ArchShaan

About: I'm an architecture student, currently enrolled at Rice University. The following posts represent my own thoughts and feelings on architecture and related subjects. All photos are taken by me, unless otherwise specified. If you are interested in knowing when new posts come out, please enter your email address below!

[archshaan]

archshaan.com

Hey guys, check out the new updates to the main portfolio site!

And Happy Independence Day! 

[archshaan]

Unconventional Courtyard - Self Defined Experience

For our semester project, we were charged with designing a Visitors Center for a National Park in New Mexico, called the Valles Caldera (vallescaldera.gov). This park is an active super volcano that prides itself on its rich environment, beautiful vistas, expansive wildlife, and explosive history. 

Full Plexiglass Model

Unconventional Courtyard is the unanticipated enclave in the center of the building. In it, one experiences the senses and qualities of nature in a completely enclosed, unprogrammed space. This space removes the visual, accessible, and programmatic norms of a standard courtyard, and focuses on its other possibilities.

Sectional Perspective

Self Determined Experience is one that entitles the visitor to freedom of choice. By providing information, diverse equipment, and “launch pads” throughout the park, the visitor can easily experience the park with their own itinerary.

View from "Launch Pad" /  Exit of Building

Together, these two ideas create a prototype for enjoyment at a park like the Valles Caldera. The courtyard removes the view, and allows visitors to experience nature without the iconic panorama. After moving through the building, visitors are placed in a space for individualized planning and prescription, enticing them to experience the park beyond the visitors center in a way that is personal, deep and unconventional.

The Launch Pad

Above is a view in the "Launch Pad," where users can plan out their own method of exploring the park, without a defined loop or list of "icons." The Launch Pad is meant to allow visitors to focus on their preferred interests, time table and comfort. 

The Master Plan

To accomplish the goals of the Launch Pad, the park can be accessed through a series of different modes of transportation, that allow users to experience the park at their own comfort. By allowing for access "nodes" instead of icons along a loop, the park is virtually universally accessible. By providing maximum accessibility, it allows the visitor impact to be less dense, and more spread out. 

The Lobby

Visitors enter through the courtyard, and into the lobby space. There, they can visit a small cafe, gift shop, or enjoy the views. The brise soleil (sun shading) faces the east and west views to filter direct light. In the lobby, it is used to act as transition space.

The Exhibition

The main purpose of the exhibition is to introduce users to the history and geology of the park. Hopefully, this will help them gain a deeper understanding of the park before deciding on how best to interact with it in the launch pad. Visitors can interact with the exhibition in different ways and through more technologically advanced means than ever.

Environmental Systems 

Site and Floor Plans

Team Shiz

Anecdote: Team Shiz

Teams in architecture schools are never standard, and always different. This project was a team effort between my partner, Elizabeth Stanfel, and I, and I could not have asked for a better partner. I have learned so much from this experience, and our friendship has never been stronger. Others in the studio dubbed as as the newly weds. Others in the studio had different relationships, such as the brothers, the retirement home friends, the mom and daughter, and more. No matter what, working in teams can be good, it can be bad, and it can definitely be ugly, but there is always something to be learned from our peers, and it is always rewarding. 

Pic 10 

The Big Picture

The project comes together when the pieces are put together. The elements create a sequence that helps to inspire users to break out of the visitors center, and immerse themselves in the Valles Caldera.

[archshaan]

No Form? No site? No size? No Problem.

For studio this semester, we are competing in a national competition called Parks for the People with the Van Alen Instutute, to try and redefine the national park system. Our petri dish is the Valles Caldera, a front runner in its own right, as it is an new kind of national park, that is aiming to become self funded. However, they necessitate a visitors center to officially open their doors to the crowds that it has the potential to attract. 

Introduction to the Park

The park is special as it is a caldera. This means that it sits atop an ancient imploded volcano. It is remarkably different than the landscapes around it as a result of this. 

What should the visitors center focus on/embody? 

We were asked to map out, after some research, what we thought were the most important things about this visitor center and come up with programatic elements. The way to do this was to map out the different visitor types that would interact with the park, and see what activities they would like to do. Then defining program to facilitate those activities will help to translate these experiences into architecture

Its all about the sequence.

I decided to map out the "typical" visit to my visitors center by a student. Doing this helped me to realize the importance of circulation and the importance of options for the different groups of people. I would take these elements into my designs (which you will see in the next post). What I mapped out above is a continuous path taken by a student. These and more studies led us to program, sites, forms, schemes and to a site visit. 

The Inspiration

No amount of research, no amount of googling, no amount of staring at the 3D topographical site on the computer, no amount of discussing it with employees of the preserve, etc… will prepare you for the moment where it clicks. 

[archshaan]

From Diagram to Building

Moving from an architectural concept to a building is an arduous struggle, whose reward is only manifested in the successfulness of the building. The Urban Winery was a struggle to successfully employ the idea of cutting categorical strips of a site. In this case, I believe that it can be a successful endeavor. 

In the middle of it all, the site sat at a crossroads of sorts that led to its poly-directional design. 

The Urban situation is not one of calmness and serenity. It is a struggle in itself, with countless problems and battles to be fought. The stripped winery reflected this as, wedged between 2 grids, it responded to both, showing its interest in both sides, and showing how it is a product of its surroundings. 

Entry Sequence

By creating a focal point for the strips to gather around, an entry courtyard can easily be made. Major points of entry are the only times in which the wrapping pieces of the strips are actually cut into. These attract attention and create a hierarchy of entry.  

Grapes

The category of the turning point of the stripping (the triangle) is categorized as Grapes and Cars. Where the beginning of the "process'" of visitation and wine begins. The cars are below a sloped (for irrigation) piece that is accessible from the entrance as a roof terrace. 

"Mind the Gap"

In order to keep the strips as separate pieces, I responded by creating a "gap" of sorts, that was visually accessible, and not physically accessible. It is about 3 ft, and grass would be at the bottom. I admit that this was where the project could have had different potentials, or broke some of its rigidity, but the choice that I made was the keep the strips as separate pieces on the "urban block." 

The Jumble

Overall the strip concept was a dynamic study that created active spaces that allowed for many layers of circulation. When one begins to make important decisions (how to deal with gaps, circulatory systems, and more), the architect has to decide what level of rigidity has to be followed. Is the spatial study just a formal one that program can be plugged into any which way, or is it one that has conceptual ties. The studio saw many levels of rigidity, formalism, conceptualism and more, but it was the early decisions that determined the final outcome. For me, it was deciding to follow a rigid spatial study on all levels of concept and form.  

