WALEEDALGHAMDI
2016 PORTFOLIO
I ARCHITECTURE
www.waleedalghamdi.com
Kufic is the oldest calligraphic form of the various Arabic scripts and consists of a modified form of the old Nabataean script . Kufic developed around the end of the 7th century in Kufa, Iraq, from which it takes its name. The emblem to the left is my name, Waleed Ahmed AlGhamdi, written in the Square Kufic script , contained in a perfect square.
S USTAI N AB I LI TY
A R CH ITECTUR E
G R A P H I C DE SI G N
Waleed AlGhamdi
work summary
computer skills
project types
core competencies
Assoc. AIA, LEED AP BD+C, MFBA Building Energy Modeling Energy Audits Energy Reduction Plans Billing Analysis
Architectural Design 3D Modeling Architectural Graphics Project Management
Graphic Design Desktop Publishing Branding Typography
Multifamily Residential K-12 Education Higher Education Commercial/Light Industrial
K-12 Education Office Civic and Municipal Commercial/Light Industrial
Posters, fliers, and brochures Packaging & identity Annual reports and RFQs Slide shows T-shirt design
eQuest EPA PM LEED Online
AutoCAD FormZ 3D SketchUP Revit
Energy Analyst
Architectural Designer
Karpman Consulting, Glastonbury, CT (Dec 2012 – Present)
Bechtel Inc., Jubail, Saudi Arabia (July 2007 – June 2008)
Associate Energy Analyst
Architectural Designer
Karpman Consulting, Glastonbury, CT (Nov 2011 – Nov 2012)
Hamdan Consulting Office, Khobar, Saudi Arabia (Apr 2007-July 2007)
Photoshop Illustrator InDesign MS Office
Freelance Graphic Designer Hartford, CT (Aug 2008 – Present)
Graphic Designer KFUPM Printing Press, Dhahran, Saudi Arabia (Jan 01 – Dec 06)
education
Master of Architecture, 2011, University of Hartford, West Hartford, CT Bachelor of Architecture, 2007, King Fahad University of Petroleum and Minerals, Dhahran, Saudi Arabia
waleed@waleedalghamdi.com linkedin.com/in/waleedag 860-656-8317
Center for South Asian Studies, v University Montreal, Canada This is a second year graduate school project for the Non-Western Architecture design studio. The assignment included visiting a site outside the USA. For this project, a site on the campus of the University of McGill in Montreal, Canada, was chosen. The intent behind the project was to expose students to architectural traditions different than those found in the West. The assignment was to design a South Asian/Indian Studies Center. The program asked for classrooms, faculty offices, bookstore, library, gallery, lecture hall, greenhouse, and support rooms. The design was faced with a few challenges, including a steep drop in elevation from back to front, and have the site on three different streets despite it’s small size. The design approach started with a section to maximize the amount of natural light coming into the building from the south, while addressing the main street with the appropriate scale given its the site’s urban context. The result was a five-floor tower facing the main street (north) with a large glass atrium facing the campus (south), attached to a two-floor annex on the campus side. The facade treatment for the tower is inspired by Minar Qutub, an ancient landmark of the sub-continent. The Southern side of the building features a plaza on the second floor with a water fountain, as well as a greenhouse on the third floor. The arrangement of the outdoor spaces are inspired by the South Asian multi-level garden designs and are connected with stairs. The building is accessed from all three streets, with the campus side access on the second floor.
de v el o p m ent
P arti
B uilding L ayers
inspirati o n : ele m ents o f s o uth asian architecture
S o lid / v o id f acade
S creen S yste m s A prominent feature of this project is the system of glazing screens utilized on each facade. On the north, east, and west facades of the tower, a double layered aluminum screen shades the glazing of each side of a bevel facing south, while keeping the glazing clear on each side of the bevel facing north. The screens come in silver, gold, and graphite and take their shape from traditional arabesque patterns of window screens in the subcontinent, reinforcing the image of Minar Qutub, the inspiration behind the tower design.
