lila baghzouz design portfolio

LILA BAGHZOUZDESIGN PORTFOLIO

RESUME////////////////////

MUJI PAVILION ///////////////////////////////////////////////// VIA BARACCA OFFICE + RESIDENCE

//////////////////////////////////////////////////////THESIS WORK // THE CINEMATIC ESCAPE

///////////////////////////////////////////////VELLUM FURNITURE COMPETITION

//////////////////////////////////////VARIAN RANCH TREE HOUSE

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ACADEMIC WORK

DESIGN+BUILD

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INSERT COVER LETTER HERE

LILA BAGHZOUZ PH: 702 480 9148 E: [email protected]

RELATED EXPERIENCE

OTHER EXPERIENCE

SKILLS

HONORS +EXTRACURRICULAR

California Polytechnic State university > San luis obispo, CaArchitecture, B. Arch Spring 2010graduated with honors, Cum laudeSustainable Design supplement coursesFlorence, italy Study abroad Program 2008-2009

Vellum Furniture Competition > San luis obispo, CaFurniture Design + Builduse of CNC router and wood shop toolsSling Shelves > playful, user manipulation = bookshelvesW Table > simple, seamless form = coffee table

beyond Media architecture Festival > Florence, italyProduction InternJudging assistant for architecture video entriesReformatted video and picture fi les for event brochure

Varian Ranch Tree house Design + build > San luis obispo, CaDesigner + BuilderDesigned plans and constructed a low budget tree houseinvolved accounting, autoCad plans, and Form-z 3D modeling, daily site visits, craft and tool skills, and meeting with the client on a weekly basis

David McKee, architect > las Vegas, NVSummer Internused autoCad to design / draft plans, elevations, sections, detailsParticipated in site visits and measurementsResidential remodels & additionsRan errands at the building Department

brian owens Media > San luis obispo, CaVideographer + EditorCaptured wedding footage and audio with a Sony FX-1 and z1uEdited footage using Final Cut Pro - color correction, audio syncing, cutting between cameras

Magenta Publishing Company, Vista Magazine > Florence, italyJournalist + Graphic DesignerConducted interviews, attended events, wrote published articlesDesigned client’s published magazine ad

Fall 2005 -SPRiNg 2010

EDUCATION

Profi cient with PCs and Macs, adobe Creative Suite, adobe Premiere, adobe Dreamweaver, autoCad, Form-z, Rhino, Sketchup, and Microsoft offi ceFamiliar with adobe Flash, CSS, Revit, and Final Cut Prouse of fabrication tools, operation of a CNC machine with RhinoCamFurniture Design/buildStop Motion animation, knowledge of cameras and camcordersFilm production/editingSpeak and understand italian and French, intermediate levelKnowledge of plastic applications and processing

5th year Thesis Show CommitteeSelected for the 2008-2009 Florence Study abroad ProgramYearbook Committee for CSu Firenze, Spring 2009CSu Firenze Soccer Team, 2008-2009Finalist for the agC Scholarship, las Vegas, NV 2007Rewarded Cal Poly leadership Scholarship 2005

Fall 2009

SPRiNg 2009

SuMMER 2008

SuMMER 2007

MaY - auguST 2010

oCT 2008 - JuNE 2009

0101

Cal PolY, SaN luiS obiSPo / JiM DoERFlER STuDio / SPRiNg 2008

The pavilion provides a sensory experience for its users. one by one, each sense it called upon to recognize the the product’s qualities before it is fully revealed at the end of the experience.

The softly curved edges and mesh walls which house the pavilion’s speaker system are directly related to the represented Muji CD player.

The experience begins on the fi rst fl oor with a photo display of close-up details of the CD player. The users then access the second level where the reception area is as well as a perforated wall of speakers where music is heard from. The top level consists of the a walkway with lanyards hanging from above. When these are pulled, different types of music are activated and the user gets a feel for how he/she can control the product. Finally, the top fl oor is complete with listening stations where the users are able to see the product and use it.

in order to make the pavilion reusable and easy to set up, it is built out of light-weight polyeurethane foam modules which are coated with carbon fi ber.

