SALMA EL BASTY PORTFOLIO
SALMA EL BASTY
INTERNSHIPS:
PERSONAL INFORMATION:
AUGUST 2017: PREPARATION OF A2L MOBILIOUS RESEARCH PROJECT FINAL EVENT.
THE GERMAN UNIVERSITY IN CAIRO
NAME: SALMA MOHAMED EL BASTY DATE OF BIRTH : 12/7/1997 ADDRESS: AL MANIAL, CAIRO PHONE: 01118003250 EMAIL: salmaelbasty@gmail.com
JULY 2018:
ARCHITECTURAL DOCUMENTATION OF AL-IMAM
AL- SHAFI’I DOME.
MEGAWRA JUNE 2019:
INTERN IN A VARIETY OF DIFFERENT PROJECTS.
CLUSTER CAIRO
EDUCATION:
AUGUST 2019: INTERN IN A VARIETY OF DIFFERENT PROJECTS.
2015 : GRADUATION FROM MAADI NARMER SCHOOL (IGCSE). FINAL SCORE EQUIVALENT TO 100% 2015: GRANTED 100% SCHOLARSHIP AT THE GERMAN UNIVERSITY IN CAIRO ARCHITECTURAL DEPARTMENT. CUMULATIVE GPA 1.13 ( EQUIVALENT TO A) RANKED 4TH IN SEMESTERS 3,4, 5 and 7 2018: SEMESTER 6 ABROAD AT THE GUC BERLIN BRANCH. 2019: SUBMISSION OF THE FINAL BACHELOR PROJECT. FINAL GRADE EQUIVALENT TO: A 2019: CURRENTLY STUDYING IN THE 9th SEMESTER.
QUALIFICATIONS:
PROGRAMS:
LANGUAGES:
AutoCAD
Photoshop
English
Revit
InDesign
Arabic
Rhinoceros
Illustrator
French
V-Ray
3Ds Max
German
DAR AL - HANDASAH
CERTIFICATIONS: AUTODESK AUTOCAD 2017:
COMPLETION OF AUTODESK AUTOCAD AUTHORIZED TRAINING CENTER COURSE.
AUTODESK 3DS MAX 2017:
COMPLETION OF AUTODESK AUTOCAD AUTHORIZED TRAINING CENTER COURSE.
BIM 3D CAPTURING WORKSHOP:
A 5 DAY WORKSHOP AT THE GUC BERLIN CAMPUS IN APRIL 2018.
DOCUMENTATION OF HISTORIC CAMPUS’ BUILDINGS AND MODELING ON REVIT.
BAUHAUS WORKSHOP:
A 3 DAY WORKSHOP AT BAUHAUS DESSAU OPEN STUDIOS TITLED “ FROM
THE IMMATERIAL TO ARCHITECTURE” EXPERIMENTING WITH LIGHT AND SPACE.
IELTS:
OVERALL OF 8.0 SCORE IN THE INTERNATIONAL LANGUAGE TEST IN 2014.
EXTRA-CIRRICULAR ACTIVITIES: 2016: EVALUATION AND DOCUMENTATION COMMITTEE AT IEEE GUC. 2017: LTC GENEH MEMBER AT BEDAYA GUC. 2018: DEBATER AT THE INTELLIGENT QUESTION ( TIQ ).
CONTENTS DESIGN BACHELOR PROJECT TAHRIR: BENEATH THE SURFACE NEUE BAUAKADEMIE STEEL DESIGN E.MOTION LUMOS
04 16 22 28 32 35
RENDERS PARTHENON VIA 57 WEST
37 39
THEORY BERLIN IMAGINED JUXTAPOSITIONS
40 46
EARLIER WORKS INTRODUCTION TO ARCHITECTURAL DESIGN
47
BACHELOR PROJECT CZECH EMBASSY IN ADDIS ABABA, ETHIOPIA The Czech Republic
has launched a student com-
Addis Ababa, Ethiopia. Tackling many aspects of functionality, aesthetic, representation and energy efficiency, the most petition for its embassy in
challenging aspect remains in the very dense and detailed space program, along with the variations in typology. The choice of using this competition as a thesis topic is to get exposed to a real- life project, with a background of the international competition procedures.
The
competition field is
quite an important milestone to get exposed to as much national and international design challenges as possible, with regard to the context of the site and the respecting of it.
The embassy should naturally be a state representation to the country that it represents, in our case, the Czech Republic. The embassy should also be quite respecting to the hosting country, while referencing many of its qualities, which in our case, is Ethiopia. It is a physical representation of what the competition calls for: “a business card�. However, this also means it must have a rational layout and be extremely functional to be an efficient embassy. It should provide convenient levels of privacy and openness, safety and hospitality, proximity and isolation.
