WP selected works, Huwayda Fakhry

Huwayda FakhrySelected Works

2012-2014

An Eixample of South

Central Los Angeles1

Scary Monsters and Super

Creeps7

Arts of Mars

15STL

[small transportable

living] 21

We Are

Heading West

33

SCIO shower

shoe29

9:12:3

An Eixample of South Central Los Angeles

critic Jeffrey Inaba

In a city widely considered to be one of the least connected metropolitan areas of it’s size, Los Angeles is looking to invest in new public transportation programs that will not only increase the job market but also develop a lifeline between the city as a whole, facilitating housing development and integration within neighborhoods that are typically disparate. There are several reasons for this separation, not the least of which is the distance required to traverse the region via automobile. Thishousing proposal for an area in South Central Los Angeles is at the junction of several new proposals for municipal development of high speed train and bus lines. Applying the theories of Edward Soja and ‘spatial justice’ to the formal concepts enacted by Cerda in the Eixample, Barcelona, a framework was designed that divided up city plots and their subsequent residential constructs into spatially ‘just’ or equal allot-ments according to the number of inhabitants. Additionally, in order to force the neighbors to utilize the future transportation options available to them, the footage was maximized on each block to encourage two key social factors. The first is a necessary interaction between the residents due to the density and organization of the units. The second is a deliberate lack of large unused ‘green’ space to force residents to travel in order to experience shared public experience (to utilize their options for exploring the larger urban fabric).

one, two and three bedroom configurations

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Typologies

site narrative

typologies

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sections and thresholds

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Site Axonometric

site axonometric

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Scary Monsters and Super Creeps

critic Jason Payne

All houses in the canon called “experimental” are strange in some way or another. Robie House, Farnsworth House, Villa Savoye, Villa Moller, Rietveld Schröder House, Schindler House, Neutra House, the Case Study Houses, and theirs (like all) exhibit certain unsettling qualities that, originally at least, makes them challenging. On the fringes of this cohort, however, is a different breed of experimental house that never quite fits in but nevertheless insists in a most disruptive way on some form of canonical reckoning. Geeks, perhaps, or Nerds, with a Goth chick in tow, this group of misfits is clearly a brilliant bunch yet seems not to care whether we get them or not. Ambivalent. Definitely peripheral to the canon but not outside of it either, historians and designers alike struggle to make sense of the messy heresies of this weird subculture. There is a limit, after all, to the measure of difficulty tolerable in any single object beyond which rational minds turn away in frustration. What divides these bright but eccentric stars from the high achievers lies at this threshold, where interpretive difficulty moves from the manageable to the unmanageable. This is what makes them strange.

Keisler’s model, ideal geometry

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Aperture A Aperture B

Aperture C Aperture D

Aperture E

new model, plan

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Spheroid 1

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Unraveled- Spheroid 1

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deconstructed formal analysis

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Aperture A Aperture B

Aperture C Aperture D

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analysis of sectional geometry

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Continuity, time-space-architecture and endlessness are the concepts Frederick Kiesler used to describe his singular idea. With the endless house Kiesler meant to create, through light and material, a stage for living; a liberation of space through self exploration of the psyche, breaking through the prison of the frame. This results in a form that is de-rived from vision not from function. What estranges Kieslers endless house from traditional architectural rhetoric or classification is its temporally and culturally maladaptive nature. In other words, it both representationally and theoretically floats between eras and ideologies, a meditative parenthesis. Much like Kiesler’s project, this analysis exists between two worlds, that of geometric precision and phenomenology. With a preference for Kiesler’s drawings in mind, over the more brutal physical models he developed, the decision was made to refine and make precise the curvature of the house by using the geometries of the sphere and the spheroid, the shapes which Kiesler defined as having the qualities of endlessness. Using these geometries to gain control of the curvature, and to simultaneously enhance and create a stronger relationship between the model and Kiesler’s theory. The qualities of the project included the ability for light and program to travel through space without obstruction or corners. Thus, the white polished model speaks to the continuity, smoothness, and lightness of materials that are missing in Kiesler’s model. Through the manipulation of primitive geometries to create an ‘ideal’ parametric form, while also bettering and perhaps achieving the sensory and material attributes that Kiesler sought to bring to the endless house, this subtle refinement more clearly displays Keisler’s intuitive genius.

