ziba esmaeilian

Ziba Esmaeilian, March I candidate, Sci-Arc, Los Angeles, CA

800 W 1st. apt#2801 Los Angeles, CA Email: [email protected]

Blog: www.ziba.me

4{{{{

Design Studio

Visual Studies

Applied Studies

Cultural Studies

> Hybird Urbanism, Design Studio 1121, Spring 2012

> Wrapped Transparency, Design Studio 1120, Fall 2011

> Hightech Library, Design Studio 1101 , Spring 2011

> Ur Farm, Design Studio 1101, Fall 2010

> High Resolution, Visual Studies 2518, Spring 2012

> Solid Veneer, Visual Studies 4120, Fall 2011

> Hybrid Object, Visual Studies 4101, Spring 2011

> Panelizing, Applied Studies 3100, Fall 2010

> Hybrid Tool, Visual Studies 4100, Fall 2010

> Islamic Architecture, Cultural Studies 2100, Fall 2010

> Cognition City, Cultural Studies 2121, Spring 2012

> Design Development, Applied Studies 3122, Spring 2012


> Wrapped Transparency, Design Studio 1120, Fall 2011

> Hightech Library, Design Studio 1101 , Spring 2011

> Ur Farm, Design Studio 1101, Fall 2010

> High Resolution, Visual Studies 2518, Spring 2012

> Solid Veneer, Visual Studies 4120, Fall 2011

> Hybrid Object, Visual Studies 4101, Spring 2011

> Panelizing, Applied Studies 3100, Fall 2010

> Hybrid Tool, Visual Studies 4100, Fall 2010

> Islamic Architecture, Cultural Studies 2100, Fall 2010

> Cognition City, Cultural Studies 2121, Spring 2012

> Design Development, Applied Studies 3122, Spring 2012


> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012> Cognition City, Cultural Studies 2121, Spring 2012

061830405054586266727480

6Hybrid Urbanism

Abstract:

This studio was focusing on architectures role in the city through the typology of housing. While the single family house has consist-ently served as a liberating vehicle for architectural experimentation, housing has often been marginalized as just one part of a much more complex infrastructural matrix of sanitation systems, transport planning, and social and financial matters that, together, form the bigger picture of urban design. Historically, the design of urban housing has been associated with housing the poor. While socio-economic factors should be taken into account, this is no longer the case. Today, urban housing exists for a wide range of income levels. This is in part due to reactions against sub-urbanism as well as the sustainability narrative. The well-accepted mantra that higher Density equals greener cities has catalyzed significant portions of a population into seeking quality urban dwellings. As debatable as this may be, it has fueled urban renewal projects across the country and the globe. As a typological problem, housing has a rich genealogy that spans from the pre-industrial revolution to today. From flats, tenements, and row houses to apartments and lofts, urban housing is a generic program type that requires the calibration of internal logistics. It must address issues such as unit-to-whole, private vs. shared space, outdoor space, access to light and air, acoustics, repetition, circulation, etc. In turn, the organization and articulation of these attributes contributes to the urban effects that are produced in terms of massing, porosity, legibility, frontality, connectivity, etc. In a sense, it is a parametric problem of the utmost, where local and global relations are intricately linked. This semester we will work closely with these formal properties and look for opportunities to speculate on housing as a disciplinary problem.

Studio : DS 1121, Sci-arc, Los Angeles, CA, Spring 2012Critic: Devyne Weiser, Mohammed Sharif, Site: Chicago, ILSoftware: Rhino, GrasshopperWeblog: http://goo.gl/hPcFV

In projecting the structural growth of the Housing, two models are explored the Voronoi and branching patterns. The resulting distributeion method creats a maximum flexibility within this interiorsed urban type and a high level of control over the disperal of key public passages. Future growth and programmatic seeding are controlled by strategic positioning of the arterial structural system, with its implied void-to-solid relationship.

DESIGN STUDIO, SCI-ARC, 2010-12

UP

UP

UP

W JACKSON BLVD

W VAN BUREN ST.

S SANGAMON ST.

S MORGAN ST.

Ground floor plan layout

10

longitudinal section from units, common areas, and garden

Section in perspective from units, common areas, and garden

12

Structural system

Circulation

Units distribution


Common area

Units

Unit interior

Circulation

Structure

Common area

Exploded axon diagram


Abstract:

Classic Theatre: 800 seatsMulti-Form Theatre: 600 seatsEparimental Theatre: 400 seats

Letting three theatres loose in a South Beach park is no small feet. The relationship of these three masses to each other as well as site context, must be considered carefully. After careful study of Jean Nouvel s Paris Philharmonie we devised a method in which our theatres became encased in layers of circulation and program. This helped us highlight the qualities which are important to our scheme. Allow for free and open access using the building as a gateway to the park. Shared mobius circulation and lobby spaces result. The use of a layered strategy afford greater control of the light which is allowed to enter the building. Light is filtered through scoopes in the facade, it then penetrates deaper through holes in the midskin. The theatre shell does not let light pass and creates a quality controled theatre interior.

Wrapped TransparencyStudio : DS 1120, Sci-arc, Los Angeles, CA, Fall 2011Critic: Devyne Weiser, Peter Testa, Peter Zellner, Eric KhanSite: Miami, FLSoftware: Rhino, Grasshopper, MayaWeblog: http://goo.gl/mZuAl

Wrapped Transparency

18

Studio : DS 1120, Sci-arc, Los Angeles, CA, Fall 2011Critic: Devyne Weiser, Peter Testa, Peter Zellner, Eric KhanSite: Miami, FLSoftware: Rhino, Grasshopper, MayaWeblog: http://goo.gl/mZuAl

Wrapped Transparency

30

6

4

4

2

25

28

22

19

16

14

11

9

11

7

APE

RTU

RE

PAN

ELIZ

ATI

ON

STRU

CTU

RAL

STRU

CTU

RAL

THEATRE

MID SKIN

FACADE

Vertical circulation

Horizontal circulation

Ramps

Outer bean

Ramp

20

30

6

4

4

2

25

28

22

19

16

14

11

9

11

7

APE

RTU

RE

PAN

ELIZ

ATI

ON

STRU

CTU

RAL

STRU

CTU

RAL

THEATRE

MID SKIN

FACADE

Vertical circulation

Horizontal circulation

Ramps

Outer bean

Ramp


-2' -0"

+19' - 0"

THEATRE800 SEATS

206Lobby 2

205COAT RM

209

204W/C

203W/C

202

THEATRE600 SEATS

201OFFICE

207W/C

208W/C

0 8 16 32m

Ground Floor Plan

109

THEATRE800 SEATS

101

102

103

107105

106

108

104

THEATRE400 SEATS

W/C

W/C

CAFETICKETS

W/C

W/C

LOBBY

UP

UP

UP

UP

0 8 16 32m

Mezzanine Plan

+22' - 0"+27' - 0"

303

THEATRE600 SEATS

+27' - 0"

306

THEATRE800 SEATS

304Upper Mezzanine

302W/C

DN

DN

DN

0 8 16 32m

Upper Mezzanine

304W/C

305W/C

101W/C 307W/C

301BAR

DN

+19' - 0"+20' - 0"

22

-2' -0"

+19' - 0"

THEATRE800 SEATS

206Lobby 2

205COAT RM

209

204W/C

203W/C

202

THEATRE600 SEATS

201OFFICE

207W/C

208W/C

0 8 16 32m

Ground Floor Plan

109

THEATRE800 SEATS

101

102

103

107105

106

108

104

THEATRE400 SEATS

W/C

W/C

CAFETICKETS

W/C

W/C

LOBBY

UP

UP

UP

UP

0 8 16 32m

Mezzanine Plan

+22' - 0"+27' - 0"

