Within this document is a compilation of all my academic projects undertaken throughout the course of my Graduate studies at the Welsh School of Architecture Cardiff University. Regards,
PROJECT INDEX
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01
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02
GRANGETOWN COMMUNITY CENTRE
SHADOW-CRAFT:
P. 8
P. 48
A JOURNEY THROUGH TIME & PLACE
01
GRANGETOWN COMMUNITY CENTRE The main design idea is to create a circular non-directional multi-faith chapel space with the rest of the functions of the community centre revolving around it as a metaphor to how central religion/spirituality is to the various diverse communities of Grangetown. The design aims to use the distinctive curvilinear swirled shape created by the effect of revolving the building elements around the fulcrum of the chapel to carve out an outdoor shape for the users, as well as, to create an inviting funnel like entrance to the complex which would draw pedestrians in off the street.
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9
WHITE ARAB OTHER BLACK ASAIN ETHNIC MAKE-UP
15-29 OVER 65 30-64 0-14 AGE MAKE-UP
OTHER HINDU ATHIEST CHRISTIAN NOT STATED MUSLIM RELIGIOUS MAKE-UP
Total Economically Inactive Persons Between the Ages of 16 & 74 Total Economically Active Persons Between the Ages of 16 & 74
ECONOMIC ACTIVITY
Unemployed Aged 16 to 24 Unemployed Aged 25 to 49 Unemployed Aged 50 to 74
UNEMPLOYMENT RATES
11
CRIME RATE
HOUSEHOLD LANGUAGE
POTENTIAL USERS
GOALS OF COMMUNITY CENTRE
13
FUNCTIONS
WC
SERVICES
FORUM AREA
KITCHEN
OUTDOOR AREA
CAFE
CHAPEL
RECEP -TION CONSULTATION ROOM
CIRCULA -TION
ART WORKSHOP
THE GALLERY
MUSIC SPACE
ZONING DIAGRAM
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MASSING AND CONCEPT DIAGRAM: 1. THE ORIGINAL BUILDING HAD THE OBVIOUS DIVIDE BETWEEN THE CHURCH BUILDING AND THE SERVICESBUILDING BUILDING.HAD THE OBVIOUS DI1. THE ORIGINAL VIDE BETWEEN THE CHURCH BUILDING AND THE SERVICES BUILDING.
2. THE MAIN DESIGN IDEA IS TO CREATE A CIRCULAR NON DIRECTIONAL CHAPEL SPACE 2. THE MAIN IDEA TO CREATE A CIRCUWITH THEDESIGN REST OF THEIS BUILDING REVOLVING LAR AROUND NON DIRECTIONAL CHAPEL WITH THE IT AS A METAPHOR TOSPACE HOW CENTRAL IS TO THEAROUND IT AS RESTRELIGION/SPIRITUALITY OF THE BUILDING REVOLVING COMMUNITIES OF GRANGETOWN. A METAPHOR TO HOW CENTRAL RELIGION/SPIRITUALITY IS TO THE COMMUNITIES OF GRANGETOWN. THE BUILDING ALSO AIMS TO USE THAT TO THAT CREATE AN THE CIRCULAR BUILDINGREVOLVING ALSO AIMSEFFECT TO USE CIRCUSPACE THAT ACTS LIKEAN A FUNNEL LAR OUTDOOR REVOLVING EFFECT TO CREATE OUTDOOR DRAWING PEDESTRIANS IN FROM THE SPACE THAT ACTS LIKE A FUNNEL DRAWING PEDESSTREET. TRIANS IN FROM THE STREET.
3. THE END RESULT IS A BUILDING THAT 3. THE END RESULT A BUILDING THAT CONFORMS CONFORMS TOISTHE CIRCULAR ROTATIONAL TO MOTION THE CIRCULAR ROTATIONAL MOTIONWHILE ESTABESTABLISHED IN THE CONCEPT LISHED IN THE CONCEPT WHILE ADHERING TO ADHERING TO THE STRICT RECTILINEAR SITETHE STRICT RECTILINEAR SITE CONSTRAINTS. CONSTRAINTS.