glazing 2nd screen
graphite
silver
Inner Pattern
1st screen outer Pattern
On the south facade and covering the building high glass atrium is a more porous metal gold mesh that helps break the direct sunlight in the summer while letting in as mush natural light as possible in the winter. The mesh is an homage to the sails on the traditional Indian fishing boats or dhows, taking precedent from the building De Baljurk, Den Haag, Netherlands by Eric Vreedenburgh
silver
n o rtheast ele v ati o n
Gold
graphite
glazing glazing pins screen frame mesh screen
s o uthwest ele v ati o n secti o n A A
mystery box lost dots
This project was a week long design charrette for the vertical studio project at KFUPM. The assignment was to design a 3 meter by 3 meter by 3 meter exhibit booth for the College of Environmental Design (of which the Department of Architecture is part of) for the department to use for recruitment and job fairs. This design ended up winning for place in the college wide competition for the best booth. The design is a simple black box with bright colored interiors
lego construction primary structure secondary structure
Dhahran, Saudi Arabia
assembly joint
ced mystery box Exhibit Booth
and slits through the wall, a design statement intended to develop a sense of intrigue and curiosity for passers-by and attract them to visit the booth. The “Lost Dots�, which stand for the initials of the college, are meant to increase that sense and get visitors to ask questions. The design was meant to be bold but compact and easy to disassemble to pack. The structure is composed of a primary and secondary metal frame, and a special screw connection was developed to connect all the pieces together.
secti o n
plan
interi o r v iew
e x teri o r v iew
ele v ati o n , right
ele v ati o n , le f t
ele v ati o n , bac k
ele v ati o n , Fr o nt
daylighting park river Hartford, CT
Daylighting Park River was a multiphase project part of the urban studio at the University of Hartford. It included historical research, data collection and analysis, precedent research, design alternatives for daylighting the river and a master plan for the entire south downtown district, and a detail design of a three block part of the master plan.
d o wnt o wn streets / bl o c k s
hart f o rd
The approach used for this design solution sought to minimize disruption to the river and uncover it in the same location it currently is. The master plan’s aim was to create a
f igure gr o und
more walkable neighborhood with narrow and straight streets and a strong definition for the street edge, while increasing population density by zoning most of the area as midrise residential. The plan also called for a large civic area with a sculpture garden and amphitheater overlooking the river, as well as a large plaza for regional events and fairs. The plan also introduce new commercial and civic buildings, as well as new vegetation, street furniture, and green areas
analysis civic heart needs development existing centers
be f o re
be f o re
park
expanded heart retail
a f ter
a f ter
parti
residential office/civic
secti o n aa
secti o n bb
secti o n cc
summer: open gallery
winter: skating rink
fall: farmer’s Market
spring: Hartford festival
design alternati v es The three blocks chosen for detailed design include a food court and office suites, in addition to the civic heart of the project which is the plaza-amphitheater-sculpture garden in the center of the plan. In the following spread, further street sections and access studies show the different facets of this new vision for the south end of Downtown Hartford.
