Karim Khayati - Portfolio 2021

KARIM KHAYATI

PORTFOLIO 2019-2021 SCI-ARC // M.ARCH II AUD // B.ARCH

© Karim Khayati 2021

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KARIM KHAYATI

PORTFOLIO 2019-2021 SCI-ARC // M.ARCH II AUD // B.ARCH

© Karim Khayati 2021 “All rights reserved. No part of this portfolio may be produced, copied, or plagiarized in any form without the permission of copyright owner.”

This porfolio consists of selected architectural works from 2019 until 2021.

This is my work, my portfolio.

KARIM KHAYATI // AIA Associate Tunisian - Born in December 21, 1995 E: khayatikarimm@gmail.com M1: +1 (323) 356-2424 (Los Angeles - USA) M2:+971 522-477-409 (Dubai - UAE) IG: @thekhayati

ACADEMIC International French School of Riyad (EFIR) 2007-14 French Scientific Baccalaureate (Bac S) with honors American University in Dubai (AUD) 2014-19 Bachelors in Architecture (B.Arch) CGPA: 3.35/4.0 Southern California Institute of Architecture (SCI-Arc) 2019-21 Masters in Architecture (M.Arch II) CGPA: 3.80/4.0

COMPETITION Grounds Of Hope COVID-19 Memorial (2020) - Submitted - 1st Place Prize Winner Tree House Module YAC (2020) - Submitted Iconic Mosque (2018) - Submitted Iconic Mosque (2018) - Not Submitted

TRAINING Masking Madrid (2017) - Urban workshop in Madrid, Spain AIAS (2017-18) - American Institute of Architecture Students Organizer of the First AIAS international conference (2017-18) Digital Design Workshop (IDD) at SCI-Arc (2019)

NOTABLE FACULTY I have been taught by (but not limited to): Eric Owen Moss (EOM) (2020 & 2021) - Design Studio & Theory Seminar Tom Wiscombe (TWA) (2021) - Design Studio Dwayne Oyler (Oyler Wu Collaborative) (2020) - Design & Fabrication Seminar

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WORK EXPERIENCE AmorphouStudio (2018) - Architect (3 months unpaid internship), Dubai COdESIGN (2018) - Architect (1 month unpaid internship), Dubai Venice Biennale 2018 (2018) - Graphic designer for ‘Rising Oases’ at Palazzo Bembo, Venice.

ACHIEVEMENT & PUBLICATION Competition 1st Place Winner (2019) - Grounds of Hope COVID-19 Memorial Faculty Award Winner - Undergraduate thesis project and research (2019) Shortlisted for Norman Foster Foundation ‘X Workshop’ (2018) Archdaily (2019) - Image Credit for ‘Georges Kachaamy’s Rising Oases Float in the Air Defying Gravity’ Time Space Existence (2018) - Venice Biennale Architettura CNN Styles (2020) - Image Credit for ‘Rising Oases’ project imagines a city of airborne architecture’ SCI-Arc Instagram Publications (2020 & 2021) Compasses World Architecture Magazine (2018)

SOFTWARE SKILL Rhino 3D, Grasshopper, Maya, ZBrush, Blender, Unreal Engine, AutoCad, Revit, Photoshop, Illustrator, InDesign, After Effects, V-ray, SketchupPro, Lumion, Fologram, Micosoft Softwares.

TECHNICAL STRENGTH Sketching, Hand-Drawing, Design, Esthetics, Art, Leadership, Team work, Modelling, and Rendering.

LANGUAGE Arabic, French, English, Spanish

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PORTFOLIO CONTENT

8 26 42 58 68 82 90 98 108 122 132 138

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OFFICE TOWER IN CULVER CITY

DELUSION IN LOGIC // ERIC OWEN MOSS // ACADEMIC // M.ARCH2 // SCI-ARC // DS4000 // FALL 2020

HOUSE IN SANTA MONICA

AN ARTIST’S HOME // ERIC OWEN MOSS // ACADEMIC // M.ARCH2 // SCI-ARC // FALL 2020

FLAT OUT LARGE

ECLIPSE // TOM WISCOMBE // ACADEMIC // M.ARCH2 // SCI-ARC // SPRING 2021

LACMA / LA COUNTY MUSEUM OF ART

DIVERGENCE/CONVERGENCE // RAMIRO D.G // ACADEMIC // M.ARCH2 // SCI-ARC // DS1202 // SPRING 2020

XENOMORPH

AFTER-IMAGE // ANGELICA LORENZI // ACADEMIC // M.ARCH2 // SCI-ARC // DS1200 // FALL 2019

GROUNDS OF HOPE COVID-19 MEMORIAL URBAN MEMORIALS // DESIGN COMPETITION // 1ST PLACE WINNER // 2020

YAC TREE HOUSE COMPETITION DELTA HOUSE // DESIGN COMPETITION // 2020

QATAR NATIONAL LIBRARY - QNL

TECTONICS // MAXI SPINA & RANDY JEFFERSON // ACADEMIC // M.ARCH2 // SCI-ARC //AS3200 // FALL 2019

WAKE - HOUSE OF PUPPETRY

UNDERGRAD THESIS // GEORGES KACHAAMY // ACADEMIC // B.ARCH // AUD // ARCH502 // SPRING 2019

OBSID - OFFICE BUILDING

DESIGN & DEVELOPMENT // GHADA YAICHE // ACADEMIC // B.ARCH // AUD // ARCH402 // SPRING 2018

DIGITAL ARTWORK EXPLORATION OF ALTERING REALITY

HAND SKETCHED ARTWORK SKETCH BOOK DRAWINGS

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SCI-ARC

OFFICE TOWER IN CULVER CITY DELUSION IN LOGIC Project by Karim Khayati & Di Liang Eric Owen Moss Vertical Studio (DS 4000) SCI-Arc, Fall 2020 Location - Culver City, CA, USA Duration - 2 months Softwares - Rhino 3D, Grasshopper, Photoshop, Illustrator, CAD Height - 435 feet (133 meters) Floor Area - 300,000 Sqft ( 28,000 sqm) 22 Floors & 3 Underground

