ARCHITECTURE PORTFOLIO 2016-2020
NOUR E. TABET
UNIVERSITY WORK 5
YEAR I
23
YEAR II
37
YEAR III
61
YEAR IV
97
YEAR V
COMPETITIONS 99
Fairy Tales 2019
107
INNATUR 9
LITERARY WORK 113
Written Essays
121
Video Essays
UNIVERSITY WORK
YEAR I
2016-2017
5
DESIGN I-A
BRIEF I Line, Space and Flow: By applying the principles of movement, the following composition depicts the sound of water, as “seen” by the artist.
DESCRIPTION To begin the process of drawing the sound of water, liberating the mind from preconceived notions is essential. It is then that the various components of the sound can truly be visually translated. The contrast between the line thicknesses serves to relay the noticeable difference in the rush of water versus its gentle flow just as the repetition of lines serves to create unity and continuity with regards to water’s flow. The negative spaces in the composition help create a sense of movement. Specific Focal points are created through areas of thick and dense lines as compared to negative spaces. Their presence ensures movement through the composition and portrays the dominance of a certain sounds in water over others. This dominance can be heard in the loud sound of the rush of water over that of still water. Finally, ink was the chosen medium in order to remain truthful to water’s flow and fluid texture.
NOUR E. TABET PORTFOLIO
UNIVERSITY WORK
7
DESIGN I-A
BRIEF II The following composition aims at exploring the various principles of design, accentuated by the use of color. Among these design principles are the following. • Tension • Contrast • Space • Repetition • Rhythm • Emphasis/Dominance Among the presented works, seven were chosen to be painted on the wall of one of Byblos’s many alleyways. The following composition was among the ones chosen to represent the Lebanese American University in its outreach towards the Lebanese community of Byblos. More information can be found at Sard.lau.edu.lb. (2017). The Art of Regeneration | LAU School of Architecture & Design. [online] Available at: http://sard.lau.edu.lb/news/2017/the-art-ofregeneration.php.
DESCRIPTION The following composition is based on the study of shapes, specifically the bottom side of prisms. At first, the composition had one prism and the lines were dotted to create movement. During the progress, a smaller prism was added to create contrast while the dots were eliminated to avoid visually overwhelming the composition. Tension is created where the two prisms and lines meet. Movement and repetition are created through the translation and rotation of the lines between the prisms. Balance exists due to the contrast in size that was balanced out by the strength of color of the prisms. Hierarchy exists when the viewer’s eyes move from the larger prism then, to the smaller. Contrast exists not only due to the size of the prisms but also because of the contrast created between the warm and cold colors.
NOUR E. TABET PORTFOLIO
Photo Credit LAU, 2017
UNIVERSITY WORK
9
DESIGN I-A
BRIEF III Image, Concept and Paradox: The following project aims at telling a story of a paradox through the collage of different media from different sources.
DESCRIPTION Freedom of Expression: the bridge over troubled waters.
NOUR E. TABET PORTFOLIO
UNIVERSITY WORK
11
DESIGN I-A
BRIEF III Image, Concept and Paradox: The following project aims at telling a story of a paradox through the collage of different media from different sources.
DESCRIPTION Freedom of Expressino: a form of liberation that lacked liberation, once upon a time, in Lebanon.
NOUR E. TABET PORTFOLIO
UNIVERSITY WORK
13
DESIGN I-B
BRIEF I By dividing a platonic solid into three identical units, the following project aims at creating interlocking units that do not fall apart unless manually dismantled.
DESCRIPTION The process started with taking a prism and divinding each face into two parts. The unit is then mirrored to create the resulting unit.
1
3
2
4
NOUR E. TABET PORTFOLIO
5
UNIVERSITY WORK
15
DESIGN I-B
BRIEF II The following project focuses on capturing the essence of a particular animal. A threedimensional composition is then created through organic and interlocking modular units, that also reflect the animal. The modules were proportionally scaled and handmade using Wawa wood.
DESCRIPTION The chosen animal is the peacock. The modular unit is based on the eye pattern found on peacocks’ tails. The modules are then connected to form the motion of a peacock opening its tail.
NOUR E. TABET PORTFOLIO
UNIVERSITY WORK
17
DESIGN I-B
BRIEF III Based on the subtraction of a 15x15 cm cube, the animal chosen in Brief II was represented through the negative space remaining from the process.
DESCRIPTION The phenomenon of the peacock opening its tail is re-emphasized through the opening movement portrayed in the void of the cube, leaving behind the impact of this phenomenon rather than its object.
NOUR E. TABET PORTFOLIO
UNIVERSITY WORK
19
DESIGN II
BRIEF Lost Objects: By choosing two objects considered to be lost, a creature with its own narrative was created. The outcome of the creature was represented through a pencil-drawn collage of these two objects. This creature is then translated into a mechanism that depicts its essence.
DESCRIPTION Based on George Orwell’s 1984, thoughts that go against the norm are often shunned and prosecuted. As such, they are thrown out and kept outcast. Lost and unprotected, these thoughts seek refuge from those seeking to eliminate them. This is when the Armadillo’s shell was found and later inhabited by these thoughts. When encountering an enemy, the creature is just an armadillo. When encountering a listener, the thoughts are revealed.
NOUR E. TABET PORTFOLIO
The mechanical translation of the creature is a helmet worn as protection. Under normal circumstances and in the presence of close-minded thoughts, the helmet remains closed as a symbol of the refusal to share any thoughts.
When encountering another open-minded person, the helmet opens up to allow communication between both minds.
UNIVERSITY WORK
21
YEAR II 2017-2018
23
DESIGN III
BRIEF Sanctuary: The following project explores what a “sanctuary” means to the artist. Through the integration of five senses, a spatial experience is created reflecting this “sancturary”. The first step includes producing conceptual drawings, followed by conceptual models before finally creating the sanctuary in an arbitrary 15x30 m plot.
DESCRIPTION Present on earth and in time, but absent in thoughts, Physically wandering the streets but mentally wandering a different universe, different world, a true home, But where is that escape? Seeing that my physical state cannot travel to another world, I visit my thoughts that flow within heavenly music creating a home that shapes its own universe as it goes. The following sanctuary allows the visitor to rise and fall, float and sink, within a space that outscales the human body. By directing a person’s vision towards the skies, allowing sound to travel through the vastness of the space, with the coldness of the air and the walls, the human senses come to play a role in accentuating the visitor’s experience.
NOUR E. TABET PORTFOLIO
CONCEPTUAL DRAWINGS
UNIVERSITY WORK
25
MASS PLAN
PLAN CUT AT 5.8M
NOUR E. TABET PORTFOLIO
SECTION AA
SECTION BB
UNIVERSITY WORK
27
NOUR E. TABET PORTFOLIO
UNIVERSITY WORK
29
DESIGN IV
BRIEF After choosing a specific artist, his/her home is designed in a given site to reflect the essence and work of the artist. The site itself is given context and orientation but is set in no specific location.
DESCRIPTION “Since we are part of nature ... we empathize deeply with its ways ... they serve as models of how things should be ...” Lawrence Halprin Born in 1916, Lawrence Halprin was a revolutionary landscape architect with a mission to improve city dwellers’ urban lives. Inspired by the Great Depression, American president Franklin D. Roosevelt, and social relief projects, Halprin found an opportunity to invite fleeing urban dwellers back into the city through parks and other landscape interventions. This allowed the city (shelter) safe havens (landscape) for its people. As such, the design of Halprin’s house is based on the flexibility of movement between the inside (shelter) and the outside (landscape) with moments of merging between both.
Picture of Lawrence Halprin retrieved from Christopher Simmons NOUR E. TABET PORTFOLIO
SAMPLE PROJECTS BY LAWRENCE HALPRIN
Lovejoy Plaza, Portland. Photograph by Julian Raxworthy.
Maguire Gardens, 2016. Photograph courtesy The Cultural Landscape Foundation, Alan Ward. UNIVERSITY WORK
31
CONCEPT DEVELOPMENT
LANDSCAPING
OUTSIDE
OUTSIDE
SOCIAL & LIVING
INSIDE
INSIDE
OUTSIDE
OUTSIDE
WORK & PRIVATE INTERSECTION LANDSCAPING SOCIAL & LIVING
The first step consists of WORK & PRIVATE intersecting the two areas INTERSECTION of everyday life into two intersecting rectangles. The areas are made up of social & living spaces intersecting the working & resting areas.
INSIDE
In order to allow for landscaping to border all of the site, the house is placed in the middle. Overall, the house takes up 15% of the site while the remaining is allocated to the landscape.
INSIDE
The border between the outside and inside is then blurred through sliding glass located at the corners of the house.
In order to increase the area of the landscaping surrounding from 85% of the site to nearly 95% of the site, the corner glass facade is composed of panels that slide downwards and open up the space. NOUR E. TABET PORTFOLIO
NEIGHBORING PLOT
NEIGHBORING PLOT
NEIGHBORING PLOT
NEIGHBORING PLOT
TH
R
O
N
0M
10M
MASS PLAN UNIVERSITY WORK
33
NEIGHBORING PLOT
LIVING ROOM
DINING ROOM
BEDROOM
W.C. KITCHEN W.C.