anch o ring diagra m business district residential district civic district park/plaza anchor building
access diagra m pedestrian traffic vehicular traffic anchor building existing blocks
3 - bl o c k de v el o p m ent plan
I ntersecti o n plan
S ecti o n E E
summer
S ecti o n D D
Noon
4pm
winter
9am
shad o w study
ele v ati o n , east
ele v ati o n , s o uth interi o r
side access S tudy f irst f l o o r plan open, accessible
semi-open, inaccessible
semi-open, accessible
gr o und f l o o r plan
ele v ati o n , s o uth street
DYmotion: an Art Installation Hartford, CT
1.8 inch square wooden planks glued and stapled in a radial configuration around the center at 2° intervals, for a total of 20 planks
7 feet
Ping-pong (table tennis) balls held in place by fishing rod strings at various heights from the wooden platform base, for a total of 100 balls
t
ee 3f
t
ee 3f
Translucent fishing rod strings suspended from a wooden platform
This art installation was designed for an assignment in a media arts class at the University of Hartford Art School. The sculpture is composed of three different parts/materials, & is suspended from the ceiling in order to be properly displayed. The first part is a group of wooden members (squared profile bars), that are connected closely to each other (glued and stapled) in a manner that depicts the dynamism of a wave or motion. From the wooden panel, a grid of fishing lines is suspended, equally & densely spaced; glued to the wood. At the end of each string will be a ping pong ball & painted in a gradient of colors. These balls are suspended at different heights/ distances from the wooden panel based on its location on the grid. The geometry of the “plane� created by the balls also depicts the dynamism of waves/motion, & would either mimic, comple-
ment, or oppose that of the wooden panel. An accompanying video loop is projected through the transparent fishing lines & on a wall next to the sculpture. The loop displays imagery appropriated from the different sources that relates to the nature of the sculpture (ocean waves, flocks of starling birds, etc). This installation piece is firmly grounded on the concept of wave patterns, especially conflicting waves such as the ones found in echoes. Our sculpture has two elements that represent conflicting waves when in motion, but are frozen in time. The wood planks act as one wave, which follows its own pattern, and the hanging ping pong balls create another wave that runs a completely separate course from the previous one. Knowing that wave structures can be found in nature helped to bring us to the third element of the installation.
Whitney Museum Expansion New York, NY
This project was part of the first design studio of my masters. The assignment was to design an expansion to The Whitney Museum in New York City. The architectural program was composed mostly of exhibit space, in addition to a new entrance and lobby, cafe, conference room, VIP lounge, bookstore, and some support spaces. The expansion was designed to sit in the background and give the original building -designed by Marcel Breuer- be itself and stand out without competition. However, the building gets more expressive on the southern facade where competition with the original building is no longer an issue.
relati o nship diagra m s
M o ther
child
f ather One of the main features of this design is the concept of “the third gallery”, a gallery space that connects the original building to the expansion, giving life to the new building like an umbilical chord connects a mother to her child. This gallery jets out of the curtain wall of the south facade, reminiscent of a body’s naval. The inspiration for the southern facade treatment is Zaha Hadid’s Contemporary Art’s Center in Cincinnati, Ohio.
Massing / ele v ati o n studies
1st floor plan: lobby
n o rthern ele v ati o n
western ele v ati o n
3d view
4th floor plan: 3rd gallery
The Green Mosque Montreal, Canada
This project was assigned as part of the Non-Western Architecture design studio in the second year master of architecture program. The assignment was to design an Islamic Center, including a mosque, in Montreal, Canada. The program included men and women prayer spaces, classrooms, a community room, a library, a daycare, and support rooms. The site was located in a medium density urban area park just outside downtown Montreal. The concept behind the design was to maintain as much of the park’s green space as possible, while allowing park visitors to
parti
experience the building without actually being in the building. The roof of the building mimics a part of the earth’s crust peeled off and a prayer space emerging beneath it. Transparency was a key feature of the building, especially in light of the fearful and Islamophobic environment of the time. Sustainability was at the heart of the project, from the green roof, to the wind turbine minarets, to the ample natural light and roof solar panels, to providing access to public transportation and bicycle racks, and the list goes on.
c o ncept
interi o r v iew A key issue that was addressed in this design was the location and relationship between men and women prayer halls, as well as access to them. Equality in experiencing the building and the prayer services while maintaining traditions and religious requirements was achieved by designing a single space for both user groups and assigning the back to women and the front to men, only distinguishable by the pattern on the carpet.
