TEOMAN N. AYAS 2006 - 2013
ACADEMIC WORK
PROFESSIONAL WORK
Istanbul Culture and Sports Centre Yale School of Architecture, M.Arch I Spring 2013 Instructor: Zaha Hadid + Patrik Schumacher Broad Museum Redux Yale School of Architecture, M.Arch I Fall 2012 Instructor: Tom Wiscombe
Amsterdam University UNStudio Summer 2012 Lead Architects: Christian Veddeler
Stamford Urban Park(ing) Yale School of Architecture, M.Arch I Spring 2012 Instructor: Bimal Mendis
Beethoven Concert Hall Zaha Hadid Architects Nov. 2008 - Nov. 2009 Lead Architects: Thomas Vietzke, Jens Borstelmann
Brooklyn Navy Yards Art Museum Yale School of Architecture, M.Arch I Fall 2011 Instructor: Michael Young
Burnham Pavilion Zaha Hadid Architects Oct. 2009 Lead Architects: Thomas Vietzke, Jens Borstelmann
FABRICATION
Qatar Petroleum Headquarters Skidmore Owings & Merrill (London) Aug. 2007 - May 2008 Lead Architect: Aybars Asci
Slipstream With FreelandBuck Studio Summer 2011 - 2012 Hanging Bench Yale School of Architecture, M.Arch I Spring 2011 Instructor: Ben Pell COMPETITIONS Istanbul Disaster Prevention Center With FreelandBuck Studio Summer 2011 Artist Community Project La Reunion TX, Make Space for Art Competition January 2008
Chinese University of Hong Kong (shenzhen) UNStudio Summer 2012 Lead Architects: Christian Veddeler
New York Jets Training Facility Skidmore Owings & Merrill (New York) May 2006 - July 2007 Lead Architect: Darrell Puffer
| ISTANBUL CULTURE AND SPORTS CENTRE
| ACADEMIC WORK
ZAHA HADID ADVANCED STUDIO Starting with physical and digital modelling studies to analyze material properties, a parametrized structural concept is developed using interdependent tensile and compressive member. This concept is the driver behind spatial and formal explorations. The singular unit is comprised of a hybridized system of compression and tensile members. The tensile members are centrally located resolving into multiple inner rings under which key program is positioned. At the perimeter, the compression shells perform as the outer ring for the tensile member while preserving a formal continuity between the two parts. The project site was located in Istanbul for the Olympic Park development and the large waterfront property was divided into lots for each student. Each student’s individual system and program was resolved throughout the semester into one masterplan proposal.
| STRUCTURAL CONCEPT / UNIT
| PHYSICAL MATERIAL STUDY
| SYSTEM VARIATION
| YSOA SPRING 2013
| CONCEPT RENDERING
| ISTANBUL CULTURE AND SPORTS CENTRE
| ACADEMIC WORK
| PHYSICAL MODEL
| MULTI-NODAL TENSILE SYSTEM
| YSOA SPRING 2013
| TENSILE SYSTEM VARIATIONS
| LONGITUDINAL SECTION
COURT SUPPORT AREA
MAIN COURT
A
MAIN COURT SECONDARY COURT
PRACTICE COURTS
PUBLIC ZONE
EL. 46.00 m
MAIN ENTRY
| TYPICAL PLAN CAFE
A
EL. 10.50 m
PUBLIC ZONE
MAIN ENTRY
1m
5m
15m
| ISTANBUL CULTURE AND SPORTS CENTRE
| SHELL TO GROUND TRANSITION DETAIL
| GROUND SYSTEM
| ACADEMIC WORK
| YSOA SPRING 2013
| AUXILARY TENSILE TRUCTURES
The ground system shares formal and conceptual similarities with the tensile members overhead. Local site tangencies are extrapolated into initial guide lines and alignments. These vectors are repeated through offsets controlled by potential programmatic and structural span capacities. The number and repetition of these offsets on site correspond to the anticipated usage and pedestrian traffic in a particular direction. Next, circular elements representing the location of major program are introduced onto the ground system. These circles play a disruptive role within the system stretching the initial guide lines around them and breaking up the linear traffic patterns with nodes of activity. This arrangement references a number of previous material studies. The tennis stadia is located at the south tip of the overall cultural park site. The main entry is located to the north where majority of the traffic is expected. West of the main entry, the ground system stretches towards the waterfront from the internal cafe. 5m
15m
35m
| ISTANBUL CULTURE AND SPORTS CENTRE
| ABSTRACT SYSTEM VIEW
| ACADEMIC WORK
| YSOA SPRING 2013
| SHELL TO TENSILE TRANSITION DETAIL WITH ETFE ROOFING
A1.