WALK-IN CLOSET
WAITING AREA
NEIGHBORING PLOT
NEIGHBORING PLOT
NEIGHBORING PLOT
OFFICE
TH
R
O
N
0M
10M
PLAN CUT AT 2M NOUR E. TABET PORTFOLIO
0M
10M
SOUTHERN AXONOMETRIC VIEW
0M
10M
EASTERN AXONOMETRIC VIEW UNIVERSITY WORK NOUR E. TABET PORTFOLIO
35
YEAR III 2018-2019
37
DESIGN V
BRIEF In Deir Hrach, Lebanon, the Saint John convent sits on top of a hill overlooking Bkerki valley. Over time, the nuns at the convent, who had established a school nearby, saw a need to connect with people from Deir Hrach. They also saw a need to expand or provide certain functions catered to the physical and mental health of the nuns. The opportunity to expand lay in two possible zones: the direct proximity of the convent or an abandoned limestone quarry a short walk away from the convent. Despite owning both these lands and other lands in proximity, the convent had to be delicate in handling the expansion seeing that the town’s municipality had its own interests in the area. As such, each student was given the option to intervene in either zones by providing a concept and program that would suit both parties. The intervention was to fit within 1000-1500 m2 and cater to the following needs: The convent: • Reflection of hermit lifestyle • Reflection of modern convent lifestyle • Need for therapeutic space • Need to reconnect with the town by encouraging contact with people and the convent • Maintaining a spiritual essence to the area
The municipality: • Need for spiritual functions open to the public • Reuse of quarry space to benefit the town • Establishing community relations with the convent
DESCRIPTION Focus Area: Quarry (Option B) In order to establish a relationship between the convent, the town, and visitors from any background, a meditative procession is created through secular means. This is achieved by focusing on the human senses. The journey starts out with an acoustic space that allows focusing on hearing. Visitors then continue through a water passage to experience the sense of touch. This is followed by an aromatherapy space, then an outdoor meditative space ending with an elaborate processional route along the outline of the quarry. This route, connecting all stages together and forming a stage on its own, varies in experience. Visitors have the option to continue their journey to a church open to the public, or visit the cafeteria, library, or souvenir shop. Small huts are carved into the quarry to allow for secluded meditation spaces. The nuns are able to travel through this journey or opt for a using their private gym and pool. This strategy allows visitors a spiritual experience in parallel to the convent’s lifestyle.
QUARRY
AERIAL VIEW
QUARRY
QUARRY
QUARRY
SAINT JOHN CONVENT
AERIAL VIEW
NOUR E. TABET PORTFOLIO
UNIVERSITY WORK
39
NOUR E. TABET PORTFOLIO
UNIVERSITY WORK
41
NOUR E. TABET PORTFOLIO
UNIVERSITY WORK
43
NOUR E. TABET PORTFOLIO
PROCESSIONAL ROUTE: (VARYING EXPERIENCE JOURNEY)
WITHIN
THE
1. CONTEMPLATION 2. ASCENT TOWARDS FEELING OF SUPERIORITY WITH VISION DIRECTED DOWNWARDS 3. HUMILITY ACHIEVED WITH LIGHT & SIGHT PROVIDED FROM ABOVE 4. GRADUAL DESCENT TO DARKNESS 5. HUMILITY ACHIEVED BY WALKING IN DARKNESS
UNIVERSITY WORK
45
NOUR E. TABET PORTFOLIO
UNIVERSITY WORK
47
DESIGN VI
BRIEF Byblos’s old city is home to the past (history), the present (current community and tourism), and the future (growth). As such, students were requested to develop a program to serve the Byblos community (locals and visitors). The built-up are shouldn’t exceed 1500m2 in a site located between the Intra Muros and Extra Muros on the road leading to Byblos harbor. Parking facilities are excluded from this project since a public parking is situated in direct proximity of the site.
DESCRIPTION (tfaddal) A word that resonates in the old streets of Byblos. Brought together by their different backgrounds, the individuals of Byblos create a collective community. As such, two groups reside within this city: the visitor and the visited. The visitor is someone who comes from a place of rest in order to see local products and their origin. The visited is someone who produces in order to share with others before they go to rest. These two axes of communication intersect at one point before leaving in opposite direction. Seeing that the users of the community center in question are made up of local members and extra-local visitors, we can divide the program into three main categories: Work Product Rest These three categories not only intersect but also have another dimension: privacy. Since resting spaces needed by the visited revolve around food services and breakrooms, the provided spaces are public. On the other hand, the resting spaces needed by the visitors revolve around accommodation. Thus, the provided spaces are private.
NOUR E. TABET PORTFOLIO
BRIEF ON SITE ANALYSIS MAP OF FUNCTIONS
Commercial Religious School Parking Residential Cultural Government Mixed Use Leisure Parc Site Mediterranean Sea NORTH
0KM
INTRAMUROS VS. EXTRAMUROS
1KM
Intramuros Extramuros Medieval wall Citadel Mass Roman Road Site Mediterranean Sea
NORTH
0KM
MAP OF ROADS
1KM
Highway Tertiary Road Secondary Road Main Road Harbor Parking Light to Dense Road Nodes (affecting or affected by project) Site Mediterranean Sea NORTH
0KM OLD CITY - CULTURAL & TOURIST SIDE
WEST OF HIGHWAY
1KM
HIGHWAY SEPARATION
Pedestrian Traffic Car Traffic 5AM 6AM
7AM
8AM
9AM
10AM
11AM
12PM
1PM
2PM
3PM
4PM
5PM
6PM
7PM
8PM
9PM
10PM
11PM 12AM
1AM
2AM
3AM
4AM
5AM
10AM
11AM
12PM
1PM
2PM
3PM
4PM
5PM
6PM
7PM
8PM
9PM
10PM
11PM 12AM
1AM
2AM
3AM
4AM
5AM
Weekend Traffic 5AM 6AM
7AM
8AM
9AM
Weekday Traffic
UNIVERSITY WORK
49
BRIEF ON SITE ANALYSIS ZONING MAP
Highway
G8
A
G9
A2P
Site
BP
Mediterranean Sea
B2P C1P D4P G1 G2, G3 G4, G4A, G5 G6, G7
NORTH
FLOOR 2
3M SETBACK FROM ROAD
MAX HEIGHT = 8M
0KM Total Density: 1
50% Maximum Coverage
300 m2 minimum surface area
1KM Underground must not exceed -3.5m below street level
Underground density not considered
No Pitched RooямБng Allowed
-3.5m
FLOOR 1
G5
PROPERTY OF MINISTRY OF CULTURE
BYBLOS PUBLIC PARK
EXIS STRU TING CTUR E
+1.40M
0.0M
ANCIENT WALL NORTH
0M
40M
Sothern Road | Main Road
Northern Road | Access to Site
Existing Structure
Neighboring Structure
+4.50M
0.00M
EXISTING STRUCTURE
0M
10M NOUR E. TABET PORTFOLIO
CONCEPT Ground Floor
Visitors’ Rooms
Ancient Wall
Reception
Multipurpose Room
Cultural Lounge
Amphitheatre | Archaeology
Exhibition
Cafeteria
Public Garden
Workshops Painting
Datum Rest Product Work
Pottery Calligraphy Embroidery Underground Floor
CONNECTION BETWEEN GARDEN & MEDIEVAL WALL
SOUK LIFE HANDCRAFTS
CULTURAL LOUNGE
EXHIBITION SPACE
Since the site is linear, creating an axis of relation between the wall and the public garden, the functional elements follow the same linearity.
The use of guiding walls to direct the circulation and form development.
CONNECTION WITH NATURE
The void is used to create a linear connection between the garden and the wall.
The functions are laid into strips connected to one another by circulation running perpendicular to the functions.
The walls also relate to the ancient walls of Byblos.
SECTION AB
UNIVERSITY WORK
51
UNDERGROUND FLOOR PLAN
A
8% SLOPE EAR 19.6M LIN
MECHANICAL ROOM
8% SLOPE 23M LINEAR
-1.27m
CALLIGRAPHY WOR
KSHOP
EMBROIDERY WOR
KSHOP
AMPHITHEATER
8% SLOPE 9.3M LINEAR
8% SLOPE 25M LINEAR
-2.90m POTTERY WORKSHO
P
C
C
-2.90m
PAINTING WORKSHO
P
-2.80m CAFETERIA
-2.90m
FOOD STORAG E
KITCHEN
D
-2.90m
EMPLOYEE LOCKERS
STORAGE
-3.50m D
EXHIBITION
B
NORTH
A
0M
10M
NOUR E. TABET PORTFOLIO
GROUND FLOOR PLAN
A
+1.40M
+1.40M
+1.40M
5% SLOPE 6M LINEAR
+0.70M
8% SLOPE EAR 23M LIN
PE 8% SLO EAR 8.4M LIN
EMERGENCY EXIT
BLINDS
+1.70M -0.40M ADA BEDROOM
FIRE HOSE
BEDROOM BENCHES
BEDROOM SPLIT QUEEN BEDS
C
8% SLOPE 12M LINEAR
C
8% SLOPE 22M LINEAR
-2.90M
DETAIL 2 SECTION CC
BEDROOM
D
+0.70M
LOBBY
+0.70M
RECESSED PROJECTOR SCREEN
R 8% SL OP 8.5M LIN E EA
8% SLOPE 8.5M LINEAR
+0.00M
MULTIPURPOSE HALL & CULTURAL LOUN GE EXTENSION
+0.70M
CULTURAL LOUNGE
D
-3.50M
+0.00M
+0.70M
B
NORTH
A
0M
10M
UNIVERSITY WORK
53
MASS PLAN
A
+1.40M +0.70M
C
C
D
+0.70M
+4.20M
+5.20M
-3.50M
+0.00M
+0.70M
B
NORTH
A
0M
10M
NOUR E. TABET PORTFOLIO
D
NORTHERN ELEVATION
+5.20M +4.20M
+0.70M +0.00M
0M
15M
SOUTHERN ELEVATION
+5.20M +4.20M
+1.40M
0M
15M
UNIVERSITY WORK
55
SECTION AA
SLANTED GLASS FACADE
+5.20M +4.20M
AMPHITHEATRE
+1.70M
+1.40M
+0.70M +0.00M
-2.90M -3.50M
0M
15M
SLANTED GLASS FACADE
AMPHITHEATRE
The structure of the following amphitheatre steps is inspired by Rio de Moinhos Open Air Theatre by Ateliermob (Portugal, 2013)
Section by Atliermob
Photograph by Zoraima de Figueiredo
0M
7.5M
WOODEN RETAINER
FIXED GLASS 33 dB EXTERIOR FACADES 4m MAX HEIGHT
0.6
4 20 mm TILING 10 mm PLASTER & MORTAR 15 mm FLOOR HEATING PIPES 7CM SCREED INSULATION
0.3
0.1
WOODEN RETAINER
0M
7.5M
0M
NOUR E. TABET PORTFOLIO
2.5M
SECTION CC
SHUTTER PATTERN
Closed Shutters
Maximum Privacy
+5.20M +4.20M
SHUTTER PATTERN
ROOF GARDEN
+1.70M
CAN BE SPLIT IF SEPARATE BEDS ARE DESIRED
+1.40M
+0.70M +0.00M
Open Shutters PUSH
PULL
-1.60M
-2.10M -2.90M
Minimal Privacy
0M
15M
0M
7.5M
ROOF GARDEN DETAIL
FLASHING VEGETATION BARRIER
MINERAL ANTI-ROOT
VEGETATION
VAPOR BARRIER
CANT
SUBSTRATE/SOIL
INSULATION
VEGETATION BARRIER
RAINWATER OUTLET WITH REMOVABLE CAP
WATER DRAINAGE MAT
VEGETATION
WATER DRAINAGE MAT MINERAL ANTI-ROOT
SUBSTRATE/SOIL
INSULATION VAPOR BARRIER DRAINAGE PIPE
0M
1.5M
SECTION DD
BENCH DETAIL
MASSIVE STONE CLADDING 10CM 1CM PLASTER
+5.20M +4.20M
REINFORCING STEEL BARS 10MM CONCRETE SEAT REINFORCING STEEL BAR 10MM
+1.70M
ANCHORING
+0.70M
RECTANGULAR STEEL BAR 1.5CM THICK RETAINING WALL 60CM RAFT FOUNDATION
-2.90M
BENCH DETAIL
0M
15M
0M
UNIVERSITY WORK
2.5M
57
EGRESS DIAGRAMS
ADA ACCESSIBILITY DIAGRAMS
NOUR E. TABET PORTFOLIO
UNIVERSITY WORK
59
YEAR IV 2019-2020
61
DESIGN VII
BRIEF The Ministry of Education and Higher Education is working on expanding existing public schools as well as constructing new ones. Students are divided into groups to perform site analysis based on regions including the documentation of existing schools. The students then individually develop a suitable program based on extensive research of different teaching systems and approaches. Sites with existing schools must follow the existing teaching system but may introduce a new approach if seen fit. Site analysis and documentation team Antonella Abou Jaoude, Rebecca Daou, Hiba Jabbour & Nour Tabet Design and development Individual work (Nour Tabet)
DESCRIPTION After having surveyed the site and existing school, and after having interviewed members of the staff and school, a reassessment of the applied teaching approach was seen as a priority throughout the following project. The school has been teaching the Lebanese program by applying a teachercentered approach. This approach focuses on teachers’ authority in class, and students’ roles as receptors of knowledge. Student-teacher relations are limited just as learning is perceived as a duty, not a pleasure. As such, a shift from a teacher-centered approach to a student-centered approach was seen necessary. After having researched several student-centered methods of teaching as well as design approaches, architect Rosan Bosch’s principles were applied in order to teach the Lebanese program while encouraging the engagement of students. Spaces were designed to be more flexible with lecture classrooms mainly – but not limited to – serving older classes. More open spaces encouraging movement and interaction mainly – but not limited to – serve younger classes. This flexibility and diversity of spaces also allows the accommodation of public educational activities that can be held on school premises.