[archshaan]

An Experiment in Process

"Cut and Fold…don't glue" -Professor Casbarian. "Whoops..." -Entire Class 

Architectural process is something one develops in school. It is not necessarily inherent, easy, or coherent, but something more experimented, discovered and refined. School is the time for this procedure of experimentation, discovery and refinement. This studio decided to examine the outcome of buildings that began with a very specific process. Cutting and folding paper, with minimal gluing to develop abstract spatial concepts. 

Decision Time: Strips

After much discussion, I chose the "strip" concept, literally cutting the shape of the site into individualized strips. This concept gave me freedom to cut the site in various directions, sizes, and heights, depending on program. It also raised a lot of architectural questions and problems that led to its final outcome.

From Paper to Diagram

Transforming this idea into diagram was simple, once the program was given. The project was an Urban Winery, which differs from a regular winery in that it has program that can be categorized, such as a public entry, wine making, administrational, and more. By assigning these categories into strips, it gives each strip the ability to have an internal circulation, and a clear definition of programatic categories. 

More architectural problems answered: Circulation

With any structure, there are many layers of circulation. In a winery, there is also a circulation of wine, also known as the wine making process. The strips created essentially internal circulation within each strip, and the categorization of each strip furthered this concept. To breath this, lesions were created in the strips, that allowed for crossover between strips. These allowed for things like tours to move through all of the strips freely.

'

The After Thought: 

With any spatial experiment/excersize, the conceptual architectural implications are found after the fact. The categorical stripping of the site created a series of seemingly separate structures, woven together with a similar architectural language. I call this the "urban block" condition. Each piece of the block had an internal circulation, and a seemingly inclusive system. 

These concepts and more were tested when the spaces began to become real in the plans, sections and renderings seen in the next post. 

[archshaan]

site before program.

The Site is an important architectural concept...says some. There is a definite rift when it comes to architectural theory on whether the site, the program, the concept, the form or any other factor should be studied first. Because of this 'rift,' different studio professors will have you study different ones first. Professor Casbarian (our current prof) believes in SITE FIRST! We were told that our final project is going to be an 'urban winery' but no specific programming or anything, and that we should just study the site as it stands. So below is a study of the different elements such as the demographics, the methods of approach, the splice in the grid of streets at that point, a mapping of building typology, a site history and more. 

From the studies, I found that the site sits at a focal point, where there is a splice between two different communities. One side that is more urban, a little multipurpose, but mostly offices. The other side, all residential. This is seen in differences in transportation, views, typologies and more. This site stands at an important point that can help fill the gap between the two sides and that the spur (small highway) creates. 

Anecdote: Studio Song

We kind of have a studio song...thanks to the international students the song "Loka People" by Sak Noel was chosen (http://www.youtube.com/watch?v=vZLd81IHGQw&ob=av2e). The song is ridiculously-perfectly fitting. It beings with the lines: "All Day...and All Night." Something descriptive of studio life in general. As the story goes, we were having a meeting as a class with Professor Casbarian (I will now call him Casbo from now on for shortening purposes) and he asks if we have been working a lot. And I replied we work "All day...and all night." There were small chuckles around the room from the students at the 'inside' joke. And Casbo, turned to the class and said "You know there was a really popular hit in Europe over the summer...but it has terrible profanity." Everyone's eyes grew wide. MariaPia, finally spoke up, and asked "is it Loka People?" "YEEESSSS!" -Casbo... We all died laughing.  

[archshaan]

Precedent Studies...aka, final project brainwashing.

Each semester usually begins with a precedence study of some sort. It is normally set around the same scale and/or program as your final project. We then deeply study the buildings, recreate them, diagram and model them. My set of buildings all involved different manipulations of the ground plane for differe purposes...for some odd reason, final projects of the semester tend to carry out some of the same themes as their precedents. 

The Rolex Learning Center: SANAA's Pulitzer prize winning design involves a ground plane that unjulates. They wanted this center to be approachable, and they believed that having multiple stories ruins this, as people would not feel free to circulate into the upperspaces without reason. So they decided to make a plane that was all one floor, but the unjulated it. They did this to allow for entrances and exits at points of the building, and to take advantage of views to the lake and mountains. 

The Oslo Opera House: Snohetta's purpose for the Opera House was to have it be a public space as well as a private. So a plane that folds up, creating ramps for people to circulate on top of creates a space for the Opera House underneath it.

New National Gallery, Berlin: Mies' new gallery for Berlin needed two different types of space. One that was rotating and one that was permanent. Mies decided that the rotating spaces should be one that is open, free, and monumental. This is what the second story of the National Gallery is. However, Mies shifted the ground plane, placing the second floor on a pedestal, and the first floor, hidden under it, so it is not until a person moves into the space that they notice that there is a bottom floor. 

Each program and architect's intention created different reasons for different manipulations of the ground plane. 

The Rolex Learning Center creates a seamless plane, yet SANAA still manages to separate public and private spaces through opacity and undulations of the plane. They also believed in curved figures, as people don't tend to move in orthogonal shapes, but organic curves. That is why the circulation and the holes punched out are curves as well. 

  The National Gallery is a mystery to those who stumble upon it. When outside in the front, one would have no ideas that there was a complete underground section. However, Mies indicates the existence of one based on the outer courtyard in the back. 

The Oslo Opera House brought the idea of materiality into it as well, creating a disparity between the outside and the inside. It also creates a sort of urban beach, where the facade literally decends into the water. 

The Datums representing the ground plane were all shifted based on different criteria and goals of the architect explained above. 

The sites for the three buildings are different but together. The rolex learning center's form is affected by the views, the Opera House creates spaces for view and interaction with the harbor, while the National Gallery Acts as a monument in Berlin. 

The creation of a manipulated ground plane usually requires some structural feat. The Rolex Learning Center (shown above) is composed of two perforated shells that are held apart from each other through a grid of columns. However, there are no columns that pierce the shells, i.e. the shells hold themselves up from the ground. The Gray space represents the parts of the Rolex Center that touch the Ground. The New National Gallery is a pedestal that sits atop a series of columns. The Oslo Opera House sits on a series of Columns and Bering Walls. 

