architecture school portfolio

Progress/Process

MOHAMEDBENSASIWOODBURY UNIVERSITY SCHOOL OF ARCHITECTURE FALL 2009 - SPRING 2013

TABLE OF CONTENT

Natural TendenciesMaterials & Methods

Fashion & SpaceSite Orders

House & HousingDrawings & Graphics

PhotographyShells & Structures

14 - 2728 - 3738 - 6768 - 8788 - 125126 - 141142 - 149152 - 163

This is dedicated to my parents, without them none of this would be possible.

“ Design is an expression of the purpose, and it may (if it is good enough) later be judged as art; design depends largely on constraints and it is a method of action (there are always constraints and these usually include ethic).” Charles Eames

11

Natural Tendencies 14

Henri Matisse in his apartment in Nice, late 1910s

15

Instructors

Mike Mcdonald

1B

The AbyssThe activity that is going to be practiced in the space is painting, ZWLJPÄJHSS`�^VTLU�WVY[YHP[��;OPZ�activity would require a pas-sionate curiosity to the women’s physical details, and a good source of light. Steven Holl ideas of using light and Anasazi’s use of solar ordination in the cliff dwell-ings inspired my concept to use light as an organizational factor. The concept is to bring natural light into the space by creating a roof supported by steel columns. This roof structure is made out of two facets. The west facet works HZ�H�SPNO[�YLÅLJ[VY�H[�HU�HUNSL�facing the east facet that bends and folds into certain angles to bounce the light into the space. The steel structure is used to con-nect the two facets and allows certain amount of sun into the space. Based on the sun orienta-tion over the year, the shades will vary due to the steel columns to offer the painter several locations for the model to stand.

Spring / 2010

16

Site Mind the gap

Site / Environment(sun/moon/view)

Ancient Pueblo/Peoples Mesa Verde

Fire

Steven Holl

Twisting & Folding

Female-Portrait Painting

Project Topic

Non-Western Culture

Element

Mentor

Methodology

Human Tendency

18

FLoor Plan

Long Section

0 ft

0 ft

12 ft

9 ft

19

Instructors

Louis Molina

1B

The TowerBy collecting all a set of research components to create a space lofted on an inclined slop in where the activity of painting would take place. Fusing was my be my leading methodology of the structure which symbolizes the connection between artist and the model, plus the sub-stance bonding of my element water. In addition, Rojkind Arqui-tectos technique of controlling light will guide the structure of the space in a relation to the water chemical structure and notion of shifting light, time and climate. As a result, the act of female portrait painting would be beyond the ini-tial idea of simply painting wom-en, but rather the act of much passionate painting.

Spring / 2010

22

Site Sloped

Site / Environment(sun/moon/view)

Teotihuacan

Water

Rojkind Arquitectos

Carving Out/ Contour

Female-Portrait Painting

Project Topic

Non-Western Culture

Element

Mentor

Methodology

Human Tendency

24

section

Floor Plan

Cross Section

12 ft

12 ft

0 ft

0 ft

25

Materials & Methods28

Instructors

Eric Olsen

Precedent Study:

PradaTokyoWithin the precedent study, one notices the use of the luminous glass facades used on the building. The indi-vidual modules of glass are supported by the a gridded steel structure that acts as the building’s skin when com-bined. The area of interest oc-curs when studying the glass modules and the relationship to the gridded structure itself. The individual glass modules are all convex and concave planar forms, ultimately creating an illusion trough the glass, designed to enhance the subject’s shopping experi-ence.

Fall / 2010

30

The Challenge was to emulate an assigned building component into the physical construction of a model installation on campus. This was a teamproject and our building restrictions were to use the material assigned (Steel & Glass). The project boundary was 3’x3’x3’. We drew our inspiration from the gridded steel structure of the Prada Tokyo. Our design goal was to highlight the I-Beam connections along with the glass integruation within the struc-ture.

Small Scale Study Model

Cross Section

32

Plan Cut

Glass Manipulation

;OL�WYHKH�Å�HNZOPW�I\PSKPUN»Z�main components is seen on the exterior structural skin. The skin is composed of melted glass, held together with steel beams in a grid-ded diamond pattern. With the materials glass being melted, the skin plays a large part within the occupant’s experience of the space it self. The glass steel skin allows passers by the ability to see not only inside the building, but the appropriate construction methods that OVSK�[OL�Å�VVY�ZSHIZ�HUK�ZRPU�together. The rhomboid glaz-ing elements are both con-vex and concave throughout the building, causing vision to be varied by the viewers.

Material

Steel I-Beams

Foam

Plaster

Silicon

I-Beam Structure Glass & Steel Connection

33

Plaster Finish Foam Cover

I-Beam MembersGlass

34

Fashion & Space38

GarmentAnalysis

2A

The studio focus was to in-vestigate how fashion struc-ture might be incorporated into architectural design. My assigned fashion designer Maurizio Galante, designed the Silk Wafer dress.