NOUR E. TABET PORTFOLIO
BRIEF ON SITE ANALYSIS MAP OF FUNCTIONS
Commercial Religious School Parking Residential Cultural Government Mixed Use Leisure Parc Site Mediterranean Sea NORTH
0KM
SURROUNDING SCHOOLS
1KM
Site Public School Private School
NORTH
0KM
MAP OF ROADS
15KM
Highway Tertiary Road Secondary Road Main Road Harbor Parking Light to Dense Road Nodes (affecting or affected by project) Site Mediterranean Sea NORTH
0KM OLD CITY - CULTURAL & TOURIST SIDE
WEST OF HIGHWAY
1KM
HIGHWAY SEPARATION
Pedestrian Traffic Car Traffic 5AM 6AM
7AM
8AM
9AM
10AM
11AM
12PM
1PM
2PM
3PM
4PM
5PM
6PM
7PM
8PM
9PM
10PM
11PM 12AM
1AM
2AM
3AM
4AM
5AM
10AM
11AM
12PM
1PM
2PM
3PM
4PM
5PM
6PM
7PM
8PM
9PM
10PM
11PM 12AM
1AM
2AM
3AM
4AM
5AM
Weekend Traffic 5AM 6AM
7AM
8AM
9AM
Weekday Traffic
UNIVERSITY WORK
63
BRIEF ON SITE ANALYSIS ZONING MAP
Highway
G8
A
G9
A2P
Site
BP
Mediterranean Sea
B2P C1P D4P G1 G2, G3 G4, G4A, G5 G6, G7
NORTH
MAX HEIGHT = 10M
MIN AREA OF CONSTRUCTION 250M2
FLOOR 2
3M SETBACK FROM ROAD
0KM 80% Maximum Coverage
Total Density: 1.6
!
Notes on Existing Structure
1KM Unlimited depth underground
Existing Structure to be included in the maximum coverage and density calculations. Maximum height can be aligned to existing structure since it is the property of the Ministry of Education
FLOOR 1
No Pitched RooямБng Allowed
...
A2P COMMERCIAL
ROMAN ROAD
+1.7 M
7.4 M 0.0M 4.6 M
EXISTING STRUCTURE
-3.00 M
+9.4 M
-2.8 M
TEACHERS' PARKING
CONTAINER BATHROOMS
+13.2 M
TEMPORARY SHELTER
-4.8 M
CEMETERY
-2.8 M
NORTH
0M NOUR E. TABET PORTFOLIO
40M
EXISTING STRUCTURE UNDERGROUND FLOOR
GROUND FLOOR
FIRST FLOOR SYRIAN REFUGEES' CLASSROOM
GRADE 7-B
-3.0 M
-2.8 M
GRADE 6-A
GRADE 7-A
GRADE 5
GRADE 8
GRADE 4
GRADE 9
GRADE 3
+5.6 M
SUPERVISOR
GRADE 2
+1.8 M
SUPERVISOR
GRADE 1 SCIENCE LAB SYRIAN REFUGEES' CLASSROOM
SYRIAN REFUGEES' CLASSROOM
From site towards Roman Road
SECOND FLOOR
LEGEND Circulation
Library
Playground
Office
Kiosk
Teachers' Lounge
Infirmary
Principal's Office
Classroom
Staff Toilets
Art Workshop
Staff Kitchen
Lab
Storage
From main road towards school
LEBANESE BACCALAUREATE PROGRAM The existing school follows the Lebanese Baccalaureate (LB) system regulated by the Ministry of Education and Higher Education (MEHE). The LB is divided as follows:
Secondary side road & school
Basic Education (Ages 6-15 | Grades 1-9) Elementary (Ages 6-12 | Grades 1-6) Intermediate (Ages 12-15 | Grades 7-9) Grade 9: Official National Exams (Brevet)
Secondary Education (Ages 15-18 |Grades 10-12) Grade 12: Official National Exams (Baccalaureate)
GRADE 6-B
Courtyard View towards school !
+9.4 M COMPUTER LAB
It is important to differentiate between a system of teaching and the approach. While in this case, the system of teaching is governed by the MEHE, the approach depends on the school itself. The approach I have chosen for my project is a student-centered approach to the LB.
NORT
H
0M
20M
UNIVERSITY WORK
65
NOUR E. TABET PORTFOLIO
UNDERGROUND FLOOR PLAN
ROMAN ROAD
STORAGE
A
FEMALE ET
CLOS
E
G RA
STO
MALE ET
CLOS
-2.80m -1.48m PLAYGROUND GRADE 1-6
BALL
PLAYGROUND GRADE 7-12
B
PIT
OUTDOOR COURTYARD
-2.80m TEACHERS' PARKING
KIOSK
FEM
ALE
B
2 x 2.3M MALE
-2.80m -2.80m
WAITING AREA GRADE 1-6
BOILER ROOM
STORAGE
UNLOADING AREA
DROP OFF ZONE GRADES 1-6
BICYCLE PARKING
NURSE
PATIENT'S ROOM
GENERATOR ROOM STORAGE
GUARD HOUSE
-2.70m
VISITORS' PARKING
6% S 1M
2
A
LO LIN PE EA R
NEIGHBORING CEMETERY
NORTH
NORTH
0M
20M
0M
20M
UNIVERSITY WORK
67
GROUND FLOOR PLAN
+1.02m
A
0.00m LOUNGE
0.00m
DROP OFF ZONE GRADE 7-12
GRADE 7
WAITING AREA GRADE 7-12 DROP OFF
B
GRADE 8 E OP SL EAR 10% LIN 30M
MOUNTAIN TOP
EXHIBITION SPACE
GRADE 9
TEACHERS' PARKING
CAMPFIRE
B
GRADE 10
EXH IB WA ITION LLS
OFFICE
-1.48m
HOME 2 x 2.3M COUNSELING NEIGHBOUR
0.00m
BACKYARD GE STORA
NIC H SHE ES & LVE S
PRINCIPAL'S OFFICE
SHARED OFFICES SHARED OFFICES
A
-1.48m NEIGHBORING CEMETERY
NORTH
0M
20M
NOUR E. TABET PORTFOLIO
FIRST FLOOR PLAN
A
WORKSHOP 1 TION
RA ONST DEM ER N COR
+3.80m COMPUTER SPACES
GRADE 2SE
LIBRARY B
GRADE 2S
OW SH PPET ACE SP
PU
VALLEYS & HILLS
GRADE 3S-GS
E
LSID
HIL
EMBEDDED BOOK SHELVES GRADE 3S-LS
B
GRADE 3S-ES
HOME 2 x 2.3M COUNSELING
+3.80m
NEIGHBOUR GE STORA
PHYSICS LAB
CHEMISTRY & BIOLOGY LAB
A
NORTH
0M
20M
UNIVERSITY WORK
69
SECOND FLOOR PLAN
A
MUSIC ROOM
+7.60m
+7.90m
B
B
SHELTERED TECHNICAL SPACE
TEACHER-STUDENT MEETING SPACE
STORAGE 2 x 2.3M
+7.60m
+7.60m OUTDOOR TECHNICAL SPACE
TEACHERS' LOUNGE
A
NORTH
0M
+7.6m
20M
NOUR E. TABET PORTFOLIO
MASS PLAN
ROMAN ROAD
TEACHERS' PARKING
NEIGHBORING CEMETERY
NORTH
0M
20M
UNIVERSITY WORK
71
NORTHERN ELEVATION
+13.3M
+8.90M +7.60M
+3.80M
0.00M
-2.80M
0M
20M
SOUTHERN ELEVATION
+13.3M
+8.90M WHITE-PAINTED CONCRETE
+7.60M
RUSTED IRON
+3.80M
0.00M
-2.80M
0M
20M
EASTERN ELEVATION
+13.3M
+8.90M +7.60M
+3.80M
0.00M
-2.80M
0M
20M
NOUR E. TABET PORTFOLIO
SECTION AA
+13.3M
ROOF DETAIL
+8.90M +7.60M
+3.80M
0.00M
-2.80M
0M
ROMAN ROAD
20M
ROOF DETAIL
METAL FLASHING
METAL FLASHING PLASTER CONCRETE PARAPET
PLASTER
WATERPROOFING MEMBRANE
CONCRETE PARAPET
FILTERING SHEET
WATERPROOFING MEMBRANE
SOIL
CONCRETE FINISH
GRAVEL
CANT
CONCRETE ROOF SLAB
FLOOR FINISH MORTAR INSULATION WATERPROOF MEMBRANE
5M
0M
ROOF DEVELOPMENT
LEGEND
LANDSCAPING ELEMENTS ROOF GARDEN
LEGEND
BENCH
A
WOODEN FINISH +11.40 m
ROOF GARDEN
ROOF GARDEN
+7.90 m
RATIO OF GREEN TO SITTING/WALKING SPACES ON THE EXISTING ROOF
BENCH
WOODEN FINISH
RATIO OF GREEN TO SITTING/WALKING TO SKYLIGHT SPACES ON THE NEW ROOF
SKYLIGHT
SKYLIGHT
B
GRASS
FLOWER PLANTING
SKYLIGHT B
SOLAR PANELS TO PRODUCE ELECTRICITY TOTAL: 50M2
-1.48 m
+11.40 m
+7.60 m
+7.60 m
+11.40 m
-2.80 m
-2.70 m
A
SPACE FOR CHILLER
RATIO OF GREEN SPACES ON THE EXISTING ROOF VS. THE NEW ROOF
UNIVERSITY WORK
SEEING THAT THE EXISTING ROOF DID NOT TA K E I N TO A CC O U NT THE LOAD OF A R OOF GA RDEN D URI NG ITS CONSTRUCTION, ONLY SMALL PERCENTAGES OF G RE E N S PA C E S WE R E INCORPORATED
LEGEND NEW ROOF
PLANTED POD
GREEN SPACES
EXISTING ROOF
BENCH
GREEN SPACES
73
SECTION BB
+13.3M
+8.90M +7.60M
+3.80M STORAGE
0.00M
-2.80M
0M
20M
ROOF DETAIL