The Circulations of the spaces are particularly interesting, as they all were obviously designed with them in mind. In the case of the National Gallery it was built with the idea that the circulation can be dictated by the art and the exhibition. The Oslo Opera House had an obvious path around the outside of the building, creating an outdoor cycle with spaces to stop, rest and gather. The Rolex Center's circulation was free as its plan, allowing entrances and exits to dictate the spaces of concentrated circulation. 

These case studies are meant to inspire us, and to teach to the class. In the end of each round of case studies, each student feels just a little more educated on significant architectural buildings and comes out of it with that many more ideas for the next project. Because you see, they are not supposed to inspire us based on their forms, but on their ideas.

[archshaan]

Taking a Bite...pt.2

...of the Museum of Modern Art (MoMA). (sorry I went on a little hiatus there...hopefully it won't happen again)

The Museum of Modern Art, designed by Taniguchi

Before I begin this post, I wanted to thank my brother. My family is not exactly fond of museums (let alone art museums) and he willingly came with me, and even humored me in certain aspects. Although this is an art museum, I am obviously looking both at the art and the building housing the art (I'd say it was about 50/50). The building was gorgeous, with both open and closed viewing spaces. The main attraction for me (besides the sculpture garden) was  the central void. A 5 height space able to be seen from every story. Every time I was on a bridge overlooking the space, I had to stop and take notice. The building was gorgeous to say the least, and the combination of the white and the black was refreshing, compared to the usual all 'white' museums we are used to. 

One: Number 31, 1950 by Jackson Pollock

This was the beginnings of a movement less of representational and more of experiential art. Like architecture, art was moving to a place where it was meant to be stood in front of and felt. The experiencer doesn't exactly know what in the painting or the space that is making him feel small, big, happy, sad, satisfied or disgusted. He or she just feels them. While architecture is more subtle in these stimulations, spaces are designed with these in mind. Art is more obvious, but the emotions are obviously more complicated, and each piece of art more abstract containing everything from seemingly random chaotic compositions to geometrically perfect ones. 

Wishes by Yoko Ono

Walking up to this little box of tags, one begins to read them, not exactly understanding at first. Then you see the title of "wishes" and you completely understand. It reminded me of a happier version of "Post Secret." I just wished that I could spend more time reading them (and that more were visible). What was also awesome was seeing different languages like Portuguese, Hindi, Arabic and German wishes. I just had to show you it, because I thought it was really interesting/inspiring/wonderful. "All of our wishes can come true, if we have the courage to pursue them" - Walt Disney.

Starry Night by Vincent Van Gogh and Water Lilies by Claude Monet

Classic Modern Art pieces are prevalent in the MoMA. Here are two examples right here, and they of course get the most foot traffic. However, what I enjoy about the MoMA is that they do not put them behind glass or a fence. They are naturally placed in front of you, mostly like any other piece of art. 

Different Pieces in the Museum

Just things that I thought were particularly interesting. 

The Taniguchi Sculpture Garden

The Thing about this museum is that you look out the window, and you don't see the usual NYC Streetscape, or the Empire State Building in the distance. Instead you see an oasis of sorts. Standing in that Oasis, one reflects after hours of museum time. This space makes one pause, stop or even stare off into the distance, thinking about the paintings, sculptures , exhibits, or even their own lives. 

[archshaan]

Taking a Bite...pt.1

...of the Big Apple. Although I have wanted to be an architect since the age of 10, I did not read the Fountainhead until this past year. For those of you that have not read or heard of the Fountainhead, its by Ayn Rand, and exemplifies her theories of objectivism through the vessel of architecture. Set in New York City, Rand illustrates a society where modernism was seen as defiant, and everything follows the styles of the past (whether it be Greek, Italian Rennaissance, French, etc.). Skyscrapers looked like 20 pantheons stacked on top of one another, or had elements of all ancient styles mixed together.

However, the city in question does not follow this theme. New York City truly is a concrete jungle of modernism. But its not the outsides of the buildings that create its magnificence, its the spaces inside, between and all around the buildings where the true magnificence lies. It is in these spaces that people truly live, work and play. It is there where business deals are finalized, relationships begin, and people get lost to find themselves. Architects know that in this city, they must create spaces that are multi-purpose in nature, and spaces that interact with the spaces around that they do not have control over. It is in these well crafted spaces that life is lived. 

The New York Times Building by Renzo Piano

Last year, I had the pleasure of touring the New York Times building on my Journalism Trip as a 'Journalist.' I can tell you here honestly, I toured it fully and completely as an Archi! The most compelling part of the building happens in the first four stories. There is a central courtyard with a beautiful garden that these 4 stories wrap around. This is the core of the building as it houses all of the writing for the New York Times, separated by section (i.e. sports, lifestyles, news, opinions...). Piano paid particular attention to the shading of the building. The grating on the front is a testament to this, as well as the automatic blinds that move up and down depending on the amount of sun coming through. On the first story, there is a small lecture hall that is completely open to the rest of the floor, but since it is on one side of the glassed in courtyard, it acts as a separate space as well. Overall, the building was interesting in its methods of shading and connecting spaces on different levels in multiple ways. 

The Alfred Lerner Center by Bernard Tschumi

I've been in this building a few times and always found this space compelling. The idea in this student union is there is plenty of banner hanging space, and you can see your friends if they are on any story. Laced with staircases in select places, the building creates opportunities to pause, stop and chat along its elongated ramps.

Anecdote: Tschumi must not wear skirts.

As we were taking the 2 subways we had to take to Columbia, it began to pour. We ran through the Columbia tour, from building to building. We ended in the student union, the Lerner Center you see above. We learned that the original building had all glass walkways (unlike the fogged ones you see above). These walkways provided 'direct' views into the skirts and dresses of the female Columbia students. As soon as this was brought to the administration, the glass was immediately fogged. The problem with this story to me is that I have heard many like it: Glass staircases, glass ramps and glass balconies create these uncomfortable situations, and yet, architects keep making them, and no one protests. Hopefully this will happen enough times so that it does not have to keep being an expense after the fact. 

The New Museum of Art by SANAA

This icon just outside of SoHo is a both breathtaking and submissive. It is breathtaking because of the 'balancing act' it is performing, and it is submissive in material and color. The rose placed on the first landing is a rotating sculpture display. The 'building block' structure appears whimsical, enjoyable, yet intelligent. The overlapping of the "cubes" creates opportunites (like in LeCorbusier's Carpenter Center) for terraces. The inside follows a clean design that does not overpower the art. 