Cal PolY, SaN luiS obiSPo / JiM DoERFlER STuDio / SPRiNg 2008

The pavilion provides a sensory experience for its users. one by one, each sense it called upon to recognize the the product’s qualities before it is fully revealed at the end of the experience.

The softly curved edges and mesh walls which house the pavilion’s speaker system are directly related to the represented Muji CD player.

The experience begins on the fi rst fl oor with a photo display of close-up details of the CD player. The users then access the second level where the reception area is as well as a perforated wall of speakers where music is heard from. The top level consists of the a walkway with lanyards hanging from above. When these are pulled, different types of music are activated and the user gets a feel for how he/she can control the product. Finally, the top fl oor is complete with listening stations where the users are able to see the product and use it.

in order to make the pavilion reusable and easy to set up, it is built out of light-weight polyeurethane foam modules which are coated with carbon fi ber.

MUJI PAVILIONCD PLAYER DESIGNED BY IDEO

baR / RECEPTioN aREa

FiRST FlooR ENTRY / PERFoRaTED auDio SKiN

ToP FlooR / liSTENiNg STaTioNS

lila baghzouz design portfolio MUJi pAVilion

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FiRST FlooR

SECoND FlooR

ThiRD FlooR

lila baghzouz design portfolio MUJi pAVilion

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1 DETAIL PHOTO DISPLAYS OF THE PRODUCT2 ELECTRICAL / STORAGE3 RECEPTION AREA4 INTERACTIVE LISTENING CENTER5 ENCLOSED LISTENING STATIONS

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residential

offi ce

5 VIA BARACCAOFFICE + RESIDENTIAL

LOCATIONFlorence, italy

DESCRIPTIONMixed - use building consisting of an architecture studio and a

single family residence

CONCEPTinternal intersection of offi ce

and residential spaces

This corner lot creates a point of intersection between the row of housing along Via baracca and the row of commercial buildings on the perpendicular street. The concept of the building is to intertwine the residence spaces and offi ce spaces internally without disrupting one or the other.

lila baghzouz design portfolio ViA BArACCA

Without the other, each is not able to structurally support itself since there are voids in very critical spaces. When together, the building becomes a single, stable unit that is able to support itself.

lila baghzouz design portfolio ViA BArACCA 07

The offi ce is a design studio complete with lobby, open studio space, meeting room, gallery, break room, and principal offi ce. The offi ce entry is along Via bastianelli. The residence is a single-family home with 3 bedrooms and 2 bathrooms with entry along the line of residences on Via baracca.

meeting room

bedroombedroombalcony

living room

kitchen/

dining

break room

lila baghzouz design portfolio ViA BArACCA

To ensure that the arrangement of fl oors and ceiling heights were suitable for each space and that the offi ce and residential spaces didn’t interfere with one another, this diagram was created as i drafted and set fl oor and ceiling placement. The marks on the right resemble steps throughout the offi ce and the left is for the residence. The middle channels have blocks in them when there is a fl oor/ceiling slab to account for. The diagram was a great success in making sure that the abstract interwining of spaces had practicality in consideration as well.

Residence living Room

offi ce gallery hall

offi ce Studios

Residence living Room

offi ce gallery hall

offi ce Studios

lila baghzouz design portfolio ViA BArACCA 09

The vertical, winding offi ce is a way to break away from the standard offi ce layout with predictable hallways and circulation. The circulation of this offi ce is dynamic and fi lled with steps that take you up a couple of steps, a half story, or up two stories to the next program space. The steps permeate the external wall at certain points and give employees a chance to step outside on their way to the studio or the cafeteria/kitchen.