4
LARGE SCALE: SITE ANALYSIS
As
formerly mentioned, the site has
been the first aspect of the project to be tackled.
To
start with the analy-
sis, the process has been a large zoom out on the scale of the city of dis
Ababa,
Ad-
zooming further in until
the boundaries of the site.
The
initial
analysis was a brief urban analysis to undertand the urban fabric of the city
Addis Ababa, whether it is dense or not, and the percentage of green in the city. This has a direct effect on many design decisions. The dense urban fabric could mean stronger safety measures required, and a lowered green of
percentage could mean it is necessary to provide a large percentage of green to the urban scape on site in order to compensate this lack.
Figure ( Right ): Urban Analysis of Addis Ababa. Figure ( Top Left ): World Map indicating both countries. Figure ( Bottom Left ): Addis Ababa city map with site indicated. 5
RESEARCH: CULTURAL DIMENSION
The proposal provided has yearned to express the cultural nature of the context at hand. While researching about Ethiopia as a context, it was certainly evident that the Ethiopian nation is proud it has never been colonized. For 3 brief years, the Italians tried to colonize Ethiopia, drawing master plans and treating Ethiopia as a total Tabula Rasa (such as the master plan provided by Le Corbusier to the Italian colony)- totally neglecting the cultural and urban dimensions of the context. Le Corbusier’s Vision for Addis Ababa. © failed architecture
Aerial perspective of an exemplary Italian colonial neighborhood design in Addis Ababa.
© tudelft global studio 2015
6
In
order to find a grid relevant to the culture of
Ethiopia
in order to
maintain its chastity, research was made on several of the most culturally infested buildings there.
The Rock-Hewn Churches of Lalibela. They are churches curved out of stone, built on a grid of 12x12x12, treating each church as a cube of stone, and subtracting the building out of it. These churches are now protected by the UNESCO, and they are certainly one of the most famously known landmarks of Ethiopia all around the world.
Subtractions all around the churches of Lalibela are made and as a religious dimension, women looking to get pregnant bathe in those subtractions which, according to their beliefs, would help them get pregnant. In order to maintain the cultural aspect in the design process, those two important dimensions were noted and used further on.
Aerial Photo Of One Of The Rock-Hewn Churches Of Lalibela.
Water Subtractions in Lalibela.
Š tripadvisor
One
certainly stood out:
The
lands of
Ethiopia
also hold a large amount of rain.
Š eric lafforgue
7
FINAL PROPOSAL: CONCEPT DIAGRAMS
In
order to refrain from tainting the chastity of
the
Ethiopian
lands, the grid is derived from the
Ethiopian heritage. The grid used in the proposal is a 12x12m grid, inspired by the Churches of Lalibela in Ethiopia. Those churches are masses of 12x12x12, and they have been carved from those initial masses into the churches that are present now.
The
proposal treats the embassy complex in
the same manner- a whole mass with subtraction actions causing the resulted masses to appear.
CHASTITY Ethiopia is
certainly proud
GRID 12X12 In order not to
tarnish the
SUB-GRIDS For easier maneuvering,
African
urban fabric of
Ethiopia,
a
grids were used for a more
12x12 was planned
delicate approach to the de-
of being the only
sub
Country that has never been colonized. Its urban fabric has not been touched.
grid of
PLANTATION GRID the 6x6 grid has been proven to be the most efficient
cess rain all around the embassy complex, water
WATER POOLS around the Lalibela churches, water subtractions have
plantation grid. It has been
been made to bathe women
WATER SUBTRACTIONS As a reference to this ritualistic act, and to make use of the excess rain, water sub-
subtractions all around the site are provided and
used to provide a well-bal-
trying to get pregnant.
tractions are provided and
For
a more delicate approach and an easier ma-
neuvering, sub-grids were derived from the initial grid, breaking the grid into
1.5x1.5 in order to tions. As a pleasant
6x6, 3x3,
in accordance to the masses of the
Churches of Lalibela.
sign process.
Grids of 6x6, 3x3 and 1.5x1.5 are used.
and
maintain the same proporcoincidence, the
6x6
grid
has been proven to be the most efficient plantation grid. It has been used all around the embassy complex to provide a plantation concept for the representative outdoor areas.
The
churches of
Lalibela
also have subtractions
all around their perimeters. Those subtractions are filled with water, and they have been made to bathe women trying to get pregnant.