HEAVY GAUGE METAL FLASHING ICE AND WATER SHIELD MULLION EXTRUDED PLATE
ALUMINUM
PRESSURE
SKYLIGHT
CONCRETE FINISH FOR BENCH
METAL FLASHING CONCRETE PARAPET
METAL FLASHING
WATERPROOFING MEMBRANE
CONCRETE FINISH
FILTERING SHEET
CONCRETE PARAPET WATERPROOFING MEMBRANE
SOIL GRAVEL
CANT
CONCRETE ROOF SLAB
CONCRETE ROOF SLAB CMU FOR DOUBLE WALL
FLOOR FINISH MORTAR INSULATION WATERPROOF MEMBRANE
5M
0M
ROOF DEVELOPMENT
NORTH
BENCH TECHNICAL SPACE FOR CHILLER POSSIBILITY OF GENERATOR, WATER TANKS AND SOLAR HEATERS
A
LEGEND +11.40 m
WOODEN FINISH SKYLIGHT
ROOF GARDEN
EAST
NORTH
REFLECTED LIGHT
+7.90 m
SOUTH
SKYLIGHT
SOUTH
SKYLIGHT
B
BENCH B
-1.48 m
+11.40 m
+7.60 m
+7.60 m
+11.40 m
SOLAR PANELS TO HEAT UP WATER
-2.80 m
SPACE FOR WATER TANKS
-2.70 m
WEST
EAST
WEST
EAST
A
ROOF GARDEN
WEST
DIFFUSED LIGHT
NOUR E. TABET PORTFOLIO
REFLECTED LIGHT
WALL SECTION
NORTH-EASTERN ELEVATION
WALL SECTION PARAPET CAP
FIXED GLASS
WATER-PROOFING MEMBRANE THERMAL INSULATION CONCRETE ROOF SLAB
FIXED GLASS WINDOW RAIL
MOVEABLE DISTANCE = 850MM
FIXED FRAME WITH FLASHING AND DRIP
MOVEABLE WINDOW FIXED FRAME
FIXED GLASS FIXED WINDOW FRAMES
TILING MORTAR CONCRETE SLAB
MECHANICAL CLADDING: RUSTED IRON PANELS FLASHING CMU FOR DOUBLE WALL
KEY PLAN
KEY ELEVATION
0M
4M
UNIVERSITY WORK
75
NOUR E. TABET PORTFOLIO
UNIVERSITY WORK
77
DESIGN VIII
BRIEF The following project invites students to become part of the national discussions revolving around the issue of Beirut in Crisis. After the Lebanese revolution began on October 17, 2019, Beirut witnessed a change in the dynamic of the city and its people. The Lebanese population established greater unity and raised several issues of concern. In this project, students investigate how different types of Spatial Vacancies can be reimagined through micro-scale collective interventions. These strategies will respect and commemorate memory of space and propose sustainable urban development. The project must also focus on needs and demands arisen during the Lebanese revolution (October 17, 2019-present). Different Types of Vacancies: 1. Vacant Infrastructure 2. Vacant Lots 3. Vacant Structures 4. Vacant Platforms 5. Vacant Public Lands Team: Rebecca Daou, Razan Hijazi & Nour Tabet
DESCRIPTION Vacant platforms With Lebanese protestors reclaiming Beirut as their own, the idea of “platforms” appeared through people’s behavior. Protestors started using the shore, the ground surfaces, building elevations, and rooftops as places of protesting and expression. Based on this behavior, the definition of platforms was developed. Analysis and Intervention After having documented the most active areas during the Lebanese revolution, site analysis was conducted on each area before choosing one of the six areas to intervene on. Raouche was the chosen area to investigate with the main issue being that of reclaiming public space. As such, interventions were placed on a macro plan and elaborated at a micro-scale. In order to make a statement against private cafes and hotels constructed along the Raouche cliff, public spaces were placed along the cliff and shore of the Raouche as well as a vacant building and lot.
NOUR E. TABET PORTFOLIO
UNIVERSITY WORK
79
RAOUCHE ANALYSIS 0M
250M
0M
250M
THE ACTIVITIES ELEVATED PLATFORMS LEGEND ACCESSIBLE ROOFS DIFFERENCE IN LEVEL
SPORTS ACTIVITIES
A
1
HOTELS
SOCIALIZING
DINING
PROTESTING
VERTICAL PLATFORMS
2
B
LEGEND FACADES BILLBOARDS TREES WALLS
USER DEMOGRAPHICS YOUNG ADULTS (18-24)
ADULTS (25-64)
YOUNG ADULTS FAMILIES (18-24)
LEGEND
20% 30%
20% YOUNG ADULTS (18-24)
30%
HOTELS
PEDESTRIAN ROUTES
RESTAURANTS
ADULTS (25-64)
SPORTS ACTIVITIES
YOUNG ADULTS (18-24)
SENIOR CITIZENS (65-95)
WIDE (2.5m - 3m) NARROW (1m - 1.5m) INCONSISTANT
SOCIALIZING
VEHICULAR ROUTES LEGEND
A
PRIMARY SECONDARY TERTIARY NODES
GROUND PLATFORMS LEGEND
KING'S SUITE HOTEL
1
EMPTY LOTS
0M
PARKINGS
20M
RESIDUAL SPACES
B FUNCTIONS LEGEND EDUCATIONAL HOTELS COMMERCIAL MIXED USE
2
GOVERNMENTAL OTHERS
0M
100 80 60 40 20
20M
RELIGIOUS
HEIGHTS
CONCLUSION
HIGH-RISE SPREAD COASTLINE R A O U C H E LANDMARK SIDEWALK AS PUBLIC SPACE
CONCRETE BLOCKS DEPOSITED BY MINISTRY OF PUBLIC WORKS
2013 PROTESTS TO PRESERVE RAOUCHE AS A PUBLIC SPACE
HOTELS ALONG
CREATING PORES IN THE INVASION: CONNECTING COAST & RAOUCHE TO PUBLIC FUNCTIONS IN THE URBAN FABRIC
LOW-RISE CAFES & R E S T A U R A N T S INVADING CLIFF WITH DIRECT VIEW OF RAOUCHE
RECLAIM: CLIMBING ON FACADES & ROOFS TO RECLAIM SPACE & VIEW
D I S C A R D E D C O N C R E T E B L O C K S DEVALUE AREA ENVASION OF COASTLINE BY HIGH-RISE HOTELS RAOUCHE ROCKS
RAOUCHE 1972: BEGINNING OF THE INVASION OF THE SKYLINE LARGE SIDEWALK BECOMES PUBLIC SPACE
CLEAN & REUSE: DISCARD CONCRETE BLOCKS OR REUSE
INVASION OF SHORE BY L A R G E INVESTMENTS
PROTESTS IN RAOUCHE TO RECLAIM COAST
PROBLEMATIC
REVOLUTION STRATEGIES
Note: The following analysis and conclusion was done on all six areas. Racouhe was then chosen as a focus area NOUR E. TABET PORTFOLIO
REACT & REDUCE: ADD PUBLIC FUNCTIONS BEFORE FURTHER INVESTMENTS
THESIS DRAWING FREE-STANDING WALL
VERTICAL LANDMARKS DIFFERENT LEVELS
TREES
GREEN ROOF
NEGLECTED GREENERY
PUBLIC SQAURE
PITCHED ROOF
EMPTY LOTS
ENTRANCE
RIVER
VERTICAL LANDMARK
BRIDGE
STAIRS
COMMUNITY SPACE
ARCHAEOLOGY LAMP POST
VERTICAL LANDMARKS
TREES
BRIDGE
PATH BALCONIES WATER SURFACE FENCE
BILLBOARDS
BLANK FACADE
ELEVATOR
STREET
BIKE LANES
SIDEWALK
SHORE
SEA
PARKING
UNIVERSITY WORK
81
1.HANGOUT SPACES 2 . E X P RE S S I O N B O A R D S A. CLIFFHANGER B.POROUS C.THE HUB 3.INTERACTIVE PLUG-IN
0M
150M
ARCHITECTURE INTERVENTIONS
PUBLIC ACTIVITES VIEWING DECKS BOAT EXCURSIONS
FISHING AREA
SCUBADIVING & SWIMMING AREA
ACCESSIBILITY LINK TO INTERVENTIONS LINK TO THE CITY
NOUR E. TABET PORTFOLIO
1
EXPRESS YOURSELF
2
SHARE YOUR THOUGHTS
GAY MARRIAGE
OCTOBER REVOLUTION
D I S A G R E E
A G R E E
A G R E E
3
LEARN MORE
POLITIC. PARTIES R GD
D I S A G R E E
A G R E E
D I S A G R E E
EXPRESS YOURSELF AT THE HUB
PRO-LIFE
A G R E E
D I S A G R E E
A G R E E
D I S A G R E E
A G R E E
D I S A G R E E
JUST TWO STREETS AWAY!
