ERRAQIQ_O.OSCAR
University Reference Number 17520256
Casa of fashion
The Dice Library
The playground Suistainable Project
YEAR 3: NEGOTIATED BRIEF PROJECT Thermal wellness
YEAR 3: DISSERTATION : ABSTRACT
Olimpico Stadium, Fascism and Urban Transformation
YEAR 1: PROFESSIONAL PRACTICE ESSAY
Exeter College Cohen Quad, Oxford
YEAR 1: HISTORY & THEORY ESSAY
The Architectural Orders
YEAR 2: ESSAY
The Great Influence of the Roman Architecture through the ages.
This portfolio represents a selection of projects that were produced in University from 2019-2022. These samples emphasise different skillsets and software proficiency from line drawings, design logic and process, to 3D visualisation capabilities.
YEAR 2: Urbanism History and Theory of the City Project.
ARB Part l
erleoscar7@gmail.com
+44 7809134442
Flat 2, 73 Thorparch Rd
London, United Kingdom
I am an architecture student with a curious and creative mindset. I like to keep an optimistic approach towards learning and taking up challenging tasks.
I am a constantly involving in team work, looking forward to bringing my passion for architecture into spaces that interact with people and their needs in the best ways possible besides from architecture, I try to keep myself occupied in the continuous cycle and process of Learning & un-learning.
2022 Inspection and Site survey, Multiplex
2021 Interior design studio, Sunlight ltd
2021 Architectural office study, YLA
2020 Freelance, Logo design & business promotion
2019 Experiment trip organised by Unicef
ENGLISH : Profenciency
ITALIAN Native
FRENCH Intermediate
ARABIC. : Basic
Casablanca, Morocco
June 2021 South Of Italy
May 2021 Paris, France
Jan 2019 Amsterdam, Holland
ARB Part l
BA (Hons) ARCHITECTURE ARB PART 1
Ravensbourne University | 2019-22
Baccalaureate on science | 2016-2017
Foundation degree on Art & Design | 2017-2018
Adobe Creative Cloud
AutoCad & ArchiCAD
SketchUp & Rhino
3D Modelling
Hand Drawing
Critical thinking
Teamwork
Multitasking
Reference
Rimset sarl
Pierluigi alvino, Director 020 454 3502
Multiplex
Elliot Bran, Manager 020 3829 2700
January 11th, 2023
73 Thorparch rd, London, United Kingdom
SW8 4RH
+44 7809134442
erleoscar7@gmail.com
TravelingTravelingPhotography Photography
Music Sport
@_SAINTOE7
I have been inspired by the modern architecture mission during my academic years and I have always influenced myself by what this theme has always provided especially the way on combining creative vision, practical know-how, cost-effective direction and its outstanding architectural designs. I would welcome the opportunity to contribute to continued growth and success as the next Architectural Designer. After completing BA Architecture Part 1 at Ravensbourne University, I am confident that my academic history and drive for creative solutions will bring positive new aspects to your team.
Inspired by innovation, I thrive on experimenting with different concepts and have been commended for influencing and developing unique and stimulating ideas. I have cultivated most digital software such as AutoCAD, architecture design and project management skills through a range of practical experiences. These strengths, combined with my passion for the industry have created a solid foundation to meet the needs of the Architectural designer opportunity.
I am artistic and dependable while aiming to bring a cheerful and enthusiastic attitude to every project. Bringing strengths in planning management and critical thinking, I believe that my creative abilities will serve to provide a valuable addition to your organization.
I look forward to the opportunity to create and grow as your new Architectural Assistant and look forward to further discussing the role.
Sincerely,
O. OSCAR ERRAQIQ
PROCESS:
The chosen site is The Lord Napier which is located in White Post Lane of Hackney Wick. The old pub is now an unused building. However despite being closed since 1995, it has now become one of the main attraction in Hackney Wick due to the vibrant exterior with brightly coloured tags and political slogans to every brick.
Hackney Wick in east London has over 600 studios, making it the densest concentration of artist studios in Europe. But their numbers are diminishing.