The Prada Store by OMA

Koolhaas wanted to recreate the idea of the "retail experience," so he was commissioned to do the Main Prada Store in New York City, SoHo. The store has a rotating, multi-purpose display in the center, and more interesting spaces throughout. This is the only picture I could get though, because I was asked not to take pictures by one of the security guards...This center space however can be converted into a fashion show runway, a DJ Booth and dance floor, and even more. 

The Cooper Union by Thom Mayne of Morphosis

The Cooper Union is a small university in Manhattan specializing in Art, Architecture and Engineering. This building, unlike their existing building, is modern, green-friendly, holds housing and two floors of basements. the building itself is breathtaking, stopping any true archi in their tracks. What struck me were the columns angled on the bottom floor and outside the building. They permeate the building in some places. The irregularity of the building seems rhythmic and soft. I sent a picture of the building to my friend Jarvis and he replied, "I would get hit by a car while standing speechless in the middle of the road...and die happy." It is truly gorgeous. 

The most magical part about this city is this illustrated right here. Walking around and discovering and exploring. The people, the energy, the lifestyle and the movement is what makes this city breathe and what makes the city breathtaking. Finding hidden treasure, walking until your feet fall off, meeting strangers on the subway, or just sitting in a plaza waiting until something happens is what New York City is about...that and the accents. 

[archshaan]

SHIFT in perspective

As I have finished my coverage of my freshman year (and all of its glory), I would like to shift the focus of this blog to be about my experiences during the summer. Being an architecture student, like many other majors, the learning doesn't stop in the classroom/studio...we have to critically look at everything we see, read everything we can get our hands on, and subscribe to as many things that we can (in this day, that means following tumblrs, Facebook pages, and tweets). Doing so is the only way that we can hope to keep up in our respective fields, and talking about it (or writing down our thoughts) is how we can hope to grow.

Washington Monument taken by ArchShaan

Traveling, observing and experiencing is half of architecture. Inspiration and innovation must be in constant symbiosis when completing projects. Although I may have been to these places before some years go....going, and going as an archi are two very different things (also now I am of an age where I can explore a little on my own). As it is now time for my younger brother to embark on the dreadful, monotonous monster that is the college application process, and as he is thinking Early Decision, he had to visit a couple of colleges in the east..and of course WE ALL GO WITH HIM. I was fine with this however, because we were set to visit some of my favorite cities in the US! We started in Raleigh (for just one night, don't worry). We then drove up to Washington D.C. (hence the picture above), then to NYC and finally to Boston, spending about 3-4 days in each place...and of course I saw every architectural marvel that I could fit into those days!!! I am going to spend the next few posts talking about my travels...the first one about DC.

The Wilson Library, University of North Carolina taken by ArchShaan

I know that this isn't DC, but as I skipped North Carolina as a post, I had to put this in (although it is more political than architectural) because I thought it was interesting.

Anecdote: Family Feud

The Morehead and the Wilson families both were early donors of UNC Chapel Hill and both vied for the name of the library. Obviously, the Wilson Family won. However, it was the Morehead family that had the last laugh, as they gifted a bell tower that stood behind the Wilson Library. A bell tower, that, when looked at from the proper angle (shown above), placed a dunce cap firmly on the head of the Wilson's Library. This was a constant reminder of the politics of American Education and donation to UNC students, and how important the beginning of their school was.

The Mexican Embassy in DC, taken by ArchShaan

The Mexican Embassy, just a few blocks short of the White House, stands on the site of the "seven houses." These houses were home to many things in American History, including housing the Declaration of Independence, the Department of State and the home of President Madison and his wife after the War of 1812. In honor of US History, and to show that Mexican and US relations are good, Mexico designed their Embassy to respect the two houses that were on their property, integrating them into the embassy. The clash of styles is refreshing, and is really interesting in my opinion. The newer part of the building wraps the building on 2 sides, kind of like a shadow box, but leaving ample room around (at the top especially). The levels stagger outward as it gets higher, to highlight the slope of the colonial houses below. This complementary relationship acts to bring the colonial houses to the forefront, almost framing them. It was a smart move on Mexico's part that shows their willingness to tip-toe around the US...even their historical buildings.

The Vietnam Memorial by Maya Lin, taken by ArchShaan

The Vietnam Memorial is both an artistic and an architectural landmark. The memorial stands as a gash on american soil, harsh but softened and set into the landscape. From certain perspectives it disappears, and from others, it dominates. But there is something captivating about nam.es on a wall. It is more than just putting stars or dots or some symbol representing people Names are characteristic. Names are individual. Names are specific. It isn't until halfway down the wall where you can't stand the sight of your own reflection in the names of countless that have died. But it is the small reminders of legacy that keep this wall one of the most visited memorials in D.C.: Families of 5 with a lists in their hands, looking for names; Wives, sons and daughters placing flowers at the bottom of the wall; Friends etching the names of those they knew; and one mini-bottle of Jack Daniels for grandpa, who used to love it so much. 

The Star Spangled Banner in the Smithsonian Museum of American History, taken by ArchShaan

I realize now that I have been rambling a little bit above and wrote a little more than I anticipated so I will try to shorten it. I was just taken aback when I saw this in the American History Museum. The light coming from the windows reflected through it so beautifully, and the true exhibit behind it showcased the actual tattered American Flag that inspired the poem of the "Star Spangled Banner" (btw, the actual view was a lot more breathtaking than the poorly taken photo above...I apologize).

The Franklin Delano Roosevelt Memorial, taken by ArchShaan

This memorial is one of my favorites. Both grounded and experiential, it is neither imposing nor submissive. It is strong, natural and symbolic. Each "room" represents a different term of presidency, and varies in its water elements. This one, more tumultuous and angled than the others, represents World War II. The first term showed a waterfall with a large drop, representing the Economic Crash. The final pool of water was still, representing the death of a great president. 

German Television Buidling in Georgetown, taken by ArchShaan

While exploring the small shops and restaurants in DC's beautiful Georgetown area, one does not expect an infill like this one. Something that both surprised and pleased me was this little gem, just off the main M Street. Open in nature, this building is affiliated with German Television, channel 2. The staircases inside are beautiful, and the infill sits perfectly in its brick and stone framing as a speck of modernism. 

The Jefferson Memorial, taken by ArchShaan

One of my favorite memorials, especially at night, the Jefferson Memorial sits beautifully along a still body of water, surrounded by Cherry Blossoms. I decided not focus on the classically inspired memorials of DC, as they are already so well engraved into our minds, however beautiful they are. The human scales and the reminders of Greek influence on our own culture keeps us humble, and is a constant reminder of democracy and the beginnings of our country.