As
a reference
to this ritualistic act, and to make use of the ex-
used for aesthetic pleasure.
anced planting environment.
Rain is also excessive on site.
used for aesthetic pleasure.
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SITE PLAN
9
FLOOR PLANS GROUND
10
FLOOR PLANS FIRST
11
ELEVATIONS & SECTIONS
The
materials used in the elevation respect the genius loci.
is one of the most abundant materials is also used for safety in the extreme
The
elevations are all exposed concrete.
Concrete in Ethiopia, commonly used in the construction industry. Concrete rare case of an attack on the embassy buildings and its facilities.
The louvers in the design are made of wood. Wood is also quite abundant in Ethiopia, having large forests of Eucalyptus trees in its natural geography. The wooden louvers are mainly used to provide privacy for the official embassy users in their different typologies. The wooden louvers could be rotated manually in order to provide total privacy. The windows themselves are all made of safety glass. The windows are all very long, around 4 meters in height, also to reinstate the verticality in the embassy complex lost by the horizontal spread of all the different functions and typologies. This large height gives a sense of monumentality all around the site, suitable for an embassy complex.
12
13
SHOTS & ATMOSPHERE
staff residence garden
official embassy courtyard
14
view of well at intersection
15
TAHRIR: BENEATH THE SURFACE
/halaqa/: (n) arabic noun meaning a ring. in the past, egyptians used to receive knowledge while gathering around in a circle. each person in this ‘halaqa’ represents a single circle of knowledge that expands and impacts the next circle, creating a series of echos. in tahrir square, the revolition started the first circle of social awareness in the region. which by time, created a series of echos originating from it, making it the central nucleus of social and cultural networks in the area. studying the impact of tahrir along the axis - from zamalek to azbaya garden - various cultural places were mapped...all missing a center. through our project, we are reviving tahrir as a cultural node, being represented in buildings of different sectors. the egyptian museum representing the heritage, the mogama’ representing the political impact, the auc building representing the educationl side, and bab el louq souq representing the economical aspect. IN COLLABORATION WITH I ROAA SHOEIB I MAI HAHMOUD I NADA ANWAR
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LARGE SCALE: CONNECTION TO THE CITY
Nile Streets main attractions
Main Cultural/Social Attractions Linking
Tahrir Square created a ‘Splash’ of Social to Tahrir awareness
Nile Streets main attractions
Main Cultural/Social Attractions Linking to Tahrir
Nile Streets Main Attraction Cultural spaces galleries cinemas libraries
Cultural Places Scattered in Dowtown
Nile Streets selected buildings
Main AttractioNS 17
MEDIUM SCALE: URBAN INTERVENTION
UNDERGROUND METRO STATION CONNECTION TO URBAN PLOTS DIAGRAM
18
Connection Between the Metro Station Entrances and the Topographical Intervention
19
NG
MOGAMA’ EL TAHRIR: PUBLIC LIBRARY PLAN ELEVATION
The original Mogamaa plan is an introverted bulky mass with no connection to the exterior plot situation and the topography. Arcades have been added to provide an entry situation to the Mogamaa. The cores and courtyards ELEVATION have also ben reorganized for an efficient and aesthetic use of space. Arcades have been added to provide an entry situation to the Mogamaa. The cores and courtyards have also ben reorganized for an efficient and aesthetic use of space
The arcade is used to convey that the Mogamaa is a perforated building, further inviting the people along withSECTION the rising topography of the surrounding void to enter. The arcade is used to convey that the Mogamaa is a perforated building, further inviting the people along with the rising topography of the surrounding void to enter.
The arcade is used to convey that the Mogamaa is a perforated building, further inviting the people along with the rising topography of the surrounding void to enter.
SECTION
To create different situations for a variety of experiences,double heights are provided in parts of many floors to create further visual connections.
SECTION
To create different situations for a variety of experiences,double heights are provided in parts of many floors to create further visual connections.
To create different situations for a variety of experiences,double heights are provided in parts of many floors to create further visual connections. To create different situations for a variety of experiences,double heights are provided in parts of many floors to create further visual connections.
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ELEVATION
SECTION
FRAMED VIEWS AROUND THE MOGAMAA
21
NEUE BAUAKADEMIE The design task was to rebuild Schinkel’s Bauakademie as an architecture school. It was required to develop an idea for an architectural spatial concept with the starting being a research about Schinkel‘s Bauakademie. The architectural concept is be ambivalent: it should become something new, but it should be connected with the spirit of the old Bauakademie.