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M.ARCH II

ACADEMIC

2020

3D Section

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SCI-ARC

CONCEPT Located in Culver City at a height of 435 feet, the project stands out with its verticality within a height-restricted zone.

This project is a mixed-use tower programmed to host office spaces, residential apartment units, retail shops, and community areas. Our project has the desire to hybridize metaphoric forms with the use of rationality and logic.

The odd feeling between the interaction of different architectural forms raises questions about its identity. We perceive this project as an image of an isolated town from thousands of years ago that grew and evolved with time.

The structural strategy was not only to make the tower achievable but also a way to make the interaction between different formal languages become coherent. Since the idea results in a vertical town, we have established a gesture within the project by creating a staircase ‘high way’ that conducts human behavior, provides circulation within the heart of the building, and creates an outdoor/indoor experience.

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M.ARCH II

ACADEMIC

2020

Perspective view from the Canal

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SCI-ARC

ELEVATIONS North Elevation 40ft (12m) 40ft (12m)

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M.ARCH II

ACADEMIC

2020

South Elevation 40ft (12m) 40ft (12m)

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SCI-ARC

STRUCTURE North/East iso

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M.ARCH II

ACADEMIC

2020

South/West iso

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SCI-ARC

M.ARCH II

CIRCULATION North/East iso

* The highway is the highlight of the project; how to create a vertical town that grew throughout the year while incorporating a highway within in.

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ACADEMIC

2020

X-RAY ENVELOPE North/East iso

* The structure of the project makes the different formal languages of the project become cohesive. The structure tends to obey and disobey to the overall massings, and that is the way to blurr its identity.

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SCI-ARC

3D FLOOR PLANS Ground Floor Plan iso Cut at 10ft (3m)

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M.ARCH II

ACADEMIC

2020

Office Space Floor Plan iso Cut at 130ft (40m)

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SCI-ARC

3D FLOOR PLANS Residential Floor Plan iso Cut at 310ft (95m)

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M.ARCH II

ACADEMIC

2020

Community Areas Floor Plan iso Cut at 375ft (115m)

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SCI-ARC

M.ARCH II

. MULHOLLAND

. HOLLYWOOD SIGN

. GRIFFITH OBSERVATORY

. HOLLYWOOD

. SUNSET

. CENTRAL LA

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. WILSHER

ACADEMIC

2020

. DTLA

. SILVER LAKE

. USC CAMPUS

. INTERSTATE 10

. CULVER CITY

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SCI-ARC

PROJECT PUBLICATION

* Published @SCIARC Instagram Account on February 2, 2021

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M.ARCH II

ACADEMIC

2020

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SCI-ARC

HOUSE IN SANTA MONICA AN ARTIST’S HOME Project by Karim Khayati & Di Liang Eric Owen Moss Vertical Studio (DS 4000) SCI-Arc, Fall 2020 Location - Santa Monica Canyon, CA, USA Duration - 2 months Softwares - Rhino 3D, Grasshopper, Photoshop, Illustrator, CAD Height - 33 feet (10 meters) Floor Area - 4,500 Sqft (415 sqm) 3 Floors & 1 Underground

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M.ARCH II

ACADEMIC

2020

Elevation of the house

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SCI-ARC

CONCEPT The project intends to design a post-COVID home that would be a free-soul space. An architecture that serves as a space for deep thinking, introspection, imagination, daydream, and contemplation.

The house is located on a small site in Santa Monica Canyon and is boarded by the Rustic Creek. The formal language of the house takes the shape of a stalactite and is gently resting on an artificial landscape that allows water from the canal to enter the site and create water ponds where the building and landscape connect. The water is then collected and stored in an underground container which will later be used to pump water onto the west facade and the bottom surfaces of the house, creating unique urban views with waterfall effects. The structural design of the house is orchestrated by three columns rising from the landscape, followed by structural floor rings, and secondary structures.

Spatially, the 4 level house creates distinctive spaces for each program such as a living room, bedroom, contemplation space, workspace, library, wellness area, and multiple outdoor spaces. At the top floor, a panoramic balcony followed by a long ribbon window allows the user to have a full uninterrupted view of the pacific ocean and the urban landscape.

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M.ARCH II

ACADEMIC

2020

Longitudinal Isometric Section

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SCI-ARC

STALACTITE * A Stalactite a tapering structure hanging like an icicle from the roof of a cave, formed of calcium salts deposited by dripping water.

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M.ARCH II

ACADEMIC

2020

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SCI-ARC

M.ARCH II

3D SECTIONAL QUALITY * The house sits lightly on the sunken site. The formal quality of the design is emphasized by 3 connections to the ground generated from the stalactite.

When the house makes contact with the site, the landscape formally adapts.

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ACADEMIC

2020

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SCI-ARC

M.ARCH II

2D SECTIONS * The house is on 4 levels; The underground being a space of meditation, the ground floor is a space for living, the first floor is a space for resting, the the third floor is a space for work and itellect.

