HassanElghayeshPortfolio

HassanElghayeshC.V.

Education(2001_2004) International General Certificate of Secondary Education(2004_2009) B.S. in Architecture, Misr International University, Cairo, EGY(2009_2008) full tuition scholarship the University of Liechtenstein, Vaduz.

Work Experience(SEP2012_Present)TEACHING ASSISTANT AT THE GERMAN UNIVERISTY IN CAIRO(JUL2011_AUG2012)LOCAL CRAFTS DEVELOPMENT OFFICER AT AGA KHAN FOUNDATION(FEB2010_JUN2011)JR. TECHNICAL OFFICE ARCHITECT(JUN2007_SEP2007)INTERN AT KELLOGS,BROWN & ROOT, USA.

Workshops(NOV2012)“CITY IN TRANSFORMATION - TOWARDS A DEMOCRATIC PUBLIC SPACE”Collaboration between GUC and ABK-Stuttgart

(FEB2013)“ROLLERCOASTING THE CITY”Workshop for producing an Architectural Graphic Novel

Personal InfoD.O.B: 15/09/1986Nationality: Egyptian

Contact:Fürst-Franz-Josef-Strasse 17,Vaduz 9490, Liechtenstein

hassan.elghayesh@uni.lihghayesh@gmail.com

SkillsLanguage:Arabic_Mother tongueEnglish_ExcellentGerman_Intermediate

Computer Skills:

Floating Hill2015

In my exchange program in Budapest we were asked to propose a residential complex on top of the Szent Gellert Hill on The Buda side. The theme of the Studio was floating and we were encouraged to study buildings that seem to float and coordinate our work with strucure professors to ensure the feasibility of our pro-posed structural systems.

For The project, I chose to go for a different approach. The Gellert Hill we worked on holds very strong meanings. To add a floating structure would be in a competing situation with the liberty statue on the top of the hill. I chose to go for an apparoach that would compliment the situation. What if I can do a project that would make the whole hill seem to float. I began to think of floating as a magic trick. What if my building is the trick that would create the illu-sion. I started to develop the idea of a strip that would go all around the hill. The highly structured grid of my building will be at odds with the natural shape of the hill and through the use of highly reflective glazing on the facade; the people on the ground will see the reflection of the sky and the floating illusion of the hill would be complete. Another point I worked on was the introduction of multi use spaces within the structure rather than just residential. Another point that interested me was using a truss structure that would be scaled so big that people can live with in it, these is very different from structure as it encompasses a space for living. The structural system voids and spaces will be the living spaces.

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For the second half of the semester, I worked intensively on the structural system and focused my efforts on two units. For the structure I started with a basic grid which later developed to be more interesting spatially. My start point was a very sound structural system that shifted to accommodate the program, in this process of transfor-mation special attention was giving to the spatial quality the structural system can posess rather than the space it creates within.

The first of the two units was for a couple with one child, the second on the following spread is for an artist to be used as a studio/living space.

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Interior shot of Artist Residence

Shot of public space within structure

The Final ActMultiple Locations, Iceland

2015

What if death was a choice? And what if your last action is to find a place to die and build a building there. How would it be like? The ideas are developed further into a rock like structure that represents the heaviness of being and our longing to be light. In the last moments in his room, the user is surrounded by loved ones, they meet in the central space where he pass-es on his knowledge and wisdom he collected through the years, when the time has come he will say his goodbyes and sail to the west, towards the setting sun.

EROSIONOne aspect I find my self drawn to, is the slow action of erosion by water. But there was a need to look beyond it. To what does this quality mean. It means water is patient, water is persistent, water is powerful. through its patient movement agianst stone it can reshape it. It makes its way through the land from mountains by cutting through the ground to cre-ate rivers.

Through a series of low shutter speed images, I started to un-derstand the movement around stones. With a camera and tripod I took many picture of streams, rivers and waterfalls where water moves against stones. With a gypsum model, I started to experiment with the effect, putting it under run-ning water and with no control of the process I left the water to eat its way through the gypsum cube, simulating the action of water on stone.

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ICELAND EMOTIONAL SCENARIOS

Iceland was an overwhelming experience, In order to capture our first im-pressions and to sum up our stay we worked on emotional scenarios that best captures our feelings about the amazing island. I tried to stay true to my earlier work, capturing the short videos and focusing on my theme of water movement along rocks. Yet, two new ideas started to develop, firstly, the idea of finding a place which I strongly distinguish from finding a place “to build”. I belive it is a skill we used to have but lost as we became more and more urbanized. This was inspired by the Alting of Iceland, and how 3 years were spent to find the place that will hold the meetings of the Icelandic clans. The second Idea was the nostalgic feeling one gets in Iceland. We have been to the flea market of Reykjavik where there was an abundance of postcards and letters. Being on an isolated island makes the act of sending letters very important it is the only way. When we visited the beaches of Iceland I could imagine waiting for the boat that holds dear ones to come. without means of communication. A wife would come out every day to the beach to wait, probably spend the whole day waiting. Waiting, Rememberance and Nostal-gia became important things that needed to be demonstrated in my scenar-ios.

