SHAHZEB KHAN M.SHAHZEBKHAN@OUTLOOK.COM +92.315.259.1272
education
achievements
workshops
2017. Bachelor of Architecture at School of Art, Design & Architecture, National University of Science & Technology, Islamabad
JUL|2018. Harvester Square Design work published at Laka Perspective Vol.2
2017. Geometry in Contemperory Times at Hast-o-Neest Institute, Lahore
FEB|2016. CertiďŹ cate of Merit received from Rector NUST for holding runnerup position in a national design competition entry.
2014. Video & Photography Workshop at SADA, NUST. Conducted by Zeeshan Younus
2010. Matriculation at Chenab School System, Faisalabad
JUN|2012. Award for Best Sketch at Faisalabad Arts Council, under the subject of Historical City.
2013. Neil Leech and Behnaz Farahi Workshop Seminar on Parametric Design and Role of Computation
internships
work experience
competitions
JUL|2016 - SEP|2016 Timeline Designs Architectural Intern at Islamabad based Interior and Architectural Firm
SEP|2018 - Till Date COMSATS University IslamabadLahore Campus Student Teaching Assistant
AUG|2018. The Home Compeition Design entry submitted as part of team.
JUN|2015 - AUG|2015 Shahnawaz Associate Ltd. Worked on Drawing sets for various projects as an Intern
NOV|2017 - AUG|2018 Najmi Bilgrami Collaborative Pvt Ltd. Project Architect
OCT|2017. Laka Architecture Reacts. Competition entry recognized as the editor's choice.
JUL|2014 - AUG|2014 Lyallpur Museum Worked as an intern for 2 months in curation of cultural artifacts
JUL|2017 - OCT|2018 Timeline Designs Junior Architect
NOV|2016. Diwarka Monument Runner up Compeition entry for the design of a naval monument at Maritime Museum Karachi
co-curriculars
skills
software proďŹ ciency
APR|2019. Design Summit Prologue-02 Presentation under the topic Estrangement in Design
Digital Media
Rhinoceros 3D
3D Modeling
Grasshopper
Design Robotics
Vray
AUG|2017. Graphics Lead Edtech Works, Digital Learning Platform.
Illustration
Unreal Engine
Videography
Adobe Suit
MAR|2018. Women Advancement HUB, 50 digital illustrations under the banner of Women empowerment.
Motion Graphics
AutoCAD
Digital Fabrication
3DS Max
2012. Intermediate F.Sc at Punjab College of Science, Faisalabad
languages
English-Fluent
Urdu-Native
German-Learner
interests
Computational Design
Fabrication Methods
New Media in Architecture & Design
FABRICATION
3D MODELING
CAD/BIM
Laser Cutting 3d Printing CNC Milling
Rhinoceros 3D 3ds Max Unreal Engine V-Ray
AutoCAD ArchiCAD The recurring theme in my work is the exploration of the overlaps between digital and physical landscpaes. Architectural knowledge has helped me to formulate design as an agency to inquire the nature of these overlaps. For me advanced technological tools and their understanding is a crucial need in order to sustain production of knowledge parallell to global community.
SKILLS CHART
My interests in architecture are rooted in its scientific & societal co-relations and a belief that responsible design is the only analytical and implementational tool for build a better future.
Photoshop Illustrator Indesign Premiere After Effects CREATIVE SUIT
Grasshopper Ladybug Kangaroo Firey PARAMETRIC
CONTENTS 01
02
03
HEALING LANDSCAPES
EVERYDAY LANDSCAPES
CULTURAL LANDSCAPES
Designing a Health and Wellness facility in Khewra, through integration of exploration multisensorial experiences in immediate surroundings.
Project proposes a multi event space providing pla�orms for spontaneous interactions between the two set of communities. Architecture here acts as a bridge for socio cultural activities.
What is the role of a cultural monument? The project aims to establish both a meaningful relationship to the unique site as well as a investigating strong ideologies behind Pakistani culture.
04
05
06
Bachelor Thesis 2017
Architectural Design VIII 2016-2017
Architectural Design VI 2015-2016
MEDIATING LANDSCAPES
RURAL LANDSCAPES
MYTHICAL LANDSCAPES
The wall is an archetype that has long influenced human imagination. This project is an attempt to use design as a tool to reintroduce the wall as a mediator rather than a barrier/separator.
