Small Scale, Big Change: New Architectures for Social Engagement”, MoMA, NY Lepik, A., 2015, “Think Global, Build Social: Architectures for a Better World”, Goethe Institute (catalogue), and Townhouse Gallery (exhibit)
multi-disciplinary process, the works of various successful Egyptian,
The archives and exhibition of the Rare Books library will also
regional, and international architects of the past decades will
provide primary sources for much of this research. In addition a
be analysed. The objective of this analysis will be to ascertain
customized LibGuide is available at http://libguides.aucegypt.
the commonalities and differences in vocabulary and approach
edu/AENG352. These are general references, and each group
amongst these works, with the ultimate goal of discovering
is responsible for developing their own bibliography of scholarly
appropriate design criteria and form generation principles to
resources in addition to these.
aid in the design of a contemporary architecture appropriate to
Format and Process:
today’s Egypt. This analysis will look beyond the typical stylistic
(40%) · Completeness (20%)
of this exhibit, as well as its sister collection displayed in Lepik’s
The objective of this global framing is to draw inspiration for
· Clarity and Communication- graphic, written and oral
Students are required to submit their final research on A2 sheets
7
RESEARCH
1 DRAFT ST
Description
The objective of this research is to point out the commonalities and differences in vocabulary and approach amongst these architects works, with the ultimate goal of discovering appropriate design criteria and form generation principles to aid in the design of a contemporary architecture appropriate to todayâ&#x20AC;&#x2122;s Egypt.
ReďŹ&#x201A;ection
After the discussion and feedback I recieved from the instructors and teaching assistants, I was able to point out my weaknesses and strengths in the poster. First, I received positive comments on the good use of illustrations that helped in the visual representation, however it lacked proper architectural analysis. This is a research and not a poster so this task is more about analysing the architect approach rather than stating facts.
8
2 DRAFT ND
Description
The design of this sheet was inspired by wissa wassefâ&#x20AC;&#x2122;s style which encourages arts and crafts.
ReďŹ&#x201A;ection
MARAM NAZMY 900160119
RESEARCH
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
Feedback: Visuals imporved and less text was used however architectural analysis was still missing. Also a strong link was needed to link between all the architects in the research. I concluded from the feedbcak that the aim of the research is to learn different architectural plan solutions to different user needs that will help us in the design phase. Hence, all the teachers are insisting on proper architectural analysis.
9
RESEARCH
3 DRAFT RD
Description
This network shows the connection between architects and the keywords that make good contemporary Egyptian architecture. This network will guide the reader through the research without complexity. The network gives flexiblity in reading the research since it can be read either vertically through each architect or horizontally through keywords.
ReďŹ&#x201A;ection
It tooks us hours to narrow down different architects with various design approaches into similar keywords and organizing them accordingly to their contributions in building bette lives for people. However, I think it was worth it because it made everything seem clear and organized. The idea of network was appreciated by the instructors however they were worried about visual representation and architecural analysis. Also, the idea of having all the information in a single bubble was disencouraged because it will not allow enough information to be inserted. I highly agree with the instrcutors about the bubble idea since it is not practical and very restrictive.
10
DRAFT
Description
The network draft has been transformed into visually pleasing represetnation by first having a collage at the begining that conveys the major feature in each architect design.It also includes the research question so that it follows the IMRAD paper structure. The research ends at the bottom with the conclusion of what makes a good egyptian architecutre that our group has answered; building better lives for people.
MARAM NAZMY 900160119
PREFINAL
ReďŹ&#x201A;ection
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
As a group, we decided to make all the pictures used black and white so that there is coherence in design and use red to highlight important design features and text. I think this idea helped in creating a pleasing aesthitic and at the same time was not eye distracting because not many colors were used. Unforntutaly, we still had the same problem of not including architectucal analysis which made it seem like a huge poster stating facts using pictures and illustrations.
Figure 1 Overview of the whole research poster
Figure 2 Idea Sketch
Figure 3 Linkage Draft
Figure 4 Wissa Wassef zoomed in bubble
11
PREFINAL
DRAFT Description
A sample of five bubbles/keywords for the architect Wissa Wassef.