site plan
aerial v iew
f l o o r plan
aerial v iew
eastern ele v ati o n
s o uthern ele v ati o n f acade studies
western ele v ati o n
l o ngitudinal secti o n
leed plan Another important issue that was addressed in this mosque was designing the building with every age group of community in mind. For babies and toddlers, a daycare was provided, for older children, a small playground immediately adjacent and visually connected to the prayer hall and easily accessible from the women’s entrance was provided. The playground was located on the nieghborhood side of the site instead of the street side to protect them from accidentally wandering into the street. For adolescents and young adults, a plaza on the opposite side of the prayer hall was provided, which also serves community functions when weather permits. In addition to all these community spaces, and in addition to maintaining as much open space as possible, a community market space was provided near the main entrance for vendors and farmers to sell on Fridays, a common practice at mosques throughout the world.
cr o ss secti o n
Qatif Urban study and intervention plan
urban pattern
streets/nodes
Qatif, Saudi Arabia l o cati o n
This urban study and intervention plan was conducted over the course of an entire semester in my senior year at KFUPM. The target of the study was Qatif, a city on the east coast of Saudi Arabia that dates back to antiquity. Today, the city is in despair due to a multitude of economic, social, political, and religious problems. An old city with a strong and proud character, it’s image is fading away, and its residents are trying to cope with changing times.
organic blocks
cul de sacs
The project started with historical research including precedent research, then field data collection and processing, then urban analysis and identifying problems, then finally developing alternatives for a comprehensive intervention plan. The second part of the semester was dedicated to taking one the proposed urban infill projects and designing it.
height
land use
c o nditi o ns
Material
o ld q ati f
identi f ied issues
inter v enti o n plan
1. Insufficient Youth Facilities. Undeveloped Soccer Fields 2. Desertification, abandoning farms and selling its lands for real estate development 3. Lack of a School and civic institutions 4. Traffic regulatory problems in old neighborhoods. Diminishing old social life aspects 5. Mixed-use land problems and security issues in Mayas 6. Unprepared places for traditional merchants 7. Underdeveloped open space 8. The loss of most of the Qalaah heritage 9. High traffic in commercial routes. Pedestrian Hazard due to poor street design
The plan is a response to social concerns, and intends to revive the old rich social and street life by developing existing open spaces and introducing new ones, and encouraging traditional coffee shops to develop by zoning regulations. The projects proposed in this plan are: 1. Qatif Charity Foundation Plaza 2. Youth Square and sports facilities 3. Developing the Al-Qalaah Area, introducing an amphitheater 4. Localizing merchants of Souq Waqif 5. Old Neighborhood Cafe Plaza 6. Pedestrian Roads to commercial areas crossing through old neighborhoods. 7. Development of Souq Mayas, introducing open spaces & greenery
street heirarchy
organic pattern
o pen spaces configuration
approach
character
scale
grid pattern
tarajji youth center Qatif, Saudi Arabia This project composed to the second part of the urban study of the city of Qatif: designing a detailed master plan for a problem area and fully designing one of the proposed buildings in the area, in addition to selecting one of the streets around the area and redesigning the existing facade. The proposed project was Tarajji Youth Square, which included in addition to a plaza, a sports and cultural club, an arcade and video game hall, a cafe and restaurant promenade, an artist studio complex, and an art gallery. The building to be designed was Tarajji Sports and Cultural Club, an existing institution with debilitating facilities. The architectural program for the club included a 300 seat theater, media rooms, cafe and dining hall, indoor and outdoor sports facilities, in addition to a large lobby with “cultural nooks and crannies�.
parti
m aster plan
Fl o o o r P lan
E le v ati o ns
f acade D e v el o p m ent
The style of the entire project, including the club, all buildings on the square, and the facade development, is derived from the vernacular architecture of the city, with it’s distinctive 3 bay windows, pointed arches, and plaster finish. The traditional wind towers or “Barajeel” were repurposed as skylights. Tensile shading elements provide shade for the cafe and restaurant promenade reminiscent of the old alleyways of Qatif City.