REDISCOVER THE RAOUCHE AT THE CLIFFHANGER RIGHT ALONG THE CLIFF
A G R E E
SECULAR SEMI-SECULAR
EQUAL PAY
B
D I S A G R E E
A G R E E
D I S A G R E E
RELIGIOUS MARRIAGE
HIGHER PAY FOR WOMEN
BOTH
UNDECIDED
UNDECIDED
UNDECIDED
A G R E E
D I S A G R E E
A G R E E
D I S A G R E E
A G R E E
D I S A G R E E
A PUBLIC BEACH JUST FOR YOU AT POROUS! RIGHT ACROSS THE STREET!
WRITE YOUR QUESTIONS CONNECT YOUR ANSWER
REFER TO DIAGRAM ON FOLLOWING PAGES
OBSERVATORY
HANGOUTS
A G R E E
CIVIL MARRIAGE
HIGHER PAY FOR MEN
NON-SECULAR
FIND YOUR MOSAIC PIECES HERE
A
D I S A G R E E
INTERACTIVE WALLS
BIKING STATION
BOAT EXCUSRSION PORT
OBSERVATION DECKS
FISHING DECK
SCUBADIVING AREA
B
A
STAIRS TO CONNECT PLATFROMS TOGETHER BY FOLLOWING THE CLIFF’S CURVATURE PLATFORM A
PLATFORM B
CONNECTIONS
SEA HANGOUT
SWIMMING AREA
PUBLIC BENCHES
2M BIKE LANE
CAR LANES 7M PEDESTRIAN
CAR LANES 9M PEDESTRIAN
BIKING LANES
EXPRESSION WALLS
B
A
UNIVERSITY WORK
83
CLIFFHANGER CONCEPT AND FORM EVOLUTION
CLIFF INTERVENTION BEACH INTERVENTION
DE F I NE Z O NE S
CREAT E G RID
E XTRA C T MODULES
A LLO C ATE ELEMENTS
MODULE LOCATED ON GRID NODE MICRO SCALE OF MODULE
MACRO SCALE OF MODULE
15X15 C M
15X15 M
NUMBER OF ZONES IN CONNOTATION TO THE 2 ROCKS
UPSCALE ORIGINAL MODULE
ACTIVATE THE CLIFF AS MUCH AS POSSIBLE
ALIGN GRID WITH BEACH INTERVENTION
CONVEX CURVE
CONNECTION WITH THE SEA ELONGATE
TAKE MODULES OF OTHER INTERVENTION AS REFERENCE
COMPLEMENT
USE THE NEW MODULES MADE OUT OF THE SMALLER ONES
BREAK
RIGID SOLID
NATURAL CURVE
18
17 16
21
15
L W L O C K E R R O O M S & W. C . 14
20
13
CULTURAL 12
E
EXHIBITION 11
3
4
5
10
11
12
15
16
10
OB OBSERVATORY 1
8
9
18
LEISURE
9
HS HANGOUT SPACE 8
6
7
14
17
FS FOOD SERVICES 2
13
21
7 1 6 5 4 2 3
20
0M
LONG SPAN
STAIRS
RAMP
TYPES OF CONNECTIONS
=
CONTEXTUAL ADAPTATION
19
SHORT SPAN
CURVE TREATMENT
+
ID INFORMATION DESK
MERGING WITH THE CLIFF
CONCAVE CURVE
EXPLODE MODULES TO FORM THE PLATFORMS
SERVICES
ES TA BLIS H C ONNECTIONS
100M
19
NOUR E. TABET PORTFOLIO
LIGHT PATHWAYS TO EXPERIENCE NATURE & PRESERVE IT
TRANSVERSAL SECTION AA
0M
30M
LONGITUDINAL SECTION BB
0M
30M
A. EXHIBITION SPACES
B. OBSERVATORY
UNIVERSITY WORK
C. LOUNGE
85
OBSERVATORY SECTION
VIEWS
NOUR E. TABET PORTFOLIO
CIRCULATION | A JOURNEY
UNIVERSITY WORK
87
POROUS FORM DEVELOPMENT
3X3 GRID SYSTEM APPLIED ON THE SECTION 3X3 GRID SYSTEM FOR THE PLAN BASED ON PATH INTERSECTIONS
SKELETON OF MODULE USED AS STRCUTURAL SYSTEM
ELEVATED PLATFORM ON STREET LEVEL
3m
SOLID FACES OF MODULE
3m
VERTICAL PLATFORM FOR WALLS & DISPLAY SPACES
3m
GROUND PLATFORM FOR FUNCTIONS
CUBES BASED ON 3X3 GRID OF MODULE
RECTANGULAR PRISMS BASED ON CUBES
SERVICES INFORMATION DESK L O C K E R R O O M S & W. C .
CULTURAL EXHIBITION OBSERVATORY
LEISURE HANGOUT SPACE FOOD SERVICES
WATER ACTIVITIES BOAT EXCUSRSIONS SWIMMING & DIVING AREA FISHING SPOT
ACCESSIBILITY ACCESS FROM INTERVENTION ACCESS FROM SIDEWALK GROUND-LEVEL VIEWING DECK
ACCESSIBILITY ACCESS FROM STREET
0M
100M
NOUR E. TABET PORTFOLIO
SEPARATING PRISMS’ SURFACES TO CREATE PLANES
SECTION AA CONNECTING THE PUBLIC TO THE SEA
0M
RECLAIMING THE BEACH THROUGH OUTDOOR PUBLIC SPACES
RECLAIMING THE BEACH THROUGH INTERNAL PUBLIC SPACES
CONNECTING TO THE STREET AND THE HUB
RECLAIMING THE BEACH THROUGH OUTDOOR PUBLIC SPACES
RECLAIMING THE BEACH THROUGH INTERNAL PUBLIC SPACES
CONNECTING TO THE STREET AND THE HUB
100 M
SECTION BB CONNECTING THE PUBLIC TO THE SEA
0M
100 M
UNIVERSITY WORK
89
1
POROUS ROOT
6
3
HANGOUT NETS
2
AMPHITHEATRE A
8
4
AMPHITHEATRE B
BOAT EXCURSIONS
SANDBOXES
7 HANGOUT SPACES - B
5 HANGOUT SPACES - A
10
9
3
SWIMMING & DIVING PLATFORMS
HANGOUT SPACES - C & FISHING SPACES
POROUS ROOT
EN TR AN CE
HANG OU T SPACES
FLOOR-PACKED SEATS
FL O OR BENCHES ON R O OF
OPEN POSITION
CLOSED POSITION
INTERACTIVE WALL
3
L O CKER R O OM S WAL L INTER V EN TION EX HIBITION SPACES L EV EL -1
EX HIBITION SPACES L EV EL -2 HANG OU T STAIR S EX HIT TOWAR D AM PHITHEATR E
EXHIBITION SPACES | LEVEL -1
NOUR E. TABET PORTFOLIO
HANGOUT STAIRS
2
AMPHITHEATRE A
3
5
HANGOUT SPACE A
8
BOAT EXCUSRION
8
HANGOUT SPACES C & FISHING SPACES
6
HANGOUT NETS
AMPHITHEATRE B
4
SANBOXES
7
HANGOUT SPACES B
10 SWIMMING & DIVING PLATFORMS
UNIVERSITY WORK
91
THE HUB E XISTING STRUCT URE
CO NCEPT DEVELOPMENT BALCONY COMMON FACILITIES ( LIBRARY, EXBITION, THEATER, CAFETERIA, DEBATE ROOMS) “ LEISURE ” ROOM INTERACTION WITH THE INTERIOR INTERACTION WITH THE EXTERIOR
EXHIBIT LEISURE ROOMS
BOOK STACK AREA
WORKSPACES
LOBBY
DEBATE SPACES
FOOD SERVICE
SECTIONAL AXO NO M E T RIC
KEY PLAN: GROUND FLOOR PLAN
DIAGRAMMATIC CIRCULATION
SPATIAL CONFIGURATION ON SECTIONAL AXONOMETRIC
CIRCULATION SECLUDED SPACES OPEN SPACES
NOUR E. TABET PORTFOLIO
PERFORM
THE HUB E XISTING STRUC T URE
UNIVERSITY WORK
93
NOUR E. TABET PORTFOLIO
HANGOUT SPACES CURRENT STATE
3D RENDERING OF PROPOSAL PLUGIN
ISOMETRIC OF PROPOSED PUBLIC SPACE
ELEVATION OF THE LEVELED HANGOUT ON THE FACADE
VERTICAL BIKE PARKING NORTHERN ELEVATION
WESTERN ELEVATION
EASTERN ELEVATION
SOLAR PANELS BILLBOARD WHEEL CABLE
SITTING AREA LOCKERS
UNIVERSITY WORK
95
YEAR V 2020-2021
IN PROGRESS
97
COMPETITIONS
Fairy Tales 2019 Team Hiba Jabbour & Nour Tabet
“Blank Space is thrilled to announce the 2019 Fairy Tales competition in partnership with ArchDaily, Archinect, Bustler, and the AIAS… Fairy Tales is open to all, and invites architects, designers, writers, artists, engineers, illustrators, students and creatives to submit their own unique architectural fairy tales. A successful entry will craft a text narrative, along with 5 images, in the most spectacular way possible.” Description from bustler.net
99
Reflections Chapter One: The Entry Money. Sacrifice. Fame. Humbleness. Desire. Self-control. Power. Compromise. Love. Hate…. An endless list of opposing matters that turn our uniface into an array of faces in front of our preys or predators. The more the world evolved, the more the number of faces, the number of darkly casted shadows, the number of perplexing reflections. A child born with one face would grow to have multiple… Karle, among many others, questioned why there were so many faces and why different ones should be worn at different situations. He forcefully wore a face each day and pondered upon the mirror for hours, “Why do I never see myself in these stupid things? Could it be the lighting…?” Day in, day out, and the question persisted, “Where am I, WHO AM I?” One day, as Karle was walking back home, his mind was overtaken with work’s daily stresses. His boss needed a paper to be submitted by the next day as a final draft while Karle had some doubts to resolve first. As he walked on anxiously, he hadn’t realized that his feet had taken him off-course until he reached a dead-end which seemed to be wrongly placed. How could a dead-end be “wrongly placed”? Well, quite simply put, it was a road that seemed to continue but that was blocked by a large wall. Karle did not know how he got there, but he knew he wanted to leave as fast as he could. --------------
Confused, aren’t you? Who goes there? The name’s Ambriel. I live in this little house and see folks like you all the time. Folks like me? What do you mean? You know, folks like you… lost folks. You must be wondering how to get back to where you were headed Well, yeah, I was. Where were you headed my dear? Home And where would that be? Three blocks after the city hall. Well then you’re not that far off! You just have to cross the other side of the wall. And how will I do that? It’s easy! Just go in from here.