London’s Hackney Wick neighbourhood has been a creative epicentre, drawing in array of performers, craftspeople, musicians, illustrators, and many other creative and artisans who work and cross-pollinate in this area of light industrial units and messy yards. Now, in an all too familiar story, development projects threaten the area’s very existence. But artists in Hackney Wick’s Vittoria Wharf neighbourhood, located on Fish Island, are banding together to fight eviction.
Save Hackney Wick was founded to protect the artistic and creative communities of Hackney Wick / Fish Island as change happens all around. People do events such as the Hackney WickED, to have a celebration of the area and its creative heritage.
Hackney Wicked provides a platform for emerging artists, brings together local community & businesses, whilst making art accessible and inspiring to all in Hackney Wick; also home to the one of the largest concentration of artists in the world.
Over the years Hackney WickED has organised thousands of local open studios, put on hundreds of events, sponsored a wide range of art and events, and continued to promote the unique creativity of the area, attracting over 45,000 visitors during the festival.
Natural light reflecting through the patterns. wanted to observe how appealing and strong they would be when natural light reflects through.
Developed the circulation by making the stairs go around the building to be able to really feel the space. This also gave extra space to allow the sunlight illuminate from the ceiling to the ground floor.
3 FINAL CIRCULATION DEVELOPMENT
Developed stairs by having hanging stairs to celebrate different height of the building as well as giving the idea of a journey of space.
ARC16203: Branded Environments: Part 2: The Square Mile The Pleasures
Flexibility is a key limit of my design. At any given moment, people might need an activity space, open space, or space where they can escape to, from their usual routine . In response, my idea is to create a modular spaces that allow people to use di er- ent types of spaces around them to
THIS PROJECT IS BASED ON A CAREFUL ANALYSIS OF THE PAST AND HISTORICAL REBRANDRRING ENVIRONMENTS OF A NEW COMMERCIAL PROPOSAL. AN URBAN PLAYGROUND AIMS TO REFURBISH THE HISTORICAL COURTYARD OF THE Christchurch Greyfriars Church Garden. HOWEVER, TO KEEP THE OPEN PUBLIC SPACE AND MAKE IT USED BY THE COMMUNITY BASED AROUND.
NEW REFURBISHMENT OF THE COURTYARD PROVIDES A NEW WA TO CREATE A CONNECTION BETWEEN THE LOCAL PEOPLE AND AIMS TO HELP THEM ESCAPE FROM THE USUAL ROUTINE AS THE IS KNOWN IN ONE OF THE BUSIEST AREA OF LONDON IT IS WORTH TO GET PEOPLE ENGAGED TO A NEW DYNAMIC PLATFORM FULLY REBRANDED.
Initial Model
Since Term 2, have been recommended to step back for my model and try to be precise. So wanted to develop the idea of a playground and focus on a one space design that would provide a good understanding of what is coming after.
I began making a physical model consisting of di erent platforms, whereas this project’s main idea. was combining vertical and horizontal lines that would sink into the earth to anchor the structure.
SUN
Natural light passes through the top roof and then shed light on the ground oor. Natural light determines the characteristics of the spaces. Following to this in my design, di erent sections types require di erent lighting solutions. Because my climbing wal section is on the second oor. It also gives a sense of calm and comfort, because natural light spread on all over and creates a feeling of larger space.
SHADOWS
As the geometrical format of my design shadows can be an incredibly useful tool in giving new shapes of unreal shapes by obscuring the areas surrounding e ectively. Additionally, shadows reassure us that objects are sharing the same space.
CONCRETE
Materials as concrete have always been an excellent choice material for my project in terms of high thermal capacity. Also, the fact that brutalist outcomes have impacted me on merging this material such as concrete to modern simplicity buildings gives minimalist beauty nowadays.
COURTYARD
A courtyard, in my outcome, is a way of relaxing yourself as it is surrounded by nature. It transitions from a busy place to a quiet place where you could enjoy the view of the dynamic way of moving throughout my design.
TYPES OF FURNITURES
My project, known as a simplicity design, in uenced me to include some types of furniture such as benches to bring that entertainment as a none user of my design while watching comfortability users exercise their practice as well as the benches for the brie ng area. Also, essentials furniture such as the climbing wall and rock climbing supported by ropes.