Maurizio Galante experimen-tation with unconventional elements correlates between the design process of fashion and evidently, architecture.

Through examining the gar-ment’s technique of making, I will be developing a pattern in how to create form for a par-ticular program.

Instructors

Christian StaynerFall / 2010

40

“Silk Wafer” Jacket by Maurizio Galante is made out of pleats of pearl gray organza silk rectangles are arranged into tiers, painstakingly hand-threaded and secured with hidden silicon inserts, creating a dramatic silhouette. The silk pieces appear like the folds of accordion bellows, emphasizing the natural movement of the form; a truly unique haute couture creation.

Pattern Investigation

42

Silk Wafer Elevation

43

Seperation of Parts Wire Structure Continuous Pleats

44

Paper Models Invesitgation

.1 .2 .3 .4

45

FashionPavilion

2A

The building is designed with two entries. The north entry gently opens up making the way for the models to access the makeup room. The second entry located in the south creates an inviting and a big opening that can be seen far away. This entry was designed to accommodate visitors. The forms that make the openings are oriented eastwards to invite as much sunlight as possible during the day. Moreover, the entries open up to the space ^P[O�OPNOLZ[�JPYJ\SH[PVU�[YHMÄJ�[V�H[[YHJ[�Z[\KLU[Z�HUK�[V�WYV]PKL�LUQV`HISL�views while people are passing by. The design of the building was inspired by Iris Van Herpen’s collection ‘Chemical Crows’. Just like the dress, the building takes a bird like forms. A system of folding was repeated through-out the structure in order to generate elegant and organic forms. Because the system of folding is complicated, the overall design was kept as simple as possible. The consistency of the lines over the building’s facade is the same as the consistency of the brass used in the garment. The narrow entry facing the fashion building leads to the makeup room. It was purposely made intimate and private in order to provide a comfortable place for the models to dress up. The gallery is made as open as possible to accommo-date and to attract as many people as possible. The line between public and private space is blurred giving a feeling that it is part of the whole cam-pus. The spaces created around the building due to its curved forms allow students to interact with the building. Due to its proximity to the library and the cafeteria the pavilion is a perfect place for students to gather and use the building itself as a space to interact. Therefore, this building is not only a pavilion designed to accommodate fashion students but also an enjoyable space that interacts with the whole campus.

Instructors

Christian StaynerFall / 2010

46

1,500SQ.FT

Fashion Schoolc

Galleryc

Facultyb

Changing Roomb

Architecture Schoola

Runway/Auditoriuma

Site

Direction

Occupation

Program

49

Site Plan0 ft 18 ft

50

Elevations

52

Cross Section0 ft 9 ft

53

Instructors

Christian Stayner

FashionInsitute

2A

The project was a con-tinuation of the designer garment challenge. The pattern studies taken to a furthur investiagtion along program stratigies that was the formal in-spiration for the Fashion Insitute.

Fall / 2010

56

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140’

90’

Generic Substract

Placing Public & Private spaces Rearanging by bigger to smaller

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Private Area

Studio Space 3,000

Seminar Space 1,000

Support 1800

Library 2,000

Retail 8,000

Events 3,000

Auditorium 6,000

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Fourth Floor0 ft 12 ft

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Structure & Skin Irritations

66

Site Orders68

Instructors

Lisa LittleSpring / 2011

The studio class focus was to investigate a site manipulation and site strategy regarding the JVUÄN\YH[PVU�VM�SHUKZJHWL�design. The class initial-ly began with intensive research on site, studying the precedent of the Zaha Hadid’s Landscape For-TH[PVU�WYVÄSPUN�[OL�JPYJ\-SH[PVU�HUK�WH[O^H`Z�ÅV^�through the landscape.

Precedent Study:

LandscapeFormationOne by Zaha Hadid

2B

70

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71

Form & Pathways Investigation

Axon Plan View

Mass RenderSections

72

A

B

Mass Render

Plan ViewAxon

Sections

73

Instructors

Lisa LittleSpring / 2011

We applied what we learned to a second investigation of Harper Dry Lake, the sister site for the Lyceum Compe-tition of the Bonneville Salt Flats. During this challenge we focused on site, investigating both quantitate and qualita-tive information such as wind direction, topography and the change of land texture to cre-ate an intuitive map to explore the opportunity for an appro-priate rest stop designed to minimize the harsh elements and maximize the natural ILULÄ[Z�VM�[OL�LSLTLU[Z��;OL�requirements included accom-modations for an information center, restrooms, hotel/hous-ing, campsites and cafe.