Project seeks to address the dual problem of agricultural impediments and rural unemployment by providing water harvesting methods for small village farmers.
A home is a memory machine where space acts through various instances to create a an individualized output. The project is a game like enviornment designed to explore physical and narrative qualities of a home.
07
08
Computational Design Elective 2016
Laka Reacts Competition 2017
PORTAL PAVILION
DIGITAL LANDSCAPES
The portal is a shell structure that takes its architectonic language from the combination of two traditional load bearing structures; Arc and Vault. The hybrid is a shell structure allowing structural stability.
This project takes has its roots in my earliest experiences of “Interaction”. Digital Landscapes tries to imitate this responsive system through a script based response from geometric composition of form.
Parametric Shell Structure 2018
Interactive Digital Installation 2019
The Home Competition 2018
01
HEALING LANDSCAPES
HEALTH AND WELLNESS CENTER, KHEWRA MINES, JHELUM
Designing a Health and Wellness facility in Khewra, through integration of exploration multisensorial experiences in immediate surroundings. This thesis is an exploration into the role of architecture and landscape in the healing process through investigating the level of attention required by each sense to summon the corporeal nature of the observers. This requires us to look at therapeutic/ healing environments in a new understanding where by taking advantage of other senses, is it possible to create a design for the body as opposed to it being visually or conceptually dominated? The chose site of Khewra Salt range is a region
associated with positive health effects due to its anti microbial mine environments of Salt Mines. The project deals with proposing an architectural language to utilize the landscapes natural properties while conserving the existing ecosystem and topography. Site specific form finding techniques were applied with utilization of local materials and construction methods to generate possibility of an architectural design that is particular to its context. and act as a positive indicator of development within the region. The project proposes sustainable design solutions using the landscapes cooling properties for an energy efficient design.
02
650 m above sea level
UNCLASED FORESTS RESERVE FORESTS
The salt range stands important for the micro climate of the region as its shi� in eleva�on causes wind flow and affects rain and seasons. This eleva�on also provides a scenic view.
190 m above sea level
Siwalik Salt Range
Diagram shows a geological classifiaca�on of land based on very salt rich area known as salt range and the siwalik range which con�nures into India.
Mirpur Lake
The salt range lies between river Jhelum and Indus. the mid region is known for its wet lands which are major tourism spots.
Kalabagh
Rohtas Fort Kalarkhar lake
Namal Lake
Water bodies in region
Palezoic, Mesozoic Aluvium
Uchhali Lake
Katas Raj temples
Khabikki
Sakesar Top +1522m
Kalabagh
Jhelum River
KHEWRA 20km
40km
Indus Delta
MINE ENTRANCE
ACCESS PATH MINE NETWORK
OLD KHEWRA
LAND ELEVATION
LAND TYPOLOGY
User Association with Natural Landscape The Terrain of Khewra is a valid example for condi�on of natural environments in an anthropocene era. The mining ac�vi�es started in late 19th century under the Bri�sh Rule in Region and it is s�ll on going. The two centuries of blas�ng and unguided excavated prac�ces have created an industrial layer over the Natural landscape of the valley. The atmosphere which has been appreciated for its remedial quali�es is tainted with industrial opera�ons. This project is a cri�que on the condi�on of natural landscapes and proposes restora�ve measures of interven�on.
SETTLEMENT
SITE
N
SITE OLD MINE ASTHMA CENTRE
COLONIAL STRUCTURE
SEASONAL DRAIN
TRAIL BRIDGE
SALT PUDDLES
EXHIBIT MINE
VISITOR’S CENTER
KHEWRA
1
5
1
2 4 1
1 1
ENCAPSULATE
1 3
1
3
1 2
2
2 1 3
2
ALTERNATE
1
3 1
1
4 3 1 1
1 3
DISORIENTATION
2
4
2
1
4 1 4
2 4
1
SYMBOLICAL 2
Working with contours I started modifying the exis�ng contours to find a natural response to site, with minimum interven�on in the natural cycles and pa�erns of the landscape. A terraced forma�on of massing was sculpted out from the site. This terraced forma�on allows for maximum integra�on with the landscape and also helps in crea�ng
more possibili�es for land usage. The programs a reshi�ed diagonally upwards facing the south west (an exis�ng entrance to the sight). The stacking prevents the interiority of the architecture as well as allows maximum landscape elements into the building.