303

THEATRE600 SEATS

+27' - 0"

306

THEATRE800 SEATS

304Upper Mezzanine

302W/C

DN

DN

DN

0 8 16 32m

Upper Mezzanine

304W/C

305W/C

101W/C 307W/C

301BAR

DN

+19' - 0"+20' - 0"


Bar

Circulation

24

Bar

Circulation

0 8 16 32m

Longitudinal Section

Outer beanUpper lobby

Mid skin

Theater


1 Interiolobby render2 Physical sectional model3 Preliminary design4 Night shot, birdseye view

2

3

There is an open and clear layout in this design. Lobby is located in the middle and it has a direct access to the rest of the programs. People can experi-ment the 8 (Infinitive figure) circulation in plan view through the lobby areas. Based on human activities natural light has been controlled through the size of the openings.There is lots of natural light in the lobby because that is the most crowded area in the building. Light gets less and less as you go toward the theater and more private area.

1

4

Night time shot

building is glowing at night based on the program and user inside. For example, depends on the type of the event inside the theater the light and glow color change.

28

1 Interiolobby render2 Physical sectional model3 Preliminary design4 Night shot, birdseye view

2

3

There is an open and clear layout in this design. Lobby is located in the middle and it has a direct access to the rest of the programs. People can experi-ment the 8 (Infinitive figure) circulation in plan view through the lobby areas. Based on human activities natural light has been controlled through the size of the openings.There is lots of natural light in the lobby because that is the most crowded area in the building. Light gets less and less as you go toward the theater and more private area.

1

4

Night time shot

building is glowing at night based on the program and user inside. For example, depends on the type of the event inside the theater the light and glow color change.


30

Hightech Library

ABSTRACT:

The emphasis of the studio will be on the development of disciplinarily informed frameworks and sophisticated techniques for design processes, outcomes and discourse. At the beginning of overarching and/or emergent organizational strategies - manifested in significant architectural precedents - and following contextual analyses, we designed a small city library with intelligible organizational inter-relationships of form, geometry, program and tectonics. The studio commence with rigorous analyses of historic and contemporary projects in order to cultivate expert compre-hension and graphic communication of the systems germane to their respective organizations. In situating the studio project in a prominent city. we also engaged with urban planning and design issues. Over the course of the semester we demonstrate cultural and methodological evidence of historical and contemporary disciplinary terminology and theoretical expansions including Diagram, Emergence, Morphogenesis, Parti, Topology and Typology. We started eith the Manhattan grid and develope it with design strategies to suport the origram and needs for a hightech library. I was intrested in creting a hightech library by looking at the posibilities of future library. So, there are robos in this building and it mostly goes with ebooking that when you come to this library you will have access to all the ebooks and you can bluthooth them. So, I was trying to keep the library like a networking place and keep different parks in this project.

Studio : DS 1120, Sci-arc, Los Angeles, CA, Spring 2011Critic: Dora Epstein Jones, Mohammed Sharif, Site: New York, NYSoftware: 3ds Max, MayaWeblog: http://goo.gl/XrDka

Hightech Library

Hightech Library

ABSTRACT:

The emphasis of the studio will be on the development of disciplinarily informed frameworks and sophisticated techniques for design processes, outcomes and discourse. At the beginning of overarching and/or emergent organizational strategies - manifested in significant architectural precedents - and following contextual analyses, we designed a small city library with intelligible organizational inter-relationships of form, geometry, program and tectonics. The studio commence with rigorous analyses of historic and contemporary projects in order to cultivate expert compre-hension and graphic communication of the systems germane to their respective organizations. In situating the studio project in a prominent city. we also engaged with urban planning and design issues. Over the course of the semester we demonstrate cultural and methodological evidence of historical and contemporary disciplinary terminology and theoretical expansions including Diagram, Emergence, Morphogenesis, Parti, Topology and Typology. We started eith the Manhattan grid and develope it with design strategies to suport the origram and needs for a hightech library. I was intrested in creting a hightech library by looking at the posibilities of future library. So, there are robos in this building and it mostly goes with ebooking that when you come to this library you will have access to all the ebooks and you can bluthooth them. So, I was trying to keep the library like a networking place and keep different parks in this project.

Studio : DS 1120, Sci-arc, Los Angeles, CA, Spring 2011Critic: Dora Epstein Jones, Mohammed Sharif, Site: New York, NYSoftware: 3ds Max, MayaWeblog: http://goo.gl/XrDka

Hightech Library

3/4 scale down

Part of Manhattan gridManhattan grid

90 rotation

overlapping

Combining

Seperating

Scaling up

Connecting

Combining

Scaling up

32

3/4 scale down

Part of Manhattan gridManhattan grid

90 rotation

overlapping

Combining

Seperating

Scaling up

Connecting

Combining

Scaling up


2

1

3

Seventh Floor 1- Reading Area2-Book Shelves3-Seating

34

2

1

3

Seventh Floor 1- Reading Area2-Book Shelves3-Seating

Second Floor 1- Urban Park2- Digital book library3- Cafe4- Lobby5- Restroom

1

2

3

4

5


Vertival circulation

Roof garden

Robatic storage

Lobby

Open park


40

Ur Farm

ABSTRACT:

To experiment the phisibility of fam in a continious form. Continuity maximizes the visual access and make a connec-tion to different parts of the program. The continous form, as well the panelizing technique of modules clearly portrays the program as well as structure. Differential folded surfaces maximize the view and natural light which are critical based on the site location and program. Due to the differing heights in this structure and design, the presence of light is maximized. The various differential forms that are created, all serve a purpose. Because of the shifting relationship in the structure both circulation and light are continous and based upon the actual form of the building. The overal form of the building includes access from several parts, and leads you to different spaces. the design of the building allows for an individual to easily navigate from one entrance, to another, as well as from the roof garden to the bridge. Farm land contain the agricultural, fungicultural, apicultural and restaurant in it. All of these programs are connected together in a way to produce the primary needs of restaurant.

Ur Farm

ABSTRACT:

To experiment the phisibility of fam in a continious form. Continuity maximizes the visual access and make a connec-tion to different parts of the program. The continous form, as well the panelizing technique of modules clearly portrays the program as well as structure. Differential folded surfaces maximize the view and natural light which are critical based on the site location and program. Due to the differing heights in this structure and design, the presence of light is maximized. The various differential forms that are created, all serve a purpose. Because of the shifting relationship in the structure both circulation and light are continous and based upon the actual form of the building. The overal form of the building includes access from several parts, and leads you to different spaces. the design of the building allows for an individual to easily navigate from one entrance, to another, as well as from the roof garden to the bridge. Farm land contain the agricultural, fungicultural, apicultural and restaurant in it. All of these programs are connected together in a way to produce the primary needs of restaurant.