A2.
SINGLE LOAD PATH DE-LAMINATES INTO MULTIPLE EVENLY SPACED ONES WITHOUT BUNDLING UP. ALL THE PATHS ARE EVENLY ARTICULATED WITHOUT HIERARCHY.
| TENSILE MEMBER ARTICULATION
A3.
SINGLE LOAD PATH DE-LAMINATES INTO MULTIPLE ONES CONCENTRATED OVER THE ZONES OF HIGHER STRESS. PATHS BUNDLE BACK UP AT THESE POINTS. BUNDLED PATHS ARE ARTICULATED STRONGER THAN OTHERS.
A4.
90째
SINGLE LOAD PATH DE-LAMINATES INTO MULTIPLE EVENLY SPACED ONES AND MEET THE EDGE OF THE SHELL AT NINETY DEGREES.
SINGLE LOAD PATH DE-LAMINATES INTO MULTIPLE EVENLY SPACED ONES THAT DEVIATE FROM THE PATH TO COVER MORE SURFACE AREA. EACH PATH THEN CONVERGES BACK WHERE THE SHELL TOUCHES THE GROUND.
| ISTANBUL CULTURE AND SPORTS CENTRE
| ACADEMIC WORK
| AERIAL VIEW
| VIEW TOWARDS MAIN ENTRY AND CAFE
The transition between the perimeter compression shells and the central tensile members was developed through a number of articulation studies, taking methods of bundling and structural paths active on the shells into account. A roof panelling system is utilized to blur the transition between the shells and tensile members, while providing shelter for the programed seating below. The vaulted shape of the transparent
ETFE panels provide structural rigidity while adding a visceral and material quality to the transition between the compression and tensile parts of the system. Together the tensile members in concert the compression shells read as a single parametrized surface that correspond to the programmatic and structural requirements of the building on site.
YSOA SPRING 2013
| ISTANBUL CULTURE AND SPORTS CENTRE
| ACADEMIC WORK
| MAN ENTRY
| MAIN AND SECONDARY COURT SEATING
In plan view, the two largest internal tension rings correspond to the two Olympic tennis courts below. One of these courts holds the main event, while the other court hosts secondary events. The third tension ring in the roof marks the main public space located at the entry. One can access both courts as well as other closed practice spaces from the public gathering plaza. The public cafe, located under one of the perimeter shells, has views
towards this main public space as well as towards building’s waterfront extension. From certain vantage points in the seating area, the tension rings frame views out to the city and the water, establishing a connection between the interior and the exterior. Given the location of the site, views towards Bosphorus reinforces the urban significance of water in Istanbul.
YSOA SPRING 2013
| VIEW OUT FROM SEATING
| ISTANBUL CULTURE AND SPORTS CENTRE
| ACADEMIC WORK
| YSOA SPRING 2013
| BROAD MUSEUM REDUX
| ACADEMIC WORK
| YSOA FALL 2012
S FLOWER ST.
HOPE ST.
i
W. 2nd ST.
3
4
1 S GRAND AVE.
2
1 2 3 4
WALT DISNEY CONCERT HALL MoCa REDCAT GALLERY DOWNTOWN CBD 0’
| TATTOO DRAWING
25’
50’
100’
| SITE PLAN
TOM WISCOMBE ADVANCED STUDIO Jeffrey Kipnis’ box-in-a box problem is investigated through a series of formal operations applied to the diagrammatically free floating inner volume of Beinecke Rare books Library. The inner box pushed against the outer skin as first step is exemplified by Jean Nouvel’s Tokyo Opera proposal. In the final step the outer skin is stretched out around and fused together to create enclosure. Simultaneously it is sucked back in around the inner box to create deep involutions. The spatial and organizational potential of the interstitial space generated through these operations are further explored.