The aim of this project was to design a simple complex structure based on a minimal concept. Even though the site I was given is on a sort of important geometrical place and aiming to bring the site in a kind of devise structures and also the physical context for analysing, programming and design of special facilities. The initial idea was to develop the main geometrical forms of initial sketch. However, the fact that my site is based on area where the river is on the frontage, I decide to take it as advantage of nature which contribute between water, light, green space and shadows.
Following to this I was supported that was worth it if I bring all these features inside to my proposal and give a sort of typical in uence of relaxing and serenity to environmental space in the inside of the proposal. The key aim after this process is to design a proposal where its concept is a holistic integration of architecture into a speci c natural environment thermal mineral in the area. By inspiring from Peter Zumthor works and process, “The Thermal Vals, Switzerland, 1996” Exploring those di erent geometrical forms, I decide to design a Thermal Wellness which it will group some di erent facilities such as: Swimming pool, Sauna, Steam room, Zen Garden and meditation programme.
Although with fact of bring the aspects mentioned at very beginning of relaxing in uence, As a guest the design starts with using the rst facilities which are the reception hall which is located next to the main entrance, the changing room facilities then the usage of the main three activities: swimming pool, Sauna and Steam room. In the meanwhile, guests can enjoy the view through the river by a huge, forced double glazing windows and di erent shadows and meditated dark light. Whereas, taking the stairs up towards it will be found the door terrace in front. While on the right-hand side you will came up at the bar and the meditation room where can the Yoga classes can be managed. Ultimately the dominated space on the rst oor must be the natural impact. In fact, it has a sense of nature which I decide to design a zen garden with arti cial plants and trees and a seating space where visitors can enjoy this feature which o ering a magni cent view of surrounding landscape over the river. At the end and especially on the ground oor is much meaning for the project because it provides a secluded and peaceful place for meditation and relaxation.
To develop the seating design I began drawing in perspective with measurements that allowed the design to act like a series of steps for people to sit on.
YEAR 3: NEGOTIATED
In this dissertation, I will be looking into Stadium structure layout [Stadio Olimpico, Rome] and its context as a part of the program during the fascism era, more characteristically its development over time, the use of the stadium for the rst time which will lead to di erent points throughout my dissertation. Also focusing on the political context on the early periods during the Post war ll and Fascism era which has responded to the agenda. While exploring the political context and its methods on how in uencing the Olimpico Stadium which will be a key point to have a clear linked vision over its surroundings on the Foro Mussolini. I will be conducting this investigation by studying the surrounding context which has to be the Foro-italico and its propaganda. However, looking at events were practiced during the fascism and how it responded to the site as symbol of power. Furthermore, the ability to collaborate the development of di erent stages by focusing on the present while being inspired by the historical analysis. However, how can be contributed to the future of our discipline by in uencing the design eld.
This dissertation looks to Rome’s Stadio Olimpico (1927), linking its architectural form and representation in media to a set of key moments in Italy’s political history. This history begins with an examination of the stadium’s relationship to Fascist politics during the Mussolini administration. That study then extends to analyse how the same space was morphed to represent a post-war, post-Fascist Italy during the 1960 Olympic games. It then concludes with a look at more recent changes to the stadium as a symbol for yet another paradigm shift for sport’s role in society more broadly, reflecting even further changes to the economic context, and ecological sustainability in the 21st century. This study provides evidence that although political context has shifted significantly since its original design, sports venues in fact serve as the stages for soft political power. Design decisions, as well as decisions relating to the representations of those spaces through media, correlate similarly to those political changes over time.
Keywords: Stadium, Propaganda, Fascism/ Post war ll, Foro Italico, Political economy, City.