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The platform leads to the west where I will sail towards the settign sun

With its fading light my light will fade awayI will find a place where I will die

And cease my attempts to escape

By the ocean where the waves are strongwhere the waves never stopSo I can be one with the cycle of things

I will find a placeWhere the sand is black

Where the soil is fertileSo I can be one with earth

Around the fireplaceI will sit with loved ones

to pass along what I knowand to share what I feel

Between two rocks I will find a placeWhere the sand is black

So I can rest my soul

Within the rock that is the heaviness of beingthe choice maker while beon the edge of lightness

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Between two rocks I will find a placeWhere the sand is blackSo I can rest my soul

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ALP HouseTraunstein

2014

The Studio was based on four main themes; city planning, alpine architecture, handcrafts and sustainability. My choice to work with hay was dictated by my interest in the changing seasons the alpine valley goes through as wellas it’s potential as an environmental friendly building material. A main stairway leads the vi itor through the building as if on an alpine hike, different programs are arranged on platforms with varying heights ending at a peak from which the whole space can be observed. One roof covers all spaces to further enhance the working space for the craftsmen whol will call the workshop home.

materialstorage

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exhibition space library

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Interior Shots

The Aesthetic of the Now;digital image making

2015

Renders are soulless, with the advancement of CAAD, architects rely heavily on computer produced visualizations in order to communi-cate their visions. In this course we are asked to create a visualization with a soul an ambience to counter the mass produced renders that all look the same. I chose a quote about the now, the moment we live. While, pictures represent the past, renders represent the future but what about the now. A visualization that would en-gage with the people in the current moment. I chose an aesthetic inspired by social media platforms, where the people are engaged in an everchanging collage of square pictures. The ready made preferences for photo editing are associated in people`s minds with the idea of now. I go for recreating them for my render.

“ One thing I wish I could tell my younger self: take photos of everyday life, not special occasions; later, that’s what will be interesting to you. “#Gretchen Rubin

HURGHADA INTERNATIONAL AIRPORT

2011

My first job was at a construction firm oper-ating on-site. My first project was to produce architectural shop drawings for a large scale international airport to be used on site. The task at hand was to study the plans provided by the designer, co-ordinate it with different de-partments (electrical,mechanical, structural) and to co-ordinate it with the sub-contractors for materials,equipments and such. After all necessary alterations were made the drawings would be sent to the designer for approval before starting work on site. The job offered a relief from the frustration of working on paper. Allowing me to go deep into the construction process.

THE HOUSE OF ORPHALESEFor this design studio we were asked to design a house for a character of our choice, being at this time facinated by the fictional charac-ter Almustafa from the book The prophet by Kahlil Gibran I chose him. The book is divided into chapters in which Almustafa (the prophet) discusses different aspects of life (love, mar-riage, work, children). One chapter is about the house. The design studio became a chal-lenge of inerpreting the available text into an architectural representation.

“Build of your imaginings a bower in the wilderness ere you build a house within the city walls.

For even as you have home-comings in your twilight, so has the wanderer in you, the ever distant and alone.

Your house is your larger body.It grows in the sun and sleeps in the stillness of the night; and it is not dreamless. Does

not your house dream? And dreaming, leave the city for grove or hilltop?Would that I could gather your houses into my hand, and like a sower scatter them in

forest and meadow.Would the valleys were your streets, and the green paths your alleys, that you might

seek one another through vineyards, and come with the fragrance of the earth in your garments.

But these things are not yet to be.In their fear your forefathers gathered you too near together. And that fear shall endure a little longer. A little longer shall your city walls separate your hearths from your fields.

And tell me, people of Orphalese, what have you in these houses? And what is it you guard with fastened doors?

Have you peace, the quiet urge that reveals your power?Have you remembrances, the glimmering arches that span the summits of the mind?

Have you beauty, that leads the heart from things fashioned of wood and stone to the holy mountain?

Tell me, have you these in your houses?Or have you only comfort, and the lust for comfort, that stealthy thing that enters the

house a guest, and becomes a host, and then a master?Ay, and it becomes a tamer, and with hook and scourge makes puppets of your larger

desires.Though its hands are silken, its heart is of iron.