12
FINAL RESEARCH Reflection.
The objective of the research was to identify the features of an appropriate contemporary Egyptian architecture. After all of the pitch elevators pitched by the entire class, I think having similar architects lead us to mostly the same keywords that were used to describe research question; what is appropriate contemporary Egyptian architecture. However, there were some unique use of vocabulary like participatory and user driven yet they conveyed the same meaning like other keywords. However, during this research phase I realised that the way I conceived architecture was wrong or maybe immature. I always believed that good architecture means a good looking building. Apparently, it turned out that I was shallow and architecture was more than about appearance. It is more about its social impact in the community. This research changed my mindset and the way I design. I remember in my 351 project the first step I did in the design phase was the how the building will look like in terms of facade and I would panic if the project turns something else. Architecture is not about beautifying buildings and it’s more about building better lives for people. Moving on to the elevator pitch part, it was my first time to hear about it and I found it really challenging and interesting. Presenting your idea in a minute and trying to persuade the client with your idea and make it memorable is an important skill that needs to be learned especially in the work field. I guess our groups elevator pitch with informative yet it lacked uniqueness that would make people remember it. We did have a powerful ending statement “Building Better Lives for People” but the pitch lacked examples from our research.
Grade 100/100
13
Project Overview
14
Project Overview
15
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
MARAM NAZMY 900160119
16
17
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
MARAM NAZMY 900160119
18
19
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
MARAM NAZMY 900160119
20
21
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
MARAM NAZMY 900160119
22
23
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
MARAM NAZMY 900160119
24
25
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
MARAM NAZMY 900160119
26
27
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
MARAM NAZMY 900160119
28
29
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
MARAM NAZMY 900160119
30
31
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
MARAM NAZMY 900160119
32
33
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
MARAM NAZMY 900160119
34
35
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
MARAM NAZMY 900160119
36
37
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
MARAM NAZMY 900160119
38
39
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
MARAM NAZMY 900160119
40
41
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
MARAM NAZMY 900160119
MAPPING 42
MAPPING DRAFT Description
The aim behind this assignment is to learn how to transform what we see and feel to a tangible object. After visitng the site we were asked to create a model that expresses the site atmosphere.
MARAM NAZMY 900160119
INDIVIDUAL
ReďŹ&#x201A;ection
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
I decided to look at the macro scale of the site which will help me in identifying the nearby surroundings. The model shows that the site is located in the heart of a rich old islamic context. Mapping this feature allowed me to have a sense of the site prominent location.
Figure 1 Front view of the project
Figure 2 Idea Sketch
Figure 3 Details
Figure 4 Details
43
FINAL INDIVIDUAL
MAPPING Description
The aim behind this assignment is to learn how to transform what we see and feel to a tangible object. After visitng the site we were asked to create a model that expresses the site atmosphere.
ReďŹ&#x201A;ection
I decided to map activities performed in an area that is high dense. I started from the macro scale and then I zoomed into the site surroundings. I found that people living in this area make a huge impact on the essence of the space and they consider themselves one family. This model shows the untold stories in the narrow streets in the neighborhood through the pop up mechanism which resembles the idea of great things being hidden.
Figure 1 Front view of the project
Figure 2 Idea Sketch
44
Figure 3 Details
Figure 4 Details
Description
This site analysis mapping shows the quantitative (sun direction, wind, site boundaries, natural environment etc.). As well as qualitative (social context and community activity) as layers above each other.