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6 3
5 4 6
1
2
KEY:
GROUND FLOOR PLAN
1. CAFE + ENTRANCE/RECEPTION 2. CHAPEL 3. FORUM ROOM 4. KITCHEN 5. MECHANICAL ROOM 6. STORAGE
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7 6
8
KEY: 6. STORAGE 7. GALLERY SPACE/MUSIC SPACE 8. ART STUDIO
FIRST FLOOR PLAN
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25
27
29
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MASTER DISSERTATION
This dissertation aims to explore the trends in the architectural applications of Virtual Reality as used by architectural practices, and how this technology is currently being deployed in the design process. After a brief overview of the technical specifications and historical development of VR, the technology’s unique representational ability is analysed from the perspective of architectural theory. This results in the determination of VR’s capability of the immersive display of 3D spaces as they are perceived in the physical world, thus retaining their scalar and phenomenological properties in a dynamic experience. Therefore, the technology is perfectly poised to be a universal reference point that would level the communication gap between all the parties of a design project, regardless of professional background, or lack thereof. With this realisation, a survey of the Architect’s Journal list of 100 largest practices in the UK was conducted, in order to test VR’s theoretically deduced capabilities in architectural representation. The results provide an overview of current trends of VR application in architectural practice. They indicate that a growing number of practices, that currently constitute a ma jority, are starting to implement VR technology in almost 1 in 4 of their current projects, and that most popular functionality is as a representational tool, as expected. After that a case study was conducted with regards to the practical functionality of VR and its effects on the design process and workflow, where two projects that are mainly differentiated by VR use were compared. The main observations of this exercise were that, even though VR content creation is quite time consuming and carries the risk of distracting the client if not used effectively, it actually improved design communication and collaboration between the different parties of the design process leading to more efficient decision-making and thus a quicker more streamlined project lifecycle. Thus, this leads to the conclusion that VR is not only a necessary communication tool but also a welcome addition to the architectural toolkit that promises to revolutionise the education and practice of architecture, providing architects with more opportunities and control over their designs than ever before.
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SLOANE MUSEUM:
A CONCEPTUAL PRECEDENT ANALYSIS
As a primer for the year, we were each asked to create a presentation that explores the shadow themes of some famous precedent buildings throught the use of conceptual drawings and models. In the following work the main atrium of the Sloane Museum is explored throught the use of a model and paintings reflecting the building’s use of natural downlighting during the day, and artificial upward lighting during the evening, and how each configuration alters the phenomenological aura of the space and how its artifacts are presented.
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TOWER HAMLETS SITE ANALYSIS MODELS
The entire unit was asked to create models reflecting the overall territory and the alternative project sites. A large model (seen right) was created to provide context for the entire scope of the territory and its relation to the wider city of london. Two smaller models were created to express the two main site locations, the first for the Spitalfields area, and the second for the Tower Hamlets area (seen in the following spreads).
OVERALL EAST-END: THESES TERRITORY
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SPITALFIELDS: CHRISTCHURCH + BRICK LANE
TOWER HAMLETS: ST GEORGE-IN-THE-EAST + LIMEHOUSE
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THE TRANSECT:
THE SHADOW EMPATHY MACHINE
The device illustrates different perspectives of experiencing shadow, by putting the focus on the shadow itself rather than its corresponding object. The flexible moving mirrors enable the device to reveal many different means of looking at shadow, whether it may be vertically or horizontally, as a plane or as a volume. In order to demonstrate the varied functionality of the device I have chosen to examine Hawksmoor’s Christ Church Spitalfields. Through the various tests I aim to explore the building from varied perspectives with a clear emphasis on investigating how the form’s different representations reaction to light and their resulting shadows. Thus, the experience of exposure to these diverse ways of encountering and manipulating shadow and form become my touchstone, rather than the physical device itself.
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02
SHADOW-CRAFT: A JOURNEY THROUGH TIME & PLACE
My thesis attempts to use the ethereal and dynamic properties of shadow in an architectural language of transparency, translucency and reveal that draws the users into a physical and emotional journey through the design. This is addressed in a project that creates a dialogue between the robust concrete and steel green roofscape, and the light glass pavilions housed underneath, with their timber screens slowly revealing the interiors to the users as they venture deeper within the architecture. The curvilinear form of the roof is achieved by using the landscape around the Grade I listed St. George-in-the-East as a fabric that extends below the highway and embraces the Grade II listed Tobacco Docks, creating a positive relationship between the two historic buildings, while responding to the site’s topography.