FLOATING BOX IN A BOX: BEINECKE LIBRARY
| BOX IN A BOX CONCEPT
FIGURES PUSHED AGAINST SKIN: TOKYO OPERA
SKIN PULLED OVER TO CREATE IMPLIED OUTER SHELL
| MODEL PHOTO
| BROAD MUSEUM REDUX
| ACADEMIC WORK
| YSOA FALL 2012
S FLOWER ST.
HOPE ST.
i
W. 2nd ST.
3
4
1 S GRAND AVE.
2
1 2 3 4
| URBAN ACCESS
On site, the project pulls the public in from Grand Avenue onto a new ground plane. This public zone allows for visual connection through the site onto Hope Street. The building form becomes orthogonal on its eastern elevation facing the book-end structure of adjacent Walt Disney Concert Hall. Programmatically building holds a semi-public art storage connected with office space, a main exhibition hall and public cafe formalized as the three internal figures connected through the public plaza / lobby.
WALT DISNEY CONCERT HALL MoCa REDCAT GALLERY DOWNTOWN CBD 0’
The tattoo negotiates structural seams as well as areas of puncture through the outer skin for natural light. Graphically the tatoo collapses multiple layers of the building skin down to a two dimensional reading from certain vantage points. This graphic collapse provides additional dynamicism to the multilayered and involuted overall form as one moves around the building.
25’
50’
100’
INTERNAL FIGURES
LINER BETWEEN FIGURES
OUTER SKIN
LINER REMOVED
| FIGURES IN SKIN
| BROAD MUSEUM REDUX
| ACADEMIC WORK
YSOA FALL 2012
| MODEL PHOTO
| STAMFORD URBAN PARK(ING)
| ACADEMIC WORK
| YSOA SPRING 2012 TERRACE PODIUM
114 PARKING STRUCTURE DESIGN [APPENDIX]
BASE PROGRAM: RESIDENTIAL SECONDARY PROGRAM: GARDEN+DINING residential+community parking and amenities
RESIDENTIAL PARKING USE M-F
00:00
12:00
24:00
00:00
12:00
24:00
S-Su
SUPER PODIUM
BASE PROGRAM: MIXED USE RESIDENTIAL/OFFICE/HOTEL SECONDARY PROGRAM: HEALTH/RECREATION
SWITCHBACK + EXCHANGE BASE PROGRAM: OFFICE+HOTEL SECONDARY PROGRAM: RECREATION+DINING
STAND ALONE GARAGES motel parking
PROGRAMMATIC ATTACHMENT NOTES Certain variations of this may be well-suited for some anchored program, while others may not. It is advised that the following recommendations be heeded:
office/amenity
hotel/office
1. Traffic can be routed in either single-threaded or double-threaded pattern. 2. The helix type is generally the most efficient in terms of its use of ramps and space, offers better wayfinding, is easily scalable, and most easily couples with program.
residential parking spiral
3. Coupling program can be accomplished by utilizing a double-helix, interlocking, or embedded configuration. programmed podium
unitized parallel programming
OFFICE PARKING DEMAND vs. FREE USE
4. As these variations take on different sizes, some may not be suitable for their respective programs, and viceversa. (see section 1.4X)
00:00
12:00
24:00
00:00
12:00
24:00
M-F S-Su
recreational parking podium
SHOPPING MALL GARAGE 2.0 BASE PROGRAM: SHOPPING MALL SECONDARY PROGRAM: RECREATION activated ramps
gradated parallel programming
embedded programming
RESIDENTIAL PARKING DEMAND vs. FREE USE
00:00
12:00
24:00
00:00
12:00
24:00
M-F
recreational parking surface S-Su
shopping mall
RETAIL PARKING DEMAND vs FREE USE M-F
00:00
12:00
24:00
00:00
12:00
24:00
S-Su
full parallel programming
programmed tower podium
staggered ramping
PROGRAMMATICALLY ANCHORED [HELIX]
AUTOMOBILES, ROADS, AND PARKING [APPENDIX] ARCHITECTURAL GRAPHIC STANDARDS
| GRAPHIC STANDARDS REVISITED
| URBAN MASTERPLAN
prof. Bimal Mendis with Jon Reyes In this urban proposal, we postulate a new urban reality: form follows parking in American urban centers. As ubiquitous urban forms, parking garages take center stage throughout the CBD, occupying nearly half of the street level surface area while simultaneously deadening viable public life.