MARAM NAZMY 900160119
MAPPING
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
GROUP
45
DESIGN PROGRESS
46
The Architecture of Light (week 10) This module is an integral part of your project, and aims to deepen your understanding of daylight as both a form generating force as well as an experiential dimension in spatial design. It focuses on the qualitative aspects of light and its relationship to materiality, texture, color, spatial perception, operation and function. It wi1ll help deepen your understanding of the role daylight can play in the planning, operation and experiential qualities of space. In addition to this awareness across the project as a whole, each student should select a component of their project where they will develop a detailed understanding of this daylight/space relationship. This component can be an interior or exterior space such as a gallery space, courtyard, terrace, series of window treatments, shading device, skylight etc. Once selected each student will be required to develop a series of experimentations demonstrating how daylight can be utilized in different ways to enhance the experiential, operational,
functional and perceptual qualities of space. Students are required to submit 5 such experimentations, and develop one to the point of detailed design, incorporating material, structure, light, space, furniture, landscape and other relevant elements. The deliverables for this module are: • 5 daylight experimentations communicated to scale through a selection of sketches, drawings, models and photographs • 1 detailed experimentation, developed to include an investigation and integration of material, form, structure, function, experience, quality of space and daylight. This should be communicated in detailed 1:50-1:20 wall sections, plans, axonometric diagrams as well as through a scaled model and experimental photography. This experimentation and final detailed drawings and images of this module should be organized in 2 A2 sheets and integrated as part of the final project submission. These sheets should be portfolio-ready. Reference can be made to http://iva.velux.com/projects/2016 for examples of projects that have integrated daylight in a thoughtful and creative manner.
MARAM NAZMY 900160119
(visual boundaries, vistas, textures, materials, sensory context, social context, community etc.) should be carefully examined and considered throughout the design process (week 4-5) • 1:100 scale context model. These can be produced as a group with each student placing their project on site in turn during presentation and discussion. The context model must be used as a design development tool, and concepts should be developed 3-dimensionally on site, through the various stages of experimentation, testing and development • Concept models, Diagram Models, Development Models and Final Models to scale and on site. Students are encouraged to examine constructability of their projects and possibly present detailed models illustrated that understanding • 1:100 Plan • 1:100 Section/s • 1:100 Elevation/s Creative forms of representation are encouraged to allow the fullest and most relevant level of communication of ideas. All models should be manually developed for experimentation purposes. Drawings can be produced in CAD or manually, or through mixed media. All work should be mounted on A2 boards. A1 boards should only be used for extreme issues of scale and for models only. All basic conventions of presentation and graphic communication as discussed in class should be adhered to strictly. Mid-term Assignment (week 7) The objective of this module of your assignment is to deepen your understanding of the potential, limitations and expressive qualities of structural materials and their systems. Focusing on the primary structural material chosen for your project, you are each requested to demonstrate its scope, diversity, versatility and limitations. Examples of such materials can include but are not limited to reinforced concrete, load bearing stone, load bearing brick, earth, timber and steel. This exercise is to be carried out through a graphical exploration of diverse examples of this material, in different contexts and building types. Each student is required to identify 5 categorically distinct examples of their chosen material as a primary structure and represent these examples through a series of photographs, scaled drawings, sketches, models and other forms of graphic exploration and representation. The results are to be presented in portfolio ready A2 sheets, using appropriate graphic communication standards. All examples should be clearly labelled, drawings should all be to scale and photographs should be descriptively composed to articulate the intended qualities. You will graded based on • Diversity of examples to most clearly demonstrate the widest scope of structural and tectonic capabilities of material • The level that graphic communication is used as a tool for exploration and investigation • The demonstration of deep understanding of the material’s structural and tectonic capabilities and the potential impact that will have on your design development • Graphic communication standards and composition
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
OUTLINE