Studio : DS 1120, Sci-arc, Los Angeles, CA, Fall 2010Critic: Mohammed Sharif, Russel Thomsen, Darin JohnstoneSite: Los Angeles, CASoftware: Rhino, 3ds MaxWeblog: http://goo.gl/gB95c

Ur Farm

Early model studies:

42

Early model studies:DESIGN STUDIO, SCI-ARC, 2010-12

Perspective from agriculture and restaurant entry

Section A - long section through agriculture and restaurant looking at apiculture

Section C- Transverse section through restaurantSection D- Transverse section through agriculture

Level 2

+32-06

Level 1

+0-00

Level 3

+32-06

44

Perspective from agriculture and restaurant entry

Section A - long section through agriculture and restaurant looking at apiculture

Section C- Transverse section through restaurantSection D- Transverse section through agriculture

Level 2

+32-06

Level 1

+0-00

Level 3

+32-06


12

53

4

1 Fungiculture2 Agriculture3 Restaurant4 Mezzanine5 Appiculture

Inclosure

Apiculture

Restaurant Structure

Agriculture

Fungiculture

Circulation

1

2

53

4


Inclosure

Apiculture


Agriculture

Fungiculture

Circulation

46

12

53

4


Inclosure

Apiculture


Agriculture

Fungiculture

Circulation

1

2

53

4


Inclosure

Apiculture


Agriculture

Fungiculture

Circulation


First Floor Plan

A

B

C

Second Floor Plan

A

B

C

Section B - long section through fungiculture/agriculture looking at bridge10 200

48

50

High Resolution

Abstract:

Using techniques of projection and penalization we design and construct a panelized surface. First, we designed a quad panelize surface and then we applied that to an object. We designed a quad panelizing sphere with opening in opposite direction.The form was designed to be used as an object for projection. The drawing is a single axonometric drawing which illustrates the surface and all appropriate notations, construction lines and other regulating lines used during the process of design.

1 Quad panelized sphere model 2 Projection process

1

2

Visual Studies : High Resolution, Sci-arc, Los Angeles, CA, Spring 2012Tutor: Andrew Atwood Software: Rhino, GrasshopperWeblog: http://goo.gl/8Y7WAHigh Resolution

2 2

2

1 Quad panelized ssurface2 Process3 Drawing

Panelized surface

This is a quad panelized surface with the opennings and triangular sufaces. Four of these quad panels make a module which is different from each other. So, oppenings size and panels is unique in each modules. All the modules next to each other creat a stable wall/ surface.

1

2

3

52

1 Quad panelized ssurface2 Process3 Drawing

Panelized surface

This is a quad panelized surface with the opennings and triangular sufaces. Four of these quad panels make a module which is different from each other. So, oppenings size and panels is unique in each modules. All the modules next to each other creat a stable wall/ surface.

1

2

3

VISUAL STUDIES, SCI-ARC, 2010-12

54

Solid Veneer

Abstract:

The main goal was to engage design strategies that would allow for the further manipula-tion of the building enclosure by assuming a thicken poche, one that will add a solid sense to the building mass. As a way of moving away from thin, continu-ous surfaces, we investigate techniques that deal with mass, volume, material and color. We implement very specific scripts that test the potential of carving mass, we start by using a particular code that produces five types of polygon packing, each packing system contains two or more polygon primitives to allow for variation. The code pack inside a used defined object, and after that we boolean the mass to allow for smooth and crystalline structures.

Visual Studies : Solid Veneer, Sci-arc, Los Angeles, CA, Spring 2011Tutor: Florencia Pita Software: Rhino, GrasshopperWeblog: http://goo.gl/8Y7WASolid Veneer

VISUAL STUDIES, SCI-ARC, 2010-12VISUAL STUDIES, SCI-ARC, 2010-12

58

Hybrid Object

Abstract:

Making a whale and cookie in 3-D. Then, merging these to objects and making a encyclopedia for it. Each entry in the encyclopedia shows a model in elevation, sections. Group of each set of drawing and text show one entry. Then, represent information visually like as a diagram. Extracting points in all the objects show visually the numbers of control points and surfaces.

Next assignment was to select one cookie and rendering it in exterior and interior. My concept was ambiguity for this ambiguous object. Unclear material, and ghost atmosphere was selected to show the ambiguous concept.

Selecting a whale/cookie and using CNC machine to make it. Then, with a custom pattern that was created for the object spay paint on it.

Difference between whale & cookie

Number of Extractpoint 464Number of Surfaces 72

Cookie minus whale


Cookie minus whale


Difference between whale & cookie


Cookie minus whale


Whale & cookie

Number of Extractpoint 1,996Number of Surfaces 387

Whale & cookie


Whale & cookie


Whale & cookie


Whale & cookie


Polysurface - Min


Polysurface - Max


Original cookie- Polysurface

Number of Extractpoint 4,734Number of Surfaces 18,936

Original cookie- Polysurface


Whale with cookie


Whale with cookie - Polysurface

Number of Extractpoint 12,236Number of Surfaces 1,010

Whale with cookie


Whale with cookie - Polysurface


Whale with cookie


Whale with cookie


Visual Studies : Tech of Rep 2, Sci-arc, Los Angeles, CA, Spring 2011Tutor: Emily white Software: RhinoWeblog: http://goo.gl/RnV08Hybrid Object

VISUAL STUDIES, SCI-ARC, 2010-12

62

Hybrid tool

Aabstract:

Perhaps the ideal way in which architect can approach the act of drawing is to be unaware that he is actually doing it at all.

Peter Cook drawing: the motive force of architecture, John Wiley & sons Ltd. West Sussex 2008.

Choosing an object and drawing a single drawing that indicate all dimensions, notations, and geometric information related to the object. The method is depicted graphycally and is convet, as much as possible, all dimensional and notation information are necessary for reproduction of object in second part. I developed a method of measurement and translation and employ rigorous geometry to construction drawing. All the construction lines are part of the drawing. The objective is in providing graphical insight into the latent physical quali-ties of the object. In other words, construct the system at work in the object that are not explicit through its simple representational depiction. Then, we draw more legiblle drawing of the object. It includes; plan view, section and elevation views. these drawing should be realted together and having a connec-tion in layout to describe the object in a best possible way. So, this design combination should introduce several operations such as scale, multiple, array, rotation, mirror, cut, merge and many other possible ways. Then, in the third part we designed a 3dimentional hybrid of the object. there is another toy and these two object should be combine in a most desire way. Objects needs to be evaluated and designed to convey a smooth transition of all parts. In this exercise I learn the analytical thinking and creative production in order to generate an emergent design. Hybrid tool was an in-depth investigation into the fundamental of visual communi-cation through the development of both conventional architectural techniques visual and interpretive skills using a variety of analytical and representational methods. This drawing consisted of 2-D and 3-D components. These components focused on the execution of drawings techniques necessary for the application of those ideas.Drawing wasnt simply a tool for representation; it was a critical part of the design process. One focus was to blur the line between the design process that generates ideas and the skills necessary to communicate an idea. The multi tool object should not be seen as passive objects, but are to be understood as active systems embedded with potential dynamic mechanisms. In drawing the object, temporal qualities, relationship to the body, morphology, modes of assembly and aesthetic qualities through various drawing methods.

