ADVANCED DESIGN PORTFOLIO
HALA HELAL BARAKAT 2 0 1 5 | 2 0 1 6
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[1]
University of South Florida |School of Architecture + Community Design
Hala Helal Barakat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
15001 Deer Meadow Dr
Lutz, Florida 33559
813 679 2977
hala@mail.usf.edu
CONTENTS Advanced Design A Dan Powers
A D A _ 0 1 INTERFAITH A D A _ 0 2 PHOTOGRAPHY
CHAPEL MUSEUM
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4 8
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Advanced Design B Stanley Russell
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A D B _ 0 1 RIKUGEIN MONASTERY A D B _ 0 2 THIRD WAVE COFFEE A D B _ 0 3 KU+USF COLLABORATION
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Advanced Design C Josue Robles Caraballo
A D C _ 0 1 FAITH
HOUSE
FLORIDA
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Advanced Design D Josue Robles Caraballo
A D D _ 0 1 ABERDEEN CULTURAL CENTER
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Independent Study Nancy Sanders
I N D_STUDY THE
INVISIBLE
BRIDGE
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Florida Landscape Seminar Nancy Sanders
. . F L L _ S E M THE
REFLECTIVE
BRIDGE
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[3]
Avanced Design
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Daniel Powers | Spring 2015
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[5]
The project began with an idea of discovering the similarities within the art pieces created by the Wireman of Philadelphia, and creating a common space for celebrating our differences. The collage to the left aims to find the similarities within the art pieces of The wireman of Philadelphia. Each art installation had a different form, color and scale. However, most pieces seem to have a common wire material holding it together. That initiated the idea of the common foundation needed for an interfaith chapel. The Chapel is meant to have a very pure and positive influence on the campus, so that it becomes the only space above ground. Placing the offices, bathrooms and services underground offers a larger landscape area surrounding the chapel for students and faculty to inhabit between classes. The chapel project also creates an indoor community space underground.
INTERFAITH CHAPEL ......................................................
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The Interfaith Chapel is a project located on the campus of the University of South Florida. The site provided has a triangular form with three surrounding sidewalks in a popular area near the student center. The chapel is a place to be enjoyed by all students and faculty not only those of a particular faith. It is meant to serve all groups of students. The collage below consists of several images of the site and surrounding area that start to seek connections between the surrounding buildings on campus. After analyzing the triangular site I started extruding different lines to create the floating form of the chapel.
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[7]
Final site and floor plans.
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[9]
[East] elevation renderings.
[South] elevation renderings.
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[11]
Form analysis process models [2 weeks].
[Chapel + landscape] final model pictures.
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[13]
[Site progression] Final model.
[Top view] final model.
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[15]
[Chapel] interior rendering.
Perspective study diagrams.
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[17]
A collage inspired by the series, “A state of Devolution� created by the Photographer Amer Sweidan. A state of devolution tackles the war on Gaza and its influence on the people internally. Sweidan merged picture scenes of the catastrophic event and inverted them into human silhouettes to reflect the hardships people face surviving the destruction of a state. The series made me think about the destruction of film photography and the loss of the process replaced with digital cameras. Today, we become concerned with the idea of documenting memories and spaces that we tend to forget to experience the moment.
PHOTOGRAPHY M U S E UM ......................................................
D O W N T O W N T A M P A . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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The Photography Museum started with an abstract collage of images and junk pieces from an old camera. The project is located in Downtown Tampa near the famous Curtis Hixon park. On a 105’ x 210’ lot enclosed by Zack Street on the north, Ashley Drive on the West and N. Tampa on the East. The project had a 170’ height limitation on 2/3 rd of the lot and a plaza on 1/3rd of the site. The form of the building was inspired by the process and passion of film photography that we lost today in this digital era. The plaza was thought of as an addition to the Hixon park across the street.