HEALING
SU N
LANDSCAPE
AIR
ARCHITECTURAL RESPONSE
SENSES
4
LAND
SOCIAL ENGAGEMENT
3
WATER SKY
5
ORIENTATIO SIC N BA VISION A T T O S R U Y G AUDITORY CTORY OLFA HAPTIC
4
DESIGN CONSIDERATIONS Considering the requirement of kind of aspects of designs to be touched in order to create a healing environment the program was developed based on a strategy where the user is able to interact with space, landscape, objects, and each other. Hence making series of open and closed
spaces following mul�ple paths allowing maximum possibility of conversa�on with environment is devised. The health resort program allows for a short term stay program as well as fluctua�ng daily users to incorporate maximum space efficiency and interac�on.
The site boundary chosen for working basically lies on top of the mines and under these boundaries are three mines. The lowest one is the tourist mine and has its base level on -20 feet. While the mine highlighted in diagram is the one which is presently functioning as a treatment
NATURAL TOPOGRAPHY
MASTER PLAN
facility. It is 170 feet and its base level lies on + 5 feet. Over all topography of the site is a very uneven terrain and the highest point goes up to +400 feet from ground level and the lowest pint is -35 feet, this part is a seasonal drain and is usually active and covered with water in
LANDSCAPE CONTOURING
STEP BUILDING
the rainy season. Even though there is a rough terrain the site has platforms with smoother contours and these can allow for construction and design. While the steeper parts can still besed for vertical features in design.
CONNECTING BACK TO TOPOGRAPHY
MALE BRINE POOL , BLOCK D
SPATIAL SYSTEM The whole design is divided into various number of stages and their inter connec�on to form loose spaces where spontaneous ac�vi�es can occur. The programs have
TRANSITIONS been distributed along these stages and the transi�on spaces become the places where sensory engagement of the user is focused u�lizing design.
Block A – Administra�on and staff. Block B – Main entrance, Recep�on, Studios, Lobby, Medita�on rooms, Isola�on pods. Block C– Consulta�on rooms, Counseling room. Library, Physical Therapy.
Block D – Male wet treatments, Female wet treatments, Kitchen, Services, Garden Block E – Salt evapora�on Pan, Body treatments, Sound and shadow Garden Block F&G – Accommoda�on rooms
BLOCK-E
Dwellings
Sky Gallery
Sound Garden
BLOCK-D
Raat ki Raani
BLOCK-C Brine Pool
Open to sky
BLOCK-B
Compression Stairs
The Garden
BLOCK-A
BLOCK D
BLOCK C
BLOCK E
BLOCK F
Medita�on Units
G
IN
IN
G
BE
BLOCK AA
BLOCK BB
02
EVERYDAY LANDSCAPES CIVIC TERRAFORM, F7, ISLAMABAD Islamabad is a city built under modernistic ideals of mass transit and grid based segregation of economic and social classes. Sector-F7 is a case study portraying the antithesis of Modern city planning due to formation of organic settlements within the strict margins of urban planning enforced by authorities. However the project proposes a communal hub on site which presently exists as a public park. The problem presented here is a bottom -up approach for methodizing and designing built projects that serves to everyday activities and routines of site.
How can one devise a human centric approach towards architectural design in order to design built fabric more conducive to socio-cultural norms of a given site? The design proposes a multi event space providing platforms for spontaneous interactions between the two set of communities. Architecture here acts as a bridge to create a divided yet mutual public realm, for two stratas of society to co-exist. The topographic nature of site is utilized in order to gain maximum gathering nodes and adjacent communal intersections for maximum public interaction.
CO M M UN AL J UN CT IO N
AN T I- EXCLU S IVE
E NVIORNM ENT ENVIORNM RE SPONS IBLE P UB L IC R E AL M
KIN P LAC E MA K IN G
B
MASTER PLAN
A' GATHERING PLATFORMS
A
B'
MATERIALITY Materials u�lized in design tends to build familiarity with user by incorpora�ng local materials with an introduc�on of innova�ve structural methods. The roof garden creates a view point for observing the city.
NORTH WEST FACADE
BUILT TYPOLOGIES WITHIN NEARBY CONTEXT
CLASS BASED SUBDIVISION
CIRCULATION TYPES IN THE CONTEXT
BUILT IN STRATA
SPATIAL RELATIONSHIP
INTERVENTION OF A BRIDGING PLATFORM
The urban fabric carves through the architecture, blurring the boundary between the interior and exterior o built space. During the night, ar�ficial ligh�ng from within the enclosure filters
through the bricks, peeled apart to allow light through. Th architecture is both a space for transitory movement and staying.