Visual Studies : Tech of Rep 1, Sci-arc, Los Angeles, CA, Fall 2010Tutor: Dwayne Oyler, Volkan Alkanoglu Software: RhinoWeblog: http://goo.gl/w7CV5Hybrid tool

VISUAL STUDIES, SCI-ARC, 2010-12VISUAL STUDIES, SCI-ARC, 2010-12VISUAL STUDIES, SCI-ARC, 2010-12VISUAL STUDIES, SCI-ARC, 2010-12VISUAL STUDIES, SCI-ARC, 2010-12VISUAL STUDIES, SCI-ARC, 2010-12VISUAL STUDIES, SCI-ARC, 2010-12VISUAL STUDIES, SCI-ARC, 2010-12VISUAL STUDIES, SCI-ARC, 2010-12VISUAL STUDIES, SCI-ARC, 2010-12VISUAL STUDIES, SCI-ARC, 2010-12

66

Panelizing

Abstract:

This course introduces the structural and material choices that are engaged in the design, creation, and construction processes of architec-ture. Over the course of the semester, we investigate how materials have been used historically and how contemporary approaches successfully re-work and manipulate materials in innovative ways. Materials are rarely chosen for a singular reason; rather, their consideration is based on their performance and interaction with other systems. As such, materials are studied first for their individual properties and capabilities, and secondly, how they operate in chorus with other materials within architectural assemblies. The aim of this project was to utilize the metal bend-ing technique in order to create a parametric canopy. My design was selected for making a full scale installation in a group. The assembly process posed difficult design challenges due to the flexible nature of the sheet metal as well as gravity. The sheet metal flexed in areas of surface to surface connections that had not been accounted for during initial calculations of the scaled model. The assembly of the modules occured in groups and attached from the bottom up. Additional pieces were customized to connect the voids in between the groupings. The overall structure fused well together as each module provided counter balancing forces as a whole. While one module torqued outward the directly connected pieces torqued inward thus balancing the weight distribution. Upon completion of our inital design that erected the frame-work to 66 we wanted to further test the material strength again itself by adding an additional row along the bottom of the structure. This yielded a failure of the material against its own weight at the points of rest. The overall configuration crushed and deformed the newly added members thus providing us with a conclusion of miscalculated weight distribution that our modules miscalculated weight distribution that our modules were unable to sustain at certain moments of rest.

Applied Studies : Materials & Tectonics, Sci-arc, Los Angeles, CA, Fall 2010Tutor: Robert A. Ley Software: Rhino, GrasshopperWeblog: http://goo.gl/0JGzmPanelizing

Applied Studies : Materials & Tectonics, Sci-arc, Los Angeles, CA, Fall 2010Tutor: Robert A. Ley Software: Rhino, GrasshopperWeblog: http://goo.gl/0JGzmPanelizing

8-0 SHEET

EQ EQEQEQ

RIVET

LOCATION

TYP.

PLATR

CONNECTION

AREA

20.GA STEEL SHEET

TYPICAL

SCORE LINEEQ

EQEQ

EQ

11

1/4

42 1/4

90

2 - 5

4 - 0

THREADED STEELROD TENSIONSTIFFENER ASREQUIRED

ANGLES VARY

125

MODULECONNECTOR

PLATE(RIVETED)

MODULE BOLTLOCATION

(FACET VARIES)

RIVET LOCATION TYP.

SCORE / FOLD LINE (MATCHMODULE ANGLE)

20. GA STEELCONNECTOR PLATE

NOTCH AS REQUIRED

1 Paper model process2 Documentation3 Final paper model

1

2

68

3APPLIED STUDIES, SCI-ARC, 2010-12

Front Elevation Side Elevation Perspective

1

2

70

1 Full scale model process2 Drawing3 Full scale/ metal model

3

The assembly process posed difficult design challenges due to the flexible nature of the sheet metal as well as gravity. The sheet metal flexed in areas of surface to surface connections that had not been accounted for during initial calculations of the scaled model. The assembly of the modules occured in groups and attached from the bottom up. Additional pieces were customized to connect the voids in between the groupings.The overall structure fused well together as each module provided counter balancing forces as a whole. While one module torqued outward the directly connected pieces torqued inward thus balancing the weight distribution.Upon completion of our inital design that erected the framework to 66 we wanted to further test the material strength again itself by adding an additional row along the bottom of the structure. This yielded a failure of the material against its own weight at the points of rest. The overall configuration crushed and deformed the newly added members thus providing us with a conclusion of miscalculated weight distribution that our modules were unable to sustain at certain moments of rest.

APPLIED STUDIES, SCI-ARC, 2010-12

72

MEZZANINE

LEVEL 5

LEVEL 4

LEVEL 3

LEVEL 2

FROM LOBBY

TO MEZZANINE

TO THIRD FLOOR: ACCESS TO ALL THEATERS

TO FOURTH FLOOR: ACCESS TO ALL THEATERS

TO FIFTH FLOOR: ACCESS MAIN THEATER

FROM BASEMENT LEVEL

1 2THEATER FLOOR PLANGROUND FLOOR PLAN

ADA PUBLIC BATHROOMA

150

150

180 180 180 180 180 180

110 110 110 110 110 110

180

150

150

GRAB BAR

150

150

150

150

ADA PUBLIC BATHROOMB

ADA PARKINGC

SCALE 1:200ADA THEATER

ADAACCESSIBLE

SEATINGADA

ACCESSIBLE SEATING

LOWER LEVEL

ACCESS

LOWER LEVEL

ACCESS

TO ELEVATORS

TO ELEVATORS

TO ELEVATORS

ADAACCESSIBLE

SEATING

ADAACCESSIBLE

SEATING

ADAACCESSIBLE

SEATING

TO E

LEVA

TOR

S

TO E

LEVATO

RS

1

2

3

ADA THEATER

ADA THEATER

3

1

2

ADAACCESSIBLE

SEATING

ADAACCESSIBLE

SEATING

LEVEL 4 LEVEL 3

B

A

B

250

120 120

180 180

Fax: 1 (911) 867-5309

SHEET NUMBER

350 Merrick StrasseLos Angeles, CA 90013

DESIGN DEVELOPMENT

ISSUE 01Spring 2012

Miami Beach, FL 33139

TITLE

500 17th Street

Tel: 1 (911) 411-8008

IDG_Innovative Design GroupBROWN, DIMOVA, ESMAEILIAN, LEVIAN, POLLONAIS

HERWIG BAUMGARTNERTOM WISCOMBE

APRIL 9, 2012

SOUTHERN CALIFORNIA INSTITUTE OF ARCHITECTURE

EXECUTIVE ARCHITECTS NAME

Three-Ater, Performance Art CenterMiami Beach, FL

ADA AXONOMETRIC/ PLAN/ DIAGRAM

DRAWN BY

JOE BROWNNEDI DIMOVAALEXANDRA LEVIANZIBA ESMAELLIANHOPE POLLONAIS

A10 ADA DIAGRAM 10

Fax: 1 (911) 867-5309

SHEET NUMBER


DESIGN DEVELOPMENT

ISSUE 01Spring 2012


TITLE

500 17th Street

Tel: 1 (911) 411-8008



APRIL 9, 2012




PRIMARY STRUCTUREAXONOMETRIC

DRAWN BY


A11PRIMARY STRUCTURE 11 AXONOMETRIC

CONCRETE COLUMN GRID8x8 M GRID

STEEL WELDED TRUSS (ROOF)30 x 30 CM

WELDED STEEL FRAMING30 x 30 CM

PRIMARY STRUCTUREPLAN

StEEL PLATE45 x 45 CM

Fax: 1 (911) 867-5309

SHEET NUMBER


DESIGN DEVELOPMENT

ISSUE 01Spring 2012


TITLE

500 17th Street

Tel: 1 (911) 411-8008



APRIL 9, 2012




ENCLOSURE SYSTEM 3D VIEW OF ENTIRE BUILDING, UNFOLD OF MATERIAL

DRAWN BY


A12 ENCLOSURE SYSTEM: CONCRETE 12

AFG

B

D

C F

G

E

A

D

F

G

A

G

B

E

22.2726.5922 26

76.31

27.04

41.69

80.93

85.01

13.4013.2

2

27.64

22.2

7

14.938.34

2028 15 13

5

21.01

45.19

22.18

13.7859.74

98.95

7.58

31.82

14.9

3

PRECAST CONCRETE PANELS

GLASS

2x2 PRECAST CONCRETE 210



TOTAL

65 42

PANELS

ABCDEFG

2x2 2x42x32x1

356574615

437621

546243

4775

543140 248

667736541468695732

412712

153025

32

4635

2717

8

62

36

4,087TOTAL

PRECAST CONCRETE PANEL SIZE (m)