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[19]
The form of the site was mainly influenced by the program and organization of spaces. The building serves mainly as a photography exhibition, secondly as a research and education facility and lastly as a private social bar with its own independent access. The exhibition requires the absence of natural light to preserve the art pieces. The exhibition floors become a floating block surrounded by a glass box which incorporates the public spaces within the building.
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[21]
Sectional model cut.
Floor plans.
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[23]
Elevations
East Side view
Section cut
A-A
West side view
B-B
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Steel grid diagram + veritcal circulation.
During Design Development I was able to further detail and understand the functionality of the building in compliances with local codes. The diagram on the left explains the structural steel grid of the building, including the 12� sheer walls located around the vertical circulation. The diagram to the right highlights the vertical circulation and access points to the building. The building has a independent elevator near the main entrance, with direct access from the plaza to the rooftop bar. Staircases labeled 2 are fire staircases, with evacuation points towards East Zack St and East Twiggs St. Staircase 3 is the main interior stair surrounded by a glass wall as a mean of circulation for the exhibition. Elevators 4 + 5 are used by the public and for servicing throughout the building.
[Access points, circulation + fire exirs] diagram.
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[27]
The sectional cuts in the model allowed for more exploration of the interior spaces. On the fifth and sixth level are floating walls with exposed structure at the bottom. The walls are exhibition walls that block any natural light that may damage the art, they also connect all the exhibition spaces together. Within the exhibition box is a public space that surrounds the exhibition rooms.
[section cuts] final model.
[Overall] Final model.
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[29]
[Detail + Plaza] Final model.
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[31]
Main staircase sketches
Interior rendering.
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[33]
Exterior night rendering.
This rendering aims to portray the public activities taking place throughout the day . The Plaza becomes an extension of the Hixon Park creating a new public space . In the Plaza are human scaled frames for the public to create photgrpahy and also see the beauty of the river through a new lens.
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[35]
Avanced Design
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Stanley Russell | Fall 2015
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[37]
RIKUGIEN M O N A S T E R Y ......................................................
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The term Monastery is historically connected with the practice of a specific religious belief. A monastic lifestyle is an opportunity for the practitioners of that belief to focus on the spirituality and seek a more relaxed daily ritual away from the chaos in our environments. A monastery can vary from a building to a group of buildings including housing and common facilities for the community to of individuals to share and focus on a common religious or spiritual belief. Since 1970 several examples of monastic communities have emerged around more general ideas of belief without requiring the members to subscribe to a specific faith.
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[39]
Floor plans.
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[41]
Elevation views.
Longitudinal section drawings.
The Japanese culture is full of beautiful customs and traditions that we were able to experience on our trip and reflect in our designs. Some of the customs included the use of bathing facilities, dining rooms, sleeping areas and the use the floor plan as a living space. The organization of the spaces is often verbalized by the connection of buildings to nature.
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[43]
Through the process of developing ideas, solutions, and thoroughly understanding the design program for the monastery, I began the design process. The connection to nature became significant through these studies and guided the initial diagrammatic sketch, which later was developed into a model. The model to the right begins to explore multiple ways of connecting the built environment to nature through the introduction of a spiritual program. This program was organized by using a variety of different spatial designs and building materials.
Tectonic process model.
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[45]
Layering diagrams.
Process model, exploring program + scale.
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[47]
[Detail] Final model.
[Library + main entrance] Final model.
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[49]
[Top view] Final model. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
[51]
[Top view] Final model + Rikugien garden.
The rich program of this project allowed us to connect to the Rikugien garden in multiple ways. After weeks of analysis I decided to view the monastery as an extension of the garden, and began looking for points of intersection through the dissection of different layers. The program for the monastery was organized by placing the public spaces [Library + Lecture space] near the brick wall. This portion of the project is facing the street on the opposite side of the garden. The connection to the city was created through the design of the transparent library space. This creates a view corridor to the garden. As one progresses towards the garden the spaces become more privately inhabited [Tea House + meditation spaces+ dormitory+ bathing facilities]. The garden also begins to blend into the monastery, creating internal gardens that offer the residents an opportunity for outdoor relaxation and reflection.