Al Falah School Complex Khobar, Saudi Arabia Al Falah School Complex is my capstone project at KFUPM. The ambitious architectural program included designing a school complex with an elementary school, intermediate school, and high school, complete with a cafe, gymnasium, auditorium, open spaces, amphitheater, and faculty parking. The school is a private school with grades 1 through 12. The total square foot area for all spaces is 230,000 SF. The mission objective for the capstone was to create an educational-social facility that accommodates students from KG to high school in an environment that creates a feeling of belonging and loyalty, and to encourage student group work and non-class activity. The facility should also function as a social activity and awareness center for the city. The school incorporated several new trends in school architecture including the L-shaped classroom, outdoor classrooms, extended learning areas, cluster collaborative learning areas, and the school as a third place.
site plan
alternati v e b
B ubble D iagra m s The Academic House The idea is to reinforce the small community formed by teachers & students.
music
complex level
intermediate and secondary school
elementary school
art
Each cluster represents a school within the mother school. Each house has a group of common facilities dedicated to it such as science labs, lockers, and team work areas.
media Classroom Cluster
Traditional Architecture Creating an architectural image inspired by local architectural traditions and a contemporary interpretation. This will foster an identity loyal to the local culture but open to modern trends in education
Learning as a Social Process Learning, especially in this age, could not be successful in isolation from the social life a school provides. Socializiong helps in developiong skills other than typical school curriculums, which are vital for succeeding in other education levels.
admin
cafe
music
art
Classroom Cluster
SCHOOL COMPLEX
Belonging, Identity, Loyalty
School as a Community Hub
Each cluster should carry its own identity in terms of color, texture & elements. Excitment in moving from one year to the next.
Classroom Cluster
media
Vertical elements should be introduced on the school scale. labs
cafe
AL FALAH
Creating Educational Families
& COMMUNITY CENTER
The school should act as a center of the community, meaning that it should house various social activities. Schools should be a preferred destination for the family’s recreation in the evening. Schools are places of knowledge for all age groups providing continuous education
Diverse Opportunities of Learning
Experiential Learning Making use out of outdoor class areas in teaching students basics of science, behavior along with games in math. This interaction with nature will develop the senses of students and inspire them in expressing their feelings and fears.
labs
admin
admin
Elementary School 5929m2
Intermediate & secondarySchool 6841m2 Cpmmunity Center 1365m2
Gym 1620m2
L-SHaped Classroom Layout
Natural Light in Classrooms
Window Shading Configurations
alternati v e c
gr o und f l o o r plan
intermediate school entrance
intermediate school outdoor class area
f irst f l o o r plan
Secondary School Entrance
interi o r western ele v ati o n
S o uthern E le v ati o n
interi o r eastern ele v ati o n
western ele v ati o n
Architectural Presentation Boards Hartford, CT
Hand Sketches Various Media
Rejal Almaa Village, Aseer Province, Saudi Arabia
St. Patrick St. Anthony Church, Hartford, CT
Ink and Water Color on Paper
Pencil on Paper
Pratt Street, Hartford, CT Pencil on Paper
Hand Sketches Various Media
Old State House, Hartford, CT Pencil on Paper
Window, Rejal Almaa, Saudi Arabia
Window, Abha, Saudi Arabia
Ink and Water Color on Paper
Ink and Water Colors on Paper
Hand Sketches Various Media
Windows from Qatif, Saudi Arabia
Qatif Architecture, Saudi Arabia
Ink and Markers on Trace Paper
Ink and Markers on Trace Paper
For my por tfolio of graphic design, please visit: w w w.waleedalghamdi.com email: waleed@waleedalghamdi.com linkedin: w w w.linkedin.com/in/waleedag
WALEEDALGHAMDI
2016 PORTFOLIO I GRAPHIC DESIGN www.waleedalghamdi.com
Kufic is the oldest calligraphic form of the various Arabic scripts and consists of a modified form of the old Nabataean script . Kufic developed around the end of the 7th century in Kufa, Iraq, from which it takes its name. The emblem to the left is my name, Waleed Ahmed AlGhamdi, written in the Square Kufic script , contained in a perfect square.