With minimal opportunities to break away from the mundane environment, the individual’s surroundings appear to be patterns – repetitive and persistent to what is

normal. If architecture can evade its programmatic norms, refuges for escaping this reality and focusing past the obstructive foreground can be created where they are needed the most. By glorifying the success of cinema and its ability to temporarily remove us from what is actuality, architecture can be used to emulate the cinematic escape.

THE CINEMATIC ESCAPE5TH YEAR THESIS

lila baghzouz design portfolio tHe CineMAtiC esCApe

C a l i f o r n i a P o l y t e c h n i c S t a t e U n i v e r s i t y

D o u g J a c k s o n T h e s i s S t u d i o

0 9 . 2 0 0 9 - 0 6 . 2 0 1 0

st george alley

san francisco, ca

above the low rise buildings

underneath the 80 freeway

empty lots

In the case of the cinematic escape, the first regard is of the actual movie theater experience. Here, the viewer steps out of their reality and ends up in a place and time that has no footholds in the present. The routine of watching the film is the only connection of the viewer’s reality (his/her time and place) to the scattered events that make up the film. A movie’s place in time is solely relevant to the moments that it is captured by the camera during shooting.

The cinematic escape encompasses the detachment from the viewer’s current time and place, finding an alternative, and entry into the alternative. The use of the word “escape” connotes a haven or refuge and therefore, it takes the viewer into a more desirable state of mind. Inside the theater, focus is no longer on the self and the individual’s place in the world. Form here on, the viewer is separated from his/her reality.

< Applying this observation to the perception of architecture begins with the noticeable detachment that people (specifically city pedestrians) have from their surrounding environment >

It is understandable due to the repetitive branding and corporate “stamped”architecture that the city is bombarded with. Take for instance, the nationwide supermarkets and drugstores or chain coffee shops that tend to find a place on every city block. These buildings are anticipated in their design and unsurprising. The city resident becomes desensitized to what is around them and no longer shows interest in architecture.

Other reasons for detachment regard the 9-5 schedule that most city workers have. Pedestrians commute before the start of the shift, for an hour during a lunch break and after the work shift. The strict control of time in these working districts creates destination-oriented pedestrians, or those with a mission to get from point A to B in the least amount of time possible. This rushed state of mind is another calling for disconnection between the individual and the valid experience of their immediate surroundings.

The city is also host to numerous obstructions and barriers that can hinder the connection between an individual and the natural environment. The city’s central location is an obstacle when the resident is trying to leave and go elsewhere. A camping trip or a

hike will usually take up a weekend in order to account for the drive time. The nature in the city, such as parks and other undeveloped areas, are not a substantial

.ytic eht dnoyeb seil taht erutan laer eht ot etutitsbusThese green areas are confined to the man-made city grid, bound by a concrete poured sidewalk and have a city backdrop of noise and high-rise buildings. The solution is innovative and unusual building concepts that will revitalize the experience between the individual and city architecture. The concepts should break the sense-depriving boundaries of the city and allow the individual to step out of the mundane reality of the city and immerse into an alternative.

In order to achieve this, the immersion and focus aspects of cinema are combined with the conceptual phases of architecture for the proposal entitled the Cinematic Escape.

< POTENTIAL SITES >>>>>>>>>>>>

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Curious locations such as alleyways, abandoned buildings, spaces above low-rise buildings, and underneath freeways where sought after due to their presence as “voids” in the normal city fabric.

These sites should allow the visitor to “step out” of the reality of the city and easily immerse into the architecture.

The project calls for numerous pavilions throughout the city in order to bolster the architectural statement.

PoTENTial SiTESSan Francisco, Ca

ST GEORGE ALLEY

WACHOVIA

4TH ST & I-80

EMPTY LOT

ST. GEORGE ALLEY >

LOCATION(S)

lila baghzouz design portfolio tHe CineMAtiC esCApe 1111


SFFS Administration

THEATERS

CINEMA ARCHIVE

SKY PAVILION

St. George Alley located a block away from China town, this narrow al-ley way spans the entire block length and is 20 feet at its widest. it is adjacent to the academy of arts and some commercial and some live/work spaces on the east. The alley is currently not traveled and is uninviting.