Ambriel was pointing at a small hole in the wall. --
HERE?! You don’t really expect me to fit in this little hole, do you?
Ambriel gave a little laugh, “you just have to try, my dear.” Karle didn’t really understand whether Ambriel was sarcastic or not, so he played along and decided to pretend like he’s going in. It took one squeeze and there he was.
NOUR E. TABET PORTFOLIO
COMPETITIONS
101
Chapter Two: The Other Side The other side was as the first, but completely different. Karle sensed that he was standing in a familiar world, though nothing physically resembled what Karle knew to be “streets” and “houses. They were more… abstract, but in a concrete sense. However, the most peculiar thing about this world was perhaps not the abstraction but rather the strange reflections. One reflection was light and calm while the other was dark and morbid. Karle, somehow, was walking in both simultaneously. Since he “knew” the place, Karle decided to start identifying landmarks that would lead him home. He did not walk on streets but rather a strict path or tunnel that seemed to go exactly where he wanted to go and so he went. The world he was in was devoid of people. There was nobody else but him. Not a sign of any creature, just Karle and his shadow walking side by side. Karle could finally see the city hall at a distance. He felt relieved, but he knew this was still not the way back to his actual home. Nonetheless, he ran towards the city hall, feeling that he was getting closer and closer to wherever it is he was now headed to.
NOUR E. TABET PORTFOLIO
Chapter Three: The Bitter Reflection When he finally reached the city hall, Karle was no longer sure what he was looking at. Though everything in the city seemed to be a clearly mirrored image, the city hall itself was made up of dark scattered elements with a few glimpses of bright reflections. There was no proper sense of direction of things, not even the reflections themselves were clearly defined. They reflected up and down, left and right, all simultaneously. It was too overwhelming of a place to stay, so Karle immediately left the city hall before he could see more of what the city hall was really made up of. Karle walked on thinking that maybe his house alone could stand out, that his house did not have a mirrored image but was rather the odd one out. Why else would he be on this unique journey? And so he walked on in the direction of his house half excited and half scared of what was waiting for him. However, the path or “street” he was walking on lead him to a completely different place, a place that was not home but rather a place that could lead to it. ------------
You must take a decision Karle. Ambriel? Why yes! Who else could it be?! You did not prepare me for any of this! What have you done? I have given you an answer Karle. An answer?! To what exactly are you referring to? Are you not one of many others who asked why you can never see your reflection? Yes And did you not wish you could see it? Yes, but no one else could so what difference should this make? Karle, I am not someone to fear. You can trust me, it’s in my name and honor that you can trust.
Karle knew he had no other choice. Besides, there was something about Ambriel that was so different. She, unlike everything else in this world, had only one image: a bright and clear image. -- Carry on Ambriel, I am listening.
COMPETITIONS
103
Chapter Four: The Fork in the Road ------
In front of you are several routes. Among them, one will lead back to your home. If you are able to identify which of these routes is your way back home, it will lead you to it. What happens if I don’t? That’s a good question that you will not need the answer to. You see, I never send anyone on this path if I have doubts of the outcome. But how will I know where to go? In order to find your way out, you must think of what you saw and its meaning. And if you really feel lost, listen to my voice. It will guide you through.
Karle took a deep breath and started studying each path before entering. They all had reflections, but each one’s reflections were different. One path showed images of a picturesque countryside and scenes that just oozed out happiness. It was full of life and laughter. The more he approached it, the louder the laughs got. Just as he was about to step in, he came to the realization that the laughter did not sound like Ambriel at all. So he left it. Another path seemed to reflect nothing but dark images. People’s faces seemed neutral and accepting but everything around was not a “neutral matter”. On the contrary, everything around was gloomy and depressing. It was a certainty that the world Karle belonged to was not as dark. It was more of a mixture. It had its ups and downs, certainly. It had its lovers and fighters, its freedom and corruption, its black and white and even gray. It had everything. All Karle had to it was stand and face it. Literally.
NOUR E. TABET PORTFOLIO
Chapter Five: Home He kept on checking every single path before the reached a path he was sure of, a path he had crossed before but whose steps he now knew. He looked around at its reflection and it was familiar as in the previous world. He could even see his own reflection for the very first time. He could finally see his face. He took a step into this path and carried on. The world started to disappear in the same manner it had previously appeared to him. Before stepping past the final opening, Karle heard Ambriel’s voice. --
Welcome home, young Karle. It’s good to have you back.
COMPETITIONS
105
INNATUR 9 Team | IN8983 Hiba Jabbour & Nour Tabet
“OPENGAP organizes the ninth edition of this open ideas competition seeking for innovative, cutting-edge, contemporary, proposals, committed to a strategy of implementing architecture in a natural environment. Approaches should point to find synergies between nature and the building itself. Each participant or team can propose the location of their Project. This competition is open to all architects, designers, architecture students and to people around the world interested in the topic.� Description from bustler.net
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MEDITERRANEAN SEA
THE LOST OBJECT
SYRIA
QADISHA VALLEY
LOCATED IN THE NORTH GOVERNATE OF LEBANON, THE QADISHA VALLEY, WHICH TRANSLATES TO “HOLY” IN ARAMAIC, HAS BEEN A PLACE OF REFUGE FOR MANY CULTURES ESCAPING PERSECUTION. IN FACT, MANY MONASTERIES AND HERMIT HUTS HAVE BEEN FOUNDED BY FLEEING PILGRIMS THAT TOOK REFUGE IN THESE MOUNTAINS’ CAVES. THIS IS PARTLY DUE TO THE VALLEY’S PROTECTIVE ESSENCE THAT HAD BEEN SHAPED BY ITS RIVER. ALTHOUGH THE SITE HAS BEEN DECLARED A UNESCO WORLD HERITAGE IN 1998, A PART OF ITS HILLS HAS BEEN DESECRATED BY AN ILLEGAL STONE QUARRY, A PREVALENT PROBLEM IN LEBANON. AS SUCH, THE PROJECT IS BUILT ON THIS SITE AS A STATEMENT AGAINST THE DESTRUCTION OF NATURAL RESERVES IN LEBANON AND AS A REMINDER TO REGAIN WHAT HAS BEEN LOST: NATURE. “OBJET PERDU”, MEANING THE “LOST OBJECT”, CORRESPONDS TO THE LOSS OF NATURE IN MODERN SOCIETY. THE GOAL OF THE PROJECT IS TO SYMBOLICALLY BRING BACK THE IMPORTANCE OF NATURE BY THE “RE-FILLING” OF THE DESECRATED MOUNTAIN, HENCE THE NAME, “OBJET TROUVÉ”, OR “FOUND OBJECT”.
LEBANON
SO WHAT PAST DO WE LEAVE FOR FUTURE GENERATIONS? ISRAEL
HISTORICAL TIMELINE
AREA INHABITED BY PHOENICIANS
4000 BC
3000 BC
ARRIVAL OF ARAMEANS
0 AD
ROMAN ERA + ARRIVAL OF AMORITE + PAGAN SETTLEMENTS IN CAVES
855 BC
INTRODUCTION OF CHRISTIANITY AND CHRISTIAN SETTLEMENTS IN QADISHA
MARONITES FLEE TO QADISHA BECAUSE OF CONFLICTS WITH CHRISTIAN JACOBITE
451 AD
500 AD SAINT SIMON SPREAD CHRISTIANITY + BUILDING OF MONASTRIES + CHURCHES
NAMING OF QADISHA BECAUSE OF MARONTE SETTLEMENT IN CAVES
600 AD
1000 AD
PROSECUTION OF MARONITES
1488
CRUSADERS REACH THE REGION AND FORM ALLIANCES
1262 AD
ARRIVAL OF ABYSSINIANS
FROM: HAYEK, G. (2008). THE QADISHA VALLEY: FROM THE DEPTHS ... TO THE PEAKS (1ST ED.) (M. H. FRANCIS, TRANS.). ANNAHAR PRINTING PRESS.
AREA MAP LEGEND
QANNOUBINE VALLEY
ONE OF QADISHA’S TWO VALLEYS
BUILDINGS RIVER STREETS SITE AND CONTEXT HERMITAGE MONASTERY / CHURCH QUARRY
ABOUT THE ENVIRONMENT FLOWER AND FAUNA 900 SPECIES OF FLOWERY PLANTS 53 INDIGINEOUS SPECIES OF RARE FLOWERS AT RISK OF EXTINCTION SPECIES MANY KINDS OF BIRDS (EAGLES ...) RARE BUTTERFLIES & WILD BEES ENDANGERED ANIMALS (HYRAX ....)