LAYERED PROGRAMS
TYPOLOGICAL VARIATION ON SITE
Cross programming and layering of mul�func�onal and public programs. The varia�on allows for loose junc�ons and inter nodes to be u�lized as ac�vity and concentra�on points.
RESIDENTIAL SPACE
PUBLIC SQUARE
COMMERCIAL BLOCKS
GREEN SPACE
SMALL SCALE PRODUCTION
SECTION A-A'
SECTION B-B'
POINT GENERATION
EXTRACTING VOLUME
RESPONSE TO SUN
CENTER FEILD
PASSERBY INTERSECTION
DIVISIONS RELATED TO PROGRAM
OPEN GREEN SPACE
VOCATIONAL INSTITUTE
CENTRAL PUBLIC SQUARE
SMALL SCALE CRAFT PRODUCTION UNITS
COMMERCIAL BLOCK
FOOD KIOSKS
03
CULTURAL LANDSCAPES MUSEUM OF CULTURE AND CONTEMPERORY ARTS What is a cultural monument? To answer this question my design approach has been to establish both a meaningful relationship to this unique site as well as a strong conceptual resonance with Pakistani deep and longstanding regional heritage. The design rests on three cornerstones: The six volumes representing six geographical terrains opening into the landscape ,the porch; and aluminium panels jali envelope. The density of the pattern can be modulated to control the amount of sunlight and transparency into the interior. An extension of the building out into the landscape, the porch creates an outdoor room that bridges the gap
between the interior and exteri. Inside the building, visitors will be guided on a historical and emotional journey, characterised by vast, column free spaces, a dramatic infusion of natural light and a diverse material palette c skin that sits within the aluminium lattice. Below ground, the ambience is contemplative and monumental, achieved by the triple height history gallery and symbolised by the memorial space. The terraces join different levels of the building creating an uninterrupted flow for exhibitions and visitor’s unguided movement through the space.
VIE LAND
EW
TEXTILE INSPIRED WEAVED VOLUMES
FORMATION OF INTENAL AND EXTERNAL VOLUMES
SPECIFYING ENTRANCE POINTS
CIRCULATION LOOPS IN AND OUT OF THE ENCLOSURE
COURTYARD AS A HIGH ACTIVITY ZONE
TERRACES WITH EXHIBITION PLATFORMS
Dance/Music Studio Roof Garden
Entry Lobby Skywalk
Cafe Virtual Room
SECTION A-A'
Stage
Entry Lobby Auditorium
Entry Lobby
Horizon Walk Garden
Outdoor Garden
Music Studio Tea/Souvenir Shop
Exhibi�on Ramp
AR Enclosures
Live Cra�s Exhibit VR Enclosures Landscape Display Exterior Terrace
Auditorium Outdoor Performance
Entry Ves�bule
Dance
Installa�on Pa�o Administra�on
CIRCULATION
PROGRAM
PANELS CLOSED DURING DAYTIME
PHOTO-SENSITIVE OPENING
SKIN RESPONDING TO LOW LIGHT
Display Ramp Outdoor Shows Terrace Sky Walk
Lobby/Gallery
VR Room
Auditorium
SECTION B-B'
Mul�purpose Courtyard
Entry
7
8
PLAN AT LEVEL +6'-0"
5
9
1. 2. 3. 4. 5. 6. 7. 8. 9. 10.
4 6
10 3 1
Entrance Recep�on Installa�on Space Communal Courtyard Auditorium Stage Service Room Outdoor Performance Dance/ Music Projec�ons Fish Pond Admin Space
2
PLAN AT LEVEL +24'-0" 9
10
6
8 4
7
4
2
3
1. 2. 3. 4. 5. 6. 7. 8. 9.
Recep�on Immersive VR Corner VR/AR Displays Auditorium Tea Shop Outdoor Cafe Tea Garden Look Below Tex�les Workshop
1
PLAN AT LEVEL +37'-6" 6
5
4
3
7
1. 2. 3. 4. 5. 6. 7. 8.