S USTAI N AB I LI TY
A R CH ITECTUR E
G R A P H I C DE SI G N
Waleed AlGhamdi
work summary
computer skills
project types
core competencies
Assoc. AIA, LEED AP BD+C, MFBA Building Energy Modeling Energy Audits Energy Reduction Plans Billing Analysis
Architectural Design 3D Modeling Architectural Graphics Project Management
Graphic Design Desktop Publishing Branding Typography
Multifamily Residential K-12 Education Higher Education Commercial/Light Industrial
K-12 Education Office Civic and Municipal Commercial/Light Industrial
Posters, fliers, and brochures Packaging & identity Annual reports and RFQs Slide shows T-shirt design
eQuest EPA PM LEED Online
AutoCAD FormZ 3D SketchUP Revit
Energy Analyst
Architectural Designer
Karpman Consulting, Glastonbury, CT (Dec 2012 – Present)
Bechtel Inc., Jubail, Saudi Arabia (July 2007 – June 2008)
Associate Energy Analyst
Architectural Designer
Karpman Consulting, Glastonbury, CT (Nov 2011 – Nov 2012)
Hamdan Consulting Office, Khobar, Saudi Arabia (Apr 2007-July 2007)
Photoshop Illustrator InDesign MS Office
Freelance Graphic Designer Hartford, CT (Aug 2008 – Present)
Graphic Designer KFUPM Printing Press, Dhahran, Saudi Arabia (Jan 01 – Dec 06)
education
Master of Architecture, 2011, University of Hartford, West Hartford, CT Bachelor of Architecture, 2007, King Fahad University of Petroleum and Minerals, Dhahran, Saudi Arabia
waleed@waleedalghamdi.com linkedin.com/in/waleedag 860-656-8317
GAHWAH arabian coffeeshop Project Type: Brand Identity, Packaging, & Photography Far Left: Logo Center: Mood Board, Client Imagery. These are the set of images that inspired the design Right: Coffee disposable paper cups, alternative #1, one with paper sleeve, one without
y x/4
25% clearance, all sides
x/4
x
x/4
x/4
Typeface - Primary: Picadilly abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz 1234567890
Minimum Screen Size 1.0 in
Typeface - Secondary: Levenim abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz 1234567890 abcdefghijklmnopqrstuvwxyz abcdefghijklmnopqrstuvwxyz 1234567890
Minimum Print Size 1.5 in
CMYK: 40, 90, 70, 50 RGB: 100, 30, 40
CMYK: 0, 90, 80, 0 RGB: 240, 65, 60
CMYK: 40, 50, 100, 25 RGB: 130, 100, 40
CMYK: 0, 20, 95, 0 RGB: 255, 200, 30
CMYK: 35, 70, 100, 30 RGB: 130, 75, 30
CMYK: 0, 45, 100, 0 RGB: 250, 160, 30
CMYK: 40, 75, 80, 60 RGB: 85, 40, 30
CMYK: 25, 65, 100, 15 RGB: 170, 100, 40
Technical information Far Left: Logo clearance on the top, typeface on the bottom Left: Early logo concepts on the top, minimum logo size for screen and print, and process colors for the logo and packaging Right, Bottom: Logo color combinations below Far Right: Store and office signage, including wall art/decor, colored street sign, black and white street sign, and office translucent wall sign
Left: Basic stationery package, including folder, envelope, letterhead, and business card Above: Dessert boxes, a dates version and a baked sweets version Right: Coffee disposable paper cups, alternative #2, coffee beans option on the left and cardamom option on the center and right
Left: Paper bag, two versions Bottom: Employee/barista uniform, including polo shirt and baseball cap GAHWAH was a graduate school exercise that was expanded later for the purpose of this portfolio. Arabian coffee is more than just a beverage, it’s a medium through which hospitality is expressed. In Arab tradition, there are many traditions and customs that inform the different varieties of coffee and it’s preparation. Serving coffee to guests is akin of a religious ritual, very structured, and very precise. A host expresses hospitality and warmth to his guests through the meticulous care he pays to prepping the fire, roasting the beans, grinding the cardamom and clove, garnishing with saffron, and even pouring and presenting the cup. Arabian coffee is spicy, aromatic, smooth, and light. It is one
of the age old traditions of an ancient land, a complete treat to all senses in an otherwise barren land. The logo design was designed to capture the essence of this complete experience. The warm colors resemble the different spices that go into making the Arabian coffee, which also reflects the traditional artwork of Arab craftsmanship. The ribbons convey the light and smooth qualities infused in the perfect cup. The emblem was designed to resemble a traditional Arabian coffee pot, with the typeface selected to be simple and subside to the background. All branding and packaging items were designed to highlight warm colors and imagery of Arabian coffee ingredients and accompanying traditional desserts.