ATLANTIC STREET
WASHINGTON BOULEVARD
BELL STREET
Moreover, at peak times, many garages stand empty and unused, a symptom of the inefficiencies, assumptions, standards, and policies surrounding parking culture (or the lack thereof).
TRESSER BOULEVARD
| SITE PLAN 0ft.
10ft.
20ft.
40ft.
Our strategy addresses these systemic issues by reformatting the genetic code of parking, embodied by outmoded graphic standards and policy, to produce a series of new typologies of garages. In turn, these new generics can be distributed throughout the city. By embedding public use, scheduling, and direct programmatic integration into these new standards and typologies, the necessary and abundant urban forms that are parking garages can begin to partake in the greater public dialogue and contribute to the city’s public realm.
| STREET VIEW
| STAMFORD URBAN PARK(ING)
| ACADEMIC WORK
| STUDY MODELS
| DAILY PROGRAMMING
| EXTERIOR VIEW
| YSOA SPRING 2012
| TYPICAL PLANS
| MODEL PHOTO
| BROOKLYN NAVY YARDS MUSEUM
| ACADEMIC WORK
| YSOA FALL 2011
2
LEVEL02 FLOOR PLAN 1_gallery mezzanine 2_artist studios 3_classrooms 4_gallery mezzanine
3
1
N
4
| BROOKLYN NAVY YARDS SITE PLAN
prof. Michael Young The organizational and formal idea behind the project derives from a desire to orchestrate the movements of various users through the project’s highly restricted site that is accessible from land only on one edge while it is surrounded by water on all other three.
2
LEVEL01 FLOOR PLAN 1_event space 2_artist studios 3_classrooms 4_gallery 5_gallery
3
1 4
Building mass positioned at the neck of the site depresses and lifts up the ground plane in order to separate the gallery visitors from the artists and from the commuters through the site. These circulatory movements are then further calibrated according to their various user speeds ranging from slow straight long ramps to fast spiraling vertical stairs.
GROUND FLOOR PLAN 1_water taxi dock 2_sculpture garden 3_cafe 4_offices 5_lobby 6_ticket booth 7_loading dock
5
4 7 2 5
3
1
6
| VIEW OF THE ROOF SCAPE
| BROOKLYN NAVY YARDS MUSEUM
| ACADEMIC WORK
| YSOA FALL 2011
| LIGHTING STUDY PHYSICAL MODEL FOR GALLERY
The Navy Yards site is a flat plane populated with object like buildings without necessary urban elements to be cohesively connected in a field condition with its surrounding. Therefore, formally the project takes on other industrial objects such as cars and boats as precedent and attempts to investigate their tectonics as and alternative to architecture.
| MAIN ATRIUM SPACE FOR CIRCULATION
| CROSS SECTION
| EXTERIOR VIEW
The circulation starting as one approaches the site spirals up inside the building. Upon entry the main stairs pull the visitor up towards the level of the galleries as natural light coming through the patterned openings further heightens and guides the user into the galleries.
| LONGITUDINAL SECTION
The galleries are the destination points in where one can slow back down from circulation in order to experience the art work presented. The design challenges the typical procession at similar institutions.
As a part of the fundamental idea of flow and movement through the site the thresholds leading up to the galleries that typically help frame and distinguish the art inside from outside are minimized. Internal spaces are created as a result of the auxiliary circulation around them folding in on themselves.
| BROOKLYN NAVY YARDS MUSEUM
| ACADEMIC WORK
| SOUTH ELEVATION
Circulation routes both for the visitors and the artists from multiple entry points intensify at the centre of the building where one can travel vertically before they uncoil into designated destinations. At this main intersection the three dimensional space is further accentuated with natural light coming down from the ceiling. The visitors gets a glimpse of the resident artist’s spaces while climbing up the main stairs but can not physically access them.
| DETAIL MODEL
| YSOA FALL 2011
| MASSING MODEL PHOTO
| HANGING BENCH
| FABRICATION
| YSOA SPRING 2011
with Sarah Gill + Peter Logan
This design for a hanging bench utilized the existing handrail on the Rudolph Hall Terrace as support. Water-jet cut steel profiles define the seat and ledges for placing drinks and are notched to receive wooden slats. The final length and configuration of this modular system is variable and determined by the spacing of the steel profiles and the length of the slats. The system could be propagated to turn the entire perimeter of the terrace into linear seating for informal student gathering and events.