NUMBER OF PANELS

TOTAL (m2)

2x1 567 4704 2x2 210 840 2x3 530 3,180 2x4 2,780 2,240

TOTAL 4,087 10,958m (117958.17sf)2

2x4 PRECAST CON-CRETE 2780

CHILLER BOILER

AHUAHU

AHUAHU

SUPPLY AIR RETURN AIR OUTSIDE AIR EXHAUST AIR

12m

9m

13m

2m

15m

10m14m

8m

ELECTRICAL ROOM

CHILLER PLANTS

TO COOLING TOWER

BOILERS

AHU

AHU

AHU

AHU

1 HVAC BASEMENT PLAN

SEE THEATER SYSTEMS

EXHAUST AIR

OUTSIDE AIR

RETURN AIR

SUPPLY AIR

COOLING

Fax: 1 (911) 867-5309

SHEET NUMBER


DESIGN DEVELOPMENT

ISSUE 01Spring 2012


TITLE

500 17th Street

Tel: 1 (911) 411-8008



APRIL 9, 2012




HVAC SYSTEM AXONOMETRIC

DRAWN BY


A13AXONOMETRIC

HVAC SYSTEMS 13

1AHU

FAN COIL

SCALE 1:200

RETURN AIR

SUPPLY AIR

RETURN AIR

FROM AHU

FAN COIL SYSTEM SECTION

MIXED AIR SYSTEMOutside air services room fan coil units.Exhaust air is removed through riser.

1

AHU

AHU

RETURN AIROUTSIDE AIR

EXHAUST AIR

SUPPLY AIR

2

3

4

5

6

7

1

2

3

4

5

6

7

LEVEL 1

LEVEL 0

LEVEL 2

LEVEL 3

LEVEL 3

LEVEL 4

LEVEL -1-2.45M

+2.67 M

+7.46M

+10.54 M

+14.15 M

+17.23 M

+21.22 M

AHU

COOLING TOWER

Fax: 1 (911) 867-5309

SHEET NUMBER


DESIGN DEVELOPMENT

ISSUE 01Spring 2012


TITLE

500 17th Street

Tel: 1 (911) 411-8008



APRIL 9, 2012




HVAC SYSTEM CROSS SECTION

DRAWN BY


A14 HVAC SYSTEMS II 14

AHU

3D CHUNK 15

STEEL WELDED TRUSS 0.3X0.3M


W FLANGE BEAM

TTRUSS 0.15x0.15m

COMPOSITE FLOOR SLAB

PRECAST CONCRETE PANEL2x2m

ANGLE CLIPS

48 x 35-7/8

Fax: 1 (911) 867-5309

SHEET NUMBER


DESIGN DEVELOPMENT

ISSUE 01Spring 2012


TITLE

500 17th Street

Fon: 1 (911) 411-8008


HERWIG BAUMGARTNERTOM WISCOMBEMATHEY MELNIK

APR 9, 2012




3D CHUNK

DRAWN BY


A15

Design Developement

MEZZANINE

LEVEL 5

LEVEL 4

LEVEL 3

LEVEL 2

FROM LOBBY

TO MEZZANINE

TO THIRD FLOOR: ACCESS TO ALL THEATERS

TO FOURTH FLOOR: ACCESS TO ALL THEATERS

TO FIFTH FLOOR: ACCESS MAIN THEATER

FROM BASEMENT LEVEL

1 2THEATER FLOOR PLANGROUND FLOOR PLAN

ADA PUBLIC BATHROOMA

150

150

180 180 180 180 180 180

110 110 110 110 110 110

180

150

150

GRAB BAR

150

150

150

150

ADA PUBLIC BATHROOMB

ADA PARKINGC

SCALE 1:200ADA THEATER

ADAACCESSIBLE

SEATINGADA

ACCESSIBLE SEATING

LOWER LEVEL

ACCESS

LOWER LEVEL

ACCESS

TO ELEVATORS

TO ELEVATORS

TO ELEVATORS

ADAACCESSIBLE

SEATING

ADAACCESSIBLE

SEATING

ADAACCESSIBLE

SEATING

TO E

LEVA

TOR

S

TO E

LEVATO

RS

1

2

3

ADA THEATER

ADA THEATER

3

1

2

ADAACCESSIBLE

SEATING

ADAACCESSIBLE

SEATING

LEVEL 4 LEVEL 3

B

A

B

250

120 120

180 180

Fax: 1 (911) 867-5309

SHEET NUMBER


DESIGN DEVELOPMENT

ISSUE 01Spring 2012


TITLE

500 17th Street

Tel: 1 (911) 411-8008



APRIL 9, 2012




ADA AXONOMETRIC/ PLAN/ DIAGRAM

DRAWN BY


A10 ADA DIAGRAM 10

Fax: 1 (911) 867-5309

SHEET NUMBER


DESIGN DEVELOPMENT

ISSUE 01Spring 2012


TITLE

500 17th Street

Tel: 1 (911) 411-8008



APRIL 9, 2012




PRIMARY STRUCTUREAXONOMETRIC

DRAWN BY


A11PRIMARY STRUCTURE 11 AXONOMETRIC

CONCRETE COLUMN GRID8x8 M GRID

STEEL WELDED TRUSS (ROOF)30 x 30 CM

WELDED STEEL FRAMING30 x 30 CM

PRIMARY STRUCTUREPLAN

StEEL PLATE45 x 45 CM

Fax: 1 (911) 867-5309

SHEET NUMBER


DESIGN DEVELOPMENT

ISSUE 01Spring 2012


TITLE

500 17th Street

Tel: 1 (911) 411-8008



APRIL 9, 2012




ENCLOSURE SYSTEM 3D VIEW OF ENTIRE BUILDING, UNFOLD OF MATERIAL

DRAWN BY


A12 ENCLOSURE SYSTEM: CONCRETE 12

AFG

B

D

C F

G

E

A

D

F

G

A

G

B

E

22.2726.5922 26

76.31

27.04

41.69

80.93

85.01

13.4013.2

2

27.64

22.2

7

14.938.34

2028 15 13

5

21.01

45.19

22.18

13.7859.74

98.95

7.58

31.82

14.9

3

PRECAST CONCRETE PANELS

GLASS




TOTAL

65 42

PANELS

ABCDEFG

2x2 2x42x32x1

356574615

437621

546243

4775

543140 248

667736541468695732

412712

153025

32

4635

2717

8

62

36

4,087TOTAL

PRECAST CONCRETE PANEL SIZE (m)

NUMBER OF PANELS

TOTAL (m2)

2x1 567 4704 2x2 210 840 2x3 530 3,180 2x4 2,780 2,240

TOTAL 4,087 10,958m (117958.17sf)2

2x4 PRECAST CON-CRETE 2780

CHILLER BOILER

AHUAHU

AHUAHU

SUPPLY AIR RETURN AIR OUTSIDE AIR EXHAUST AIR

12m

9m

13m

2m

15m

10m14m

8m

ELECTRICAL ROOM

CHILLER PLANTS

TO COOLING TOWER

BOILERS

AHU

AHU

AHU

AHU

1 HVAC BASEMENT PLAN

SEE THEATER SYSTEMS

EXHAUST AIR

OUTSIDE AIR

RETURN AIR

SUPPLY AIR

COOLING

Fax: 1 (911) 867-5309

SHEET NUMBER


DESIGN DEVELOPMENT

ISSUE 01Spring 2012


TITLE

500 17th Street

Tel: 1 (911) 411-8008



APRIL 9, 2012




HVAC SYSTEM AXONOMETRIC

DRAWN BY


A13AXONOMETRIC

HVAC SYSTEMS 13

1AHU

FAN COIL

SCALE 1:200

RETURN AIR

SUPPLY AIR

RETURN AIR

FROM AHU

FAN COIL SYSTEM SECTION

MIXED AIR SYSTEMOutside air services room fan coil units.Exhaust air is removed through riser.