Within my theory on studying Olimpico Stadium throughout some di erent stages of its development. I ended up providing a range of investigations of socio-political impact among governments power and a high level of architecture. The results of these investigations are provided throughout my dissertation in the form of images, books, articles and newspapers they show the architectural language of exercising power by the government. While exploring the political context and its methods on how in uencing the Olimpico Stadium I was able to have a clear linked vision over its surroundings on the Foro Mussolini. Although it has been a high number of enhancements during the fascism and post war ll days which had to be the only goal of their politics to be practised while translated to architecture. Furthermore, I was able to consider the major events hosted on my site which highly respond to my theory political context to. Following this, I manage to explore the way political economy had its in uence throughout this investigation and which developed it by focusing on contemporary days while being in uenced by historical analysis.
In conclusion of my explorations and studies into Olimpico Stadium, I have been able to reach the points that have developed within the design as a patrimonial monument alongside its surroundings. I believe the further exploration of my theory will emphasize the experience as well as the contribution to the future of our discipline. This will conclusively result in a greatly improved method of developing giant structure as Olympico always with the support of the factors of political economy with a strategy to continually reinvest in the complex projects such as the Foro-Italico while in-crease the quality recognized by the users which will make it an active attraction of events. Considering the aim of feeding the sport idea of youth users who view the Foro italico a place where they can be brought in and enjoy the sport.
Alison Brooks Architects (ABA)
In 1996, Alison Brooks Architects, or for short, ABA, was founded. The practice works in housing, civic planning, education and culture. The studio, which is based on Highgate Road, London, delivers excellence in design and innovation born from intensive research into cultural, social and environmental contexts of each project. This approach allows the team to produce authentic solutions that respond specifically to each site and it’s environment. ABA, have completed multiple buildings and projects that have been proved, to for fil the needs of each client, positively effecting lives for the better. ABA is a limited liability company.
Numerous international and national awards have been won by the practice:
• Architect of the Year
• Housing Architect of the Year (2012)
• ABA, were short-listed for the Stirling Prize for Newhall Be.
• RIBA regional and national awards.
• Supreme Winner at the 2013 Housing Design Awards
• ABA, is the only UK practice to have won the RIBA’s most prestigious awards for architecture The Stirling Prize, The Manser Medal and the Stephen Lawrence Prize.
• Alison Brooks herself, was awarded AJ Women of the Year 2013.
The technical report that follows, discusses Exeter Collage’s new quad extension, designed by leading UK female architect and her team Alison Brooks of AlisonBrooksArchitects, sometimes refered to as ABA. The project is fomally known as Exeter Collage Cohen Quad. Exeter Collage Cohen Quad, is potentially a marvellous reinvention, and a delicatly careful, highly educated and mature approach to modern design in close proximity to over 700 years educational history enclosed within the walls of Exeter Collage’s old, origional building.
Alison Brooks
Alison Broo�s Architects, �as founded in ���� by the prolific Canadian Born architect herself, Alison Brooks. She is the Principal, and Creative Director, along with being considered one of the leading architects of her generation. Having since completed her BES and BArch from the University of Waterloo, Alison Brooks, has gone on to develop an internationally renowned reputation for a multi-award winning body of work that is to this day, still growing and achieving.
Brooks has attracted global attention for her conceptual rigour through design, precise level of detail and sculptural quality, which is e�emplified magnificently by the ne� and subject of topic in this report, Cohen Quadrangle for Exeter Collage Oxford. Her Approach, stems from vast degrees of cultural research that now manifests itself into a portfolio of distinct individuality encasing projects responding to community, landscape and art.
Now, Alison Brooks is a well known public voice within the profession, advocating the role of housing and civic building, the Resurgence of building and use of timber in construction.
- Alison Brooks
- Hannah Constantine
- Jay Williams
- Ceri Edmunds
- Sergey Kudryashev
- Joseph Ransom Shaw
- Michael Woodford
- Sara Wernsten
Environment Max Fordham
Conservation - Richard Griffiths Architects
Landscape Dan Pearson Studio
September 25, 2015
Exeter Collage, based in Oxford, England, is at the heart of a 21st century reinvention of the “collegiate quadrangle”, the basis of Oxford’s academic fabric. A variation of design, that each of Oxfords specialist follow to a degree, is formally known as the “Oxford Quadrangle”, an 800 year old space organisational model, that combs teaching and learning spaces and student rooms around a landscaped courtyard. Alison Brooks Architects (ABA), completed the objective to expand Exeter Collage’s 700+ year old campus in the center of bustling Oxford, mixing together accommodation for both Undergraduate and graduate students with 90 rooms, and an auditorium. In addition, there are spaces for seminars, social learning, cafe and roof terraces, offices, archive and fellows accommodation.
