A r c h i t e c t u r e 1
P o r t f o lio
Archi tecture, of all the arts, i s the one whi ch acts the most slowly,but the most surely,on the soul.
A c k n o wl e d g me n t
2
You Can , You Should , and I f you’ rebrave enough to st atrsYou WI LL.
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C u r r i c u l u m
PersonalI nf ormat i on Name : RubaHussi enMousa Dat eOfBi rt h: 2921996 Nat i onal i t y : Jordani an Address : Amman-Jordan Rel i gi on : Musl i m
V i t e a
Educat i on
albalqaappli ed uni versi ty
Archi tecturalSki l l s Sketchi ng ManualRenderi ng
20142019
Cont act
Trai neeshi p
Address : Amman-Jordan Emai l: Ruba96Mousa@gmai l . com Phone : 0797218602
Software Ski l l s t Revi
A r a bD a r E n g i n e e r i n gC o . ( A D E C ) Au g S e m, 2 0 1 8
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Li nks htt ps: / / i ssuu. com/ rubahmousa
PersonalSki l l s
htt ps: / / www. f acebook. com/ rubymo usa634
llustrator i
Communi cati on Creati vi ty
htt ps: / / www. behance. net / rubamous a66765
Photoshop
Teamwork Responsi bi li ty Researchi ng
crosftWord Mi nt crosftPowerPoi Mi crosftExcel Mi
3
01 02 03 04 05 4
Bri ef
( 0710)
Concept
( 1019)
Genral Experi ence
( 2021)
Archi tectural Drawi ng
( 2229)
Shots
( 3042) 5
B r i e f
6
01
As technol ogi es devel op over ti me rapi dl y,and new sci ences hack and penetrate humans' mi nds,the need f or such types of proj ects emerged.
V i r t u a l
R e a l i t y
M u s e u m
W h a t
A Hi ghEnd Use rI nt e rf aceT ha t I nv ol v e s Si mul a t i on and I nt e r act i ons T hrough Mul t i p l eSe nsori alChanne l s.
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Mu s e u ms , al e g a c yo fc o l l e c t i v ec o mmu n i t y e x p e r i e n c ea n dc u l t u r a l.
Combi ni ng Re alI mage r ywi t h Comp ut e r ge ne ra t e dI mage r y,T hr ough :
AR
Si mu l a t i o n a n d I n t e r a c t i o n sT h r o u g h Mu l t i p l e Se n s o r i a l Ch a n n e l s.
I n t e g r a t et h e c o mp u t e r g e n e r a t e d v i r t u a l o b j e c t si n t o t h ep h y s i c a l w o r l d
AR
C A V E
VR Si mu l a t i o na n d I n t e r a c t i o n s T h r o u g h Mu l t i p l e Se n s o r i a l Ch a n n e l s.
Co mp l e t e l y i mme r s et h e u s e r ' s p e r s o n a l v i e w p o i n ti n s i d e t h ev i r t u a l3D w o r l d . I mme s r i v e
TheBasi cI dea OfAugmented Reali tyi s To Superi mpose Graphi cs,Audi o and OtherSenseEnhancements Overa RealWorld Envi ronmentI n RealTi me. TheGraphi cs Wi llThen ChangeTo AccommodateTheUser’ s Eye OrHead Movements.
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Provi des TheI llusi on OfI mmersi on ByProjecti ng Stereo I mages On TheWalls And FloorOfA RoomSi zed Cube. TheSenseOfTouch I s Also I ncorporated I n TheCAVE’ s By usi ng SensoryGloves and OtherHapti c Devi ces.SomeHapti c Devi ces Also Allow Users to Exerta Touch orGraspor Replacea Vi rtualObject.