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[View from the graden] Final model.
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[55]
[Meditation + dormitory + Tea house] 3D spatial diagrams.
Interior library diagram.
Lecture hall + lanscape diagram.
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[57]
[Meditation space + tea house] Exterior rendering.
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[59]
Collage of pictures taken in Japan’15.
THIRD WAVE COFF EE ......................................................
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Isseido Books is a family business bookstore founded in 1913. The building today stands as a landmark in the Kanda area, Tokyo. Since the building was built in 1913, it has gone through different social upheaval and managed to persevere until the last challenge, the digital and social media era. Today Isseido Books is looking for different ways of adapting to the modern day technology while maintaining their older clientele. Over the past 10 years the “Third Wave Coffee� trend has been flowing through Tokyo. This project is a fusion between the existing Isseido Books and the Third Wave coffee hybrid store. It requires further exploring of the idea challenging the relationships between drinking a cup of coffee and holding a book in a new form.
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[61]
Floor plans.
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[63]
Parti model, exploring the threshold between the existing Isseido Bookstore [red] and the Third Wave coffee store addition [wood]. The existing building remains intact and is only altered at points of intersection, representing the overlap between the two experiences.
Parti model.
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[65]
[Detail] Process model.
The journey of brewing coffee and the experience of holding a book are examples of how our senses associate with our memories and imagination. The combination of the two elements allows for the creation of the third space in the building. Our ability to communicate with the story we are reading by holding the book is a connection we need to explore when it comes to drinking coffee. The idea becomes less about the final product and more appreciative of the journey. The cafĂŠ located on the first and second floors becomes a transparent process for the visitors to view, feel, smell and taste. The brewing process starts at the bottom and travels its way up through the atrium attached to the back of the building. The addition wraps around the existing building without touching the ground floor, creating an open space for the public. The addition includes sleeping pods, reading areas and a library on the 3rd and 4th floors, aw well as, a rooftop bar on the roof of the existing building. [Front view] Process model.
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[67]
[Bookshelf structure] Detail model.
The detail model magnifies the new bookshelf structure and its attachment to the existing wall. The structure of the addition creates new reading spaces that are suspended above the landscape between the two buildings.
Detail model.
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[69]
[Back entrance] Final model.
[Top view] Final model.
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[71]
Library + reading spaces
Sleeping pods
Sleeping pods
[Atrium space] Final model.
Cross sectional drawing.
Rooftop bar
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Reading Space
Library Space
ISSEIDO Books space
ISSEIDO Books space
Cafe
Longitudinal sectional drawing.
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[73]
Final model pictures.
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[75]
Site diagraming and analysis.
KU + USF COLLABORATION ......................................................
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During our trip in Japan we received the opportunity to collaborate with Kanagawa University in Yokohama. The site was located in an under developed area of the city. In order to revive the space we designed three independent volumes; a performance center, a cultural center and a residential volume with a cafĂŠ. All volumes wrap around a common outdoor courtyard that connects to the datum of the project, the alley. The project includes the articulation of the alley as it becomes the main connection to the neighborhood. Along the alley we designed reading pods that extrude out of the existing buildings, offering a peaceful space with natural lighting. Team members: Yuna Kinoshita | HiroYuki Inakora | Veronica Garcia | Hala Barakat.
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[77]
Floor plan.
Sectional sketches.
[Courtyard space] Final model.
[Bridge connecting lecture hall to theatre] Final model.
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[79]
[Details] Final model.
[Top view] Final model.
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[81]
Avanced Design
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Josue Robles Caraballo| Spring 2016 Team member: Oscar Barnes Hala Barakat
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[83]
[Detail] Process model.
F A I T H H O U S E FLORIDA ......................................................