Section AA

Flexible Space

Workspace & Library

Master Bedroom

WC

WC

Kitchen

Living Room

Car Parking Waterfall

Contemplation Cave

Outdoor Plaza Under the House

Underground water tank

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ACADEMIC

2020

Section BB

+33ft

360 Balcony

Workspace & Library

+23ft

+13ft

Living Room

+3ft Waterfall

+0ft

Outdoor Plaza Under the House

-15ft

Underground water tank

-21ft

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SCI-ARC

M.ARCH II

2D FLOOR PLANS Underground Floor Plan

B

A

Cut at -10ft (-3m)

Outdoor Plaza Under the House

Contemplation Cave

A

B Ground Floor Plan Cut at 5ft (1.3m)

B

House Entrance Kitchen

WC Living Room

A

Car Parking UG access

B

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A

ACADEMIC

2020

Second Floor Plan Cut at 15ft (4.5mm)

B

Master Bedroom

WC

A

A

B

Third Floor Plan Cut at 25ft (7.8m)

B

360 Balcony

Workspace & Library

A

Flexible Space

A

B

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SCI-ARC

CIRCULATION North/East iso

* The straircases of this house are either outdoors or indoors to facilitate the way residents get tthe different spaces.

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M.ARCH II

ACADEMIC

2020

X-RAY ENVELOPE North/East iso

* The structure of the project makes the different formal languages of the project become cohesive. The structure tends to obey and disobey to the overall massings, and that is the way to blurr its identity.

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SCI-ARC

PROJECT PUBLICATION

* Published @SCIARC Instagram Account on November 8, 2020

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M.ARCH II

ACADEMIC

2020

Interior Space of the Underground Contemplation Space

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SCI-ARC

THE FLAT OUT LARGE ECLIPSE Project by Karim Khayati & Jonah Klinghoffer Tom Wiscombe Vertical Studio (DS 5000) SCI-Arc, Spring 2021 (TA: Sam Flower) Location - LA LIVE! at the Staples Center, CA, USA Duration - 4 months Softwares - Rhino 3D, Grasshopper, Photoshop, KeyShot Height - 1200 feet (368 meters) Floor Area - 3,000,000 Sqft ( 28,000 sqm) 100 Floors

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M.ARCH II

ACADEMIC

2021

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SCI-ARC

GODZILLA DRAWING

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M.ARCH II

ACADEMIC

2021

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SCI-ARC

M.ARCH II

ZOOM ONTO THE DISKS

PROGRAMMATIC LAYOUT INSIDE A CIRCLE

Each disk is programmed to host different programs which encourage residents to spend more time in the eclipse. Programs such as appartment units, office spaces, play rooms, gyms, restaurants, bars and nightclubs consist of nearly 90% of human needed activites. Each eclpise is equipped with 25,000 to 45,000 sqft of solar, making it self sustaining. The cores of each eclipse are split with the presence of skydecks. Each of these eclipses self sustained ultimate living machines for the future of real estate and urban living in Los Angeles.

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ACADEMIC

2021

Eclipse A

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SCI-ARC

FLOOR PLAN AT 235M (770FT)

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M.ARCH II

ACADEMIC

2021

The design of the project is composed of two main components. The first component is orchestrated by 4 mega disks. The second component is a shadow slab.

Both the components operate differently in terms of program, yet bonded together through the generative massing logics. With the low footprint of the disks, they give the delusional impression that they are about to roll away within the city. However once a cubic void was subtracted from them, they seem to freeze in time.

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SCI-ARC

FLOOR PLAN AT 235M (770FT) ZOOM-IN ON THE UNITS

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M.ARCH II

ACADEMIC

2021

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SCI-ARC

FLOOR PLAN AT 35M (115FT) THE NEW CONVENTION CENTER

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M.ARCH II

ACADEMIC

2021

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SCI-ARC

PHYSICAL MODEL PHOTOS

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M.ARCH II

ACADEMIC

2021

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SCI-ARC

PHYSICAL MODEL PHOTOS

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M.ARCH II

ACADEMIC

2021

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SCI-ARC

LACMA // LA COUNTY MUSEUM OF ART DIVERGENCE/CONVERGENCE Project by Karim Khayati & David Lee Ramiro Diaz Granados 2GBX Studio (DS 1202) SCI-Arc, Spring 2020 Location - Wilsher Blvd CA, USA Duration - 4 months Softwares - Rhino 3D, Grasshopper, Blender, Atlas, Photoshop, Maya, Unreal Engine Height - 215 feet (65 meters) Floor Area - 650,000 Sqft ( 60,400 sqm) 5 Floors & 1 Underground

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M.ARCH II

ACADEMIC

2020

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SCI-ARC

TOP VIEW The project brief addresses the design of the Los Angeles County Museum of Art. After Peter Zumthor’s critics regarding his new vision and design of LACMA, we were asked to redesign the museum. What we propose is a new LACMA, a levitated mass hovering above Wilsher Boulevard, Los Angeles, California.

The new museum is suspended and not touching the ground, as there is no obligation for something remarkably artificial to directly be connected to the site. It needs to float, to float above the plane of reality.