GlobalRest Stop

2B

The Lycuem Compettition

74

TopographyWind DirectionLand Texture

75

Site Plan0 ft 24 ft

77

Vehicles Circulation Pedestrians Circulation

Section AA0 ft 18 ft

78

Program Public to Private Water Pavements

79

Summer Sun

Winter Sun

Gain heat during day light Release heat during night time Water HarvestingAir Flow

Section BB0 ft 18 ft

80

Summer Sun

Winter Sun

Gain heat during day light Release heat during night time Water HarvestingAir Flow

81

1

9

9

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2

3

4

5

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7

6

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10

11

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88

88

.1 Landscape

.2 Estrance Hall

.3 Reception

.4 Cafe

.5 Lodges

.6 Adminstration

.7 Tech/Support

.8 W/C

.9 Framed Views

.10 Pathways

.11 Water Channels

Floor Plan0 ft 18 ft

82

Mass Model 83

Sectional Perspectives

84

House & Housing88

Instructors

Eric OlsonFall / 2011

The project site is located off Los Feliz in LA. The challaenge was to design 5 separate single family dwell-ings/studios that were attached to each other following certain rules and guides that we as a group have con-structed together as a form of design process.

SingleFamilyHousing

3A

90

SITE LOCATION

3843 Evans StreetLos Agneles, CA 90027

Assessor Parcel No. (APN): 5433024006Block: 25Lot: 8Zoning: R2-1XLGeneral Plan Land Use: ResidentialLot Size: 8448 SFNumber of Proposed Units: 5 UnitsAllowable Unit Foot Print: 946 SFAllowable Buidling Height: 33’ - 0”Allowable Unit Size: 1500 SF

92

33’

60’

Light Tunnle

170’

Lot Division

93

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Circulation

Formal Mass Study

Day light access

100

.1 Garage

.2 Living Room

.3 Kitchen

.4 Dining Area

.5 Bathroom

.6 Reading Area

.7 Bedroom

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Ground Floor First Floor

Third Floor

0 ft 12 ft

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Combined projects on the site106

Instructors

Eric OlsonFall / 2011

The design challenge was to create a secure apartment dweling that was located in a high volume tourist area in Los Angeles. The design require-ment was to ensure security from the crowds yet also take advantage of the attractionm the hollywood Sigh. The hous-ing complex design must in-clude 7 separate dwellings ranging from studos to two bedroom apartments.

MultiFamilyHousing

3AHOLLYWOOD

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Post-Cards studies exploring different typologies on the site

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20-39 YRS0-19 YRS

5.2%MALE 25.8% 17.4% 8.2%

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5.1%FEMALE 19.9% 12.8% 7.3%

RELATION/STATUS 34.6% 47% 12.3% 21.3%

MARRIED DIVORCED NEVER MARIED ROOMATES

EDU ACHIEVMENT 11% 5.3% 35.2% 19.7%

HIGHSCHOOL ASSOCIATE BACHELORS GRADUATE

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115

Mass model irritations

116

Form Investigation

117

PROGRAM EVOLUTION

20’ WIDE

STACKING BY TYPE REARANGING ELONGATED SHUFFINLING

140 LONG

Program Evolution

118

660

SITE PLAN1/8” = 1’

Site Plan0 ft 15 ft

119

GROUND LEVEL1/8” = 1’

Below Ground Level0 ft 12 ft

120

FIRST FLOOR1/8” = 1’

First Level0 ft 12 ft

121

SECOND FLOOR1/8” = 1’

Second Level0 ft 12 ft

122

Perspectival Section0 ft 9 ft

124

Drawings & Graphics126

FREE HAND FIGURE DRAWINGS

129

POSTERIZATION

132

WARM/COLD COLORS

136

SPATIAL INVESTIGATION THROUGH COLORINGS

139

UN NEES

The exhibition seeks images that celebrate the photographer’s eye, discovering beauty, banality, and the everyday; images that make the unseen visible through light, exposure and the photographic frame are desired.

THE UNSEENEXHIBITION POSTER

140

SHOOKLANE8CHRONIC MNCHER

CONTROL + ALT + DELIGHTPRESENTS

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(LIVE)

BUNKERNIGHTLIFE

SHOOK DUEBTSHOW IN LA POSTER

141

Shell & Structure150

Instructors

Maxi SpinaFall / 2013

Located in Marina Del Rey (at the Pier). The assignment was to de-sign a UCLA boathouse for the Row Team. The site is situated parallel to the water canal, the challenge was the long narrow and steep topogra-phy. The requirements were to de-sign a structure that accommodat-ed the public to accommodate the structure for boat race observation.

Shell investigation was applied at ÄYZ[� HZ� H� KLZPNU� WYVJLZZ� [V� SLHK�PU[V�H�ZWLJPÄJ�Z[Y\J[\YHS�HUK�KLZPNU�strategy. Through that, the design became interested in exploring the shell technique to enable the YVVM� [V� ÅV^� PU[V� [OL� ^HSSZ�� ^OPJO�Z\WWVY[LK� HU� LSL]H[LK� ÅVVY� ^P[O�connections support points in the steep landscape.

UCLABoatHouse

3B

152

TRIANGULARDIPYRAMID

OVERALL SHAPE OVERLAPING

1

2

154

RESULTED PATTERN OVERLAYING THE BOUNDING BOX

155

SKIN MODULES

156

Site Plan0 ft 18 ft

157


158

WORK IN PROGRESS ...