Di r e c t i ona lSou nd,T a c t i l ea nd F or c e F e e db a c kDe v i c e s ,V oi c eRe c og ni t i on a nd Ot he rT e c hnol og i e sa r eBe i ng Emp l oy e dt o Enr i c hT heI mme r s i v e Ex p e r i e nc ea nd t o Cr e a t eMor e “ Se ns u a l i z e d"I nt e r f a c e s . 7
Si t eLoc a t i on
Ma c r o Sc a l e
P a r k Mi s o Sc a l e
P a r k
Mi c r o Sc a l e
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P a r k
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15% 1019
30% 2029
25% 3039
15% 4049
9
C o n c e p t
1 0
02
ARCHITECTURE I S NOT ABOUT FUNCTI ON ,FORM , STRUCTURE, T ALSO M ATERIALS.I
DEALS W I TH EM OTI ONS, SPI RI TUALI TY AND W I TH THE I N W HI CH W E COM M UNI CATE THE SPACE USI NG OUR I M AGI NATI ON . . .TO BE M ORE I NTERACTI VE AND I M M ERSI VE. . .
c o n s c i o u s
A n d
S u b -c o n s c i o u s
Our Mi nds Have A Bot h ,No Part Coul d be Sep ara t ed f rom t he ot her .Each one Has I t s Own Funct i on .
I m m e r s i v e
a n d
i n t e r a c t i v e
i n
t w o
e n v i r o n m e n t
The Mai n Goal
1 1
L i n k
b e t w e e n
P a r k
a n d
S i t e
Key
Ki ngAb du a l l a hP a r k
Saha Plaza Mai n Promenade Peri metri cPromenade Our Si te
Our Si t e
We have li nked the Si te and the Park through the mai n and Peri metri c Promenade Of Park .
Sa ha Pl a z a
The journey along the promenade presents defi ni ti ve moments where we can consci ously controlthe archi tecture as a devi ce for mani pulati on of the senses and use space and evoke emoti ons . Hi gh F l ow Ga t he r i ng Poi nt
Hi gh F l ow Ga t he r i ng Poi nt
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p h y s i c a l
Mai n Node -Pl aza Hi gh F l ow Ga t he r i ng Poi nt
Cont r ol t he mov e me nt ofp e op l e and ga t he r t he ma tan i nt e r me di a t ep oi nt Li k eA p l aza.
E x p e r i e n c e
T hei mme rsi v e e xp e ri e nce ofna t urewi t hi nt he p arkbe gi nswi t ht he v i si t or’ sap p roach t o t hemuse um,whi ch l e adst hrough Na t ur al ofsi t e.
Hi gh F l ow Ga t he r i ng Poi nt
1 3
M
r e a
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M a t r i x
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in
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Mai nHal l Admi ni st rat i on Gallery
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E n t e r t a i n me n t V R
a t
En tra nc e
En tra nc e
Mai n
G e o m e t r y
h M a in
Path
Parki ng: A:Staffand admen B:Vi si tors C:Techni cal
Gallery |level4.00
Fake Envi ronment |level4.00
Entertai nment Gallery |level14.00 chi ldrengallery |level7.00 Technical |level11.00
plaza
Mai nHalland Admi n Gallery Entertai nmentGallery FakeEnvi ronment parki ng
Fami lyGallery |level4.00
Mai nHall|level-4.00 Admi n|level-4.00 shops|level-8.00 Staff|level-8.00
onceptualSecti on : Gallery children ,cafe technical
FakeEnvi ronment FakeEnvi ronment
mainhall,admin Shops,Staff
1 5
1 6
p h y s i c a l
Mai nhall, admen chi ldren gallery,cafe techni cal Staff,Shops Vr/ entertai nments
Shops
technical Vr/ entertainments -11. 00 -9.00
-8.00 -14. 00
1
staff
make2 mass toensureon mai npath,and di rectpeople tocorrect ori ented ( Plaza)i ntwo si des. and defi ned theplaza, whi chwi llbea placeof acti vesto i nteract people.
e n v i r o n m e n t
i nMai nNode(Plaza) whi chi splacetooutdsi dehi ghtech plaza. graduallywehavetori sevi sti orsup from plazatomai nhall. i nuplevelwe have overlapi ng betweentwo si de,to allow people navi gate betweenthem. -3.00
-8.00
-9.00
1 7
n o n -p h y s i c a l
1 2 3
G allery
e n v i r o n m e n t
usi ngExpansi onCompressed i n mai noutsi depath and we reflected i ti nsi de.
hei ghtofroofleadstobreakthe boundari es,helptoi magi nat, hi ghstageoffakeenvi ronment hasahi ghestroof thecompressi on and expansi on ofspaces happen throughout theforn .theeffecti s felti n both theverti caland hori zbtalplanes .An example ofthi si s bei ng compressed as you movewi thi n space ,than havi ng thespaceexpand as you walk i nto thegallryroom . Bei ng a spacewi th heavy traffi c flow,i ti s very i mportantto gui devi si tor the correctdi recti on.