The illusion of levitation of the rock relies on a steel frame, as it three dimensionalize the default grid that is projected onto a mass of landscape and topography (it is similar to the concept of magnitude and longitude). The three-dimensional grid is a way to discipline the map and rationalize it. As a result, the steel gridded frame imposes order onto the chaos. The grid suggests an overarching and intrusive system that determines where rooms will be placed and where circulation goes, controlling the chaos inside the exhibition spaces. The partition systems are contained and stacked vertically within four even square sections of the building. This is why the gridded structure is the only thing touching the ground beyond the megacores. It is a suggestion of something being sourced by nature but still being completely artificial. It does not belong, but nothing is completely new.

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M.ARCH II

ACADEMIC

2020

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SCI-ARC

MUSEUM SPACE Geological Terrains + Museum Partitions?

What we propose is 4 museums in 1, with 4 distinct partition systems. These partitions are then contaminated with 7 distinct terrains. The project works with terrain and partition fields to bring a different take on the known possible arrangements of a museum gallery space. Our final intention is to emphasize the separation of the building’s internal arrangement from the site. The specific moments within each room are not really closely examined or designed before insertion. The same applies to the terrains - they are sliced out of the Sierra Nevada, terrains in Arizona, and combined in a terrain sandwich at every level.

These terrains and partition fields are composed together vertically, overlapping, cutting and hollowing out each other. Whether or not certain spaces are occupiable is not really a question - every space that is a result of the combining is made occupiable. Underneath the site connected to the megacores is the underground storage. The entire area of the basement is reserved for storage use. Works of art being transported vertically through the megacores. On the other hand, the levitated mass is purely reserved for gallery space - suggesting four different museum typologies for varying exhibits with cross circulation between them.

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M.ARCH II

ACADEMIC

2020

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SCI-ARC

MUSEUM PARTITIONS

Within the exhibition spaces, the contamination of terrain, slab, wall, and steel frame is maintained. The convergence of terrain, slab, walls and steel fame contaminate each other indefinitely to create a wellbalanced hybrid of museum typologies. Some exhibition walls extend all the way to the ceiling while others don’t, it is a way to suggest that the terrain is not an even or stable surface, therefore elements resting on it should not be stable either. As an architectural response regarding the security of artwork, the stepping terrain and floor slabs create an architectural barrier between the artwork and the viewer, making the presence of ropes or any additional security elements unnecessary.

The sign of security is architectural.The terrain textures of the building are meant to glow during evening and night-time, making all additional or extra conventional lighting devices useless. The architecture speaks for itself. It is a way to suggest an imaginary museum. Why use conventional methods of installations when we can invent something completely unique and new?

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M.ARCH II

ACADEMIC

2020

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SCI-ARC

SECTION BECOMES ELEVATION

On the roof of the museum, experiential sculpture gardens are open for visitors to roam freely under the artificiality of the gridded frame, as well as enjoying a levitated view of the mountains along with a perfect Instagram picture with the Hollywood sign. This installation is a revolutionary way of conceiving land art, where artificially generated landscapes become the basis of site-specific sculptures. This Museum is a universe, a world with its own fantasies, to an extend where the imaginary museum can become an art-to-display by itself. A levitated mass much bigger than Michael Heizer’s, honesting a museum that exploits all experiential possibilities, whether within it, underneath it, or on top of it. This is Le Musée Imaginaire.

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M.ARCH II

ACADEMIC

2020

‘A museum is a place where one should lose one’s head...’

Renzo Piano

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SCI-ARC

XENOMORPH AFTER-IMAGE Project by Karim Khayati Angelica Lorenzi Vertical Studio (DS 1200) SCI-Arc, Fall 2019 Location - Chinatown, CA, USA Duration - 4 months Softwares - Rhino 3D, Grasshopper, Maya, Zbrush, Agisoft, Recap, Photoshop.

Height - 68 feet (22meters) Floor Area - 20,000 Sqft ( 1,850 sqm) 5 Floors & 1 Underground

THE STARTING POINT The project brief addresses the design of an office building of 20,000 squarefeet in the heart of Chinatown, Los Angeles. The concept of after-image in this project explores the boundaries and possibilities of data collection around Chinatown, processing it, and reflecting it back onto the site. Photographs of objects at diverse scales were taken on-site, then processed on Agisoft or Recap to generate a 3-D scanned mesh. The meshes were then morphed and hybridized into two volumes, the large one being the host of collaborative coworking spaces, and the smaller one being used for retail purposes. Xenomorph is intended to be visually ‘light’, in other words, occupying the site with minimal footprints. Not only the internal program of the project fosters collaborative work ethics, but its exterior also provides a socializing platform. Since Xenomorph is exposed to minimal footprint, the stepped plaza underneath it becomes a hotspot for pedestrian flow as it offers retail spaces, integrated personal cubicles, playgrounds, and seating areas.

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M.ARCH II

ACADEMIC

2019

69

SCI-ARC

PHOTOGRAMMATRY Roaming through the culturally rich streets of Chinatown Los Angeles, the process started with a selection of objects and spaces at three different scales. Small objects could be considered as sculptures, medium objects are building facades, and large objects are streets with buildings on both ends.

After-images was derived from the notion of taking multiple photographs of a certain environment, 3-D scanning it, and reflecting it onto a newly designed building. The process of this project has been broken down into multiple steps; Taking multiple photos, processing them on Agisoft to create a 3-D scanned mesh, cleaning the meshes on Z-brush, and combine these generated scans to create forms on Rhino and Maya.

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M.ARCH II

ACADEMIC

2019

HYBRIDIZATION These designed forms intend to keep the original formal identity of the 3-D scans.