Design Stage Upon completion of the research stage, students will embark on the second stage of this project- design. During this phase students are required to use the conclusive results of their research, as well as the collective design criteria compiled as a class as a basis for design. This year AUC will be reaching two important milestones in its history- the 10th anniversary of its move to the New Cairo Campus and its Centennial in 2019 marking 100 years of commitment to higher education in the region. As part of AUC’s current initiative to emerge as a hub for cultural activity, preservation and creation, and in order to capitalize on its invaluable and growing archive of art and design collections, students are required to utilize the research produced in the first module of semester to design AUC’s Architectural and Visual Arts Museum. The mission of the project is to showcase the diversity, innovation, creativity and importance of architecture and design in Egypt throughout its history and through to the present and future. It aims to raise awareness of the depth and breadth of local architectural and design traditions across the centuries and hopes through this awareness to catalyse a dialogue about the current and future languages of architecture and design. The museum will house both AUC’s current permanent collections of art and curated collections of its Regional Architectural Collection, managed by the Rare Books Library (http:// schools.aucegypt.edu/library/Pages/rbscl/collections/rac.aspx). Each student should also propose additional spaces that support the mission of the project, particularly vis a vis current a future dialogues and contributions from local artists and designers. The program of this project consists of the following thematic objectives: • Regional art and design collections and their authors as invaluable resources of local architectural and design language responses to their time and space • Architecture as a space for dialogue and producer of present and future vocabularies and ideas • Architecture and Design as the curators of culture and everyday lives • Space as an incubator of opportunity and ideas • Architecture as a space where ideas and resources meet This will be translated into the following space program elements: • Permanent collection exhibition spaces • Temporary collection and visiting collections exhibition spaces • Seminar, lecture and event spaces of different and flexible configurations • Archive and preservation spaces • Administration- director’s office, administrative assistant, supply/service room • Cafeteria • Commercial space for the purchase of local design products • Separate bathrooms for staff and visitors This project is proposed as part of AUC’s Neighborhood Initiative (http://www.aucegypt.edu/about/neighborhood-initiative) and works to support AUC’s strategic goal to revive its Tahrir campus as a cultural hub for dialogue and exchange. The relationship of your project to AUC’s programming, both academic and extra-curricular, should be central to the development of your design. Each student group is responsible for selecting a site from among the following locations. Exact Google Earth kmz files are posted on Blackboard. • Port Said Street 1 • Port Said Street 2 • Abdeen, Sheikh Rihan Street • Sayeda Zeinab 1 • Sayeda Zeinab 2 • Azhar Each student is expected to present the following deliverables: • Site Analysis, both in model and on 2-dimensional maps. Both the quantitative (sun direction, wind, topography, site boundaries, neighbouring structure, natural environment etc.) and qualitative 1 47
47
SPACE CHOREOGRAPHY
Part 1.
Description
The objective of this assignment is to plan the behaviour choreograohy of the user within the space, which is the musuem.
ReďŹ&#x201A;ection
I drew sketches to make it easier to visualize the experience of the user within the space and also to facilitate communication of ideas. I think that starting first with basic musuem design guidelines is important because it has been derived from pervious musuem evaluations which were done to ensure better designs in the future. For example, musuem visitiors prefer continous pathway rather than broken pathway since it makes them feel distracted and worried about missig some of the displays and not having the chance to see everything displayed. Also, it is very important to consider cone of vision which is the distance between an individual and the displayed object so that the user can look at it as a complete piece. To conlcude, in my opinion itâ&#x20AC;&#x2122;s essential to learn and consider basic design guidelines before thinking of how different and unique the design should be.
48
Part 2.
MARAM NAZMY 900160119
CHOREOGRAPHY
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
SPACE
49
DESIGN SKETCHES
Description
Sketches of ideas during design process where they can be experimented in the design.
50
Description
Sketches of ideas during design process where they can be experimented in the design.
MARAM NAZMY 900160119
SKETCHES
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
DESIGN
51
DESIGN SKETCHES
Description
Sketches of ideas during design process where they can be experimented in the design.
52
MODEL
Description
The objective of this model was to showcase the design concept of the museum. I used cubes that were open from the other side to show that people inside can see each other even if they are doing different activities. Also the cubes were placed above each other to create the sense of hierarchy based on privacy and access needs. This makes the last floor an ideal location for having quiet and private spaces.
Lastly, the library is located in the highest level since it contains rare book collection which makes it private and needs a quiet area with less trafďŹ c of people.
MARAM NAZMY 900160119
CONCEPTUAL
ReďŹ&#x201A;ection
I think conceptual model made me visualize the relationships between the spaces and deepened my understersantding of how they relate and affect each other.
Figure 1 Idea Sketch
Figure 2 Details
Public outdoor space, cafeteria and gift shop are placed the lowest since they are targeting the public and need to be more accessible.