Roman architects kept on following the rules set up by the old style arranges the Greeks had rst molded: Doric, Ionic, and Corinthian. The Corinthian was especially preferred and numerous Roman structures, even into Late Antiquity, would have an especially Greek look to them. The Romans did, in any case, include their own thoughts and their adaptation of the Corinthian capital turned out to be substantially more enlivening, as did the cornice -see, for instance, the Arch of Septimius Severus in Rome (203 CE). The Romans likewise made the composite capital which blended the volute of the Ionic request with the acanthus leaves of the Corinthian.
Conventional thought which was a type of Doric segment however with a littler capital, increasingly slim shaft without woodwinds, and a shaped base. The Tuscan section (as it came to be known in the Renaissance time frame) was particularly utilized in local engineering, for example, peristyles and verandahs. The Romans additionally preferred solid segments as opposed to the Greek methodology of utilizing a few drums stacked over one another.
Moreover, sections kept on being utilized in any event, when they were never again basically essential. This was to give structures a conventional and natural look, for instance the front of the Pantheon (c. 125 CE) in Rome. Segments could be segregated from the structure yet stay appended to the façade at the base and entablature (detached segments); see, for instance, Hadrian’s Library in Athens (132 CE). At last, sections could turn into a piece of the divider itself (connected with segments) and capacity as unadulterated design, for instance, the upper oors of the Colosseum outside (last quarter rst century CE).
In the Roman world, the credit for structures was to a great extent put at the feet of the individual who imagined and paid for the undertaking as opposed to the designer who managed its acknowledgment; consequently, he frequently stays unknown. Those planners utilized for explicit tasks by the head are better known. We are aware of Trajan’s supported draftsman, Apollodorus of Damascus, popular for his abilities in connect working, for instance, and who was answerable for, among di erent ventures, Trajan’s Forum and Baths in Rome (104-9 CE). Severus and Celer were the engineers liable for the phenomenal sounding rotating top of Nero’s Golden House. When all is said in done, modelers regulated while it was contractual workers (redemptores) who really did the task dependent on the designer’s deliberate drawings. Positively, the most well-known Roman draftsman is Vitruvius, mainly in light of the fact that his On Architecture, a 10-volume investigation of design, has endure unblemished. We don’t really think a lot about his own work - just a basilica he developed in Fano and that he worked for Julius Caesar and August. On Architecture covers all aspects of engineering, sorts of building, guidance for would-be planners, and signi cantly more other than. One fascinating point about the work is that it uncovers that the old modeler was relied upon to have numerous abilities which these days would be isolated into various specializations. Vitruvius additionally embodied the fundamental ethos of Roman design: ‘All structures must be executed so as to assess sturdiness, utility and excellence.’ (On Architecture, Book I, Ch. III)
The classical column order is the most important for the formation of historical architecture. Its gradual development in Russia in the XVIII century was a rather complicated and contradictory process. The order classical system is based on the works of M. Vitruvius, J. Vignola, A. Palladio, etc. The signi cant di erences between canonical examples of the Renaissance column orders and buildings of St. Petersburg in the 18th century are evident in with a detailed examination. This fact was not so conspicuous in architectural and art history literature.