| FINAL PROTOTYPE
| FABRICATION DRAWINGS
| FINAL PROTOTYPE
| SLIPSTREAM
| LEBBEUS WOODS SLIPSTREAM SKETCH
| FABRICATION
| WITH STUDIO FREELANDBUCK SUMMER 2012
| PHYSICAL STUDY MODEL
with Studio FreelandBuck
Slipstream design was inspired by Lebbeus Woods sketches studying fluid dynamics. A pattern with two distinct flow directions was developed using Grasshopper in Rhino and then extruded in order to create an egg crate structure. Design intends to utilize the capacity of typical egg crate structures to define complex form while challenging their static and stable structural reading.
| PHYSICAL STUDY MODEL
The visual and lighting affects of the Slipstream egg crate structure was the initial part of the investigation which, through-out the course of a year, developed into a full scale gallery installation in New York City.
| GALLERY INSTALLATION PROPOSAL
| SLIPSTREAM
| FABRICATION
| PARTIAL PROTOTYPE
| BASE PATTERN
| WITH STUDIO FREELANDBUCK SUMMER 2012
EGG CRATE | CNC FABRICATION
| ASSEMBLY STRATEGY
DIRECTION A
DIRECTION B
| FINAL GALLERY INSTALLATION PHOTO
| ISTANBUL DISASTER PREVENTION CENTER
| COMPETITION
| WITH STUDIO FREELANDBUCK SEP. 2011
with Studio FreelandBuck
The design for the Istanbul Disaster Prevention and Education Center (IDPEC) was conceived as a single structure that expresses the multiple atmospheres and climates it contains. The buildings is an integral matrix of environments, forms and activities. A series of interdependent relationships between ‘boulders’ synthesize the varied program into a unified building. While The building’s forms may evoke the instability of disaster, it’s hybrid concrete and steel structure transfers load down from the elevated boulders to the ones on the ground providing a an optimized framework. | MASSING STRATEGY
| LEVEL01 FLOOR PLAN 1_admin. Office 2_rainstorm simulation 3_first aid training 4_fire prevention 5_smoke maze 6_cafe 7_emergency comm. room 8_4d video 9_ conference center
6
7
1 5
2
9 4
3
8
| GROUND LEVEL FLOOR PLAN
TYPICAL SCIENCE MUSEUM: OPEN HALL + EXHIBIT ‘FURNITURE’
INSTEAD IDPEC CONSISTS OF DISTINCT EXHIBITION ROOMS WITH SURROUNDING STRUCTURAL, MECHANICAL + ELECTRICAL INFRASTRUCTURE
1_admin. entrance 2_childern’s area 3_exhibition hall 4_ticketing 5_cafe 6_lobby 7_earthquake simulation room 8_planetarium 9_library 10_shelter 11_conference hall
5
HALF OF THE ‘BOULDERS’ FLOAT ABOVE GROUND LEVEL, SUPPORTED BY THEIR NEIGHBORS, TO OPEN LARGE LOBBY, EXHIBITION AND RECEPTION SPACES BELOW
9
1 4
8
3 THE CONNECTIONS BETWEEN BOULDERS ALLOW FOR A NETWORK OF TRIANGULAR SKYLIGHTS
11
6 2 10 7
PASSIVE VENTILATION + CONTROLLED DAYLIGHT: THE CORE OF EACH BOULDER IS A ZONE OF INTENSE ATMOSPHERE PRODUCED THROUGH DRAMATIC EFFECTS OF LIGHTING, CLIMATE AND COLOR.
| VIEW FROM PARKING
| ISTANBUL DISASTER PREVENTION CENTER
| COMPETITION
| WITH STUDIO FREELANDBUCK SEP. 2011 | ENVELOPE ARTICULATION
BOULDER MASSING
LARGE SCALE TRIANGULATION
SMALL SCALE TILING
RESULTANT SCALAR COLLAPSE
| AERIAL VIEW
| COMPOSITE STRUCTURAL AXON
The structural system of the IDPEC consists of a hybrid concrete and steel structure. Concrete cores are enveloped by separate steel shells generating the boulder like architectural appearance. Within each volume, the concrete core defines the gallery space and handles the major lateral load. The steel shell creates a cavity around the concrete core to accommodate mechanical, electrical and plumbing systems and circulation. The steel members within the outer shell are arranged to create a continuously braced dia-grid which can act as a diaphragm in its in-plane direction. Steel space trusses connect the outside steel shell to the core. Thus all of the lateral and vertical load of the suspended volumes are picked up, shared with the concrete cores and transmitted to the ground. This solution creates architectural drama while providing a rational, safe and efficient structural system.