SITE
TREES AND SHRUBS MORE THAN 40 TYPES OF TREE GROW (CEDARS, EVERGREEN, MAPLE TREE ...) SEVERAL SHRUBS SPECIES: DAHRIJ ...) WEATHER VALLEY: MEDITERRANEAN WEATHER PEAKS: SNOWY IN WINTER, COOL IN SUMMER NORTH 0M
1000M
NOUR E. TABET PORTFOLIO
MARONITE RULING OF THE REGION
1771
1998 UNESCA DECLARED IT AS THE 10TH SITE ON THE WORLD HERITAGE SITE
AREA IN ENVIRONMENTAL DANGER
2020 -
SITE AND CONTEXT
QUARRY & SITE
NEW MAR LICHA MONASTERY
MOUNTAIN IN ITS NATURAL STATE
ST. SIMON MONASTERY IN CAVES
NORTH
MOUNTAIN LOST NATURAL STATE 0M
350M
ADJACENT WATER SOURCE
QUARRY & SITE
ST. SIMON MONASTERY FROM CNK HOBBIES (DIRECTOR). (2017). KADISHA VALLEY BCHARRE & CEDARS BY DRONE [VIDEO FILE].
FROM CNK HOBBIES (DIRECTOR). (2017). KADISHA VALLEY BCHARRE & CEDARS BY DRONE [VIDEO FILE].
FORM DEVELOPMENT
EXISTING MOUNTAIN CUT BY QUARRY
ADOPTED PRINCIPLES
VALLEY
TRACE THE MOUNTAIN LINES
REGENERATE THE MOUNTAIN
REUSE OF A DAMAGED SITE
CREATE CAVTIES’S FORMS BASED ON FUNCTIONS
SUBTRACT THE CAVITIES AND CREATE OPENINGS
NATURAL LIGHT PASSING THROUGH OPENINGS
COMPETITIONS
RELATING TO HERMITAGES BY CREATING CAVITIES
PLANTED ROOFS TO RECLAIM THE DAMAGED MOUNTAIN
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EXPLODED AXONOMETRIC LEGEND 1 BRIDGE
24
2 WAITING AREA 3 INFORMATION DESK 23
4 MULTIMEDIA INFO. 5 EXHIBITION SPACE 6 STAIRS 7 CAFETERIA 8
9 EXHIBITION SPACE
18
110 m2
TOILETS, KITCHEN & STORAGE
19
325 m2
17
20
10 LIBRARY 20
11 MULTIMEDIA CLASS 12 RESEARCH ROOM
21
22
10
110 m2
13
9
GENDER TOILET (+ 1 FOR DISABLED)
14 NURSING ROOM 15 WAREHOUSE 16 FACILITIES ROOM 17 14
15 170 m2
18 SHOWER ROOMS
350 m2 11
11
BEDROOMS 19 (4 PERSONS EACH)
6
13
4
5
16
550 m2
12
100 m2 13
2
200 m2
3 1600 m2
20 STAFF BEDROOM
10
9
8
21 MEETING ROOM
7 1150 m2
16
800 m2
NORTH
0M
22 ADMINISTRATION 23 OPENINGS
490 m2 1
B
BATHROOMS & CHANGING ROOMS
24 PLANTED ROOF 50M
SECTION AA SECTION LINES
A
VALLEY B
0M
25M
SECTION BB
0M
50 M
NOUR E. TABET PORTFOLIO
THE FOUND OBJECT
AERIAL VIEW
ENTRANCE ACROSS BRIDGE
THE CENTRAL HUB
EXHIBITION SPACE
CAFETERIA
LIBRARY
COMPETITIONS
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LITERARY WORK
Written Essays
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The Bounty Hunt Where people dwell, where buildings rise, the papers spoke the same words. It was hung on the walls for people to see. It was hung on the walls for people to know. It was the obituary.
Posthuman
Date of Birth: unknown (information only available on location of birth claimed to be the mind of the first human to imagine it) Date of death: January 28th, 1986 Cause of death: unnatural causes; failure of a “Neoprene gasket” …
It was said that the number of people who attended the funeral was unknown. Many did not know what to think. Many still don’t. Beneath the ground, the tombs lay. Posthuman did not die alone, but in the company of friends. Beneath the ground, the tombs lay. Each martyr could rest forever. Beneath the ground, the tombs lay. That of Posthuman was empty. Such a scandal did not take long to become the talk of the town. Some were relieved Posthuman was alive, others were scared of it creeping up on them; but no one knew where it was. Signs filled the streets once again. Where people dwell, where buildings rise, the papers spoke the same words. It was hung on the walls for people to see. It was hung on the walls for people to know.
Posthuman WANTED: Dead or Alive Reward: The Truth
34 years later, the debate over posthuman persists and grows in the world of design. Is it alive or is it dead? Will it persist or will it perish? As all those who wonder, I, too, question. As all those who find, I, too, seek. What is Man? “Who am I?” “What is the purpose of life?” “What happens when we die?” On-going questions, some of which have no answer, have lingered on in Man’s mind since the beginning of thoughts. Among the many undetermined questions is that of human nature. What is Man? Many answers have been theorized, but none have been factualized. However, certain characteristics of Man are agreed upon across most – if not all – theories. These characteristics include the following points: NOUR E. TABET PORTFOLIO
• Unique: We are different from other species due to our complex make-up and our rationality. We experience a wider range of emotions than other species and have formed civilizations. This idea of uniqueness and differentiation from other species led Man to believe that He is superior from other species. It also why, after having God at the center, Man eventually become the center of everything. It is this centralized human that formed the essence of humanism and humanist approaches to architecture. (De Haro, 2010). • Rational Animals: Aristotle believed that the human being’s soul is divided into two main parts. The first and most important part is that of rationality and reasoning which sets Man apart from animals. The other part is what holds our passions and desires, as with animals. (Aristotle, 1999). As such, Aristotle claimed that human beings are “rational animals”. (Aristotle, 1932). Regardless of one’s belief in the existence – or absence – of a soul, it is undeniable that Man does in fact possess advanced rational abilities as well as an animalistic nature associated with mammals. As such, with the human being at the center, the nature of Man as being a rational animal was adopted in Architecture. Humanist designs were able to achieve this by basing architectural proportions (the rational) on the human body (the animal). Examples of this application date back to Vitruvius calling for the scaling down of buildings to human proportions in his Ten Books on Architecture. (The Hong Kong Institute of Architecture, 2012). The renaissance period also reflected this humanism when the Vitruvius Man was adopted and when human perception was investigated and rationalized by Fillipo Brunelleschi. (Bärtschi, 1976) This humanist approach managed to transcend time and influence modern architects such as Le Corbusier in his creation and adoption of the Modulor Man. (The Hong Kong Institute of Architecture, 2012). • Evolving: According to Darwin’s Theory of Biological Evolution, the human species has evolved from primates to the human being we are today. (Hall,2011). This evolution will continue, and as previously, would include the evolving of our physical and biological being as well as our genetics. This evolution occurs through small inherited variations that are naturally selected to increase a specie’s ability to survive, compete and reproduce. (Huxley, 1860). Certainly enough, certain religious views do not agree with this theory. However, seeing that Man evolving from child to adult is a constant, the idea of mentally and physically evolving human beings is part of human nature. It is the growth and development of Man into a more advanced for of Man. This evolutionary characteristic has embodied itself in architecture through several means. An example of this would be the development of settlements. While certain types of settlements started out as introverted buildings valuing privacy, they eventually developed into extroverted buildings that values transparency and visual connection with the outside. (Stefanovic, 2019) Where is Man? With the passage of time comes evolution: the evolution of the world and the evolution of the worlds withing a world. The crossing of two of these worlds – philosophy and technology – has come to raise a question previously thought answered. Where is Man? Is he still at the center of all things or has a decentralization taken place? In Thus Spoke Zarathustra, Nietzsche describes the journey of Man as being an ascent to a mountain where growth is achieved and wisdom is gained. It is through this journey that Man achieves the Superman: an evolved version of oneself achieved by overcoming the self. Upon the completion of this journey, Nietzsche describes Zarathustra’s decent from the mountain and attempt to teach others of this Superman. For Zarathustra, the evolution of Man is not as Darwin explains but rather a creative evolution. It is driven by journey of growth from lower to higher spiritual levels. “Man is a rope,” Zarathustra cries out to the crowd, “fastened between animal and Superman – a rope over an abyss.” (Nietzsche, Thus Spoke Zarathustra) The crowd did not take Zarathustra’s words seriously but rather preferred to become, as Zarathustra called, the Last Man. The Last Man is the individual who does not create but rather consumes, who claims to live in the most advanced technological era but does not believe in an even greater reality. (Nietzsche, 1995). As LITERARY WORK
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such, the Man is found somewhere along this journey. When Man was at the center, when Humanism was taken for granted as the truth, Man was at the beginning of the mountain. He had two options at that point: to climb the mountain or become the Last Man. Those who climbed the mountain, those who overcame the Human to reach the Posthuman – aka the Superman – evolved into a greater version of their species. Those who stayed at the bottom, those who clung to Humanism as the absolute truth, became the Last Man, void of meaning, of future and of evolution. “His soil is still rich enough for it. But this soil will one day be poor and weak; no longer will a high tree be able to grow from it…Alas! The time is coming when man will give birth to no more stars… Behold! I shall show you the Last Man…” (Nietzsche, Thus Spoke Zarathustra) Among those who climbed this mountain in the world of architecture is Greg Lynn, known as one of most influential forefathers of Posthuman design. Among the most iconic statements Greg Lynn made was in reference to the role of the architect. Instead of referring to himself as “Greg Lynn the architect”, he managed to overcome himself and call himself “Greg Lynn Form”. With such a forward way of thinking, Lynn was able to achieve the first parametric house in 1964 called the Citron House. It is no coincidence that the name “Citron House” is so close to Le Corbusier’s “Citroen House”. It is through this naming that Lynn made a statement regarding a new way of thinking of architecture. The process of the Citron House led to 8 different prototypes. (Sheldon, 2020). This was possible since the end results were determined by a set of parameters and not the architect. Having said that, form had become 1. Determined by dynamic conditions instead of a set of static coordinates 2. A developing process rather than frozen or fixed conditions 3. Generic envelopes of possibilities in opposition to standardization With the increasing role of architecture and new ways of designing, the world of architecture had changed from what it used to be. A reaction to this was a natural result of a new direction. Why so scared? Such a breakthrough by Greg Lynn and many others caused a disturbance in the Architectural world. Why so scared? The role of the architect was now being questioned just as the fear of losing the spotlight had consumed many. In what concerns the role of the architect, it is not abolished but rather transformed. Instead of determining and managing the design, the architect manages the process. Instead of giving the output, the architect would give the input. Certainly enough, all that is new and unfamiliar is bound to instill fear in many, mainly because people are scared of the unknown and of drastic change. As Dee Hock once said, “The problem is never how to get new innovative thoughts into your head, but how to get the old ones out. As for what concerns losing centrality, there is a distinction to be made between posthuman and anti-human. Posthuman is not here to destroy and replace Man but rather develop Man. Though many may argue that Man remains the superior species and must at all cost remain at the center, part of this superiority requires growth. “All creatures hitherto have created something beyond themselves: and do you want to be the ebb of this great tide, and return to the animals rather than overcome man?” (Nietzsche, Thus Spoke Zarathustra) It is by removing ourselves from this center that we can objectively evaluate ourselves, develop ourselves and grow. Instead of halting the Darwinian or spiritual or creative evolutionary timelines, the Posthuman can allow the natural course of development to take place. What is Death? The outcome of this bounty hunt has two possible outcomes