For architects of the XVIII - XIX centuries, the column order was a key element. The column order was the core, the basis of the classical theory of architecture. It was accepted to begin study of architectural science with this. The design of the building was based on the de nition of the type of order corresponding to it. The design began with architectural details of the order and extended then to all elements of the building. The image of order re ected the architect’s views on the theory of architecture, his attitude to style, character and education. What was the reason of such signi cant di erences in the drawing of orders in St. Petersburg, why and how they changed during the XVIII century?
enter the stage, so the starting point of the southeast Libitinal named after the funeral of the Roman priest Libidine. And burial. These gates are used to scare away the bodies of people who
Over the centuries, the structure of Rome has evolved from an ancient Roman structure to a modern Italian structure. Rome used to be the main epicentre of the world of classical architecture and developed new forms, including arches, domes and vaults. The historical buildings of the Roman Empire are some of the most breathtaking buildings in history. More than one million people live in Rome alone. The Romans used many forms of research, such as arches and columns. He successfully built a memorial building for people to worship, entertain and various worship activities. For centuries, the only structure people can think of when thinking of Rome is the Flavius Amphitheatre or the Roman Arena. The Colosseum is one of the most significant Roman buildings in history. It is the most important Roman amphitheatre in the world. However, despite being hit by numerous fires, earthquakes and various disasters, this is still the current situation except for the terrible men's abuse. When Roman architecture was born, its contrast was the basis for enhancing culture. Formally, she had to discover, study and manipulate concrete, arches and vaults (the Pantheon is usually an example of this, around 125 degrees Celsius.) It was unbearable before the Romans were able to create interior decoration in the first century AD.
The Romans were increasingly involved in interior design rather than filling with structural supports. As a result, the interior of the Roman building is impressive concrete, which was developed in the early 2nd century BC. Using mortar as a binder In ancient times, the mortar was a mixture of sand, lime and water in an appropriate ratio. The Romans introduced Italian volcanic sand (also called "volcanic ash") on the mortar. The Roman developers used volcanic ash instead of ordinary sand and found that the mortar was solid and durable. He can also hide underwater. Bricks and bricks are usually put-on concrete because it is not considered beautiful by itself . The structural capacity of concrete is more important.
The most individualistic style of the Colosseum is a place where gladiators, prisoners, captives and wild animals fight and die. It is 83 meters long and 48 meters wide. The floor of the podium is composed of wooden boards covered with a layer of sand. Monte Mario; several hatches are reserved in his apartment for the insertion and removal of fixation and special effects. It is surrounded by a ten-foot wall that leads to the headquarters floor. The walls became pink and black stone blocks, blending with the rest of the building. It turns bright white, reflecting what is
Over the centuries, the structure of Rome has evolved from an ancient Roman structure to a modern Italian structure. Rome used to be the main epicentre of the world of classical architecture and developed new forms, including arches, domes and vaults. The historical buildings of the Roman Empire are some of the most breathtaking buildings in history. More than one million people live in Rome alone. The Romans used many forms of research, such as arches and columns. He successfully built a memorial building for people to worship, entertain and various worship activities. For centuries, the only structure people can think of when thinking of Rome is the Flavius Amphitheatre or the Roman Arena. The Colosseum is one of the most signi cant Roman buildings in history. It is the most important Roman amphitheatre in the world. However, despite being hit by numerous res, earthquakes and various disasters, this is still the current situation except for the terrible men’s abuse. When Roman architecture was born, its contrast was the basis for enhancing culture. Formally, she had to discover, study and manipulate concrete, arches and vaults (the Pantheon is usually an example of this, around 125 degrees Celsius.) It was unbearable before the Romans were able to create interior decoration in the rst century AD. The Romans were increasingly involved in interior design rather than lling with structural supports. As a result, the interior of the Roman building is impressive concrete, which was developed in the early 2nd century BC. Using mortar as a binder In ancient times, the mortar was a mixture of sand, lime and water in an appropriate ratio. The Romans introduced Italian volcanic sand (also called “volcanic ash”) on the mortar. The Roman developers used volcanic ash instead of ordinary sand and found that the mortar was solid and durable. He can also hide underwater. Bricks and bricks are usually put-on concrete because it is not considered beautiful by itself. The structural capacity of concrete is more important.
Bibliography:
The Afterlife of the Roman City
Hendrik W. Dey Hunter College, City University of New York.
The Architecture of Marcus Vitruvius Pollio, in Ten Books
The Golden House of Nero: Some Aspects of Roman Architecture, 1960.
Roman Imperial Architecture
By John Bryan Ward-Perkins, 1994
YEAR 2: Urbanism History and Theory of the City Project.