The Capitol Building, taken by ArchShaan

As you can tell, I love the classical buildings at night...next post: NYC

[archshaan]

NO MORE DOWELS...pls

Before I begin telling you about my project, I would like to make a small rant about dowels [excuse me in advance]. First of all, for those non-archi, a dowel is a wooden stick that comes in varying thicknesses. For my modeling purposes, they were used to represent columns. Seeing as my concept for my final project was columns...I had a lot of them. Seeing as the thickness that I was working with was 3/16"... it was quite difficult to do ANYTHING with them! As you might imagine, I spent a lot of time holding dowels perpendicularly, in glue, on flat surfaces...for hours! And whenever one wasn't cut perfectly, it would never stand. Literally, I would try like 5 or 6 dowels sometimes on the EXACT SAME PATCH of glue, and it wouldn't work! I literally spent HOURS on my Netflix, just holding the dowel with one hand, and the 90 deg triangle with the other, watching a movie/tv show/documentary. By the end....it never wanted to hold up another small wooden stick again! 

Semester 2 Studio Dinner Group Picture at the 48' House

So our final project was to make a house. But a house that was, in essence, a 'conceptual house' where it was created by the concept chosen by our previous works. My concept at this point developed into the relationship between columns and the envelope surrounding it. So the first thing that I wanted to do was develop the idea for my overall composition by mapping out where the columns would go first. I figured: in order to create a compelling composition, it must be compelling from the start. 

Column Composition Diagram

This diagram shows you the initial moves taken in the composition of the columns. I decided that the manner in which the columns were composed would help to dictate the program. What ended up developing, was an analysis of the juxtaposition of the 'perfect grid' vs. the 'forest of columns.' This study proved to be both rewarding and interesting as I moved further into it.

The overall final Columnar House (top) and just the "shaved" columns (bottom)

The house was meant to be around 2,000sqft, and have 2 bedrooms, living space, kitchen space, outdoor space, work space and leisure space. The house is a special condition as it sits in front of a lowered highway, with a sound-wall behind it. In order to take advantage of the raised views, it is an upside down house, where the public spaces are upstairs. Also to this effect, the house is pushed to the back of the lot. This also allows for the columns that appear to be 'shaved' in the front yard serve their purpose (yes I know you were probably wondering what those were/some of you did not even think twice about them or notice them). The original grid of columns that I made in the diagram took up the full space within the building line. In order to cue people into the 'idea' of the house from the start, they would be met with a field of shaved columns and understand the 'grid' before it is 'broken' and made into a forest of columns. 

Final Model from Front Yard (top) and Right Side (bottom)

There are two entrances to the house. The main one is an extended staircase (top), and the secondary entrance is located to the right (bottom), and enters directly into the first floor to the private spaces (rooms, storage, & bathroom). 

Front Balcony

As shown above, the house facade begins when the columns transfer from a grid to a forest. This moment is especially important (not just because I love outdoor spaces) because it represents the definition of the "rhetorical column," and also acts as another cue to the 'idea' of the house. The column essentially stands without holding anything up. In other words, merely for experiential purposes. This balcony is my favorite part of the house, as I picture a place that would be perfect for 'pacing' while on the phone, or just to put a bench or take a short walk when you are working inside and need a break. It is both compelling to the idea of the 'column' as well as compelling as an experience.

We call this an exploded Axonometric...It is just a way to 'Diagrammatically' View the House

The House, shown centered, is exploded into two main parts. To the top-right is an example of the a classic 'Maison Domino.' For those non-Archi, it is basically a perfect grid of columns with evenly spaced floor plates. On the bottom-left is an example of my own invention: Free Column/Facade. This is a comment on LeCorbusier's idea that a perfect grid of columns is indicative to a free facade. However, my free facade, wraps around the places where I diagrammed a 'forest' of columns. It is this juxtaposition of the 'Maison Domino' and the Free Column/Facade that is the true essence and purpose of this house. The other exploded pieces of the Axon above illustrate the minor details of the program and the specific spaces. 

The Back of the Columnar House (top) and a section of the house (bottom)

This view shows the back of the house, fully appreciating the views above the city that the site brings. It also shows the clerestory window peaking over the rooftop terrace. The parts of the house with the Free Column/Facade are at varying heights while the 'Maison-Domino' portion is at constant heights all three floors. This is seen in the section shown on the bottom. The Central portion is the 'Maison-Domino' while the sides are part of the Free Column/Facade. This creates interesting lapses in the varying levels and shifts of the ceiling. These things cue the experiencer to realize when he or she is transferring from a 'forest' to a 'grid,' or back. 

Columnar House Floor plans (top) and Rooftop Terrace (bottom)

The 'Free Facade' allows for complete freedom, including availability onto the roof of it. You get to it from the third floor, where there is a loft for entertaining that overlooks the living room below. Furthermore, for programatic and realistic reason, there are certain parts of the Columnar House where the columns are voided. In these moments, there are recessed lights above in the places of the columns. This is seen clearly in the Axon and the Floor Plan. 

Columnar House Balcony

In essence, the house presents a person with an experience that is fresh and unique to any other. The columns are more than just structural pieces, but pieces that can dictate program, create circulation, and even put in compositions that can be juxtaposed with each other. The best complement given to this house was by my professor, Grant Alford. He told me the concept of the 'Free Column/Facade' was soo cool, that it is like "LeCorbusier's 6th point of Architecture"...I call that a complement!

My Final Presentation...sorry for the poor quality picture, I took it really fast.