Immerse and Focus The alley way is in an area which has a lot of high-rise buildings. These obstructions block the sun, cast shadows, and prevent views of the sky. The pavilion uses cinematic aspects to allow the user to look beyond the foreground adn reconnect to what lies beyond. The facade consists of lED panels which display ob-vious sky views during the day, and movies being screened at night. The sky view is a projection of what lies beyond the city scape and gives the viewer a chance to literally look right through buildings as if they are not there. The sky projections are live , so it is not uncommon to see a cloud fl oat across the facade the St. george alley. The interior program accomodates pavilion visitors, SFFS staff, and fi lm students. live sky projections span wall lengths on the ground fl oor, and the main sky pavilion space is located on the top fl oor.

ProgramSFFS admininstration offi ce, kitchen, and meeting rooms Film archive and libraryTwo screening rooms

SKY PAVILION


SFFS Administration

THEATERS

CINEMA ARCHIVE

SKY PAVILION

KEARNY STREET

PINE STREET

BUSH STREET

ST GEORGE ALLEY

Integrating SFFS into the Program in order to further enhance the concept of cinema in the pavilions and to provide more programmatic elements for the spaces, the pavilions will accommodate and cooperate with the SFFS. The St. george alley site will be one of the major offi ce hubs for the SFFS and will also provide two theaters for the bimonthly SF360 Film+Club presentations, student fi lm screenings, and other small local productions. The St. george alley site also provides a library with fl m archives for visitors and fi lm students to browse through. The pavilion underneath the 80 freeway provides a larger theater to host SFFS charities as well as screenings for the annual festivals.

SKY PAVILION

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SFFS North lobby

Interior sky projectionslocated in the tall ceiling spaces of the ground fl oor and above the rest area of the SFFS administration space, these lED panels provide a perspective of a live sky view. Cameras perched high above the building and angeled in all directions provide the interior with these live feeds.


4'-1"

22'-2"

DWN

UP

empty facade

empty facade

empty facade

40'-3"

DWN

ht: 14'-7"

KITCHEN AREA

MARKETING/PUBLICATIONS

MEETING AND COLLABORATION SPACE

UP

SFFS COORDINATION/PLANNING

EDUCATION/GRANTSFILM MAKER SERVICES

DIRECTORS/ASSISTANTS

UP

UP DWN

20'-5"

DWN

40'-3"

CINEMA ARCHIVES AND VIEWING STATIONS

HT:15'

HT:10'

HT:15'

OPEN TO BELOW

OPEN TO BELOW

OPEN TO BELOW

15'-9"

UPDWN

GROUND FLOOR

FILM LIBRARY

STAIRS TO TOP FLOOR PAVILION

STAIRS TO THEATER AND ADMINISTRATION

PINE STREET ENTRY

BUSH STENTRY

SKY PROJECTION HALL

SKY PROJECTION HALL

FILM LIBRARY

PRO

JECT

ION

RO

OM

PRO

JECT

ION

RO

OM

GRASS AREA

GRASS AREA

GRASS AREA

GRASS AREA

DROP DOWNDRAPES FOR PRIVATE SKY VIEWING


MOVIE PROJECTION ONTO ADJACENT BUILDING


SECOND FLOOR THRID FLOOR ROOF PLAN

SECTION ASCALE: 1/16" = 1'

administration/theater lobby

16'-11" 16'-11"

10'-6"

5'-3"

10'-6"

AA

4'-1"

22'-2"

DWN

UP

empty facade

empty facade

empty facade

40'-3"

DWN

ht: 14'-7"

KITCHEN AREA



UP




UP

UP DWN

20'-5"

DWN

40'-3"


HT:15'

HT:10'

HT:15'

OPEN TO BELOW

OPEN TO BELOW

OPEN TO BELOW

15'-9"