4 1 8
thefi nalform ,whi chwi llbea faci li tyofi nspi rati onofsci ence aboutourmi nd .
c o n c e p t u a l
E l e v a t i o n
south Elevati on
Pattern Cover theExteri or wallofthemass gallery,80% ofthemass wi llbe soli d,to notallow reflecti on athome,loss ofVR techni que effi ci ency
North Elevati on
1 9
g e n e re ax lp
e r i e n c e
20
03
G e n e r a l
E x p e r i e n c e
the pri nci ple ofVr i s :how can work on our percepti on unti li ts does persuade us i s a real(whatwe See ) . ,so we Have provi des galleryto show how our brai n work wi th VR techni que .
t he“ st ory ofy oubegi ns wi t hy our ancest ors;i t t ravel s t hroughy our DNA;i ti s hel di ny our hands;i t movesasy ou wal k;i ti s heard t hroughy our voi ce;i ti s wri t t eni n y ourbrai n. �
Me di t a t i on
2 1
Archi tectural Drawi ngs
04
scale1: 500 scale1: 200
scale1: 200 scale1: 200
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Si te plan scal e1: 500
En tra nce
1. Li nk between park and our project
Node Park
Ent rance
a Plaz
2. accessi bi li ty
Dr op Of f
Par kn vi si g toi rs \
ng\ Parki ces Servi
cal Techni
Pa rki Sa ffng\ ant em d erg enc y Pa r n \A ki dm g i n
Ca fe
23
plan PlanLevel 8,7
24
plan PlanLevel 3
25
plan Plan Level 10, 11
26
plans Plan Level 14
27
Elevati on
Scale 1 : 200 North Elevati on
EastElevati on
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Secti on
Scale 1 : 200
AA
BB
CC
29
S h o t s 30
05
i nteri or shots Exteri or shots
Fami ly Gallery
3 1
Fami ly Gallery
32
Temporary Gallery
Cave
Temporarygallery
Ma n yo fE n c l o s e d Ro o m( Sq u a r e ) , p r o j e c t o r sb e h i n d t h ewa l l s. wi l l s h o wma n yo f t o p i c so fb r a i n a n dh u ma nb o d y.
Sp a t i a lUp da t i ng 33
ronment Fake Envi
Pre Lost t h e ywi l lb ec a l m a n di ma g i n e b e f o r es c a r e e x p e r i e n c e .
Sci ence Fi cti on
wi l ls h o ws p e c u l a t i v ef i c t i o n de a l i n gwi t hi ma g i n a r y c o n c e p t , t h i se x h i b i t i o nwi l l l e a v ema n yQu e s t i o ni nt h e i r s u b c o n s c i o u sMi n ds.
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ronment Fake Envi Lost c h a n g i n gi nl i g h ta n ds o u n dma n i p u l a t i o n wi t hp e o p l e ss u b c o n s c i o u smi n ds c o n t r o l l i n gh e i rf l o wa n dc i r c u l a t i o nwi t h i n t h i ss p a c e . p e o p l ewi l lb el o s ti ft h e ydo n ' tb es e c u r e d. t h e ywi l lb ei nh i g hl e v e lo fs t r e s sa n d t h e yc a n tb et h i n k i n gi nc o n s c i o u s.
PostofLost
r e a lwo r l dwh e r ep e o p l ewi l ls e e wh a th a p p e n e dwi t ht h e mi nt h e j o u r n e y. 35
oe Shots nteri i back to reali ty r o u t ei st os n a p p e o p l eo u to fL OSTt o Pl a t f o r mAn dV r E n t e r t a i n me n t
Platform
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E x ter io r S h o t
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E x ter io r S h o t
38
E x ter io r S h o t
39
E x ter io r S h o t
40
or Shots Exteri
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or Shots Exteri
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ThankYou
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