Anecdote: Charette/Pencils Down

Charette is a term known to people in most art and architecture schools, but not known to pretty much everyone else, so I will define it here with a minor anecdote within this major anecdote (seriously, here I go). When deadlines came around in French Art Schools centuries past, a 'cart' would come around to pick up all of the pieces of art from the students. Some people, in order to make the deadline, but still work on their paintings, would take their easles, and sit on the cart, continuing their painting. Cart in French is 'Charette,' and this act became known as being "on charette." This term would come to be used across the world with architects and artists alike to mean 'deadline'... Now with that out of the way, Rice is a little different than most architecture schools. We have a school-wide deadline that occurs on Monday at 5PM where everyone in the building, from sophomore to MArch Graduate student must put their pencils/mouses/X-actos down! This is on honor code and is serious...like actually, if you walk your model across the room after, and you drop it, that's it! No fixing it! Freshman, get a deadline the day before, as our final review is during the rest of the schools' pencil down (and trust me, we know when it happens: the building is extremely intense in those last 5 minutes... I'm talking crying, running, screaming, etc.). So as Freshman Archis, our pencils down was at 2AM, Monday Morning, in order to allow us to 'sleep' before our final review on Monday at 12:30PM...btw Sleep=you only have time to sleep for 7 hours before you have to wake up: this 7 hours includes skipping 2 classes/you haven't slept in a week. However, despite being given all the way until 2AM, that last hour was one of the most stressful I have ever seen in that studio in my life. Not because everyone was rushing, not because people waited until the last minute to do things, and not because its always the same people rushing...because its not always the same people. It was because the half that were done were frantically helping the half that weren't. It was because Rice University Architecture School is one of the only I have ever seen that fosters collaboration, and teamwork, without actually putting us in teams, or asking us to collaborate. The studio environment was one of stress, craziness and wonder, as I watched in amazement as everyone was helping those that were not done...to finish. Something unparalleled in other architecture schools. It was literallly: "I'll cut your scalies." "I'll hold that, here, glue." "I'll cut your base for you." "I'll go print that and bring it back." "I'll glue this back together for you, don't worry."...from all over the room. And in that moment, I knew for sure that I had made the right choice in Rice Architecture...(not that I had already decided that in the first 3 days or anything ;)...just don't ask me to help you with any dowels for a little while.

[archshaan]

spatialization=not your average space

At this point in the semester, we had been working with different concepts in conjunction with each other... I had been told in previous reviews that I generally implement too many ideas (whether they are good or not is besides the point), but in designing, choosing one main concept, and one or two minor side concepts is enough....according to Danny, my semester 1 teacher, "we only have a handful of good ideas in our lives, and it is best to keep them in our pocket, and save some for later." With that in mind, we had been developing multiple ideas at that time, and I finally decided that I was going to focus on...COLUMNS

putting a caption here would give away what I was about to talk about

COLUMNS (yes I just said that...yes its redundant but keep reading). Not as structural support, but as tools for circulation and the creation of spaces. Our 'Midterm' project was to create a 'space' that helps portray our concept. I will preface the explanation by saying that we were given a 'box' where we were to put this space, and told that it was indoor. Grant (my professor) explained it like this: "imagine you were making an exhibit, and you had an entrance and an exit; You wanted a person to walk through the exhibit and, by the end, understand your concept."

spatialization from top: illustrating the change in the field

So, following the advice of Donya, I made one major move, and one other minor move. The major move, was the choosing of where the columns would lie. The space had to have an entrance, an exit, a space to rest, a space to gather, and spaces to view. So I decided to abstract my original model of columns and make the entrance in an even grid, changing into a forest of columns. The second element involves pieces that fold and wrap around the columns. 

spatialization from corner

The white pieces wrap around and go through the columns, creating both spaces for circulation and spaces for pausing. People are more inclined to walk under a covered path than an open one, even without weather elements involved. These create the spaces needed. The open box seen on the right, provides a space to rest, while some of the others help to lead people through the exhibit. In the forest of columns, there is a space where the columns are voided. This "clearing" in the forest would become a space of gathering, as it is different from the overall composition. This interruption would make people pause in it, making them gather. 

View from the entrance

The entrance beginning as a grid allows the experiencer to walk in a straight, uninterrupted line, until he or she runs into the first offset column. This prompts him or her to change their path accordingly. As illustrated in this picture, the covered path prompts a person experiencing the exhibit, where to go, and guides them through. 

Hand drawn diagram of spatialization

The image above diagrams the spatialization in three views. The first, a plan view, showing the layout, and accentuating the "grid vs. forest" dichotomy. The middle view is a 3D rendering of the entire spatialization, showing the different elements as they are in the actual model. The final piece is an elevational view, highlighting the grid points, showing what a person would experience, and the obstacle they would face at the turning point from grid to field. It also shows the views that they would experience when looking ahead. 

picture of my "wall" at the midterm review

At the bottom are the three iterations of the columnar spatialization. The review actually went a little less than well, as I was criticized for randomly placing the columns. Although my professor loved the final product, you are never going to know what another person, who has never seen your project before is going to think. But I was able to correct the changes he made, and come up with the final project...(coming soon)

my final project (coming next post), completed, and photographed in the rice academic quad

Anecdote: The Transport 

*:(flash forward):* At the end of the year, storage is always the trickiest thing. Throughout the year, archis make so many models (mini models, study models, iterations of a final product, fragments, whole models, and more) that it is almost impossible to ship them or even store them all if you do not live in the vicinity. Luckily, my RA's said that they would hold some of my models for me. I knew, however, that keeping all of the models would be a useless task, as I would forced to dispose of them one day anyways :(. So I disposed of everything besides my final models from both semesters (you haven't seen one of them yet)...and my final spatialization (if you haven't been paying attention, it is the model I have been talking about this entire post!). The second model is on a HUGE site model (not actually that big, I can carry it). I put both my first semester model, and my spatialization on top of the site, and carried it all back to my dorm, only a 3 minute walk away. Houston decided to be uncharacteristically windy this day...you see where this is going. So the model you see above, just around the corner from the door to my building, flipped off of my site model and hit the ground upside down. Needless to say, the entire grid of 'brittle' columns was instantly crushed... It looked as if a strong wind came and crushed all of the front columns. However, I did save the other two.

[archshaan]

"model the idea of the building" -prof, "huh?" -students

Anecdote: Blue Foam Antics

Buying materials as an archi is always tricky. You always seem to have too much or not enough of a certain material, but most of the time, you have none of the thing you actually need. Also there is absolutely NO planning in advance when it comes to architecture professors (there actually is, they just like to keep it a surprise for the rest of us. It's like a game really). We were told one Wednesday what materials we needed to have worked with already by Friday. So naturally, being in Houston, everyone scrambles to get into the only two cars that we have in freshman studio. So I rented a zipcar and took 5 people to the usual places (Texas Art Supply, G&G, etc.), but none of them had this blue foam that was on the list. Then, another one of my studio mates called me, telling me that they had the coveted blue foam by the palette at Loew's (like 30 minutes away). However, there were three problems: 1. The foam was huge (4'x4') each, and they had 20 pieces (for people in my car and their car), 2. There were only four of them that were gonna bring the foam back, and 3. The car got a flat tire, and their only way back was to take the Houston Public Bus system with the aforementioned conditions. While Mapi (car owner) stayed back with the car, the other four zipped up their man suits and took the plunge, making it all the way back to Rice. While they did that, my car picked up the museum board and chip board that they needed from Texas Art and we all met back in studio. Fortunately, we all got our materials after it was all done…the only problem is that none of us had ever worked with blue foam and had absolutely no idea how to use the stuff (we later asked a graduate student, and he showed us the wire foam cutter and all its glory, thanks AD!).