Figure 3 Top View
Figure 4 Front View
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
Temporary colleciton was in the middle since locals in the nieghborhood will be visitng it more frequently to see new things that are installed.
53
MODEL DEVELOPMENT
Different use of paper opacity is used to give an indication of privacy degree. For instance in the ground level an acrylic paper is used to demonstrate public access whereas in the middle level transparent paper is used to express semi-public accessibility. Lastly, in the upper floor complete opaque paper is used to indicate privacy.
Description
First model development in the design phase which focuses more on massing and translating the concept into a tangible material.
ReďŹ&#x201A;ection
In this model, I decided to focus on spaces relationship in general. However, based on the instructors feedback it lacked micro scale analysis and studies. I focused more on the macro scale rather than the mirco scale where both are equally important. There was weakness in user experience in each space but the overall thread was clear in terms of circulation.
The aim of these steps is to create a social platform for the people to socialise and bring them together. This will make them feel welcomed to enter the museum and removes barriers as it faciliates accessibility unintentiolly between the user and the space.
Seating steps to allow museum visitors watch the historical context of the museum and the mosque located in the middle of the street.
Figure 1 Front view of the project (Western Elevation)
Figure 2 Southern Elevation
54
Figure 3 Details
Figure 4 Top View
Description
Second model development in the design phase focuses more on massing and form
ReďŹ&#x201A;ection
Figure 1 Front view of the project (Western Elevation)
Figure 2 Top view within context
In this model, I decided to focus on form however the floor plan spaces relationship were not efficient. The instrcutors were pleased by the workmanship of the model. However, the model form was somehow bulky and rigid. It lacked openings as well in both the model and the floor plans.
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
The form is bulky however this bulkiness can be avoided by creating openings for ventilation purposes and user experience.
MARAM NAZMY 900160119
MODEL DEVELOPMENT
Figure 3 Details
Figure 4 Side View (Southern Elevation)
55
Demonstration of daylight experimentation.
MODEL DEVELOPMENT
Instructor Comment: Voids and fenestration openings need to be shown
Description This screen acts as a shading device and at the same time enhances the privacy of the spaces while still allowing ventiltion and sunlight inside.
Third model development in the design phase shows the space form. Also there was a new addition to the model in terms of spaces which is the open multipurpose communal space that is aimed to serve the neighborhood locals. This space has substituted the gift shop and this helped in generating the idea of socio-economic intent were locals can learn art skills in the museum workshops and later on sell it in the bazar that will take place in the communal space.
ReďŹ&#x201A;ection
In this model, the building form was clear enough however voids and openings were missing. Concerning the new multipurpose space that substitued the gift shop, I believe that it will help the community a lot as it will make them feel that itâ&#x20AC;&#x2122;s their own space where they can feel free to access it anytime without restrictions
Multipurpose Communal space where many activites can take place that helps the community in terms of social income like hosting a bazaar or a pedagogical intent like a public workshop.
Figure 1 Front view of the project (Western Elevation)
Figure 2 Southern Elevation Showing Staircase
56
Figure 3 Top View Within Context
Figure 4 Model Top View
MIDTERM MATERIALITY & STRUCTURE
57
MIDTERM Description
First sheet shows the main characteristics of the concrete material, different methods of construction and several structural systems.
58
First example shows how concrete helps in creating dynamic forms especially in the roof.
MARAM NAZMY 900160119
Description
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
MIDTERM
59
MIDTERM Description
Second example demonstrates concrete structural grid and beam system
60
Third example focuses on how concrete helps in creating interesting forms through precast concrete.
MARAM NAZMY 900160119
Description
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
MIDTERM
61
MIDTERM Description
Fourth example shows how to structurally achieve vaults using concrete.
62
Fifth example shows how to achieve tall structures
MARAM NAZMY 900160119
Description
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
MIDTERM
63
MIDTERM Description
Last sheet shows how the five examples will benefit my structure and possible implementations.
64
DAYLIGHT
65
DAYLIGHT Part 1.