Recep�on Exhibi�on Space Open Art Gallery Sculprture Gallery Landscape Exhibits Tex�le Exhibits Open Music Performances Po�ery Workshop
2
8
1
ROOF PLAN 5
4
3
6
2
5 4
1
1. 2. 3. 4. 5. 6.
Light Garden Herbal Gaden Grass and Shrubs Fruits Garden Flowers Garden Tea Garden
04
MEDIATING LANDSCAPES ARCHITECTURE AS AN INSTRUMENT OF MITIGATION BETWEEN GEOGRAPHICALLY CONFLICTED LANDSCAPES The wall is an archetype that has long influenced human imagination. Historically the wall has been a significant part of communities as a sign of shelter and protection. In last century we have seen this role shi�ing to a more confined act of separation and control. Wall has a cultural and political significance in our society. West Bank barrier is an example of architectural manifestation of wall as a weapon of social and economical control. The obelisk like quality of this stretch of vertical concrete slabs part the landscape in 2 halves. Due to presence of political conflicts the wall acts as a separator of land, people, agriculture and terrain. This project is an attempt to use design as a tool to reintroduce the wall as a mediator rather than a barrier/separator. To break the rigid structure
of perpendicular slab, computational techniques were used to create a multilayered surface responding to its immediate terrain’s elevation points. The surface acts as a mesh for the circulation of wind, water, small mammals and insects. The cavity within walls is used for plantation of seasonal trees. The openings are guided by movement of Sun allowing the tree crowns to protrude out of the structure. With the organic nature pf proposed design, it is intended to create more acceptability and friendly interaction with the divider on both sides of the wall. The wall in this case acts as channel to build connection it offers the window for two landscape to meet and converse, hence it acts as a mediator.
AB KNAB TSEW ehT
CONTROLLED INTERSECTIONS
ADJASCENT URBAN AREA
GAZA STRIP
HIGHLY VEGETATED ZONES
WEST BANK
JURASELUM
BARRIER
PERFORATIONS
MULTILAYERED CAVITY
RESPONSE TO TERRAIN
MESH FOR VEGETATION
ARCHITECTURE MEDIATING LIVES ON BOTH SIDES OF THE WALL Once poli�cal layers of conflict are removed from the scene, we can observe life exist in its every day cycle within Juraselum. It is a place as much
as anyother. The new barrier is an interac�ve landmark in everyday lives of people. It’s a space to gather, commemorate,
MERGENCE WITH SURROUNDINGS The botanic mesh like quality of the allows it to become submerge within the surrounding landscape. The architecture of wall over�me becomes a living part of the natural terrain.
GUIDED OPENINGS AND PERFORATIONS
SECTIONAL PROFILE-A
SECTIONAL PROFILE-B
These guided perfora�ons are controlledcrossing points for locals for everyday trade. The pefora�ons create a breathable membrane that generates a sense of porousity in the sturucture.
PYHSICAL INTERACTION Due to its organic geometry the structure of wall makes eclosures and shelters possible for users.
SECOND LAYER FOAM CONCRETE
FIRST LAYER FOAM CONCRETE
WIRE GAUSE NETWORK
UNDER LYING STRUCTURAL
AGRICULTURAL REGENERATION Mobility of small wildlife and rain water creates circula�on of nutrients across the barrier. This
re-generates soil quality making cul�va�on possible on both sides. Making adjacent land viable for small
05
REQUIRES INCREASEININ REQUIRES X5 X5 INCREASE FOOD FOOD 2017
2050
X5 INCREASE INCREASE ININ X5 POPULATION POPULATION
RURAL LANDSCAPE SUSTAINABLE VERTICAL TOWER FOR CULTIVATION
Harvester² seeks to unanimously address the dual problem of agricultural impediments and rural unemployment by creating a self-sufficient ecosystem that produces two essential agricultural materials under duress; water and space, whilst simultaneously creating opportunities for small village farmers by employing innovative vernacular techniques. The project aims to explor vernacular construction techniques and materials native to Pakistan. Two of such techniques include the woven surface and the earth molded tank. A resilient interwoven structure allows for the integrity of form and know-how of construction technique, especially in
the rural areas of Pakistan. Earth or mud construction is predominant in Punjab, Pakistan. This material is readily available, cheap, a know-how with the rural folk and takes inspiration from an earthen drinking pot. Harvester² does not seek to address one problem. By generating water out of thin air and creating space for vegetation by tenfold, it embodies the expenditure of minimal resources and usage of innovative technology. In a country where the political and social landscapes fail to facilitate the farmer, this is a welcome change that invests in the future of food production by providing job security and empowerment to the rural poor.