IN COLLABORATION WITH I EMAN HAMDY I HAYDY MOSTAFA 22
CONCEPT
INTERSECTING L’S
SITE
23
GROUND FLOOR PLAN
FIRST FLOOR PLAN
THIRD FLOOR PLAN 1;200
SECOND FLOOR PLAN
THIRD FLOOR PLAN
FIRST FLOOR
BASEMENT FLOOR PLAN
A-A
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THIRD FLOOR PLAN 1;200 BASEMENT FLOOR PLAN
SCHINKEL PLATZ ELEVATION
RIVER ELEVATION
SCHINKEL PLATZ
RIVER
SECTION A-A
SECTION B-B A-A
B-B
25
26
27
STEEL DESIGN A steel structure is designed for a swimming pool built in the 1940s that has never been renovated. It is administered by the Ministry of Education and they have allocated 20 million Egyptian pounds for the renovations.
IN COLLABORATION WITH Salma Talha I Bassant Saleh I Roba Mokhtar I Merna Haroun I Mariam Yasser I Marwa Mostafa I Rana Mohamed I Noha Ali I Joyce Akram I Nardine Mettry 28
STRUCTURAL FLOOR PLAN
29
ELEVATIONS
30
SECTIONS
31
E.MOTION The E- Mobility Centre is proposed in the New Capital of Cairo to introduce the concept of electric cars in Egypt. The building hosts three main functions: a showroom which is a commercial aspect, an exhibition which is an entertainment facility, and a maintenace area for servicing.
IN COLLABORATION WITH I BASSANT SALEH I ROBA MOKHTAR I SALMA TALHA 32
CONCEPT
SITE
ANALYSIS
GROUND FLOOR PLAN
FIRST FLOOR PLAN
STRUCTURAL PLANS GROUND FLOOR PLAN
FIRST FLOOR PLAN
33
ELEVATIONS
DETAILS
SECTIONS
34
LUMOS LUMOS is a residential house for a family of four who happen to also use it for work purposes. The site is located infront of the Citadel. Light acts as a transitional guide. It also fulfills the diverse visual needs and characteristics of each space.Solids and voids have been used to manipulate lightness and darkness. IN COLLABORATION WITH SALMA TALHA 35
CONCEPT: MASS AND LIGHT PROGRESSION
SECTION A-A IN CONTEXT
SECTION A-A AND B-B
FIRST FLOOR
SECOND SECONDFLOOR FLOOR
ROOF
CITADEL
STREET
SECTION B-B
GROUND FLOOR 36
RENDERS - PARTHENON MODELED ON RHINO
mbers: lha aroun
Team Members: Salma Talha Merna Haroun
IN COLLABORATION WITH SALMA TALHA I MERNA HAROUN 37
RENDERS - VIA 57 WEST MODELED ON RHINO RENDERED USING VRAY
IN COLLABORATION WITH I BASSANT SALEH I ROBA MOKHTAR I SALMA TALHA I MERNA HAROUN
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THEORY_BERLIN IMAGINED STAGE
40
ACTORS
41
SWOT
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INTERVENTION
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ANALYSIS
INTERVENTION
The Memorial to the Murdered Jews of Europe is the epitome of controversial architecture, in terms of the architectural debate between whether architecture should be for the people or architecture should have a pragmatic and dogmatic approach. Perhaps the most prominent debate with a similar topic was between Jane Jacobs, who advocates the need for architecture to accommodate people, and on the contrary, Robert Moses, who regards no concern to such humanitarian sentimental issues, but rather he focuses on the functionality of architecture.
The Memorial to the Murdered Jews of Europe lacks explicitness in the purpose of its commemoration in my opinion. The architect, Peter Eisenman, has been quite liberal in his expression of the tragedy. Although many view the memorial as an array of coffins, few have made the relation of this memorial to those intended. Some have even forgotten its prior purpose and used it as a large playground of concrete blocks alternating in heights. On doing a SWOT analysis, it could be concluded that the memorial is very rich in potential. Its location is central to many landmarks and touristic attractions with a high pedestrian flow. The variation in scales also allows for a varied experience and modes of relating to the space itself. The atmosphere is quite lively in the presence of visitors, with picnics and jumping individuals a normal sight, but on their own, the gray concrete blocks along with the pale sky add a gloomy effect. The identity of the memorial to me is agitated between the architect’s wishes to provide complete freedom for the visitors in how they deal with the space, and between those who call for a certain manner of respect and solemnity in dealing with the memorial, such as those who shame the visitors taking selfies on the blocks, calling this movement the “Yolocaust”, and making photomontages of them with real life victims of the Holocaust, adding a gruesome edge to a seemingly innocent act.