NOUR E. TABET PORTFOLIO
1. Posthuman found dead 2. Posthuman found alive: a. but is prosecuted b. but is set free The first scenario to examine is the Death of the Posthuman. What is Death? Simply put, the death of the Posthuman is the end of Posthuman Design. It is the moment Posthuman becomes a memory, a page in history and a failed attempt at making a change. The advantages of this would mean that accidents such as the Challenger spacecraft’s explosion can be avoided. It also means that the role of the architect – and humans in general – will persist to be the superior role in architecture – and the world. However, it also means all potential innovations that may result from the presence of the Posthuman will become part of a different universe’s timeline, but not this one. It also means that the importance of technology will be reduced, making the essence of the lives we lead now questionable. Before the discovery of electricity, all that had to do with electrical needs were non-existent and thus non-essential. After its discovery, many consequent and indispensable inventions had become reliant on electricity. Had people rejected the idea of electricity, the world would not have advanced to what it is now. The same applies to most – if not all – inventions. Certainly enough, it also applies to technology. Many of the technological devices and software we use now have become essential to us. It does not mean that we have become lazier, nor have we become less independent. It rather means that we have achieved efficiency in many fields allowing us to save time, money and sometimes the environment. Among the consequences of this technological advancement is the Posthuman. Should we choose to eradicate it without changing our way of living, we would cease our growth and possibly even devolve back into the humans we were decades ago. This does not only apply to architecture but also to fields directly related to our survival, such as the medical field. What is Life? The second scenario is that of the survival of Posthuman. Needless to say, this means that all the advantages of Posthuman design would exist. Time efficiency would be guaranteed leaving more time for further explorations. It also ensures efficiency in money and the protection of the environment. Several consequent inventions that can prove to be vital for our survival and evolution would appear. Just like the Industrial revolution, technological revolution would continue to change and transform the lives of people. However, it also means that the role of the architect may soon enough disappear. The creative quality that distinguishes Man from other species would be taken away, making Man closer to animal than rational. Questions of Man’s purpose would suddenly lose meaning. All purpose of existence, all religions and philosophies would slowly lose place as people find themselves puppets under the hands – or designs – of machines. Architecture itself, though mainly serving people, would lose all connection to Man. Instead of finding a home, people will only find a shelter. Moreover, if the Posthuman should develop enough to become its own species, a new predator will have entered the food chain, ready to prey on the less-developed species: Man. It would be a matter of time before Man becomes extinct, having lost purpose in life and lost purpose in procreation. What is the bounty? Having taken extreme scenarios to the meaning of the life and death of the Posthuman, the question of the truth seems unanswerable. What is the bounty? Though this seems to be a complicated question, the answer may be simpler than expected. “Everything in moderation.” With the dilemma of achieving the perfect balance at hand, a journey or retrospection is required. We humans are faced with the decision to abandon the Posthuman or climb the mountain to reach that Superman. During our journey, the process we will go though will allow us to properly establish a balance between our current human nature and our potential Superman. This means a series of successful and failed trials. This means of intellectual wars and prosecution. But it also means reaching the ideal instead of running away from a reality that has presented itself. As such, the Posthuman will never die unless we evolve into a more evolved form of human: every phase in history, LITERARY WORK
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theory and philosophy, once more advanced than its predecessors, becomes Superman. We will never be able to witness, and thus predict, the death of the Posthuman simply because we would have died before it does. Posthuman will die, or so to better phrase things, evolve once it reaches its own Superman. For now, it is our Superman, leaving one final question unanswered. Where have we reached in our journey to becoming today’s Superman?
References Aristotle. Book I & Book VI (W. D. Ross, Trans.). In Nicomachean Ethics. Kitchener: Batoche Books. (Published 1999) Aristotle. Volume 23. (W.H. Fyfe, Trans). Aristotle in 23 Volumes. Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1932. Bärtschi, W.A. (1976) Linear Perspective. Trans. Fred Bradley, 1981. Van Nostrand: New York. De Haro, P. A. (2010). Teoría Del Humanismo (Vol. 1). Madrid: Editorial Verbum. Hall, B. K., & Hallgrímsson, B. (2011). Part 4: The Organisms. In Strickberger’s Evolution (p. 488). Jones & Bartlett. Huxley, T.H. (1860, April). ART. VIII.- Darwin on the Origin of Species. Westminster Review (Book review). London: Baldwin, Cradock, and Joy. 17: 541–570 Nietzsche, F. W., & Kaufmann, W. (1995). Thus spoke Zarathustra: A book for all and none. New York: Modern Library. Shelden, D. R. (2020). The Disruptors: Technology-Driven Architect-Entrepreneurs. John Wiley & Sons. ISBN: 1119555094 Stefanovic, S. (2019). Homes with personalities: The Introvert and The Extrovert. Retrieved from https://www. architectureanddesign.com.au/projects/houses/homes-personalities-introvert-extrovert-architect The Hong Kong Institute of Architecture. (2012). Proportions in Architecture. Hong Kong.
NOUR E. TABET PORTFOLIO
The Architectural Wormhole
Man is born. Man builds. Man settles.
From the beginning of time, Man has found shelter to be a necessity and managed to build a whole field around this basic need for architecture. It may have started with the need to build a safe three-dimensional space and later developed to contain ethical theories of right or wrong – or even gray. The presence of architectural theories instead of just architectural facts is because architecture is a kaleidoscope of life. In other words, it reflects art, science, psychology, biology, history, identity and so on. Otherwise, architecture would be a series of scientific laws set out to define the right and the wrong. Still, the question remains: how does one achieve the ideal architecture, the ideal kaleidoscope, the ideal space? Perhaps the answer lies in the concept of wormholes. Wormholes are theoretical structures that connect distant points in the 4-dimensional universe, somewhat like a tunnel and somewhat like architecture. The first three dimensions are those of Man’s familiar space: The X, Y and Z. Perhaps these three dimensions are the common denominator between most styles and theories. For example, Historical and Classical styles such as Greek and Roman architecture studied proportions in plans and sections to create the ideal 3-dimensional spaces. This way of thinking managed to influence modern architects such as Le Corbusier who used the proportions of the “modulor man” to create his spaces. Even architectural theories and styles based on the dismantling and mantling, subtraction and addition of forms base their study on Spatial Geometry. All such developments based on perspective, depth, intersecting planes and such matters of geometric rationality fall under the three-dimensional realm. The fourth dimension is that of Man’s perception and understanding of time. Such an issue may have derived from vernacular architecture which achieves an aesthetic that transcends time. The material used in vernacular structures from mudbrick, stone … changes with time while preserving the functionality of the space. Such desirability for building in four dimensions can be seen in the use of copper which eventually turns into green as in many Finnish buildings. The choice behind copper as a material in such cases is to indicate the life span of a building. Moreover, this ideal of time is not only represented and pursued through materiality but also through the recreation of classical styles (Neo-gothic, Neo-classical …) or the foreshadowing of time (Futurism). As such, the desire to recreate the past, foreshadow the future or allow the building to move parallel to time allows the inclusion of the fourth dimension in architecture. Still, in order to achieve an ideal wormhole, the previously mentioned four dimensions are not enough. Why? Simply because they are independent of Man. They can exist with or without Man. They alone cannot create an ideal Architecture for Man without Man. It would be like throwing a birthday party for someone but not inviting them. This was the concern of many theoreticians such as Christian Norberg-Schulz who believed that “to dwell means to belong to a given place”. This idea of belonging is a major yearn and characteristic of the human being. Schulz was not the only one concerned about the human being, but also post-modernists who claimed that modernism failed because it forgot the human being. As such, architects had become aware of the need for a fifth dimension: the human. Whether it was by basing proportions on the human body or trying to create a spirit for a space, the fourth dimension had become undeniable. The fault in such a dimension remains in the following question: How do you create an architecture that speaks to people when people are so distinct, when there is no science to the spirit? Conclusion? Perhaps each architectural style and theory either knowingly or unknowingly tried to get Man closer to the different dimensions of space and beyond. Some may have tried to include all while others denied the existence of more than three. Still, the debate remains open. Are there more than five dimensions to achieve an architectural wormhole? Is it something Man can achieve or just a Godly power? In other words, is it truly an architectural wormhole or just Man’s next blackhole?
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Video Essays Love in Contemporary War_Rebecca Daou_Hiba Jabbour_Nour Tabet Link to video https://vimeo.com/user127628621/review/482067206/4844d77adf Description In the course Topics in Architectural Theory taken in Summer 2020, the issue of States of Exception (Agamben) was explored and discussed through different readings. Students then tackled the issue by exploring a particular case falling under the umbrella of States of Exception.
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