Different objects with distinct formal quality are merged to create three hybrids that are formally expressing the main ideas behind the design: fusing 3-D scans with pure geometry, but maintain the distinction through voids and subtraction.

Only these three unique hybrids were used to produce a final composition of the office building complex, nothing else.

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SCI-ARC

PHYSICAL MODEL PHTOS

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M.ARCH II

ACADEMIC

2019

RESIN ‘DRIPPING’ The models are then 3-D printed and coated in black and green resin. It is a way to experiment with an alternative method to find new design solutions The base of these 3 objects are placed on a vacuum-formed landscape, in which its role is to correlate and empower the presence of the forms. The physical models are dripped with resin.

Contrary to dipping, dripping allows the melting resin to swing and sway with the formal quality of the model. This process allows a more natural relationship between the resin and physical models.

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SCI-ARC

SECTION AA

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M.ARCH II

ACADEMIC

2019

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SCI-ARC

SECTION BB

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M.ARCH II

ACADEMIC

2019

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SCI-ARC

M.ARCH II

FLOOR PLANS

Ground Floor Plan Cut at 5t (1.2m)

B

A

A

B Typical Floor Plan Cut at 45t (13m)

B

A

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A

B

ACADEMIC

2019

ISOMETRIC Collaborative office spaces are operating around a central atrium. Playfulness is a key driver of Xenomorph as it is a way to supply office workers some experiential break-hours. The central atrium hosts a spiralized slide that allows a fast, yet joyful experience while moving throughout the project. On the other hand, office workers could also stay physically united to nature as there are small sanctuaries included on each floor of the office building. Xenomporh provides workers with open and closed office spaces, controlled daylighting, spiritual relief through integrated sanctuaries, and psychological aid through the implementation of playfulness.

Northwest Iso on Site

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SCI-ARC

PLAZA RENDER

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M.ARCH II

ACADEMIC

2019

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+971ARCHITECTS

1ST PLACE

GROUNDS OF HOPE COVID-19 MEMORIAL URBAN MEMORIALS Project by Karim Khayati & Jessica Abou Haidar 1st Place Prize Winner in the Competition (2020) Location - All Around the United Arab Emirates (UAE) Client - Plus971Architects Duration - 2 months Softwares - Rhino 3D, Photoshop, Illustrator, CAD Modular Architecture

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COMPETITION

2020

COMFORT Design concept

Memorials representing ‘comfort’ are located in the desert as a symbol of emotional release.

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+971ARCHITECTS

CONCEPT Our proposal for the COVID memorial is an urban experience throughout the UAE and its emirates. The UAE is a country with a unique urban fabric orchestrated with its skyline of skyscrapers, rocky mountains, desert landscapes, and coastlines. Why limit such a memorial experience to one location while it can be scattered around the emirates? Why not propose a scenario that encourages the inhabitants of the UAE to reconnect with the cities? A connection that people have long been waiting for while confined and isolated inside their homes due to the pandemic circumstances. The experience we are proposing is a delicate balance of architectural and urban integration that pays tribute to the seven Emirates, its leaders, and its people.

We designed four small-scaled memorials inspired by the characteristics of the COVID times. The memorials are distributed around the seven emirates and each is conceptually designed to portray one element: hope, comfort, faith, and life. Memorials representing ‘hope’ are designed to overlook landmarks as a symbol of aspiration. Memorials representing ‘comfort’ are located in the desert as a symbol of emotional release. Memorials representing ‘faith’ are located on top of mountains or holy places as a symbol of spirituality. Memorials representing ‘life’ are located on the shoreline as a symbol of calmness and peace.

What we suggest is to have a formal module that is flexible and adaptable to each memorial. The choice of the truncated pyramid design emerged from the notion of power and spirituality. It is a shape that gives a sense of claustrophobia, the same feeling people felt while being enclosed between four walls every day.

On the other hand, the truncated pyramid offers light at its narrow tip, a light that people will look-up to while confined inside the space. What we’re trying to provide the visitors is an experience that triggers the feeling of escape, breaking-free, and guidance as the only source of light in the memorial is where hope is found. The spirit of time is represented through the paneling of corten steel, which is defined by its rustic and aggressive aesthetic.

Memorials are powerful spaces. They are meant to be experienced for a moment. It is a space where time stops, a silent architecture that honors a disquieting episode of life.

“In times where everything seems to collapse shines a bright light, the light of hope, we seek to escape the darkness..”

-Quote from the designers

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1ST PLACE

4 memorial designs

Hope - symbol of aspiration locations 1- Burj Khalifa Square 2- Emirates Palace

Comfort - symbol of emotional release locations 3- Al Khatim Desert 4- Al Qudra Desert 5- Al Badayer Desert

Faith - symbol of spirituality locations 6- Sheikh Zayed Mosque 7- Hatta moutains 8- Jabal Jais moutains

Life - symbol of clamless and peace locations

9- Kite Beach 10- Sir Baniyas Island 11- Yas Island 12- Fujairah shores or any UAE shore

faith

life

comfort

hope life

faith

life

comfort

comfort

hope

life

faith

COMPETITION 2020

UAE MAP LOCATIONS

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+971ARCHITECTS

HOPE

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1ST PLACE

COMPETITION

2020 Memorials representing ‘Hope’ are designed to overlook landmarks as a symbol of aspiration.

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+971ARCHITECTS

LIFE

Memorials representing ‘Life’ are located on the shoreline as a symbol of calmness and peace.