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The Faith House project is a redesign of a place of refuge for recovering individuals. The Faith House is a nonprofit, recovery and support program celebrating their 40th anniversary this year. The project included the redesigning of the housing, living area, garden as well as an addition, and the veterans facility. After visiting the Faith House and interacting with its residents we started understanding their love and passion for the garden. My teammate and I decided to expand the garden to cover most of the site provided, surrounding the built areas. To maintain an affordable budget we explored the use of the shipping containers for the housing pods.
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[85]
To start the project each individual student created a set of sectional and experiential drawings of our potential sites. The above sections are a collage of sections and drawings that start to represent different spatial qualities. The main idea was to divide up the space into smaller scaled pods and then have a main community space to share. Knowing our site was in Florida the sections begin to seek alternative passive and cooling techniques as means of keeping the budget at a lower cost. The drawings also introduce the idea of reusing materials, such as wood, structural steel and shipping containers as form generators for our buildings.
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[87]
Burlington Ave N.
12th Street N.
13th Street N.
14th Street N.
15th Street N. 15th Street N.
5th Ave N.
375
4h Ave N.
5th Ave N.
375
375
11th Street N.
4h Ave N.
3h Ave N.
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Burlington Ave N.
[89]
15th Steet N.
4th Ave N.
Final [faith House + veterans] plan.
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[91]
[Initial form + site study] Process model.
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[93]
[Faith House courtyard] Section model.
The designing of the facilities was mainly generated from studying program relationships through sectional models. The sectional studies influenced the connection between the interior and exterior spaces, highlighting the third space. The third space weaves through the site providing more garden and farming opportunities. The housing (sleeping pods) started to wrap around the site, increasing natural surveillance and signifying the courtyard in between. The sectional models cut through the main spaces on site including the park. The picture above is of the Faith House courtyard facing the main living and dining spaces between the female and male sleeping wings. The image on the right is of the veteran’s garden across the street from the Faith House administration building. Both sections explored the horizontal relationships between the spaces and the vertical detailing of the roof attaching to the shipping containers [sleeping pods].
[Veterans Housing] Section model.
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[95]
[Public park] Section model.
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[97]
Site model + massing form.
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[99]
[Faith House main entrance] Street view.
The design of the project was highly influenced by the idea of starting a community garden for the city of St. Pete. The importance of farming to the residents made the garden our main concern, thus we turned most of the landscape to a garden that runs throughout the site. The roof was designed in a way to hover above the shipping containers to allow for varying weather conditions. The veteran’s facility is located off site with a direct connection across 5th Ave, shown in the street view picture to the left. To increase the communication between the Faith House and the surrounding community we designed a retail and woodshop space that could be used to produce and repair furniture. [Top view] Final model.
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[101]
[Details] final model.
[Roof detail] Final model.
[Faith House entrance + veterans’ facility] Final model.
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[103]
[Living room + dining room] Interior rendering.
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[105]
[Veterans common living space] Interior rendering.
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[107]
[Administration space, Faith House] Interior rendering.
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[109]
[Faith house courtyard ] Exterior rendering.
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[111]
[Residents entrance, Faith House] Exterior rendering.
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[113]
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Josue Robles Caraballo | Summer 2016 Team members: Larry Raposo Hala Barakat
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[115]
A B E R D E E N CULTURAL CENTER ......................................................
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P R O J E C T
The new landmark. The Aberdeen on Accord terrace is situated at the threshold of the residential, retail and business areas. The diversity of the surrounding program gave us the opportunity to think about the park as a collective space for the community. To begin, we talked to some residents and observed the park at different times to understand the challenges and needs for a safe communal space. We started by breaking the slope of the land creating gradual steps from the Bon Accord Crescent to the residential neighborhood. The park includes a community space that can serve as a venue for the some of the events of Aberdeen, as well as, a free space for the residents of the city. The park includes a new land mark to the city, The granite walls of Aberdeen. The walls are a representation of the famous granite material and its significance to the history. The granite walls also act as an eye catcher to the visitors of Union Street directing them towards the park along with the greenery added to the Bon Accord Crescent making it a one way road.