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Site Current Plan Main Drivers:
St. George-in-the-East
The Tobacco Docks
Grid Creation
Using the dock’s vertical roof grid and the church’s horizontal orientation as the key generators an 8x8m grid is created between the church and the dock.
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Building Footprint
After deducing the grid spaces that correspond to the dock’s two main entrances (in green), the functional footprints appear (in orange).
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PLAN LEVEL-00 1. Reception 2. Admin Office 3. Computer Room/Lecture Room 4. Clinic 5. Music Studio 6. Gym 7. Plant Room 8. Ruin Hall
8 5 1 3 8
1 2
2 4 7 6 7
PLAN LEVEL-01 9. Arts Workshop 10. Communal Dining Area 11. Cafe 12. Visitng Colections Gallery 13. Auditorium 14. Service Room
11 9 12
13 10 14
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PLAN LEVEL-02 15. Textiles Workshop 16. Communal Living Area 17. Main Gallery #1 18. Special Colection Gallery 19. Main Gallery #2 20. Storage
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1 3 2
1 1 1 3 23 23 2
4
4 4 4
5
3
6 8 7
5 5 5
6 7
6 6 6 3 3 3 6 8 6 8 6 8 7 7 7 9 9 9
9
7 710710 10
10
11
11 11 11 5
5 5 5
12
12 12 12
13
13 13 13 3
7
3 3 3 7 7 7
3 6
16
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5
15
3 3 3 9
16 16 16 6 6 6
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1. PAVING 2. PAVING PEDESTALS 3. WATERPROOFING 4. CONCRETE ROOF SLAB 5. TRIPLE GLAZED WINDOW 6. TIMBER CLADDING HOISTED ON TIMBER STUDS 7. INSULATION 8. TIMBER JOISTS 9. CLT SLAB WITH SOFT TIMBER FINISH 10. CLT WALL WITH SOFT TIMBER FINISH 11. STEEL WINDOW HEAD
12. TRIPLE GLAZED WINDOW 13. STEEL WINDOW SILL 14. CLT WALL WITH SOFT TIMBER FINISH 15. TIMBER FLOORBOARDS WITH SOFT TIMBER FINISH 16. TIMBER JOISTS 17. CONCRETE SLAB FOUNDATION
15 15 15 5 5 5 9 9 9 7 7 7
17 17 17
1. PAVING 1. PAVING 1. PAVING 2. PAVING 2. PAVING 2. PAVING PEDESTALS PEDESTALS PEDESTALS 3. WATERPROOFING 3. WATERPROOFING 3. WATERPROOFING 4. CONCRETE 4. CONCRETE 4. CONCRETE ROOF ROOF ROOF SLAB SLAB SLAB 5. TRIPLE 5. TRIPLE 5. TRIPLE GLAZED GLAZED GLAZED WINDOW WINDOW WINDOW 6. TIMBER 6. TIMBER 6. TIMBER CLADDING CLADDING CLADDING HOISTED HOISTED HOISTED ONON TIMBER ON TIMBER TIMBER STUDS STUDS STUDS 7. INSULATION 7. INSULATION 7. INSULATION 8. TIMBER 8. TIMBER 8. TIMBER JOISTS JOISTS JOISTS 9. CLT 9. CLT 9.SLAB CLT SLAB SLAB WITH WITH WITH SOFT SOFT SOFT TIMBER TIMBER TIMBER FINISH FINISH FINISH 10.10. CLT 10. CLT WALL CLT WALL WALL WITH WITH WITH SOFT SOFT SOFT TIMBER TIMBER TIMBER FINISH FINISH FINISH 11.11. STEEL 11. STEEL STEEL WINDOW WINDOW WINDOW HEAD HEAD HEAD
12.12. TRIPLE 12. TRIPLE TRIPLE GLAZED GLAZED GLAZED WINDOW WINDOW WINDOW 13.13. STEEL 13. STEEL STEEL WINDOW WINDOW WINDOW SILLSILLSILL 14.14. CLT 14. CLT WALL CLT WALL WALL WITH WITH WITH SOFT SOFT SOFT TIMBER TIMBER TIMBER FINISH FINISH FINISH 15.15. TIMBER 15. TIMBER TIMBER FLOORBOARDS FLOORBOARDS FLOORBOARDS WITH WITH WITH SOFT SOFT SOFT TIMBER TIMBER TIMBER FINISH FINISH FINISH 16.16. TIMBER 16. TIMBER TIMBER JOISTS JOISTS JOISTS 17.17. CONCRETE 17. CONCRETE CONCRETE SLAB SLAB SLAB FOUNDATION FOUNDATION FOUNDATION