By 2050 the popula�on of the world is expected to increase five �mes in number; from a current 2 billion to 9.3 billion (FAO). This massive increase coupled with radically shi�ing diets will consequently put a strain on food produc�on. Simultaneously, the demographic associated with agricultural prac�ces par�cularly in countries like Pakistan are categorized as the “rural poor”. Since the rural poor primarily cons�tute subsistence producers, family farmers or landless agricultural workers, a dual problem of lack of resources and unemployment of the rural poor calls for ac�on.
WATER
LAND
HARVESTER2 FOOD SCARCITY
he over consump�on and pollu�on of water all of which results .in water shortage
NON ARABLE LAND WATER SHORTAGE RURAL POOR
CONSTANT RESOURCES More than 70% of the world’s dry land is subject to degrada�on, the cause of which, predominantly, is the overuse, or incorrect use of exis�ng farmlands
Pakistan alone is expected to face shortage of 31 MAF of water by .2025
21%
Harvester² seeks to unanimously address the dual problem of agricultural impediments and rural unemployment by crea�ng a self-sufficient ecosystem
that produces two essen�al agricultural materials under duress; water and space, whilst simultaneously crea�ng opportuni�es for small village farmers by
MIST NOZZLE
NUTRIENT PUMP
WATER POND
OUT AIR COMES DOWN AND LIQUIDATES VAPORS
WATER STORAGE TANK
WATER FORMATION THROUGH THE AIR MOISTURE ENTRANCE CONDENSATION SPIRAL
WATER POND COARSE GRAVEL FINE GRAVEL SAND CHARCOAL BED
IN
WATER SUPPLY HARVESTER
PIPE ARTERIES FOR WATER DISTRIBUTION TO AEROPONIC BEDS
WATER SUPPLY SUBSIDIARY
WATER POND WATER PIPES
CANE STRUCTURE � FACADE FRAMEWORK FABRIC CLADIING PROVIDES WEATHER PROTECTION STRUCTURAL FRAMEWORK THAT SUPPORTS THE FACADE AIR CONDENSATION RING VERTICAL WATER SUPPLY CENTRAL MAST PIPES FOR WATER CIRCULATION EARTH MOLDED TANK FOUNDATION SUPPORT
CANE STRUCTURE CLADDED WITH FABRIC FOR WEATHER PROTECTION
AIR BUDS FOR COLLECTION OF AIR MOISTURE
CHANNEL FOR CLEAN WATER BACK TO TANK PIPE RINGS 18” WIDE FOR VERTICAL WATER CIRCULATION PIPE ARTERIES FOR WATER DISTRIBUTION TO AEROPONIC BEDS
POND FOR WATER COLLECTION WATER PURIFICATION CHAMBER
CONDENSATION SPIRAL
MAIN WATER SUPPLY PIPE
The proposal is comprised of a condensa�on system that makes water readily available to a ver�cal hydroponic farm. The form orients across the ver�cal span to gain maximum sunlight during the day. Two Mulqafs (tradi�onal wind catchers) align themselves on the periphery of the form, facilita�ng the suc�on of the humid air from the surrounding environment into condensa�on chambers to form water droplets in an earth molded spherical tank. Water becomes available for hydroponic farming; a technology which u�lizes a nutrient solu�on for agriculture. The water travels from the tank to ring channels that span the surface of the structure (seed bed); the surface itself promotes agricultural growth. The wastewater produced is collected in a pond, at the heart of the structure. Filtra�on processes discharge the water back into the tank, ready to be re-used, especially under unreliable clima�c condi�ons.
CENTRAL MAST
CONCRETE BASE FOUNDATION
EARTH MOLDED WATER TANK
SECTION
06
MYTHICAL LANDSCAPES RECONSTRUCTION OF HOME AS A MYTICAL MACHINE
With its surreal quality, the project is a rei-magination of the idea of home as a abstract mythical construct. Here we are reconstrucing the traditional view of a home as a machine rater than space. A home is a memory machine where space acts through various instances to create a an individualized output. Regardless of one’s birth, social or economic status one feels the right to pursuit of comfort, familiarity and unalloyed ideal state of home, which is dictated by the social construct. Since the advent of modernization, globalization and capitalism, our relation to a permanent place and belonging has been hugely affected. This new lens of viewing oneself, with a degree of independence from social ties brought around a
huge liberation from being restricted to geographical location of our ancestors and resulted in increased importance of social mobility. This social shift brought about reconstruction of needs and desires, a modern dilemma of loss of permanency in the present with a recurring nostalgia of past and promise of new and better future. Which refigures our own identity as a temporary one. In a society where the subjects are in a constant state of wandering the home loses its physicality and rather becomes an embodiment of the experience of its dweller. The project discusses the stages a dweller goes through to achieve this metaphysical home only to find himself yet again in the pursuit of “home”.