14

Arts of Mars

critic Kivi Sotamaa

The studio focuses on exploring choreography as a design method, with the aim of creating a building as an urban, dynamic and flexible constellation of forms, spaces, and systems. Rather than an enclosed, hierarchically orga-nized, static entity, like many institutional projects, the aim here is to explore and create new opportunities and ideas for the city through design, rather than focusing on existing problem solving. The design will use (phenomenal) movement as the organizing driver and explore martial arts as new inspiration for form, space, and effects of phenomenal movement. Martial arts combat creates situations where two or more discreet entities are joined by shared dy-namics of the battle. Re-originating the dynamics of the fight into architecture may offer new insights into creating coherent wholesout of otherwise disparate and discreet parts.

1Dynamic(al) adj. of or relating to physical force or energy..marked usually by continuous and productive activity or change( a city)

2Primitive adj. of or relating to the earliest age or period... characteristic of an early age of development

3Program n. a plan or system under which action may be taken toward a goal

4Relation n. an aspect or quality (as resemblance) that connects two or more things or parts as being or belonging or working together or as being of the same kind

15’

25’

49’

-10’

64’

74’

102’

145’

h.

Section 1:100

section

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circulation, program and perspective

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Elevationsa. south, b. east, c. north, d. west

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c. d.


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c. d.


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c. d.


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c. d.

five views

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model, black and white

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STL [small transportable living]

critic Peter Ebner, 3M Future LAB

A research proposal was developed on existing and emerging additive manufacturing technologies and materials for a future housing development. The focus of this analysis was to understand and explore the potential for3D printing to develop housing in geographic locations and climates that are otherwise too hostile or costly for development because of their accessibility. By using a beta tested robot or team of robots to reach such regions that lack stable infrastructural foundation for construction, a framework for cellular housing modules is erected using native resources such as sand or stone. These materials, combined with binding agents, allow for structurally sound construction of new housing prototypes without the risk or expense of traditional labor forces and material transportation/assembly.

9:12:3

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gantry trajectory and possible unit forms

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terrain a

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terrain b

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sectional possibilities for aggregation

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plan with gantry trajectory

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SCIO shower shoe

critic Peter Ebner, 3M Future LAB

In conjunction with the design of the washroom and water systems of the STL house, a flexible and functional shoe was developed to be worn directly from the street into the shower. With limited washing space, a system of ‘hygienic’ cones were incorporated into the sole of the shoe that act as both an aid in cleaning the wearer as well as a stimulating, orthopedic element. As such, a prototype was developed using sintered plastic that was both light and comfortable.

SCIO Shoe

SCIO Shoe

Section

Indoor/outdoor shoe that was designed to be worn in the shower. Essentially, the 3d printing allows for a minimal amount of structure around the shoe and ultimately creates openings through which water can enter and clean the feet of the user. There are also two drainage holes, one in the front and one in the back to allow for additional water to escape. The shoe is flexible and therefore can be easily squeezed into small spaces. The fashionable form allows the shoe to transition from the outdoors to an indoor house bootie.

1 - Tubes2 - Ribbons3 - Hygenic cones4 - Drainage

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section detail and narratives

1 tubes2 ribbons3 hygienic cones4 drainage

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narrative and prototype, 1:4

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We Are Heading West

critic Roger Sherman

(ongoing research) Utilizing the lens of Instagram to reanalyze the ontology and psychology of Sunset Boulevard. This text is based on the following notion:

The 22 mile stretch of municipally funded roadbed designated, Sunset Boulevard, begins in Pacific Palisades, CA at a 76 gas station on the corner of the Pacific Coast Highway. It terminates at the intersection of Figueroa Street in downtown Los Angeles, CA. The immeasurable stretch of real estate designated, #sunsetboulevard has no discernable point of origin but it can be assumed that it stems from the documented site in Southern California. It does not terminate and at the present time cannot be structured or directed according to municipal constraints or legislation.

#sunsetboulevard is the longest road in the world.