You can do so many things with this stuff

 As outlined in my "abstraction" post, through my freshman S1 case study, I joined the ranks of Team Corb, Corbu Crue, LeCorbusier Followers, etc., you get the point, he's got a lot of nicknames… The point is, Corb has a tendency towards the use of columns, but for a merely structural purpose in a "domino" fashion (or a "Domino Effect" as I liked to call it). 

indeterminate model example, from first set of conceptual models

After the case studies, we transitioned to modeling abstract expressions of the 'idea' of our houses. I chose using columns to represent varying levels of determinacy and indeterminacy. This stemming from the contradiction in Villa Dall'Ava of determinacy and indeterminacy. After the first series of models, I decided to focus solely on 'columns' and how they dictate circulation, experience, views, and spatial experience in general….by the end of my studies, I inevitably found dowels (small wooden sticks used to represent columns) terribly annoying.

contradiction model, from second set of conceptual models

I thought once, what if a person was walking through a grid or an arcade of columns, perfectly spaced, and suddenly, each point was shifted creating randomness. As soon as that person hit the first column their path would change dramatically, altering their experience, their views, and their overall destination. 

Columns: space defined by circulation

The above diagram shows the same layout of columns with different path potentials. My classmates during pin-up found the circulation lines so different, they insisted that each column composition was different as well. I can assure you (and them) that each is exactly the same, showing different paths along the same layout of columns. 

Columns: views define circulation

Where a person tends toward in a space is partially dictated by views. For example, Can he see a clear path? Is he going somewhere? These questions help to show that the view can dictate the circulation of a space, and, as shown above, a composition of columns can create certain views depending on perspectives.

 Complex Field of Columns 

I believe that the purpose of architecture is to make spaces in which to pause, spaces to stop, and spaces to go. A combination of these create most architectural spaces, and columns are one of the many tools to help create these spaces. I began thinking about columns as more than just structural elements, but also as points in space projected vertically. They are elements that help to define space, not just support it. When I began to think of columns this way, is when I began to formulate my ideas for my spatialization (will see in next post), an ultimately, my final project: Columns as space elements, not structure.

[archshaan]

we call it the guinea pig effect :/

As I mentioned in my last anecdote, our year was the first year to experience the "new curriculum" at the RSA (Rice School of Architecture). So second semester, although we resided in the same studio, we were given two different teachers, Grant and Dawn. Also a change from last semester: the studio was split between the two professors…I was GRANTed the pleasure of being given (really, you don't know who my professor is yet = see previous cheesy pun) Grant as a professor, and I loved every minute of it. 

Villa Dall'Ava by Rem Koolhaas, St. Cloud, France

Grant, like myself, is also a follower of LeCorbusier. He believes that if all architects "copied Corb, or copied Rem, copying Corb, the world would be a better place." Rem Koolhaas is an architect out of OMA in Rotterdam, who tends to speak Corb's architectural language. Most design studios begin the semester with Case Studies similar to the parameters of their final project. Our studio focused on domesticity, and our final project was to design a House, with a particular concept in mind. This concept was to come from the case study. I had the luck, of course, in receiving Villa Dall'Ava by Rem Koolhaas, located just outside of Paris.

Villa Dall'Ava, elevational projection

Our first task was to create a series of 2D and 3D drawings illustrating our particular house, but mostly the 'idea' of our house. For my first 2D projection, I kept it simple, just illustrating the sides of the building, as I was still trying to figure it all out. It's design is complex, its circulation even more so. 

Villa Dall'Ava, Orthographic Projection, 'looks like' diagram

This series of Orthographic Projections allow the viewer to experience the different spaces and circulations of the building. I decided to do three: the first: a bird's eye view, the second: a worms eye view, the third: a sectional, showing the rooms and the interior of the third and first floors better (btw, those spiral staircases made me an EXPERT at ellipses in Isometric Projection!). 

typical night in studio during second semester (especially the beginning)

Anecdote: Grant-Style Reviews

Under the teachings of Grant, our reviews/pin-ups were at least bi-weekly. For those non-archi, pin-ups are like mini reviews where we have a deadline on a certain day, and on that day all of the work is 'pinned-up' and we proceed to talk about all of them as a group/class. Grant, unlike me, was not a fan of sitting. So all of these pin-ups ran about 2-4 hours each, and were all standing. Reviews are longer, normally involve chairs, the entire class (both sections) and normally a guest reviewers (sometimes another professor, sometimes someone from outside the school). These reviews normally came after all nighters/late nights/weeks of late nights/weeks of all nighters, meaning that we were tired, standing, and normally sick because of a combination of the previously stated. But throughout that we stuck together as a class. It made us stronger, made us produce better work, and it made us expect more out of ourselves. 

Villa Dall'Ava, Isometric Projection, 'works-like' diagram

During a pin up of the Orthographic Projection, my section began talking about different ideas of Rem's house, and we began analyzing a quote that I read that called the Villa "the metamorphosis of the berlin wall and the floating swimming pool." While this was initially laughable, we began looking at it through elements of both. The Floating Swimming pool represented freedom, or an indeterminate path. This was also seen in the pilots at the entrance, the construction fence, the staircase with multiple exits…basically anywhere where the experiencer of the house had a choice. Then, the berlin wall metaphor, representing determinate paths, or places where the experiencer has no options. The interior wall, the straight stair, the rigid fence, and more represent this end of the spectrum. The outcome of this analysis is seen in the diagram above. This shows a birds eye view of the house, lightly ghosted in. Then, the elements where the house allowed for freedom or indeterminacy are all in a light lineweight. The spaces or elements of indeterminacy are highlighted in a heavy lineweight. 

Rice Light, taken by ArchShaan

While the beginning of this semester was difficult, and a huge change of pace, it was refreshing and amazing to see what me and my classmates could accomplish when pushed. The picture above illustrates the one time in each day when the sun is perfectly aligned through the Sallyport (archway) of Rice University. This moment is not only spectacular, but is also indicative of the light at the end of the tunnel, at the end of every project when the creator can take a step back and admire his/her work, and feel the warmth and satisfaction it brings him/her. That is the pure definition of what I like to call, Rice Light. 