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[117]
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[119]
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[121]
H E R I T A G E Aberdeen is a city with a rich history. The city is divided into four sectors; the most historical up north, the night life to the west, the new waterfront development to the east and the oil and fishing industries to the south. To further understand the identity of the space we mapped out the most historical venues in the city using the red in the images. The city has a direct access to the water, with very distinct weather conditions. The map to the right represents the historical shifts through the layering of old and recent maps. Within the city are islands consisting of important venues that have sustained the identity of the city over years of layering.
[Detail] Heritage map.
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[123]
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[125]
O P P O R T U N I T Y In every city there are problems and issues the city council and the residents would like to change. Throughout time the City of Aberdeen has had some concerns relating to society, including the need for a public open space when dealing with severe weather conditions, and a landmark that speaks about the importance of the granite industry in Aberdeen. Aberdeen has a very important history, being one of the main cities in the oil industry today brings a number of visitors and residents from all around the world. The opportunity map which was created is a layered understanding of the Heritage and the Social capitol maps. The social capital analysis highlighted popular venues that allowed us to trace areas with high potential for new and fresh ideas within the city. The red form is our prediction of the most opportunistic areas in the city.
[Detail] Opportunity map.
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[127]
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[129]
Our site is the Bon Accord Terrace garden located in the south west portion of the opportunity form map which created. The site is of great significance to the city and residents as it becomes the medium between the retail, office and residential zones. Being in the center, where all zones meet gave us rich opportunities for our program choice. We decided to maintain the main purpose of the park by adding a cultural center, a granite landmark and articulating the landscape around it. We decided to create a gradual descend using wide steps from the retail and office industry to the residential areas. The layering of steps in the landscape has created opportunities for people to sit out and increased the natural surveillance in the area.
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[131]
[Street Articulation] Cross sectional drawing.
[Community center, landmark + bridge relationship to levels] Longitudinal sectional drawing.
[Relationship between community garden + landmark] Longitudinal sectional drawing.
[Progression from street to park] Longitudinal sectional drawing.
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[133]
[Rooftop] Exterior rendering.
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[135]
[Park + community garden] Exterior rendering.
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[137]
[Cultural Center] Interior rendering.
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[139]
The Invisible Bridge| Independent Study ............................................................................................................
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Nancy Sanders | Spring 2015
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[141]
Wireman of Philadelphia sketches.
THE INVISIBLE B R I D G E ......................................................
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P R O J E C T
During this independent study, I have studied the wall in Palestine and its impact on the people and the land. I have decided to start looking at the situation in an inverse manner, the wall becoming the connection rather than the separation. The negative becoming the positive and the positive changing into the negative. I believe by starting to observe experiences in an inverse manner I am going to develop a better understanding of what happens on both sides of the wall in Palestine. In the model below I used the glass (transparent) part to portray the wall and the solid (dense) wood to portray either sides of the country, taking the focus away from the negativity and trying to see through the wall.
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[143]
Maps of destruction.
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[145]
Starting with this early thesis my intention was to create a bridge connecting the west bank to gaza. Later on during the process i have realized the separation is more than just a wall, a barrier or a fence. The separation has developed its own mindset discriminating between the citizens. To the left are a couple of maps i created to portray the blockage around Palestine. I believe that the destruction is as equally hopeless on the outside as it is on the inside. The blockage from Jordan and the Mediterranean sea , the ongoing wars in Lebanon, Syria and Iraq, and the injustice from Egypt all surrounding a country calling for justice and peace.