1

AHU

AHU

RETURN AIROUTSIDE AIR

EXHAUST AIR

SUPPLY AIR

2

3

4

5

6

7

1

2

3

4

5

6

7

LEVEL 1

LEVEL 0

LEVEL 2

LEVEL 3

LEVEL 3

LEVEL 4

LEVEL -1-2.45M

+2.67 M

+7.46M

+10.54 M

+14.15 M

+17.23 M

+21.22 M

AHU

COOLING TOWER

Fax: 1 (911) 867-5309

SHEET NUMBER


DESIGN DEVELOPMENT

ISSUE 01Spring 2012


TITLE

500 17th Street

Tel: 1 (911) 411-8008



APRIL 9, 2012




HVAC SYSTEM CROSS SECTION

DRAWN BY


A14 HVAC SYSTEMS II 14

AHU

3D CHUNK 15



W FLANGE BEAM

TTRUSS 0.15x0.15m

COMPOSITE FLOOR SLAB

PRECAST CONCRETE PANEL2x2m

ANGLE CLIPS

48 x 35-7/8

Fax: 1 (911) 867-5309

SHEET NUMBER


DESIGN DEVELOPMENT

ISSUE 01Spring 2012


TITLE

500 17th Street

Fon: 1 (911) 411-8008


HERWIG BAUMGARTNERTOM WISCOMBEMATHEY MELNIK

APR 9, 2012




3D CHUNK

DRAWN BY


A15

Design Developement

700700700700

B C D E G I J LA M

6

700700700

O PN

700

700

700

700

700

5

4

3

2

1

700700700700700700700700

KHF

12

11

10

9

8

7

13

14

700

700

6

5

4

3

2

1

12

11

10

9

8

7

13

14

700

700

700

350

700

700

P

3

2

1

DROP OFF

CONNECTION FROM FROM PARKINGARKINGARKINGPARKINGP T TO O THEATERATERA

+ 0.5 M

- 1.0 M

ATRIUM

TO THEATERS

FREIGHTELEVATOR

TICKETBOOTH

GUESTSERVICES

ENTRY

ENTRY

TO MEZZANINE

PARKING

+0.0 MSOUTH PLAZA

+0.0 MNORTH PLAZA

MAIN LOBBY+0.0 M

STORAGE

Fax: 1 (911) 867-5309

SHEET NUMBER


DESIGN DEVELOPMENT

ISSUE 01Spring 2012


TITLE

500 17th Street

Tel: 1 (911) 411-8008



APRIL 9, 2012




GROUND FLOOR PLANSCALE 1:300

DRAWN BY


A03 GROUND FLOOR PLAN 03 SCALE 1:300

700700700700

B C D E G I J LA M

6

700700700

O PN

700

700

700

700

700

5

4

3

2

1

700700700700700700700700

KHF

12

11

10

9

8

7

13

14

700

700

6

5

4

3

2

1

12

11

10

9

8

7

13

14

700

700

700

350

700

700

FREIGHTELEVATOR

BAR/CAFE

BAR/CAFE

DRESSING

DRESSING

SHOW GALLERY

ATRIUM

RESTAREA

RESTAREA

700THEATER

300THEATER

500THEATER

TO MAIN LOBBY

Fax: 1 (911) 867-5309

SHEET NUMBER


DESIGN DEVELOPMENT

ISSUE 01Spring 2012


TITLE

500 17th Street

Tel: 1 (911) 411-8008



APRIL 9, 2012




UPPER FLOOR PLANSCALE 1:300

DRAWN BY


A04 UPPER FLOOR PLAN 04 SCALE 1:300

Fax: 1 (911) 867-5309

SHEET NUMBER


DESIGN DEVELOPMENT

ISSUE 01Spring 2012


TITLE

500 17th Street

Tel: 1 (911) 411-8008



APRIL 9, 2012




TRANSVERSE SECTIONSCALE 1:300

DRAWN BY


A06 TRANSVERSE SECTION 06 SCALE 1:300

1

2

3

4

5

6

7

1

2

3

4

5

6

7

LEVEL 1

LEVEL 0

LEVEL 2

LEVEL 3

LEVEL 3

LEVEL 4

LEVEL -1-2.45M

+2.67 M

+7.46M

+10.54 M

+14.15 M

+17.23 M

+21.22 M

700700700700

B C D E G I J LA M700700700

O PN700700700700700700700700

KHFFax: 1 (911) 867-5309

SHEET NUMBER


DESIGN DEVELOPMENT

ISSUE 01Spring 2012


TITLE

500 17th Street

Tel: 1 (911) 411-8008



APRIL 9, 2012




SITE PLAN

DRAWN BY


A02 SITE PLAN 02

LINCOLN LN N.

WA

SH

ING

TON

AVE

.W

AS

HIN

GTO

NAV

E

17TH ST.

PEN

NSY

LVA

NIA

AVE

.

ENTRY

PARKINGCONNECTIONFROM PARKING TOTHEATER

0.00 M

0.00 M

0.00 M

0.00 M

+ 0.5 M

ENTRY

DROP OFF

- 0.5 M

- 1.0 M

- 0.5 M

SITE OUTLINECAR CIRCULATIONADA PEDESTRIAN CIRCULATION

Fax: 1 (911) 867-5309

SHEET NUMBER


DESIGN DEVELOPMENT

ISSUE 01Spring 2012


TITLE

500 17th Street

Tel: 1 (911) 411-8008



APRIL 9, 2012




LONGITUDINAL SECTIONSCALE 1:300

DRAWN BY


A07 LONGITUDINAL SECTION 07 SCALE 1:300

1

2

3

4

5

6

7

1

2

3

4

5

6

7

LEVEL 1

LEVEL 0

LEVEL 2

LEVEL 3

LEVEL 3

LEVEL 4

LEVEL -1-2.45M

+2.67 M

+7.46M

+10.54 M

+14.15 M

+17.23 M

+21.22 M

700700700700

B C D E G I J LA M700700700

O PN700700700700700700700700

KHF

Fax: 1 (911) 867-5309

SHEET NUMBER


DESIGN DEVELOPMENT

ISSUE 01Spring 2012


TITLE

500 17th Street

Tel: 1 (911) 411-8008



APRIL 9, 2012




PRIMARY ELEVATIONSCALE 1:300

DRAWN BY


A08 PRIMARY ELEVATION 08

SCALE 1:300

LEVEL 1

LEVEL 0

LEVEL 2

LEVEL 3

LEVEL 3

LEVEL 4

LEVEL -1-2.45M

+2.67 M

+7.46M

+10.54 M

+14.15 M

+17.23 M

+21.22 M

1

2

3

4

5

6

7

700700700700

B C D E G I J LA M700700700

O PN700700700700700700700700

KHF700700700700

A700700700700700700700700700700700

KHF

Applied Studies : Design develop. , Sci-arc, Los Angeles, CA, Spring 2012Tutor: Tom Wiscomb Software: Rhino, AutocadWeblog: http://goo.gl/QVj4bDesign Developement