Today, abstraction is no longer that of the map, the double, the mirror or the concept. Simulation is nolonger that of territory, a referential being, or a substance. It is the generation by models of a real without origin or reality: a hyperreal. The territory no longer precedes the map, nor does it survive it. It is nevertheless the map that precedes the territory-precession of simulacra- that engenders the territory, and if one must return to the fable, today it is the territory whose shreds slowly rot across the extent of the map. It is the real, and not the map, whose vestiges persist here and there in the deserts that are no longer those of the Empire, but ours. The desert of the real itself.

J.Baudrillard, Simulacra and Simulation

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Sunset Boulevard ‘Trigger’ Diagram_ Offspring are labeled accoding to distance from the point of origin: Sunset Blvd.

Cologne, Germanylatitude: 50° 55’ 59”longitude: 6° 57’ 0”

Rome, Italylatitude: 41° 54’ 0”longitude: 12° 28’ 59”

Phillipineslatitude: 13° 0’ 0”longitude: 13° 0’ 0”

Baton Rouge, Louisianalatitude: 30° 27’ 2”longitude: -91° 9’ 16”

Kansas City, Missourilatitude: 39° 6’ 51”longitude: -94° 37’ 38”

San Francisco, Californialatitude: 37° 46’ 29”longitude: -122° 25’ 9”



Nebraska, USAlatitude: 40° 44’ 30”longitude: -98° 52’ 26”

Brisbane, Australialatitude: -27° 30’ 0”longitude: 153° 1’ 0”

Victoria, Australialatitude: -30° 10’ 59”longitude: 119° 6’ 0”

Lisbon, Portugallatitude: 38° 43’ 0”longitude: -9° 7’ 59”

New Delhi, Indialatitude: 28° 36’ 0”longitude: 77° 12’ 0”

Okavango, Botswanalatitude: -19° 30’ 0”longitude: 23° 0’ 0”

Ore Mountains, Germany/Czech Republiclatitude: 50° 30’ 0”longitude: 13° 10’ 0”

Turkeylatitude: 39° 0’ 0”longitude: 35° 0’ 0”

Tecklenburg, Germanylatitude: 52° 13’ 0”longitude: 7° 49’ 59”

Puget Sound, Washington, USAlatitude: 47° 49’ 59”longitude: -122° 26’ 4”

Germanylatitude: 53° 37’ 59”longitude: 10° 0’ 0”

Key West, Florida, USAlatitude: 24° 33’ 20”longitude: -81° 46’ 57”

Formazza, Italylatitude: 46° 22’ 0”longitude: 8° 25’ 59”

Swedenlatitude: 59° 19’ 59”longitude: 18° 3’ 0”

Porto, Portugallatitude: 39° 4’ 0”longitude: -9° 1’ 59”

Glasgow, Scotlandlatitude: 55° 49’ 59”longitude: -4° 15’ 0”

Cypruslatitude: 35° 20’ 33”longitude: 33° 19’ 22”

Searcy, Arkansas, USAlatitude: 34° 44’ 17”longitude: -92° 15’ 58”

Chicago, Illinois, USAlatitude: 41° 51’ 0”longitude: -87° 39’ 0”

Cartagena, Costa Ricalatitude: 10° 22’ 59”longitude: -85° 40’ 59”

Greecelatitude: 39° 0’ 0”longitude: 22° 0’ 0”

Moscow, Russialatitude: 55° 45’ 7”longitude: 37° 36’ 56”

Calabria, Italylatitude: 39° 0’ 0”longitude: 16° 30’ 0”

Sydney, Australialatitude: -33° 52’ 59”longitude: 151° 13’ 0”

Denmarklatitude: 57° 22’ 0”longitude: 10° 15’ 0”

Seoul, South Korealatitude: 37° 33’ 59”longitude: 126° 59’ 58”

Puerto Ricolatitude: 18° 28’ 6”longitude: -66° 6’ 30”


New Hampshire, USAlatitude: 43° 2’ 23”longitude: -71° 27’ 18”

New York City, NY, USAlatitude: 40° 42’ 51”longitude: -74° 0’ 21”

Bristol, United Kingdomlatitude: 51° 27’ 0”longitude: -2° 34’ 59”

London, United Kingdomlatitude: 51° 30’ 0”longitude: -0° 7’ 0”

Brazillatitude: -10° 0’ 0”longitude: -55° 0’ 0”

Hamburg, Germanylatitude: 53° 37’ 59”longitude: 10° 0’ 0”