[archshaan]

abstraction at its finest = when you don't even know its happening

They say that the freshman year case study helps to define us archis as Frank Lloyd Wright followers, Kahn people, Sterling girls, or, in my case, Team Corb. For those non-archi affiliates out there, Corb is short of LeCorbusier...also can be shortened as Corbu, LeCorb, Busier, or just LeC (and yes I have actually heard all of these). Corb is (in my opinion of course) an amazing architect that helped drive the modern movement. As my case study was the Carpenter Center by Corb, I was obviously put in the ranks of those that would emulate him for the rest of eternity... This all began with our first real building project: Stella's Furniture Gallery.

Anecdote: The Story of Stella and the Freshman Class

The first thing you need to know is that our year is considered the "Guinea Pig Year." Danny and Nonya (Donya) originally taught the entire Freshman Year, and every semester thereafter, we change teachers. When my year came around, they decided to change all of that, and condense Donya into one semester, and then switch. The original Stella project was a 48'x48'x48' Motorcycle museum for a rich client, named Stella. Our year, Stella now wanted a furniture Gallery for a small collection of rare furniture. The site was an infill of 24'x24'x24'.

The Furniture gallery was meant to be, not a public museum, but a private collection with events that were invitation only. Because of this, the entrance was raised a 1/2 story in order to have steps that would be slightly intimidating. Once inside, the circulation was automatic, moving up the stairs in a zig-zag formation. The furniture inside is meant to be experienced: sat on, touched, etc...

The Gallery was northern facing, so harsh light was not a problem, but also included a fogged skylight atop it. The stairs inside allow ample room for walking, lingering, talking and experiencing simultaneously. The stairs appear to wrap around a Core that is void, creating a sense of openness throughout the entire gallery. Essentially, you can see the entire gallery from virtually any level.

The facade featured an apparent elevated bulk that had thin strips of window that followed the 8' modular design. During my final review, a professor named Grant Alford (who would be my professor the semester after, and one of my favorite people) asked me if there was a reason for the window strips on my facade. And I replied, "well, I wanted an elevated bulk reminiscant of Villa Savoye (a Corb classic), and" (this next part still shocks me) "I took the usual Corb ribbon window and abstracted it to complement the levels inside the building"...

Villa Sovoye by LeCorbusier

The Ribbon Window and the Elevated Bulk are two of the five points of architecture by LeCorbusier. Grant then commended me on my answer, calling it "sophisticated" and "unexpected." I guess you could call it an epiphany of sorts. I learned that my building had more Corb in it that I thought. But, little did I know, Corb would continue to be seen in my future work...

-ArchShaan

[archshaan]

donya changed my life...seriously

As I am starting this blog at the end of my freshman year, am going to make 6 posts that encapsulate the year over the next few weeks....I know, you are on the edge of your seat huh?

Danny & Nonya are the Semester 1 architecture teachers. For the purpose of this post (and your lives) I will be mashing their names together...hence the popular usage of 'donya'. Donya, our super teaching duo, are two of the most caring, special people that I know. Their super ability isn't inherent of their maternal nature (nonya anyways), it isn't that all architecture teachers are nurturing (because they're not), and it is definitely not because they are older than most architecture profs because they are not all like that... Donya is something special, an individual breed of Rice University that helps students easily transition into the architecture program... 

The first week was spent doing "strip studies" they called it. While doing them was fun, the discussions and the lessons learned about our other classmates were more interesting.

Let me explain: When looked at from an exterior perspective, it seems as if there are an infinite amount of possibilities. However, each person seems to have a similar thread or theme throughout their set. Some people prefer points of tension, or even, side heavy, or central heavy composition. Looking back at these strips now, I see that I prefer a certain directionality in my compositions, which you will see, is reflected in my buildings as well. 

The toy project

A right of passage to a Rice Archi

(archi: a term of endearment or hatred referring to an Architecture Student at rice university).

These toys are closely observed by the upperclassman archis, trying to catch a hint of what the talent of the new class is like. Also popular is the game of "find your upperclassman twin," where upperclassmen will directly compare your projects to one of their class members, automatically linking you to them for the rest of your time at Rice University. 

Anecdote: The Story of the Three Justins

Justin is a class of '11 Archi, medium build, WASP, tall, smart, works hard, parties hard, social. The year after, a man named Al, class of '12, becomes an Archi. He is medium build, WASP, tall, smart, works hard, parties hard, social, and ergo is called the 'freshman Justin.' The next year, a class of '13 freshman named Kerry enters: medium build, WASP, tall, smart, works hard, parties hard, social. Al was scouring the freshman class for a legacy, and he thinks he found it in Kerry. Semester 1 Final review comes around, and assurance came in the form of a project reminiscent to his own, by Kerry! The class of '14 killed the legacy of the Justins. They tried to make me into the new Justin, but I failed to follow the 'WASP look.' I guess the legacy of Justin ends here...until next year at least.

Spatial Relations are a fancy way of saying "make a compelling way of representing 'centered,' 'edge' and 'field' on a 5x5" slab. Instead of the standard method of making a slab, and making elements to arrange in particular compositions, I decided to try something different and be subtractive rather than additive. Above you can see the 'centered' example. The most important thing I got from this project, and the thing that I will carry with me forever, is the tester piece that I made of different size holes and paint colors within them. To this day it is the best pencil, exacto, and other materials holder I ever had! 

Getting the Carpenter Center by LeCorbusier was one of the most shaping events of my freshman year. Getting put with 'The Dream Team' to represent it was one of the luckiest! (thanks Nathan and Donna!) Above is an example of one of three study models of the building. This one in particular illustrates the use of the brise soleil with the domino grid exaggerated as an illustration. 

The Carpenter Center, from Flikr: toml1959

So that was the first half of Freshman year... there was more work, more stories (some too inappropriate to share in this forum), and more projects. But one of the most important parts was the development of friendship and camaraderie within our studio. The first picture shown was taken just a few short weeks into the program, where we are all happy and ready to take the architectural world by storm, one project at a time. I truly believe that the people in the studio will be some of my closest friends that I will have all my life. Especially Kelly and Pyline, the other McArchis (Archis from McMurtry <--dorm building) without whom, my walks would be lonely, my projects less colorful, and my sleeps...soooo much longer.

-ArchShaan

[archshaan]

architects are dreamers

My first Architecture Teacher, Ms. M