| CONFERENCE CENTER UPPER LEVEL
| LONGITUDINAL SECTION
| CONFERENCE CENTER LOBBY ON GROUND LEVEL
| ARTIST COMMUNITY PROJECT
| COMPETITION
| La REUNION TX. JAN. 2008
with Sophia Razzaque + Michael Hargens
Artists are given a small, private residence with an open plan, giving them the flexibility to locate their studio wherever they feel most appropriate. The main gallery/performance space becomes the heart of the community. This building gives the artists a space to meet and exchange ideas. It also acts as a medium for connecting the produced art with the public. It also provides a high level of flexibility and could quickly become a frequented destination through film and performance programs that could optimize both the interior and exterior via the amphitheater.
The proposal creates an artist community that encourages the residents to interact and collaborate while providing diverse, flexible spaces allowing them to express their individuality. Although the architecture itself responds to the environmental conditions by treading lightly on the site, it becomes a prominent marker acting as a point of social stimulus between the artists and the rest of the city.
1
4 2
4
1_boardwalk 2_amphitheater 3_gallery/offices 4_artist residences
3
N | GALLERY
| SITE PLAN
| STRUCTURAL BUILD UP
| VIEW FROM THE AMPHITHEATER
| AMSTERDAM UNIVERSITY UNStudio’s proposal for the Amsterdam University adheres to the school’s motto: ‘Creating Tomorrow.’ The building reinforces the University’s connection to the city. The project formally and environmentally seeks direct dialogue with its surrounding. It functions as a distinct destination while refraining from alienating its users. To achieve this, the public functions are located at the base of the building on Wibautstraat. The result is a lively meeting place for students, staff and residents of the Amsterdam University. Inside, students have a number of options to choose from as a work-place. In the public corridors and the atrium vertically connecting the entire building, interaction between various faculty is encouraged.
| PROFESSIONAL WORK
| UNStudio SUMMER 2012
| SITE ANALYSIS
| 24 HOUR CAMPUS
| PUBLIC ATRIUM
| ATRIUM CIRCULATION
| MAIN CIRCULATION DETAIL
| NORTH AND SOUTH STUDENT LOUNGES
| EXTERIOR VIEW
| CHINESE UNIVERSITY OF HONG KONG (SHENZEN)
| PROFESSIONAL WORK
| UNStudio SUMMER 2012
The design for the CUHK campus focuses on an articulated differentiation between the ground floor related programs and the modular generic space to adapt over time in the upper floors. All large and heavy programs with intense traffic are located on ground level. They are directly linked to the adjacent landscape functions. This ensures low threshold access, orientation and the creation of recognizable addresses throughout the campus. Public programs such as library, exhibition, support facilities and lecture theaters serves to condense public program at this level to nourish the buzz of the 24 hour campus design. Students, faculty and visitors have the opportunity to informally meet and exchange ideas. Instead of approaching the program in a divisive way, distinct and complimentary identities for all buildings were created to constitute the new Shenzhen campus.