Description
This assignment aims to deepen the understanding of daylight as both a form generating force as well as an experiential dimension in spatial design. It focuses on the qualitative aspects of light and its relationship to materiality, texture, color, spatial perception, operation and function. It deepens the understanding of the role daylight can play in the planning, operation and experiential qualities of space. Five different experimentations were needed to be designed and tested to see its effect on the design.
ReďŹ&#x201A;ection
This assignment seemed to be fun and engaging. It required us to test light effect manually hence it made me understand how light can have great impact on design which I used to underestimate. A simple opening can create a great effect on the overall atmosphere of the building. Openings are not only restricted to ventilation purposes but it can also create circulation and lead people to places.
66
MARAM NAZMY 900160119
Part 2.
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
DAYLIGHT
67
DAYLIGHT Part 3.
68
PIN-UP GRADE: A
69
PIN-UP Description
Ground floor plan.
70
First floor plan.
MARAM NAZMY 900160119
Description
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
PIN-UP
71
PIN-UP Description
Second floor plan.
72
Third floor plan.
MARAM NAZMY 900160119
Description
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
PIN-UP
73
PIN-UP Description Section
74
PREFINAL GRADE: A
75
DESIGN PREFINAL
Description
First sheet shows the design concept and zoning in an axonometric diagram based on spaces in the museum.
76
Description
Second sheet shows how the site features and social context inspired the design form and spaces
MARAM NAZMY 900160119
PREFINAL
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
DESIGN
77
DESIGN PREFINAL
Description
Third sheet shows the ground floor and proposes different scenarios of the multipurpose space.
78
Description
Fourth sheet shows the first floor and demonstrates the uses of fenestration and its solar lines
MARAM NAZMY 900160119
PREFINAL
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
DESIGN
79
DESIGN PREFINAL
Description
Fifth sheet shows the second floor and further explaination and analysis of the uses of fenestration is shown.
80
Description
Sixth sheet shows the third floor where permanent gallery fenestration is explained.
MARAM NAZMY 900160119
PREFINAL
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
DESIGN
81
DESIGN PREFINAL
Description
Seventh sheet shows section A-A and daylight analysis.
82
Description
Eighth sheet shows section B-B along with interior spaces shots.
MARAM NAZMY 900160119
PREFINAL
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
DESIGN
83
DESIGN PREFINAL
Description
Ninth sheet shows the northern elevation as well as materiality and structure system used in project.
84
Description
Tenth sheet shows the southern elevation along with interior spaces shots
MARAM NAZMY 900160119
PREFINAL
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
DESIGN
85
PREFINAL
Demonstration of daylight experimentation.
MODEL
Fenestration inspired by the concept of privacy of spaces as you go up, less openings are made.
Description
Third model development in the design phase shows the space form.
ReďŹ&#x201A;ection
In this model, the building form was clear enough however voids and openings were missing.
Multipurpose Communal space where many activites can take place that helps the community in terms of social income like hosting a bazaar or a pedagogical intent like a public workshop.
Figure 1 Front view of the project (Western Elevation)
Figure 2 Southern Elevation Showing Staircase
86
Figure 3 Top View Within Context
Figure 4 Model Top View
FINAL
87
88
89
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
MARAM NAZMY 900160119
90
91
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
MARAM NAZMY 900160119
92
93
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
MARAM NAZMY 900160119
94
95
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
MARAM NAZMY 900160119
96
97
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
MARAM NAZMY 900160119
FINAL MODEL
Description Final model shows all voids and fenestrations in the buillding. Daylight experimentations can be clearly seen in the model where shadows play an important role in the facades elevation.
Figure 1 Front view of the project (Western Elevation)
Figure 2 Southern Elevation Showing Staircase
98
Figure 3 Top View Within Context
Figure 4 Daylight in Model
Interior Shots
MARAM NAZMY 900160119
DESIGN
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
FINAL
99
FINAL DESIGN
Interior Shots
100
Interior Shots
MARAM NAZMY 900160119
DESIGN
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
FINAL
101
FINAL DESIGN
Interior Shots
102
Interior Shots
MARAM NAZMY 900160119
DESIGN
AENG 352 ARCHITECTURAL DESIGN STUDIO 2
FINAL
103