Muslims Against Hunger Project Type: T-shirt Design Right: Final T-shirt Design Far Left: Alternate Color Schemes Left: Pictures of the team wearing the shirt (Š Nick Benson) This project was commissioned by MCCT and was for the design of a T-shirt for the Muslims Against Hunger team. The team participates in the annual Walk Against Hunger in Downtown Hartford organized by Food Share Inc. The design features 5 of grains, each with 7 seeds, a reference to a Quranic verse about giving and charity.
In The Footsteps of Abraham Project Type: Event Graphic Design Left: 11”x17” Event Poster Below: 4”x6” Event Postcard/Flier Right: Projector Screen Background Far Right: 4.25”x11” Event Program In the Footsteps of Abraham is the annual interfaith banquet organized and hosted by the Muslim Coalition of Connecticut (MCCT), and features speakers from the clergy of Judaism, Christianity, and Islam. The theme for
this particular year was “prayer”. The design features objects and architectural elements used for the call to prayer in the three religions. The Serif font and the color scheme, as well as the sepia and aging effects on the pictures create a sense of solemnity and history The next two pages feature posters for the same event from different years, highlighting different themes each year.
Working Together for Safer Communities Project Type: Event Graphic Design and Typography Left: 11”x17” Event Poster Below: 4”x6” Event Postcard/Flier Right: Enlarged Design Typography, with zoomin to various details. Working Together for Safer Communities was the theme for MCCT’s 2012 annual leadership banquet held in Hartford. The leadership banquet is MCCT’s initiative to highlight important topics that affect the local community and award the leaders actively engaged in them. The theme for this year was focused on law
enforcement and other security agencies, highlighting their work and recognizing their leaders, as well as community leaders who actively work and cooperate with them. The design was inspired by the shield of the police badge for the Hartford Police Department. The shield was created by placing the text of the banquet title, names of agencies, and values on the outlines of the shield, creating the illusion of the shield. Size and color of the text was manipulated to give a sense of depth for the graphic.
Left: 5.5”x 8.5” event booklet; inside 2-page spread, front cover, back cover, and cover spread Above: Projector Screen Background The booklet has 18 pages of event information, including statements from organizers, awardees’ biographies, and relevant news and articles about the banquet topic. The booklet is saddle-
stitched, and has a full-color cover and black and white interior pages. The projector screen background above is created to be displayed on giant projector display screens during the event when the projectors aren’t being used, completing the immersion into the theme of the banquet.
Connecticut Muslim Professionals Project Type: Logo Design Right: Primary Logo Below: Logo with full name, 3D wall mock-up Lower Right: Concept CTMP is a non-profit organization for Muslim professionals in the state of Connecticut focused on networking and community service. The design was inspired by an arabesque octagonal star. The outer ring represents the professional community. The star is tipped on it’s side to convey the dynamism of the community, and the warm bright colors reflect a sense of vibrancy and boldness.