“If they want to knock the stones over tomorrow, honestly, that’s fine.” Surprisingly in the case of the Memorial, Peter Eisenman, the architect himself, is a true follower of the ideologies of Jane Jacobs, and more recently, Jan Gehl, in his philosophy about architecture for the people. In his opinion, he cannot impose a certain behavior upon those who visit the memorial, to the extent that he does not mind if swastika signs are drawn on the concrete blocks, for him that manifests the people’s behavior towards the monument. He has predicted that people would have picnics and take photos, and that is also in part due to the fact that the Memorial is placed in a strategic spot. If Kevin Lynch’s theorem would be taken into a consideration, the Memorial could be considered a node. It is a very short walk from numerous prominent landmarks, such as Brandenburg Gate, Reichstag, Tiergarten, and Potsdamerplatz. Thus, the pedestrian flow around the Memorial is very heavy. In addition to that, the seating elements around all those landmarks are minimal: only scarce benches are scattered. Therefore, it is a normal sight to see old people specifically taking a rest on the short concrete blocks on the edges, while younger generations usually jumped from one block to another. “BITTE NICHT AUF DIE STELE STEHEN. DANKE!” However, the German State has an opposing view to both the architect and the public. A uniformed guard passes through the concrete blocks, explicitly calling for the thrill seekers not to stand on the blocks. They contradict Eisenman’s views of liberty in maneuvering in and around the memorial. They have sprayed the concrete blocks with anti- graffiti spray, in fear of neo-Nazi movements making artworks. They have placed a guard to warn people not to jump or stand on the blocks. The imposing of behavior is not exclusive to the state, many architecture critics and journalists are skeptical and disapproving of how the public manipulate the space. They have humiliated people who take selfies with the memorial, calling them off as disrespectful to the millions of murdered Jews. They have also called out Peter Eisenman himself for his design, and his flexible manner to how the public interact with the space. Perhaps that is due to trying to get over the question of guilt the Germans feel towards the Jews. . Despite the German State’s efforts to maintain the space, kids still jumped on the blocks, people still took photos and picnics were all around. This raises a question: Should public behavior be controlled in public space, however critical the context’s concept is? Or should architects and states make way to the inevitable interactions with the space?
Converting the method of commemoration from a conceptual form to a solid form would remove any doubts as to what the monument wants to convey. Concrete images and representations are often more powerful sources of persuasion than are abstract statistics. The “Identifiable Victim Effect” as it is known today is attributed to American economist Thomas Schelling. He wrote that harm to a particular person invokes “anxiety and sentiment, guilt and awe, responsibility and religion, [but]…most of this awesomeness disappears when we deal with statistical death”. This method has been used in numerous places such as in The Memorial to the Victims of Communism in Prague, The Memorial of the Victims of the Potato Famine in Ireland, and the Memorial of the Jewish Victims of Fascism in Berlin Mitte. Placement of similar statues of suffering individuals around the memorial could express the sentiments in a more explicit way than concrete blocks. I will handle the Memorial to the Victims of Communism in greater detail, as both it and what I intend to implement in the Memorial to the Murdered Jews of Europe hold a certain political dimension, and both are within walking distances from other landmarks. The memorial was a total of seven (two were damaged due to a bomb in 2003) male statues appear to be disintegrating and decaying before our very eyes, the first man whole, the next man missing a limb, ripped open, to the last man who has become virtually nothing. It is to symbolize how political prisoners under Communism were affected. As a memorial, it is very effective. A close look at how the visitors to the memorial act would prove this. The vast majority take a quick photo beside the statues, although the steps the statues are placed on mimic the concrete blocks, but no jumping visitors are seen at all. Some attacks were also made on the memorial: someone covered the statues in red adhesive tape, forming various abusive slogans; another planted an explosive substance on the statues. This could be used to prove the success of the conveyance of identity of the memorial, in terms of those supporting and those against. I would imagine if the same was implemented, similar attacks could be made on the statues by perhaps Neo-Nazis.
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OUTCOME
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THEORY_JUXTAPOSITIONS
IN COLLABORATION WITH SALMA TALHA
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INTRODUCTION TO ARCHITECTURAL DESIGN
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INTRODUCTION TO ARCHITECTURAL DESIGN
IN COLLABORATION WITH I SALMA TALHA I JOYCE AKRAM I SALMA HASSAN
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THANK YOU FOR YOUR CONSIDERATION