| WALKING DISTANCES
| CAMPUS MASTERPLAN
UPPER CAMPUS (EVENT ZONE)
MIDDLE CAMPUS (CAMPUS LINK + RECREATION)
| CLUSTER PROGRAM AND IDENTITY
LOWER CAMPUS (ACADEMIC HUB)
| EXTERIOR VIEW
| CHINESE UNIVERSITY OF HONG KONG (SHENZEN)
| TYPICAL CLUSTER ORGANIZATION WITH OPTIMIZED ORIENTATION
| PROFESSIONAL WORK
| UNStudio SUMMER 2012
| IDENTITY THROUGH FACADE TYPES AND COLOR
| BEETHOVEN CONCERT HALL
| PROFESSIONAL WORK
| ZAHA HADID ARCHITECTS NOV. 2008 - NOV. 2009
N | SITE PLAN
The proposal for the Beethoven Concert Hall competition was to replace the existing hall completely in order to achieve an uncompromising acoustical quality. Requirements for the requested 1,500 seat hall were not achievable through a refurbishment of the existing hall, mainly due to its limiting structural layout. The materiality of the facade is in line with the metaphor of a crystalline rock formation. A series of sculptural operations such as cutting, slicing, sharpening, polishing and striating the exterior envelope underline the sensual presence of the facade’s materiality. Natural stone, glass inlays, and concrete will be used for the artificial ground modulations according to their respective properties, enriching the surface’s texture. Textured surfaces neighbor smoother panels to create perceptible variations within the building’s skin. The underlying structure of the composition, the harmonies created by the interrelation of its single components, and the melodic fluidity in detail appears like a parallel model to a musical symphony.
| MAIN FLOOR PLAN
| BIRDS EYE VIEW
| BEETHOVEN CONCERT HALL
| PROFESSIONAL WORK
| ZAHA HADID ARCHITECTS NOV. 2008 - NOV. 2009
Further explorations of the facade pattern take geometric and manufacturing constraints into account. Algorithmic applications lead to repetitive components while maintaining the sense of flow and blend within the overall field of components.
1
4
2
7
2m
8
| 2M x 2M DIA-GRID PANEL SIZE
| PATTERN APPLIED ON THE UNFOLDED FACADE
9
6
5
3 2m
A black and white bitmap mapping the natural light requirements of the corresponding program behind the unfolded facade is generated. Then a script is utilized to read and apply the pattern according to the intensities of the bitmap on to the unfolded facade. White represents the maximum amount of opening and black the minimum.
10 11
| DEFINITION OF 11 DIFFERENT ELEMENTS
Later the pattern on the developable surfaces is further analyzed and rationalized. They are differentiated into window and stainless steel and photo voltaic panels. | VARYING DENSITIES IN THE PATTERN
| SECTION THROUGH MAIN HALL AND ADJACENT LOBBY
| RENDERING OF THE MAIN CONCERT HALL
| MAIN LOBBY SPACE (CANYON)
SECTION B
| BURNHAM PAVILION
| PROFESSIONAL WORK
| ZAHA HADID ARCHITECTS OCT. 2009
The pavilion was a commissioned project to celebrate the centenary of the Burnham Plan of Chicago. It was erected through the summer of 2009.
0.41
5.68
The light weight aluminium structure is draped with weather proof fabric to create the overall enclosure and form. The fins at the ceiling of the structure provide natural light to the interior as well as orienting the user along the diagonal axis of the original Burnham Plan. Various media celebrating the centenary is projected onto the interior walls of the pavilion.
15.77
15.90
SECTION D | CROSS SECTION
A
B C
17.22
18.83
SECTION B | TOP VIEW
| LONGITUDINAL SECTION
0.41
2.83
D
| EXTERIOR PHOTO
| QATAR PETROLEUM HEADQUARTERS
| PROFESSIONAL WORK
| SOM LONDON JUL. 2007 - SEP. 2008
For the 18 building office complex for Qatar Petroleum, I constructed physical and virtual study models for faรงade designs of the low rise buildings. Later, I was responsible for translating these design studies into detailed technical drawings and for their coordination with the consultants. I worked directly with the senior designer through the conceptual and schematic design of the stadium building of the complex. I developed the details for the stadium building and documented them. Through out the design development I revised and updated the Building Information Model for the office buildings and the tower.
| DIGITAL PROJECT BIM MODEL
| TOWER STRUCTURE
| SITE MODEL
| VIEW FROM UNDER BRIDGING OFFICE BARS
| NY JETS TRAINING FACILITY
| PROFESSIONAL WORK
| SOM NEW YORK MAY. 2006 - JUL. 2007
I joined the design team during the schematic design phase and started to work directly with the senior designer. I started with building physical and virtual models to further study overall form and program. Being a part of the fast paced ten month development of the project from schematic design into construction documentation phase, I took part on design development and coordination with consultants. For the final construction package I produced working drawings and followed them through construction administration.
| AERIAL RENDERING
| CONSTRUCTION DOCUMENTATION DETAIL
| PHOTO
| SITE PLAN
| EAST ENTRY