Bogota, Columbialatitude: 10° 24’ 0”longitude: -75° 16’ 59”

Shanghai, Chinalatitude: 31° 6’ 33”longitude: 121° 22’ 5”

Lisbon, Portugallatitude: 38° 43’ 0”longitude: -9° 7’ 59”

Anaheim, California,latitude: 33° 50’ 7”longitude: -117° 54’ 52”

Los Angeles, Californialatitude: 34° 3’ 8”longitude: -118° 14’ 37”

Riverside, Californialatitude: 38° 31’ 8”longitude: -121° 31’ 13”

San Francisco, CAlatitude: 37° 46’ 29”longitude: -122° 25’ 9”

Bakersfield, CAlatitude: 35° 22’ 23”longitude: -119° 1’ 7”

Tucson, Arizonalatitude: 32° 13’ 18”longitude: -110° 55’ 35”

Hawaii, USAlatitude: 21° 18’ 11”longitude: -157° 49’ 18”

United Kingdomlatitude: 51° 46’ 59”longitude: 1° 10’ 0”

Mumbai, Indialatitude: 18° 58’ 30”longitude: 72° 49’ 32”

Paris, Francelatitude: 48° 52’ 0”longitude: 2° 19’ 59”

Berlin, Germanylatitude: 52° 31’ 0”longitude: 13° 24’ 0”

Metz, Francelatitude: 47° 24’ 0”longitude: 3° 37’ 59”

Madrid, Spainlatitude: 40° 24’ 0”longitude: -3° 40’ 59”

Valencia, Spainlatitude: 43° 12’ 0”longitude: -8° 49’ 0”

Krabi,Thailandlatitude: 8° 4’ 0”longitude: 98° 55’ 0”

Sydney, Australialatitude: -33° 52’ 59”longitude: 151° 13’ 0”

Jacksonville, FL, USAlatitude: 30° 19’ 55”longitude: -81° 39’ 20”

Manhattan, New York, USAlatitude: 40° 42’ 51”longitude: -74° 0’ 21”

Massachusetts, USAlatitude: 41° 44’ 22”longitude: -70° 37’ 26”

Long Island,NY, USAlatitude: 43° 9’ 7”longitude: -76° 3’ 39”

Miami, FL, USAlatitude: 25° 46’ 27”longitude: -80° 11’ 37”

Panama City, Panamalatitude: 8° 58’ 0”longitude: -79° 31’ 59”

South Carolina, USAlatitude: 33° 22’ 44”longitude: -79° 45’ 35”Miami, Florida

latitude: 25° 46’ 27”longitude: -80° 11’ 37”

Aizawl, Indialatitude: 23° 43’ 59”longitude: 92° 43’ 0”




Sri Lanka, Sri Lankalatitude: 7° 30’ 0”longitude: 80° 30’ 0”

Venice, Italylatitude: 45° 26’ 18”longitude: 12° 19’ 36”

Sicily, Italylatitude: 37° 30’ 0”longitude: 14° 0’ 0”

Wakra, Qatar, UAElatitude: 25° 10’ 4”longitude: 51° 36’ 24”

Bulgarialatitude: 43° 0’ 0”longitude: 25° 0’ 0”

Punta Cana, Dominican Republiclatitude: 19° 26’ 3”longitude: -99° 8’ 18”


Newport Beach, Californialatitude: 33° 37’ 8”longitude: -117° 55’ 44”

Los Angeles, Californialatitude: 34° 3’ 8”longitude: -118° 14’ 37”






Mumbai, Indialatitude: 18° 58’ 30”longitude: 72° 49’ 32”


Oakland, CAlatitude: 37° 48’ 15”longitude: -122° 16’ 14”



San Francisco, Californialatitude: 37° 46’ 29”longitude: -122° 25’ 9”



Perth, Australialatitude: -41° 34’ 0”longitude: 147° 10’ 0”

New Zealandlatitude: -41° 18’ 0”longitude: 174° 48’ 0”

Denpasar, Balilatitude: -8° 39’ 0”longitude: 115° 13’ 0”

Brazillatitude: -10° 0’ 0”longitude: -55° 0’ 0”

Greenlandlatitude: 72° 0’ 0”longitude: -40° 0’ 0”


mapping triggers and locations

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WP selected works, Huwayda Fakhry

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