+
=
Old Logo (by others)
Redesigned Logo
Indus Valley Cuisine Project Type: Logo Development, Product Photography, Brand Identity, Packaging, and Marketing Collateral Top Left: Old logo (by others) and new logo Bottom Left: Photographs of the product lineup, used on the can labels and other collateral Right: Extended stationery, branding Indus Valley Cuisine had a limited budget to work with, and was looking for a major brand overhaul. The brand’s previous brand identity did not reflect the image the company was looking for. The new logo maintained the main feature the company wanted: the typeface. The new logo features floral motifs inspired by the Indian subcontinent. The product lineup includes 5 different recipes,
The design of the can labels features a large and dominant photograph of each product, instantly distinguishing the products from other brands on any store shelf. The color scheme is inspired by the colors of the logo, and is designed to be subtle yet distinct in order to allow the product photograph to be prominent while other design elements and information stay in the background.
Eid Carnival Project Type: Event Graphic Design Left: 11”x17” Event Poster Below: 5’x2’ 3-Banner set of event title The Eid Carnival is an annual event held by the Muslim Coalition of Connecticut at Lake Compounce in Bristol, CT, to celebrate Eid al-Fitr, an annual Muslim Holiday. The holiday is usually marked by jovial activities, dressing up in new clothes, taking kids to play, and buying them
toys and candies. The holiday has a cheerful atmosphere, and is celebrated in all 5 habitable continents. I was trying to capture the upbeat and cheery feel of the holiday as well as the family and kid-friendly celebrations with the bright color scheme and the selection of fonts. The “dancing” letters were also meant to represent the gleeful nature of the event.
HOPE Project Type: Book Design HOPE: Hartford Organization for Peace and Empathy is my Master of Architecture thesis. The thesis explores the ability of architecture to contribute in the rehabilitation of violent extremists. These pages are examples of the different page types included in the 70+ page 11�x17� thesis book. As part of the book design, a typographic logo was designed and is featured on different pages and locations throughout the book. These examples include all graphic pages, all text pages, and a combination of the two, as well as examples of tables, graphs, maps, diagrams, architectural renderings, and photographs.
KFUPM 5th Gifted Program Project Type: Event Graphic Design Left: CD Label; ID Cards Right: 5’x2’ Weekly Program Banner; Bi-fold Brochure As part of the administrative team running and managing the KFUPM Annual Gifted Enrichment Program, I was assigned to design a comprehensive set of print material, including brochures, banners, booklets, labels, ID cards, and other stationery and collateral. The topic for this year was “Water and Electricity”, and the former inspired the design theme for the print material as well as the program’s website, which was designed by others. The light blue and light grey color scheme for the design was also inspired by the topic of the program, and derived from the signature imagery used throughout the design material. Following Page Spread: includes examples of the final report’s 24-page A4-size booklet. The examples include tables, graphs, and other graphics designed specifically for the booklet. Photography for the program was done by others.
KFUPM 3rd Gifted Program Project Type: Event Graphic Design Left: Media box Center: CD label Right: Final report cover page As part of the administrative team running and managing the KFUPM Annual Gifted Enrichment Program, I was assigned to design random items throughout the program, such as announcements, labels, and brochures. The items shown here are a sample of the items design for the program.
Although there were no upfront requirements or list of deliverables, as the program still had no sense of what its visual identity should look like, I tried to create a coherent image for most print material based on the limited information and budget available throughout the program.
KFUPM Press Projects Project Type: Event Poster Design
Mishkat Al-Nobowah Project Type: Event Poster and Booklet Design Left: Front and Back Cover of A4-size Booklet Right: 16.5”x7.5” Event Poster This KFUPM Press project was for the design of the poster and booklet for a student research competition about prophetic tradition. The title “Mishkat Al-Nobowah” translates to “Lantern Niche of Prophethood”, a reference to emanating light. The design features a translucent ceramic and glass lantern with floral motifs and Arabic calligraphy from the Sultan Qutuz Mosque of the Mamluki Period, a rich period for Islamic art. The lantern has an inscription on the rim of a Quranic verse that has the Arabic word for Lantern Niche from the Chapter of Light (Surat Al-Noor, 24:35). The verse reads “God is the Light of the heavens and the earth. The parable of His Light is as if there were a Niche and within it a Lamp: the Lamp enclosed in Glass.”
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