UPDWN

GROUND FLOOR

FILM LIBRARY



PINE STREET ENTRY

BUSH STENTRY

SKY PROJECTION HALL

SKY PROJECTION HALL

FILM LIBRARY

PRO

JECT

ION

RO

OM

PRO

JECT

ION

RO

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GRASS AREA

GRASS AREA

GRASS AREA

GRASS AREA








16'-11" 16'-11"

10'-6"

5'-3"

10'-6"

AA

lila baghzouz design portfolio tHe CineMAtiC esCApe 1515

4'-1"

22'-2"

DWN

UP

empty facade

empty facade

empty facade

40'-3"

DWN

ht: 14'-7"

KITCHEN AREA



UP




UP

UP DWN

20'-5"

DWN

40'-3"


HT:15'

HT:10'

HT:15'

OPEN TO BELOW

OPEN TO BELOW

OPEN TO BELOW

15'-9"

UPDWN

GROUND FLOOR

FILM LIBRARY



PINE STREET ENTRY

BUSH STENTRY

SKY PROJECTION HALL

SKY PROJECTION HALL

FILM LIBRARY

PRO

JECT

ION

RO

OM

PRO

JECT

ION

RO

OM

GRASS AREA

GRASS AREA

GRASS AREA

GRASS AREA








16'-11" 16'-11"

10'-6"

5'-3"

10'-6"

AA



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DAYlive sky display

NIGHTMovie clips of live screening

REFLECTIVE LED PANELSThe adjacent buildings to the west of the pavilion provided a blank canvas to work with. This facade lacks windows or anything else to hinder usage. To take advantage of this “canvas”, and since both the north and south theater face this direction, movies are projected almost nightly onto these walls.

The theaters can only be used in the evening due to the unusual projection method. Movies are projected onto the adjacent buildings in order to promote work and to draw interest from pedestrians.

BUILDING SKINThe building skin consists of areas of diamond-shaped fenestrations (both on vertical and horizontal spans) and lED panels that work together to provide interior lighting, an exterior statement of the building concept, and the sky pavilion experience.

The lED panels on the north and souch building elevations are dynamic in their displays. During the day, the panels show a live-captured sky. The display is constantly updated by a live feed. at night, the sky cameras are turned off and the lED panels instead display clips from the movie being played in one of the two theaters.


BUILDING SKIN SYSTEM17

DESIGNINGTHE SKY PAVILION A The initial design suceeded at providing a meditative space for individual users, but was impractical to build on the rooftoops of a light weight framed building. The sky pods were sturdy, independent pods and the views are dependent on the height of each pod.

B The second design provided a lighter system which lacked the height and enclosure of the initial design. These joint sky pods consisted of hanging cloth of various lengths.

C The fi nal design is a constructed interior space for structure and ease of circulation. it becomes the top fl oor of the building and is an indoor/outdoor space. The drapes are adjusted to the user’s preference (they are operated manually by a retractable cord) and can fall the entire height of the room so the user is completely enclosed in a personal space which focuses up above.

A

B

WHITE NOISE PAVILION

Sitelocated underneath the 80 freeway between 4th and 3rd St, San Francisco, Calocation initially chosen due to the proximity of undesirable freeway noiseParking lot is located underneath the i-80 across 3rd street

3RD STREET

STILLMAN ST

I-80 N̂

I-804TH STREET

main pavilionparking lot

White NoiseThe noise caused by freeway traffi c becomes a normal, unnoticed sound to one who is con-stantly hearing it. Even though it is considered unpleasant, the depreciation and unawareness of the sound and the source is another instance of detachment between the individual and their surroundings.

STRETCH OF WHITE NOISE

N̂

main pavilionparking lot


CONTINUE BAR ELEMENT IN TITLE

WHITE NOISE PAVILION

The Noise BreachThe pavilion provides a break in the stream of freeway noise. This temporary point of relief gives users an alternative sound to focus on during their transit through the pavilion or passing by on 3rd street. The overpowering noise of waterfalls is what temporarily replaces the traffi c noise.