After experimenting with the wall and thinking of ways to make it more interactive i drifted towards the checkpoints in palestine. The checkpoints are daily parts of a palestinian citizen’s life. Imagine having to schedule the hours you are going to be stopped for no reason every day. Imagine little kids being late to schools because the checkpoints were busy. Imagine the pregnant woman having to give birth at the checkpoint because the eighteen year old soldier does not feel like pressing the open button. The checkpoints are a major part of the palestinian conflict and from this point i will be developing the checkpoints to make them beneficial and less hectic for palestinians. As a start, i picked four permanent checkpoints in the west bank and linked them to interventions that can help make the checkpoints an interactive and communicative point within the community. To the right is a map with the location of the four checkpoints i have picked to analyze; qalandia, hizma, gilo and shuhada.
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[147]
In the late 1980’s when Palestinians where forced out of their homes, they were given tents by the United Nations and told they were only going to be there for a couple of days. Today these tents are refugee camps and the couple of days extended to 70 years. Inspired by the tents I decided to create a structure that holds the canvas material and shade the Palestinians while they wait at checkpoints. Through the structure there are opening on both ends to allow people to talk through the structure.
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[149]
Florida Landscape ............................................................................................................
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Nancy Sanders | Summer 2015
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[151]
“Let there be spaces in your togetherness, and let the winds of the heavens dance between you…Sing and dance together and be joyous, but let each one of you be alone, Even as the strings of a lute are alone though they quiver with the same music… And stand together, yet not too near together: For the pillars of the temple stand apart, and the oak tree and the cypress grow not in each other’s shadow”. -Khalil Gibran
THE R E F L E C T I V E VOID ......................................................
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Weeki Wachee has been known as one of the oldest and most unique roadside attractions in Florida. For more than 60 years Weeki Wachee Springs State Park has entertained generations from all over the world and is famously known for its underwater mermaid show in the clear spring waters. Weeki Wachee spring outlets into the large pool used for the submerged mermaid show. The spring is around 45ft deep near the vent in the middle of the pool. The spring water is clear and light greenish blue, allowing visitors to observe natural aquatic grasses and the filamentous algae covering the majority of the spring bottom. The Weeki Wachee River travels approximately five miles into the Gulf of Mexico, where my journey started.
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Final Map
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[155]
Loading the boating and taking off at the Gulf of Mexico towards the Weeki Wachee River I was interested in exploring the above and below conditions of the river. I have always been curious about the connection between what takes places underneath and above the surface of the water. Before starting my research on this topic I would see the surface of the water as a mirror. However, I never understood how the layers of the Earth function in a cycle. I have found that driving the boat upstream with my friend was a more exciting experience than just flowing downstream on a kayak, it felt like a layer was removed from the surface and we were able to observe the underneath more closely. Discovering the river underneath the beautiful shades of Cypress, oak and Florida’s distinctive Palm trees I was fascinated by the spatial experiences created under the natural shades. During our trip I have noticed several spaces where people paused and gathered to enjoy a swim, lay under the shade, or jump and swing from a tree. At that moment I have realized the role of the trees framing the river and started to link their performance to the above and below conditions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
[157]
To portray my understanding of the role of the tree’s below, above and at the surface level of the water I have created a set of diagrams relating the height of the canopy to the spaces created underneath. The lighter the shade the taller the space created between the canopy and the surface of the water.
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[159]
I have created a map that is generated by the reflection of a canopy on the Weeki Wachee River. Through the reflection of the tree in the map I express the above and below experiences of the tree and its connection to the water and sky. Generated from the branches in the reflected image is the map of the Weeki Wachee River, articulating the beautiful shaded experiences I have had on my trip. From the reflection of the tree is a new whole experience for the inhabitants of the river to appreciate. Everything in nature happens for a reason to benefit another element in the cycle. It is extremely significant for us to understand our role in this cycle and help lessen the amount of contaminants we are discarding into rivers.
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[161]
To my father, Thank you for making all of this possible. Thank you for believing in me.
I love you, Abouy!!
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[163]
OILOFTROP NGISED DECNAVDA
TAKARAB LALEH ALAH 6 1 0 2 | 5 1 0 2