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1ST PLACE

COMPETITION

FAITH

2020 Memorials representing ‘Faith’ are located on top of mountains or near holy places as a symbol of spirituality.

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YAC

YAC TREE HOUSE MODULE DETLA HOUSE Project by Karim Khayati & Jonah Klinghoffer Submitted (2020) Location - Mothe Chandenier & Ebaupinay, France Client - YAC Young Architects Competition Duration - 2 months Softwares - Rhino 3D, Photoshop, Illustrator Modular Architecture

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SUBMITTED

COMPETITION

2020

Exterior render of Module A

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YAC

SUBMITTED

CONCEPT

Delta House is a modular treehouse cabin which can be located in various historical sites throughout the countryside of France. The concept of the Delta House stems from an origami tree silhouette that can be adjusted and modified according to necessity.

The form of the design was generated by stacking modular cuboids one on top of another, each volume embodying a programmatic function; a living area on the ground floor, bedrooms on the first floor, and a wellness spa on the second floor. This stacked form is then wrapped in a folded triangulated shell that encloses the overall massing and produces unique experiential spaces.

Two iterations of the treehouse were produced as a result of the vertical compositional stacking, which can be infinite due to the modularity of the structure and shape. Views of the surrounding rural landscapes are revealed through various floor-to-ceiling windows on all floors of the treehouse, showcasing the scenic architectural ruins of the Vibrac and Mothe-Chandeniers castles.

The large operable windows blur the boundary between the interior and exterior as if there is no separation at all.

The Delta House personifies the symbolic idea of a childhood treehouse, a house perched in the middle of nature, secluded from the chaos of the city, and surrounded by dramatic sights of gothic castles.

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3 Stacked Modular Cuboids

COMPETITION

2020

Module B (3 Levels)

Module A (2 Levels)

2 Stacked Modular Cuboids

Triangulated Origami Shell

Triangulated Origami Shell

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YAC

ELEVATIONS

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SUBMITTED

Module A (2 Levels)

COMPETITION

2020

Module B (3 Levels)

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YAC

SUBMITTED

2D FLOOR PLANS

Module B (3 Levels)

B

A

Entrance

Module B First Floor Plan

B

Module B Ground Floor Plan

A

Living Room

Balcony

Kitchen 2 Bedrooms

B

B

Guest WC

A

A

A

A

B

Module B Roof Plan

B

Module B Second Floor Plan

Bathroom

Sauna

B

B

Spa

A

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A

COMPETITION

2020

SECTIONS Bathroom

Sauna

Bedroom

Bedroom

Kitchen

Section BB

Guest WC

Section AA Spa

2 Bedrooms

Kitchen

Living Room

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SCI-ARC

M.ARCH II

QATAR NATIONAL LIBRARY - QNL ADVANCED MATERIALS & TECTONICS Project by OMA Modeling Team - Karim Khayati, Devangi Kasagra, Jasper Gregory, Cristina Cotruta Maxi Spina & Randy Jefferson (AS 3200) SCI-Arc, Fall 2019 Location - Doha, Qatar Duration - 4 months Softwares - Rhino 3D, Grasshopper, Illustrator, Photoshop, V-ray

Qatar National Library contains Doha’s National Library, Public Library, and University Library, and preserves the Heritage Collection, which consists of valuable texts and manuscripts related to the Arab-Islamic civilization. The public library houses over a million books and space for thousands of readers over an area of 42,000 m2. The library is part of the Education City, a new academic campus that hosts satellite campuses from leading universities and institutions from around the world.

The library is conceived as a single room which houses both people and books. The edges of the building are lifted from the ground creating three aisles that accommodate the book collection and, at the same time, enclose a central triangular space. This configuration also allows the visitor to access the building at its center, rather than laboriously entering from the perimeter.

The aisles are designed as a topography of shelving, interspersed with spaces for reading, socializing and browsing. The bookshelves are meant to be part of the building both in terms of materiality – they are made of the same white marble as the floors – and of infrastructure – they incorporate artificial lighting, ventilation, and the book return system.(text provided by OMA).

98

ACADEMIC

2019

99

SCI-ARC

STRUCTURE Qatar National Library is the latest expression of OMA’s long-term interest dates back to the competition for the National Library of France in 1989. The entire structure strives to achieve an almost infinite type space that spans with singularity on the background of the Qatar environment by rising a 138-meter long structure. The towering experience is accomplished by creating a building that is almost a single room, not divided into multiple sections. The actual concept is shockingly simple. It takes a plate and folds it up at the corners, thus giving the building a floating diamond shape, one that almost rises to the Qatar sky. In terms of materiality and structurality, the architect makes full use of the GFRC for the outer shell and a metal truss system along with a load-bearing curved Low-E coating glass structure. All this succeeds in giving the viewer an almost ethereal experience of the space with a few exceptions.