UNCANNINESS The walls that once wrapped around him like a warm embrace and the roof that induced a sense of safety and the diffused moonlight entering through his big circular window that lulled him to sleep every night for several years no longer welcome his presence. Why didn’t he feel at home?
The physicality of his home was no longer true to his moulded inner monologue and he con�nued to dream and desire for a home. A home that can be a vessel for his shi�ed ideas of comfort and familiarity.
BELONGING Days have passed and the water doesn’t taste that queer anymore, the smoke from the cigare�es had become a permanent part of the air. His shoes had also find their place under the cabinet. The pergolas
in the alleys reminded him of monkey bars he used to play on as a kid but that was basically it. The life has slowed down and he has found a place to dwell in, to call home.
ARRIVAL In the pursuit of new home, the wanderer arrives at a threshold, what would seem like gates, are tall cylindrical containers storing all the belongings of people who were here before him.
Each sha� opened to a new way of living, offering him all that he had dreamed of.
THE STRANGER The vistas had an eerie resemblance to his dream, but he felt alienated in his own dream. The walls felt they were leaning in on him, threatening to consume his existence but yet also providing him with
shelter. Divided between the familiarity of the arched vaults and the estranged existence of floa�ng planes, his own iden�ty seemed to be conflicted.
07
+ PORTAL PAVILION
= 11’
AESTHETICS OF FABRICATION IN A SHELL STRUCTURE
Human aesthetics have evolved over the entire recorded history of human civilization. From Greek orders to Islamic Principals of Geometry and the aesthetics of rebellion built under the scheme of modernism. The digital-industrial age offers a new mode of appreciation for computational aesthetics which are guided by mathematical precision of algorithms and construction accuracy of robotic techniques. The portal is a shell structure that takes its architectonic language from the combination of two traditional load bearing structures; Arc and Vault. The hybrid is a shell structure allowing structural stability which further justifies the use of light material in
construction. Each unit of the fragmented surface is a Triangular panel with a triangular patch cut from the middle. The size of the cut is based upon the positioning of the panel and in the structure and its integrity. This brings down the wight and material consumption down to 70 percent. Each triangular piece is manually sewn with its adjacent panel to form the entire structure. The sewn joint invigorates the human contribution that into the making of the object. This creates an overlap between human and machine cra� giving the portal pavilion an image of an enveloping fabric rather than construction. The enclosure can serve as a transitional stop.
16’
5 MM PLYWOOD
STITCHED JOINTS
08
INPUT MOTION CAPTURE
DIGITAL LANDSCAPES MOTION RESPONSE - INTERACTIVE DIGITAL INSTALLATION
Interactive algorithms have largely influenced the contemperory architecture and design conceptions. The ability of a machine code to respond to physical situations has challenged the traditional understanding of space and its manifestation. This project takes has its roots in my earliest experiences of “Interaction”. By interaction here I mean a form of act to response system. I remember touching a local plant and its leaves shrinking by my touch. I later found out the plant was called Chui Mui, a local variation for Touch Me Not. The shrinkage is a defense Mechanism developed against predators. The water saturation in the
vascular tissues of leaf stem is responsive to intensity of touch and hence, causes the leaves to shrink. Digital Landscapes tries to imitate this responsive system through a script based response from geometric composition of form. The digital installation consists of motion capture camera, feeding into a firefly module then translated into extension and opening of hexagonal cells distributed through out any given surface. To consolidate the interactive experience a further translation of opening sizes was made in form of sound frequencies with the pitch of sound directly propotional to intensity of motion of any object.
LEAF SHRIKAGE
GRASSHOPPER SCRIPT
GEOMETRY SIZE
OUTPUT VOLUME
CONTACT M.SHAHZEBKHAN@OUTLOOK.COM