74

Naghshi Jahan square (Design of the World) or famous meidan is 512 x 159 meters which covered eight hectares might be the largest piazzas in the world. The meidan represents an early example of a multi-functional space. It was the most impressive feature of the new city for foreign travelers, who admired it for its huge size and architectural homogeneity. There is a stone channel ran around the perimeter of the square at a short distance from the arcade and separated the space for walking from the central area, which was originally unpaved and covered with gravel. The covered walkway and outer arcades served as a bazaar. The great central space housed the stall of merchants, craftsmen, barbered, and entertainers, but could be cleared for military parades. The meidan is also described as a great square and it is one of the UNESCO world heritage. The plan is presenting the view toward the entrance to the Royal Bazzar on the north side. On the west side is the Governmental palace of Ali Qapu, and across the square on the east is the Mosque of Sheikh Lutfullah. Occupying most of the south side is the huge complex of the Royal Mosque. Due to the strict north-south orientation of square, each of the two mosques fronting on it had be tilted on its axis so that its quibla would face toward Mecca. Shah Mosque renamed to Imam Mosque after the Irans revolution in 1979 is located on the south side of the Maidan has many similarities with the Sheikh Lutfullah mosque. The building was endowed with agricultural and commercial properties in and around the city. Both the building and its generous endowment were another aspect of Abbass plan to shift the citys commercial and religious center away from the area near the Friday mosque. Shah Mosque is a paradigm of the Persian style. Its entirely governed by the characteristic Persian formula of the court with four iwans. The prayer hall is surprisingly bright, lit both from the main iwan and the large arches in the side of drum. The dome has two separated by an unlit void about 10 meters high. There are some similarities between dome of the Shah Mosque and Taj Mahal. The mosque was completed around 1628, and around that year famous Taj Mahal in Agra was begun. The Sheikh Lutfullah mosque was originally called the Mosque of the Pontiff (Masjid-i sadr) and was entrusted to the theologian Sheikh Lutfullah, whose daughter Shah Abbas has married. It changed the name to Sheikh Lutfullah mosque after his death in 1623. It is also known as the Ladys or Womens Mosque as the ladies of the court could worship there in private. The first of the two structures to be built on the main square was the Mosque of Sheikh Lutfullah, which was reserved as a court sanctuary and thus lacked a central courtyard and minarets, and it only has a low dome. However, it does not have a courtyard, but its unified internal space, with a dense atmosphere of meditative tranquility. Entering to the square was slightly off axis though the main pishtaq which made the quibla issue. So, the architect overcomes this issue by corridors and oblique walls. The pishtaq was separated from the prayer hall by an oblique wall, thus forcing visitors to turn ninety degrees down as L-shaped corridor leading to a gateway in front of a domed mihrab.

Islamic Architecture

Applied Studies : Architecture Culture, Sci-arc, Los Angeles, CA, Fall 2010Tutor: Dora Epstein Jones Software: MicrosoftWeblog: http://goo.gl/0mRfUIslamic Architecture

76

The mosque building is rested on a square frame which is turning to octagonal in the upper part and become a circular dome at the top Sheikh Lutfullah Mosque comprised a single domed room 19 meters on a side surrounded by service area and resting on another room of almost the same dimensions, covered with low vaults resting on four octagonal piers. The dome, which has a modest pointed-arch profile, is covered with an unusual design of ocher-colored arabesques and its center is displaced 6.5 meters to the right of the entrance axis. To reach the prayer hall, one must pass through the portal iwan; with impressive tile. Through there is a dark corridor around the two sides of the sanctuary, entry is opposite the mihrab. The visual and psychological impact on entering the vast, glowing room is stunning. It has a perfect balanced interior. The dome is decorated with a sunburst at the apex; from it descend tier of logical decoration, which get larger with the curve of the dome. The decoration is filled with flower motifs which play against the monochrome ground. The drum has sixteen arched panels broken with windows. They are fitted with double ceramic grilled in arabesque pattern. The drum is supported by sixteen kite-shaped shields.

resting on four great squinches alternating with arched panels.They are all springing from the floor, outlined by light blue cable moldings, and framed by wonderful inscription bands in white on a dark blue ground. The structure system is a tripartite arrangement of square base which has an octagonal zone of transition. The thickness of the wall where the windows are located is one meter and seventy centimeter. In the main parts this thickness change to two meters. The entire mosque is a centrally planned domed space, which is typical of commemorative mausoleums, not mosques, but this building does not house a tomb. Inscriptions call it a mosque, but it lacks the typical courtyard, iwans, and minarets. However, it does have the essential mihrab niche and is oriented toward Mecca.

The entire mosque is a centrally planned domed space, which is typical of commemorative mausoleums, not mosques, but this building does not house a tomb. Inscriptions call it a mosque, but it lacks the typical courtyard, iwans, and minarets. However, it does have the essential mihrab niche and is oriented toward Mecca. At the entrance to the building, decorated in extraordinary mosaic inlay, is domained by eight pointed arches accentuated by spiral half-column in brilliant turquoise. Lower panel contain green arabesques, white medallions on a deep blue background, and yellow motifs. Perfectly rendered white calligraphy in the thuluth style is also set against a deep blue background. The dome is a triumph of balance, and if the design seems familiar, this is due to inspiration that this decoration gave to carpet patterns, which the multitude of medallion motifs. The dome is decorated with bands of almond shapes that spiral in towards the middle diminishing in size.Between the squinches holding up the dome are eight large kufic squares containing each an entire Surah from the Quran.

Corridor to the prayer hallMohammadreza HusaynHattstein, Markus, Islamic Art and Architecture, France, Peter, 2000 (Page 65)

Calligraphy and windowsAlireza AbbasiAnsari, Ali. Isfahan, art and architecture. Tehran, Alborz press. 2001. (page112)

Corridor to the prayer hallMohammadreza HusaynHattstein, Markus, Islamic Art and Architecture, France, Peter, 2000 (Page 65)

76

Calligraphy is the most highly regarded and most funda-mental element of Islamic art. It is significant that the Quran, the book of God's revelations to the Prophet Muhammad, was transmitted in Arabic, and that inherent within the Arabic script is the potential for developing a variety of ornamental forms. However most of the calligraphy works have legible inscriptions, not all the Muslims are able to read them. Each alphabetic is legible by itself but the overall is getting to complex and hard to read. Inscriptions outline the chronology of building and name the participants: the major foundation inscription on the portal dates the beginning of construction to 1012and names the calligrapher: Alireza Abbasi: who later worked on the Shah Mosque, a second inscription at the base of the interior of the dome gives a date for the decoration 1025-1616; and a third inscription on the mihrab names the architect, Mohammadreza son of the master Husayn, the builder from Isfahan, and gives the date of completion 1028-1618. At various points in Persian mosque, one is struck by the presence of monumental inscriptions. These may be in kufic, thuluth or naskhi script, and they served different functions. They included quotations from the Quran: significant passages from the suras appear on borders and in friezes, notably on iwans and inside the sanctuary, so that the mosque becomes an open book. Other inscriptions are more lapidary, using graphic symbols for the sacred names of the Shiite trinity.