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M.ARCH II

ACADEMIC

2019

Peripheral Beams (Primary Beams)

Truss & Secondary Beams

Flat I-Section steel truss depth: 2500mm I-Section steel truss Web: 2450mm, Flange: 700mm Steel tube boxed brace frames 150mm x150mm I-Section peripheral beam Web: 2450mm, Flange: 700mm Welded beam joint I-Section peripheral beam Web: 1100mm, Flange: 350mm Steel brackets, welded and bolted to the periphery beam Steel reinforced concrete columns Diameter: 900mm

Steel Boxed Tube Bracing Frames

Steel I-Section connectores

Welded beam joint Bottom I-Section steel beams Bottom Box-Section periphery beams

Bottom Beams (Secondary from Structure)

101

SCI-ARC

102

M.ARCH II

ACADEMIC

2019

Glass Skylight Glass Fiber Reinforced concrete cladding Thickness: 50mm Waterproofing membrane Thickness: 4mm Thermal insulation Thickness: 100mm Corrugated galvanized steel Steel I-Beam Web: 2450mm, Flange: 700mm Steel diagonal truss system Depth: 2500mm Glass fiber reinforced plastic Thickness: 50mm Steel bracing Steel I-Beam Wed: 1100mm, Flange: 350mm Steel reinforced concrete Wed: 1100mm, Flange: 350mm Corrugated curtain wall Reinforced concrete slab Thickness: 1500mm Steel square beam

Voronoi aluminium panels Alumium mullion for skylights Double glazed skylights Glass fiber reinforced concrete

TRANSFORMATION Our main goal was to provide light within the building and developing an envelope that could be both aesthetically and functionally interrelated. Qatar weather is desert, with very hot and sunny summers/ mild winters. This had implications for our design since the overall functional program of the structure is Library, which implies extremely calculated and well-thought-out light amount predictions. Based on computational design, we were able to understand where our building could allow us to introduce either more or less amounts of insulation. In order to decrease the level of heat transfer, we used composite panels, consisting of 2 aluminum cover sheets and a 0.5 mm mineral-filled core. This allowed for the contours of the building to wrap in a different skin and show divergent materiality (some were aluminum, others-mimicking concrete) and almost visually ‘melt’ the existing structure. From a technical standpoint, the panels are low-weight, rigid, weatherproof, vibrationdamped. They can be easily bent and folded; also, the beauty of it is that installation is fast. As mentioned above, one of the main goals was introducing a sufficient amount of light, directed in a certain way and to a certain area of the building. We decided to make use of skylights in the shape of everchanging ellipses, which allowed control over the amount of sun hitting the interior. The radius changes and so does the orientation of the skylights, which was crucial in this case. Not only is it functionally needed, but it is also aesthetically awarding.

Waterproofing membrane Thickness: 4mm Thermal insulation Thickness: 4mm Corrugated galvanized steel Steel I-Beam Web: 2450mm, Flange: 700mm Flat truss system Depth: 2500mm Glass fiber reinforced concrete Thickness: 50mm Steel reinforced concrete columns Aluminum frame Spider system curtain walls with glass beams

103

SCI-ARC

M.ARCH II Glass fiver reinforced concrete cladding Thickness: 50mm Dimension: 1000x2500mm

Steel Bracing, square beams Dimension: 150x150mm

Steel I-beam Web: 380mm, Flange: 180mm Steel I-beam Web: 1100mm, Flange: 350mm Glass fiber reinforced plastic - Thickness: 50mm Steel I-beam Web: 380mm, Flange: 180mm

Steel shear stud 290mm

Glass fiber reinforced plastic Thickness: 40mm Steel I-beam Wed: 2450mm, Flange: 700mm Steel reinforced concrete column Diameter: 900mm

Glass fiber reinforced plastic Thickness: 50mm

Steel shear stud 290mm

Steel diagonal truss Depth: 2500mm Steel I-beam Web: 380mm, Flange: 180mm

104

ACADEMIC

2019 Prefabricated aluminum mullion ring Gutter drainage Width: 100mm

Neoprene pad to hold glass Double glazed skylight Steel I-beam Web: 1100mm, Flange: 350mm

Steel shear stud

Prefabricated aluminum mullion Gutter attached to the beam Aluminum attached to beam Steel I-beam Web: 2500mm, Flange: 700mm Flat truss system Web: 2500mm, Flange: 700mm Glass fiber reinforced plastic Thickness: 50mm

Voronoi aluminum panels

Alumium mullion for skylights Double glazed skylights Glass fiber reinforced concrete Thickness: 50mm Prefabricated aluminum mullion Width: 200mm Gutter bolted to structure Steel I-beam Web: 2450mm, Flange: 700mm Steel diagonal truss Depth: 2500mm Glass fiber reinforced plastic Thickness: 50mm

105

SCI-ARC

M.ARCH II

FACADE SYSTEMS The corrugated glass system used by the architect was innovative and alluring for the project but its main downfall was the distorted perception onto the exterior it gave the eye of the person within the building and the inability to directly interact with the environment. Buildings should delete boundaries and a feeling of vagueness in borders must be present. This is our belief. Thus, we opted for a glass fin system, which provided high levels of transparency, created expansive areas of total vision and also acted as a structural support element. Withstanding wind loads was achieved by the use of glass mullions which span on the inside and vary in depth from 200-500 mm and have a thickness of 19 mm.

Voronoi aluminum panels

Glass fiber reinforced concrete Thickness: 50mm

Double glazed skylights

Glass fiber reinforced plastic Thickness: 50mm

Spider system curtain walls with glass beams Steel square beam

106

ACADEMIC

2019 Steel I-Beam Wed: 1100mm, Flange: 350mm Aluminum connection clamped into the beam Toughened glass panel thickness: 20mm Stainless steel root angles, 33C/450