DETAIL SECTION A 1:25
DETAIL DETAIL DETAIL SECTION SECTION SECTION AA1:25 A1:25 1:25
NDER FLOOR HEATSYSTEM NGINEERED TIMBER TS SULATION ONCRETE SLAB NDATION MBER FLOOR BOARD OFT TIMBER FLOOR H MBER STRUCTURAL M MBER CEILING FINISH
2 2 3 3
1 1
4 45 5 6 6 7 7
8 8
9 9
1010
1818 1717
1010 1616
1515
1111
1212
1313
1414 6 6
1.1. TRIPLE TRIPLE GLAZED GLAZED SKYSKYLIGHT LIGHT 2.2. GRASS GRASS 3.3. GROWING GROWING MEDIUM MEDIUM 4.4. DRAINAGE DRAINAGE AND AND FILTRAFILTRATION TION LAYER LAYER 5.5. ROOTS ROOTS BARRIER BARRIER 6.6. WATERPROOFING WATERPROOFING 7.7. CONCRETE CONCRETE ROOF ROOF SLAB SLAB 8.8. INSULATION INSULATION 9.9. BOARD BOARD CEILING CEILING FINISH FINISH 10. 10. TRIPLE TRIPLE GLAZED GLAZED CURCURTAIN TAIN WALL WALL
DETAIL SECTION A 1:25
11. 11. UNDER UNDER FLOOR FLOOR HEATHEATING ING SYSTEM SYSTEM 12. 12. ENGINEERED ENGINEERED TIMBER TIMBER JOISTS JOISTS 3.3. INSULATION INSULATION 14. 14. CONCRETE CONCRETE SLAB SLAB FOUNDATION FOUNDATION 15. 15. TIMBER TIMBER FLOOR FLOOR BOARD BOARD 16. 16. SOFT SOFT TIMBER TIMBER FLOOR FLOOR FINISH FINISH 17. 17. TIMBER TIMBER STRUCTURAL STRUCTURAL BEAM BEAM 18. 18. TIMBER TIMBER CEILING CEILING FINISH FINISH
DETAIL DETAILSECTION SECTIONAA1:25 1:25
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1. Site excavation + evaluation and documentation of existing onsite Roman Ruins.
2. Laying of groundwork slabs and foundations. This is a critical step, since the concrete piles will have to be laid accurately around the ruins as accurately as possible so as not to cause any damage.
3. Concrete cores and steel columns.
4. Placing the prefab timber housing units and constructing the remaining timber frame structures.
5. Steel skeleton for the concrete roof form.
6. Completeing formwork.
the
concrete
roof
7. Finalising concrete formwork and building envelope.
8. Exterior and interior finishes finalised and building furnished.
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Boston Harbor Islands Pavilion by Reed + Hilderbrand The complex curvilinear concrete roof makes this building a suitable construction precedent for this project. As seen below, after the construction of the scaffolding, a protective layer of waterproofing is layed and then the steel formers are assembled before finally the steel reinforcement and poring in the concrete. Thus allowing for protection for the structures beneath.
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Student Housing in Hamburg by Sauerbruch Hutton These prefabricated CLT units help in adding a standardisation and speedy low cost construction with considerable amount of quality. This is a perfect system to use for this project’s housing units since it provides a quick low cost simple element to the peoject that has its fair share of complex construction and forms.
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Author: Ramez Khalil Projects are as presented to: