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Center of Fine Arts | The Memory Organ | Tribute to Aleppo 2063 | Floating City, Inverted City hadi Madwar | portfolio of works

Portfolio of Works | hadi Madwar

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Page 1: Portfolio of Works |  hadi Madwar

Center of Fine Arts | The Memory Organ | Tribute to Aleppo 2063 | Floating City, Inverted City

hadi Madwar | portfolio of works

Page 2: Portfolio of Works |  hadi Madwar

hadiMadwar | curriculum vitae01

Page 3: Portfolio of Works |  hadi Madwar

PORTFOLIO CONTENTS

Center of Fine Arts for McGill University

Floating City, Inverted City

Tribute to Aleppo 2050*completed with Julia Chang

The Memory Organ*completed with Jack Bian

hadiMadwar | curriculum vitae02

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McGill University School of Architecture | BSc Architecture | Montreal, Quebec | 2009 - 2013Marianopolis College | Pure and Applied Science | Montreal, Quebec | 2009Kells Academy | Montreal, Quebec | 2005 - 2007Damascus Community School | Damascus, Syria | 1994-2009

Avi Friedman Consultants | June - August 2012Professor Abraham FriedmanConvertible Housing for Sept-Iles | co-author of research preceeding housing proposal

Estudio Nomada | Barcelona, Spain | May - July 2011 Arnout Krediet, Iris Tonies, Kirsten Campbellassistant and artistic apprentice

LANGUAGES

Atelier Hani Moncef | Damascus, Syria | July - August 2009 Hani Moncefassistant

Fluent in English | Fluent in Arabic | Basic command of French

Arab Development Initiative | Montreal, Quebec | 2012 - 2013Dina al-Qaysi, Amina Samy, Nena AlvarengaMontreal Envision Arabia Summit 2012 | stage design coordinator New York City Envision Arabia Summit 2013 | summit organizer, speakers selection committee, stage design coordinator

Habitat for Humanity | Damascus, Syria | 2007 - 2009 Ewan Crouch chapter president and active member

International Conference on Geometry and Graphics (ICGG) 2012 | Montreal, Quebec, Canada | August 2013Professor Aaron Sprecher, Professor Paul Zsombor-MurrayICGG 2012 Montreal | Operations coordinator + technical support team

SURE Summer Undergraduate Research in Engineering (Architecture) | McGill University, Montreal, Quebec | May - September 2013Professor Ipek TüreliBuilding Architectural Networks: Missionary Schools in the Eastern Mediterranean | researcher

WORK EXPERIENCE

EDUCATION

hadiMadwar | curriculum vitae03

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CONTACT INFORMATION

COMPETITIONS

Artists’ Housing in Boka | Boka, Herzegovina | May - July 2012with Jack Bian

[email protected]

1536 Avenue SummerhillH3H1B9Montreal, Quebec , CANADA

eVolo 2013 | Montreal, Quebec | January 2012with Jack Bian

Lyceum | Montreal, Quebec | February - March 2013

Canadian Centre of Architecture Charrette | Montreal, Quebec | February 2013with Caroline Voyer + Stephanie Vallieres + Robert Rabie + Paule Viau Hetu

Think Space | Zagreb, Croatia | May- July 2012with Mona al-Jadir

Digital Modeling | Rhinoceros, Grasshopper

Post-Processing | Adobe Photoshop, Illustrator, InDesignDrafting | Rhinoceros, AutoCAD

Rendering | Vray for Rhinoceros, Adobe PhotoshopAdvanced Physical Modeling | Laser cutting, 3D printing GIS Mapping | ArcMap

SKILLS

hadiMadwar | curriculum vitae04

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(T) project axonometric

| Center of Fine Arts at McGill University

completed independentlyProfessor Pierina Saia

The proposed project for a Center of Fine Arts at McGill University derives from the planar projection

of building-street alignments onto the site located at the intersection of Peel Street and Sherbrooke Street.

It is moreover an extension to the adjacent Bron-fman Building belonging to the Desautels Faculty of

Managment. The resultant pattern formed by projec-tions - at times rationalized, at times not - comprises

the basis of a logic of formalism and transparency which articulates a programmatic procession weaving

through spaces dedicated to the storage, viewing, and production of fine art. This procession is topographical

in nature, hence emphasizing itself as an encapsu-lated concentration of the urban landscape set in an

envelope of concrete and translucent glass.

Center for Fine Arts | completed independently | Professor Pierina Saia05

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34

peel st. peel st. peel st. peel st. peel st. peel st. peel st. peel st. peel st. peel st. peel st.

sherbrooke st. sherbrooke st. sherbrooke st. sherbrooke st. sherbrooke st. sherbrooke st. sherbrooke st. sherbrooke st. sherbrooke st. sherbrooke st. sherbrooke st. sherbrooke st. sherbrooke st. sherbrooke st. sherbrooke st. sherbrooke st. sherbrooke st. sherbrooke st. sherbrooke st. sherbrooke st. sherbrooke st. sherbrooke st.

sherbrooke st.

peel st.

(R) project site

(R) planar projections

(R) rationalized sequence

(R) conceptual model

(R) transparency simulation

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sherbrooke

(T) process diagram

(1) rationalized grid (2) site perspective (3) transparent curtain wall (4) transparency sequence

(5) perforated concrete envelope

Center of Fine Arts | completed independently | Professor Pierina Saia07

12

3 45

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(T) sectional perspective

sherbrooke

pe

el

-3.20 m

-6.10 m

+14.10 m

1

2

3

4

(1) artists’ workspaces (2) auditorium

(3) exhibition space (4) archival space

Center of Fine Arts | completed independently | Professor Pierina Saia08

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(T) exterior perspective

sherbrooke

pe

el

Center of Fine Arts | completed independently | Professor Pierina Saia09

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(T) interior perspective

sherbrooke

pe

el

Center of Fine Arts | completed independently | Professor Pierina Saia10

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(T) presentation model

Center of Fine Arts | completed independently | Professor Pierina Saia11

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sectional perspective

2 5 10 m

1 Archives2 Lecture hall3 Exit ramp from Archives

(T) Plan A -06.10 m

1

2

3

12 Center of Fine Arts | completed independently | Professor Pierina Saia

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sectional perspective

cut

2 5 10 m1 Exhibition space2 Administration

(T) Plan B -03.20 m

1

2

Center of Fine Arts | completed independently | Professor Pierina Saia13

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sectional perspective

cut

2 5 10 m

1 Workspaces2 Ramp to exhibition walls3 Corridor to Bronfman building

(T) Plan C +14.10 m

1

2

3

Center of Fine Arts | completed independently | Professor Pierina Saia14

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(T) sherbrooke street elevation

Center of Fine Arts | completed independently | Professor Pierina Saia15

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The Memory Organ is a data archive, programmati-cally dedicated to the recollection, storage, retrieval, reconstruction, and representation of public memory. Unlike the traditional bank and/or museum of a comparable program, its wealth is virtual. Unlike the conventional data server, it is not concealed from the public eye. On the contrary, The Memory Organ celebrates the success of the Information Age and - as such - embraces the ever increasing centrality of data to contemporary culture.

| The Memory Organ

completed with Jack BianProfessor Martin Bressani and Professor Aaron Sprecher

(T) rendered exterior perspective

The Memory Organ | completed with Jack Bian | Professor Martin Bressani and Professor Aaron Sprecher16

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(T) photographic analysis of site(l) terranian atmosphere (r) subterranean atmosphere

The Memory Organ | completed with Jack Bian | Professor Martin Bressani and Professor Aaron Sprecher17

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(T) three dimensional reconstruction of site atmospheres(l) anterior (r) posterior

The Memory Organ | completed with Jack Bian | Professor Martin Bressani and Professor Aaron Sprecher18

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(T) Axonometric view of architectural intervention

The Memory Organ | completed with Jack Bian | Professor Martin Bressani and Professor Aaron Sprecher19

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(l) digital archive (r) exhibition ramp(T) Interior perspectives

The Memory Organ | completed with Jack Bian | Professor Martin Bressani and Professor Aaron Sprecher20

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(T) exterior perspectives(l) city square (r) exhibition ramp

The Memory Organ | completed with Jack Bian | Professor Martin Bressani and Professor Aaron Sprecher21

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2 5 10 m

1 Plaza2 Reception area3 Exit from Mt. Royal metro station

(T) Plan +06.5 m

1

2

3

1

The Memory Organ | completed with Jack Bian | Professor Martin Bressani and Professor Aaron Sprecher22

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2 5 10 m

1 Waiting area2 3D scanners3 Memory capsules4 Entrance to exhibition ramp

(T) Plan +33.7 m

1

2

3

4

The Memory Organ | completed with Jack Bian | Professor Martin Bressani and Professor Aaron Sprecher23

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2 5 10 m

1 Exhibition ramp2 Bottom entrance to digital archives

(T) Plan E +100.5 m

1

2

The Memory Organ | completed with Jack Bian | Professor Martin Bressani and Professor Aaron Sprecher24

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1

2

3

2 5 10 m

1 Library2 Upper entrance to digital archives 3 Exit ramp from The Organ

(T) Plan +175.3 m

The Memory Organ | completed with Jack Bian | Professor Martin Bressani and Professor Aaron Sprecher25

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Metal gratingTrapezoidal section ribbed metal sheetingI-Beam 100 mm deep 140 mm channel (forms drainage channel)10 mm steel sheet bracket2 x 50/7 steel flat ETFE membrane50 mm dia. steel galvanized handrail Curved I-beam IPE 20040 mm steel tension cable Diagonal steel bracing

10 mm aluminum extrusion40 mm diameter tensile steel cable Bird netting fixingContinuous flat along the external side of the spiral rampBolted ETFE extrusionDouble ETFE sheeting80 mm steel cap to hide 50 mm opening for steel tension cables puncturing the spiral rampBolted connection for ETFE joint to the side surface of the spiral ramp

Vertical support arm connected to hidden metal gasket bolted to curved I-beamSound-absorbing element, part-perforated sheet aluminum filled with insulation1

234

5

710

6

12

9123456789

101112

13

12345678

9

2

765 9

34

8

8

(T) detail section

The Memory Organ | completed with Jack Bian | Professor Martin Bressani and Professor Aaron Sprecher26

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A series of architectural interventions is derived from the reconstructed narrative of the Kurdiyeh family of

Aleppo, Syria, forced into hiding in 2013 to escape the atrocities of civil warfare. These interventions are set within the rebuilt half of their destroyed apartment building - envisioned in 2063 to be the last remaining

pre-war structure in their respective neighborhood. The physical reconstruction and chronicled decon-struction of their experience is approached through

a series of material treatments that emphasize casting as a process of both preserving and narrating

memory. In fifty years’ time, The Kurdiyeh’s home will become a defining landmark of a city undergoing

physical and psychological rehabilitation and will stand as a universal symbol of courage, resilience,

and public reconciliation.

| House by Memory: Tribute to Aleppo 2063

completed with Julia ChangProfessor Ipek Tureli and Professor Sinisha Brdar

(t) conceptual rendering

reconstructed house

restored house

House by Memory | completed with Julia Chang| Professor Ipek Türeli and Professor Sinisha Brdar28

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(R) client

the war will end within a few years

the neighborhood completely destroyedbut they will remain

whomever they knewwhomever had survived

at least partially, would have escaped

but in fifty years, the city will be repopulated

and they will be joinedby those of different memories

of other visions,of other dreams

what was once a place of tragedybecomes a space of spectacle

and the war story was not just their ownbut all of ours

disconnected from the war

and from the city it had destroyedtheir house is that remains

to tell of the past

BEFORE

AFTER

AFTER

BEFORE

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(T) Site analysis

BEFORE

AFTER

AFTER

House by Memory | completed with Julia Chang| Professor Ipek Türeli and Professor Sinisha Brdar30

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(1) exit (2) ascent (3) confrontation (4) look out (5) perforation (6) descent (7) hideout

(T) axonometric of architectural deconstruction

House by Memory | completed with Julia Chang| Professor Ipek Türeli and Professor Sinisha Brdar31

Since their escape, the house has been occupied by snipers.

“I don’t want to send my children out. I dream every night that someone will kill

them”

“They came into the apartment and told us to leave`ìmmedi-ately’. We didn`t know who they were, they didn`t know us either - but they didn`t kill us. But they took our home as if it nothing to us.”

“The strikes were all around us. We just ran out with nothing. We just ran and ran until we got down here. The shrapnel was falling all over.....For a month we have been here, this is like a prison. When the bombs fall, we choke”

“We are poor, but proud. I will not go anywhere else: we will not be at the mercy of others. I send my son to scrape some money and buy us food. Otherwise, we will stay here until it is safe to go back home” The hideout used to be a carpenter’s workshop. Amongst the family’s belongings are chair parts.

“This place is a grave.”