Steel splice plate

4-way fin spider fitting 220mm

2019

Cable/rod bracing

Glass mulions

Spirder glass fin system

Both fins prop cantilever Base connection: 1000mm

Steel I-beam Web: 1100mm, Flange: 350mm

Toughened glass panel thickness: 20mm Aluminum connection clamped into the beam

4-way fin spider fitting 220mm Steel splice plate

107

AUD

WAKE - HOUSE OF PUPPETRY

UNDERGRAD THESIS PROJECT & RESEARCH Project by Karim Khayati Faculty Award Winner Dr. Georges Kachaamy Design Studio (ARCH 501 & 502) AUD, Fall 2018 & Spring 2019 Location - Al quoz, Dubai, UAE Duration - 4 months x 2 Softwares - Rhino 3D, Grasshopper, CAD, Photoshop, V-ray Height - 180 feet (55 meters) Floor Area - 140,000 Sqft ( 13,000 sqm) 5 Floors & 1 Underground

108

B. ARCH

ACADEMIC

2019

109

AUD

CONCEPT OF MADNESS The Puppet Master is supremely independent, able to choose more freely than other types of theater artists. It is essential to understand that the compliance of the puppet depends on the will of the puppeteer. The design concept of WAKE is based on the duality that opposes the puppet and the puppet master; in other words, the controller and the controlled. The proposal suggests two different architectural languages that come together to make one element.

The first architectural language is represented in an omnipresent exoskeleton which depicts the puppeteer. The design of the exoskeleton follows the concept of ‘inverted warehouse’, where the structural system is exposed to the outside rather than the inside. The second architectural language is represented into volumes which portrays the puppets. Besides, Puppets come in different scales ranging from Extra-Small to Extra-Large; they also suggest different manipulation methods. Some puppets are controlled and elevated with rods or sticks, others are controlled from a void which hosts the hand or the body, and others are controlled with strings.

110

B. ARCH

ACADEMIC

2019

There are eight types of performing arts in the world; Musical performance, Opera, Illusion, Magic, Circus, Theater, Digital Performance, and Object Performance. It is factual that in Dubai, there is at least one facility entirely dedicated to each performing art except for object performance. Object performance, in other words, puppet performance is one of the most prominent factors that led to the birth of performing arts. The project proposal intends to educate, create, and perform on an international platform. An Architecture to give Dubai residents a new space that reincarnates the expressive art of puppetry, hence completing the city’s ultimate variety of performing arts.

111

AUD

DESIGN STRATEGY & SITE Al Quoz is divided into four industrial districts developed by Dubai Municipality to accommodate mass production and warehouses. It is a zone where all craftsmanship, assembly, and creativity takes place in Dubai. The selected site, located in Al Quoz 1, is parallel to AlSerkal Avenue. AlSerkal Avenue is a large community that hosts ‘the arts and culture district’ of Dubai, composed of many art galleries, performing art centers, museums, and exhibitions. Placing a House of Puppetry in such a location will become an extension of AlSerkal, a social artistry that triggers curiosity and expression. Other than its proximity to the avenue, the plot is also adjacent to an Antique Museum, as well as a Courtyard Playhouse. A Performing Art Center for Puppets within the UAE cannot be located in different whereabouts. Al Quoz 1 is a district that offers a mixture of arts, crafts, and performances; just like the Art of the Puppet.

112

B. ARCH

ACADEMIC

2019

113

AUD

114

B. ARCH

ACADEMIC

2019

115

AUD

116

B. ARCH

ACADEMIC

2019

117

AUD

118

B. ARCH

ACADEMIC

2019

119

AUD

120

B. ARCH

ACADEMIC

2019

121

AUD

OBSID

OFFICE BUILDING DESIGN & DEVELOPMENT Project by Karim Khayati, Jessica Abou Haidar, & Sandra Boutros Ghada Yaiche Design Studio (ARCH 402) AUD, Spring 2018 Location - Dubai Creek, Dubai, UAE Duration - 4 months Softwares - Rhino 3D, Grasshopper, CAD, Photoshop, V-ray Height - 82 feet (25 meters) Floor Area - 53,000 Sqft ( 5,000 sqm) 4 Floors & 2 Underground

This course a design & construction studio class, where we have to design an 4 storey office building, meet with engineers from various local firms, review the structural possibilities, and create construction documents for our design. This designed project is an animation office building located in the heart of Dubai Creek.

Obsid is an office building that resulted from the concept of frozen animation. The design all started from a basic rectangular cuboid that has been manipulated in order to adapt to its environment.

Once these manipulations freeze, the Obsid is created. Obsid integrates the outdoor public space under the building with the working spaces above. By the five operations of extrude, elevate, rotate, insert, and subtract fluid spaces are created, giving the chance to configure interior landscape offices with dynamic plans open towards a spiralized central void. The workers can enjoy the view of the Dubai creek from the north, which is one of the most strategic locations in City.

122

B. ARCH

ACADEMIC

2018

123

AUD

124

B. ARCH

ACADEMIC

2018

125

AUD

126

B. ARCH

ACADEMIC

2018

127

AUD

128

B. ARCH

ACADEMIC

2018

129

AUD

130

B. ARCH

ACADEMIC

2018

131

ARTWORK

DIGITAL ARTWORK

EXPLORATION OF ALTERING REALITY Photography & Visuals by Karim Khayati 2018 - Italy

132

2018 Lake Como x Britto

133

ARTWORK

Cinque Terre x Monster

134

2018 Pantheon x Giant Mannequin

135

ARTWORK

136

2018

Lake Como Apocalypse

137

ARTWORK

HAND SKETCHED ARTWORK SKETCH BOOK DRAWINGS Sketches by Karim Khayati

138

2021

My Sketchbook Mural

139

ARTWORK

Architectural Sketches

140

2017 - 2021

‘Human’

141

© Karim Khayati 2021

© Karim Khayati 2021