Multicolored tile veneer sheathes the exterior in a pattern which resembles prayer rugs applied to a vertical surface. Muqarnas faced with intricate mosaic work are suspended over the entrance arch. The interior is often recommended as the most perfectly balanced space in Persian architecture. Filtered light entering through windows in the drum of the dome flickers across the mosaic-lined walls and dome. Eight pointed arches on the walls, outlined in turquoise, bring just enough geometric discipline to this numinous, coloristic space to keep worshipers from entirely losing their earthly bearings. Painted tiles were too fragile for the exterior of the domes and so never used for this purpose. Instead of that, narrow enameled bricks 5-8 centimeters thick were combined with molded and glazed terracotta elements to form vast arabesques. There is a Peacock pattern under the dome which the tail of the peacock get enhances with sun light in certain time during a day. The peacock has been design in a way that it gives you time wise information only from the sunlight. At noon the tail of the peacock get disappear to tell you know it is time for noon pray. Sheikh Lutfullah mosque has been studied as a great example of the parametric design these days. Parametric design implies the use of parameters to define a form. Use of Relation has an important role in it. Some places like the entrance or the dome is showing the use of parameters clearly. Dome of Sheikh Lutfullah has some similarities with Londons Gherkin Tower by Norman Foster which is an example of parametric design. Both buildings have diamond patterns which get bigger gradually. They both follow a system and parameters to get the pattern. Both have a reactor point which is on the highest point of building. The diamond shape used in the Gherkin tower is structurally supported as well as pattern or exterior look however in Sheikh Lutfullah Mosque it is only a pattern. But both are valuable because of mathematical logic. Also, to the great architecture of this building, the conscious use of color, mosaic, and other decorative elements makes this mosque unique among the others in that time period.

Al-Fatiha Surah 1 / Quran

kufic squares containing an entire SurahAnsari, Ali. Isfahan, art and architecture. Tehran, Alborz press. 2001. (page112)

Moaraq on the hallwayMohammedreza HusaynPhoto taken with author

Moaraq on the entryMohammadreza HusaynPhoto taken by Author

CULTURAL STUDIES, SCI-ARC, 2010-12

Bibliography

Ansari, Ali. Isfahan, art and architecture. Tehran, Alborz press. 2001. (page112)

Ackroyd, Peter, 2000 London: The Biography. Anchor Books. Porter, Roy, 1994 London: A Social History.

Domed." Azaduni. 2003. Jelsoft Enterprises Ltd. 28 Sep 2010..

Hattstein, Markus. Islam Art and Architecture. France: Peter Feierabend 2000. (Page, 87)

Hillenbrand, Robert. Islamic Art and Architecture. New York: Thames & Hudson INC. Page 232.

Liskamm, Alex. Caligraphy in Islamic Art. New York Press, 2002. (page-127)

Petersen, Andrew. Dictionary of Islamic Architecture. London; Routledge, 1996.

"Sheikhlotfollah mosque." rasekhoon.com. 2009. mashhadizade 28 Sep.

Stierlin, Henri. Islamic art and architecture from Isfahan to Taj Mahal. New York;Thomas & Hudson Press. Page, 145. Welch, Anthony. Shah Abbas & the Art of Isfahan. New York: Schocken Books, 1977.(page 21) Zafarian, Tara. Safavid. Tehran: Behesht Press, 2002. Page15.

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Cognition City is like human mind which can flow through its residents mind. Residents perceive and interpret the city by their feelings, memories and wills. People of this City are not only limited by its physical and visible organization, but also follow the invisible organization unconsciously. These visible and invisible organization principles can constantly regulate and manipulate the behavior of the city and its residents. In other words, the city constantly shapes its residents mind and shapes them. In addition, the city can enhance its resident mind by providing multiple layers of non-geometrical augmented information.

Cognition city is getting shape based on human behavior. In this regard, the designer cant design a city like an object, and cannot design each individual mind and behavior. For example, swarming a school of fish can exhibit a collective behavior or swarm intelligence. Designing a city begins with exploration about the relationship between individual components and whole city.

This system is made up of five millions populations which are interacting locally with one another and with their environment. These five millions people are like a big family which know each other and interact with each other. So, their survival is based on each other. Communication and orientation are occurring in micro and macro level. So, people of the cognition city are forming city based on their behavior. This is self-organize city. Infrastructure of the city is based on individual. People are living where they are working. So, this sufficient city can save energy, time and money. This city doesnt have a central power generator like a nuclear power plant. Instead, each individual need to maintain its own consumption of energy in a sustainable way. This city encour-ages walking and using public transportation instead of private car. Design of the city is based on the swarm of the people while they are walking to find resources like, food. As a result they dont need to travel very far from where they live and this means no need for car.

This pedestrian friendly system increases the social networking and communication among individual. Moreover, this city is sustainable and resident can save their resources. Cognition city is evolving through a dialectical process which can raise numerous new tortuosity of cognitive space and synthetic intelligence. In other words, the city becomes a generative system which can interact with peoples behavior and changes by their mind. Basically the city evaluation, growth and metamorphosis responds to the collective behavior of each individual.

Cognition City

Noli plan and physical model

Cognition City is like human mind which can flow through its residents mind. Residents perceive and interpret the city by their feelings, memories and wills. People of this City are not only limited by its physical and visible organization, but also follow the invisible organization unconsciously. These visible and invisible organization principles can constantly regulate and manipulate the behavior of the city and its residents. In other words, the city constantly shapes its residents mind and shapes them. In addition, the city can enhance its resident mind by providing multiple layers of non-geometrical augmented information.

Cognition city is getting shape based on human behavior. In this regard, the designer cant design a city like an object, and cannot design each individual mind and behavior. For example, swarming a school of fish can exhibit a collective behavior or swarm intelligence. Designing a city begins with exploration about the relationship between individual components and whole city.

This system is made up of five millions populations which are interacting locally with one another and with their environment. These five millions people are like a big family which know each other and interact with each other. So, their survival is based on each other. Communication and orientation are occurring in micro and macro level. So, people of the cognition city are forming city based on their behavior. This is self-organize city. Infrastructure of the city is based on individual. People are living where they are working. So, this sufficient city can save energy, time and money. This city doesnt have a central power generator like a nuclear power plant. Instead, each individual need to maintain its own consumption of energy in a sustainable way. This city encour-ages walking and using public transportation instead of private car. Design of the city is based on the swarm of the people while they are walking to find resources like, food. As a result they dont need to travel very far from where they live and this means no need for car.

This pedestrian friendly system increases the social networking and communication among individual. Moreover, this city is sustainable and resident can save their resources. Cognition city is evolving through a dialectical process which can raise numerous new tortuosity of cognitive space and synthetic intelligence. In other words, the city becomes a generative system which can interact with peoples behavior and changes by their mind. Basically the city evaluation, growth and metamorphosis responds to the collective behavior of each individual.

Cognition City

Noli plan and physical model

Visual Studies : Urban Studies, Sci-arc, Los Angeles, CA, Spring 2012Tutor: Peter Zellner Software: Rhino, GrasshopperWeblog: http://goo.gl/bWtWlCognition City

Birds eye view

ziba esmaeilian

Documents

cognition city

design studio

design development

hybrid object

hybrid tool

wrapped transparency

ur farm

solid veneer