It lulls you to sleep only to stand by your bed and jeer at the dignity of the flesh.It makes mock of your sound senses, and lays them in thistledown like fragile vessels.

Verily the lust for comfort murders the passion of the soul, and then walks grinning in the funeral.

But you, children of space, you restless in rest, you shall not be trapped nor tamed.Your house shall be not an anchor but a mast.

It shall not be a glistening film that covers a wound, but an eyelid that guards the eye.You shall not fold your wings that you may pass through doors, nor bend your heads

that they strike not against a ceiling, nor fear to breathe lest walls should crack and fall down.

You shall not dwell in tombs made by the dead for the living.And though of magnificence and splendor, your house shall not hold your secret nor

shelter your longing.For that which is boundless in you abides in the mansion of thesky, whose door is the

morning mist, and whose windows are the songs and the silences of night.”

2005

The regular house is closed in on itself, fitting itself within a box or a rectangle. with a clear boundary between inside and outside.

First Step was to re-arrange the spaces. By sim-ply shifting the program, and at some other points extruding. The outside is now part of the house penetrating through the middle.

Extruding the heights adds another aspect of openness to the house. Certain walls are ex-truded beyound the house. The wall on which his bed lays, another his workspace wall, and lastly the gathering wall.

SOUTHERN ELEVATION

EASTERN ELEVATION

RECEPTION

KITCHEN BATHROOM

LIVING ROOMLOBBY BEDROOM

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COURTYARD M.BEDROOM

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The house blurs the line between inside and out-side. The Entrance leads you to a space inwhich the outside is framed. Like the text, it sacrifices privacy and security for the sake of openness and freedom. The outside is dealt with as a finger that penetrates deep within the house offering maximum views for every room in the house.

The text takes direct physical manifestation in some cases as in “the eyelid that guards the eye” in the shape of the walls perpendicular to openings that go beyond the boundaries of the house.

SULZER-HERZ2008

Oberwintethur is facing the problem of disappearing, what was once a striving industrial site, lays empty as switzerland shifts further from heavy industries. Like most industrial sites, Oberwinterthur inherits well-connectivity and large plots of land. The development plan addresses these problems along with the problem of how to be sustainable and economically feasible at the same time through the attraction of investors.

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Instead of going for a strong one shot intervention, I chose to go for a long term slow intervention, with 4 phases implemented in 20 years with 5 years in between each intervention. The interventions are meant to act as guiding strategies rather than suggesting an only right way of investing.

KEY ISSUES- Awake the investment activity: introduce site on the market, bring richer mix of working people.- Activation of site - wide range of facilities focused on regional/neighboring users.

INTERVENTIONS1- Gateway with landmark quality to act as symbol and label.2- Definition of space, spaces with potential to be perceived as public square (West Blue Square & Hall 710)3- One shot events of regional character to create a mental image.4- Green belt composed of land-scape along the tracks with Cores for exercise, BMX bikes/skate park & small gardens.A path that incorporates existing parks.

KEY ISSUES- Attract new residents and employees.- Focuse on temporary/permanent uses and observe the interactions

INTERVENTIONS1- housing of more recreational/ individual character with ground floors reserved for commercial use.2-Spatial definition of „East red square“ and Else-Züblin Strasse Anchor points – fixing of activation by means of temporary uses:a_open-air cinemab_improvised stagec_ open air market

3- Replacement of low barns with compact office buildings

KEY ISSUES- Increasing population of the area and fixing of the facilities.- Variety of conditions and possible scenarios – leave the potential open

INTERVENTIONS1- compact blocks of city charac-ter in the central part.2- housing of more recreational character at the areas of green belt.3- Re-use of the large industrial Objects and Halls as contemporary office buildings.4- Reconsidering of the temporary anchor points, fix or offer alterna-tivesPossible scenario – points are fixeda_cinema (indoor)b_permanent stage

KEY ISSUES- Densifying of the area- Networking of landscape

INTERVENTIONS1- Mostly housing of smaller scale in the recreational parts of site2- New commercial and office objects replacing the low storage halls and the big event fields.3- Strengthening of „west“ anchor point – sport facility.4- Closing the network of green paths through bridging fragments of landscape network.

STRATEGY OUTCOMEAFTER 4 PHASES

STRATEGY FOR OBERWINTERTHUR

- Design of process contributing to lively and mixed uses environment.- Achieving of self-sufficiency in each phase of the process.- Keeping balance between community´s and investor’s interests.- Drawing a mental map of Sulzer Oberwinterthur.

forces and their spatial manifestation, participants

Business Plaza

Cultural Plaza

Market Plaza