Noise TransitionsTransitions between the two noises will emphasize the existence of one or the other, therefore re-embedding the individual back into their surroundings by having them realize the forgotten sounds of the freeway.

N̂

White NoisePavilion

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SFFS TH

EATE

R

THEA

TER REC

EPTIO

N

WATERFALL

NOISE

FREEWAY NOISE

TRANSITION POINT

PARKING LOT

ENTRY

PARKING

PARKING

PARKING

PARKING

PARKING

PARKING

PARKING

PARKING

3RD STREET

3RD STREET

PARKING

PARKING

PARKING

PARKING

white noise pavilionprogram layoutThe pavilion is still affi liated with the SFFS and provides a single theater larger than the theaters in the Sky Pavilion. a high-ceiling reception area is also tucked in behind the theater and underneath the waterfall portion of the plan. Entry to the upstairs circulation is accessed directly from 3rd street by the theater or across 3rd St from the parking lot where stairs and another elevator are provided.


View from the I-80

Transition PointThe transition point is the threshold in between the freeway noise section of the pavilion and the waterfall noise section. Perhaps the most signifi cant point of the pavilion, this is where the visitor leaves one sound chamber and enters another. at this point, the visitor becomes aware of the change in white noise. The freeway portion of the walkway is constructed with a solid wall reaching 11’ high and supporting the perforated fi nish on top of it. The perforated section of the wall allows sound to penetrate from the adjacent freeway. Since this is a sensory experience, visitors are deprived vision in order to focus on the immediate sounds.

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lila baghzouz design portfolio design / BUild

VELLUM FURNITURE COMPETITION

SUSPENDED SHELVES SLING SHELVES

W TABLE

lila baghzouz design portfolio design / BUild 25

SLINGSHELVES[ Project Description ]Choose a toy and revitalize it through furniture

[ Toy ]Sling Shot

[ Concept ]The sling shot band has two settings - taut, and loose. applying these settings to a shelving system would give the owner a choice on wether to have sturdy shelves or a sagging shelves that can form around the object. Working with something easily transformable, such as rubber bands, would also allow for numerous confi guratoins of shelves. So why limit the user to the conventional horizonal shelves? To allow for even more freedom of use, the bands are wrapped around steel rods that are also easily reconfi gured.

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FURNITURE TO LIFE ANIMATION. a stop motion animation feature made for the studio’s furniture show. The animation was a collaboration of my piece and two others. as the title states, the intention was to bring the furniture to life with playful animation, tying into the show’s theme of “PlaY”.

SEE HOW IT WORKS AThttp://www.youtube.com/watch?v=_nx-HWR9a-g

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Materials used:3/4” Birch plywoodWood glueHardwood trim3” Zinc mending plates for structure stability

W TABLE.


Materials used:Plywood

50lbs strength fishing linebrass rods

EMT conduitwood glue

SUSPENDED SHELVES


VARIAN RANCHTREE HOUSE

VARIAN RANCHTREE HOUSE

SAN LUIS OBISPO, CA

DESIGN / BUILD BY LILA BAGHZOUZ + NICK HOLBEIN

The project was a low -budget tree house design and build for 6-year-old Wesley. The HOA would not allow for anything nailed directly into the oak trees, so the tree house had to be self- supporting. During the course of the project, Auto Cad plans, Form Z modeling, and Excel Spreadsheet were used.

The tree house was completed with steps leading to a main deck which rested on the fork of one of the oak trees. a ladder from the main deck allows you to enter the tree house above. For structure, concrete footings were poured and cross bracing was added. Nothing was attached to the oaks, as the hoa wished.


Lower Deck

Tree House Enclosure


2 x 81 x 6

2 x 6

2 x 10

2 x 81 x 6

2 x 6

2 x 10

702 480 [email protected]

thesis studio show / berg gallery / cal poly san luis obispo

702 480 [email protected]

lila baghzouz design portfolio

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