“All of our neighbours left. We have not heard from some of them and others have been killed. The owner of this shop is a distant relative. He escap across the border to Turkey.

One of them could have been the son of our neighbors. Ever since they came, he has become one of them. He wore a mask so that we could not recognize him. I suspect he felt bad having done that.

“Only they [pointing at her parents] want to stay here. I just want to be able to feel the sun again. I want to go to Sweden. My friend went years ago and told me that she was very happy there.

“The regime promises us money and the fighters promise us protextion. So far, no one seems to show any concern for us. The government sol-diers kills us, the fighters do not help us. We are on our own.

“We are at the dangerous frontier between rebel occu-pied and government con-trolled sections of Aleppo. We have come here to speak to the Kurdiye family whom for the past three months have been hiding in a cellar underground. We have not disclosed any factual in-formation out of concern for the family’s security.

One enters their hideout by traveling down a staircase. The only way to navigate the staircase is through the aid of a flashlight.

1

2

3

4

5

6

7

-5.0 m

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House by Memory | completed with Julia Chang| Professor Ipek Türeli and Professor Sinisha Brdar32

(T) material examination of glass facade

(T) scale model of restored and reconstructed house

(T) material examination of bullet-light shaft

BEFORE

AFTER

BEFORE

AFTER

BEFORE

AFTER

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BEFORE

AFTER

BEFORE

AFTER

(T) material examination of latex cast

(T) material examination of concrete cast

(T) transfer mold

(T) inverse mold

1 2 3 4

House by Memory | completed with Julia Chang| Professor Ipek Türeli and Professor Sinisha Brdar33

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(L) rendered interior perspective

Though only open to the public from 06.00 to 22.00, the foodcourts of Montreal’s underground city are

constantly consuming light energy and producing solid wastes. They are untapped ecosystems in their own

right. Simultaneously, they are sociallty forbidding en-vironments, excluding a heterogenuous floating popu-lation of students, migrants, beggars, and commuters highly dependant on the use of its facilities. Through

the mapping of the social and functional operations of the Eaton Center foodcourt - the largest in Montre-

al - this project proposes the installation of a second ¨inverted¨ city running throughout the underground

network in an attempt at achieveing an overall social and energetic balance.

| Floating City, Inverted City

completed independentlyProfessor Ipek Türeli

Floating City, Inverted City | completed independtly | Professor Ipek Türeli34

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131,279 students totalThe underground foodcourts directly and/or indirectly feed into the campuses of McGill University, the Uni-versity of Quebec, and Concordia university. Many tend to socialize in these spaces, often pursuing other-wise controversial interactions. Pictured is an adoles-cent same-sex couple.

7,500,000 travellers per dayFor newcomers and travelers to the city, the under-ground foodcourts are landmark locations. Pictured is a recent immigrant from southeast Asia awaiting the ar-rival of a friend to assist him with legal documentation.

30,822 homeless totalMontreal’s homeless are banned from the underground city. As such, they are concentrated throughout various points in the immediate periphery of the food courts (usually in the metro stations).

1,111,700 commuters per dayThe metro trains arrive every 8.6 minutes. 95 exits feed into the underground city. Circulation is primarily facilitated through the metro network and pedestrian thoroughfares.

500,000 + conversers per dayFor newcomers and travelers to the city, the under-ground foodcourts are landmark locations. Conversing is their main social activity. Hence conversations were recorded and mapped.

x,000 custodians (cleaners + security)Cleaners and secuirty officers maintain consistent sureveillence over floaters and conversers - escorting them out of the mall whenever necessary.

9,273,801

“floaters”

9,273,8019,273,8019,273,8019,273,801

Floating City, Inverted City | completed independtly | Professor Ipek Türeli35

9,273,8019,273,8019,273,801

9,273,8019,273,801

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Floating City, Inverted City | completed independtly | Professor Ipek Tureli36

(R) underground city map

surveilled hours/intervention/food courts

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eaton centeroperating hours: 06.00 - 22.00

capacity: 2000 persons

(R) intervention map

surveilled hours/intervention/food courtscleaning cyclessecurity presencestore operationssources of conversersavailability of foodcirculation

Floating City, Inverted City | completed independtly | Professor Ipek Türeli37

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(T) operations frequency map

Floating City, Inverted City | completed independtly | Professor Ipek Türeli38

surveilled hourscleaning operationsstore operationsrecorded conversationscirculation intervalssound levels