Auburn University College of Architecture, Design and Construction Bachelor of Architecture, Graduation, May 2025
Alofos High School, Albaha, Saudi Arabia
99% GPA, Graduation, May 2016
WORK EXPERIENCE
Freelancer, 2022-Present
Auburn University Research Assistance with Professor Carla Keyvanian, 2022–2024 Mazaya Alharam Shopping Center, Saudi Arabia, cashier, 2020–2021 NitroHeat, Portland, Oregon, handyman, part time, 2018
SKILLS
AutoCAD
Rhino3D
Adobe Illustrator
Adobe Photoshop
Adobe InDesign
VOLUNTEER
TwinMotion
Lumion
Photography
Model Making
Revit
Saudi Students Club, Auburn University, volunteered to help affected residents during 2019 tornado Bani Hasan Soccer Organization, Saudi Arabia, volunteered to organize soccer and volleyball tournaments, 2013-2016
Rubaa Mosque, Saudi Arabia, Volunteered to help kids memorize parts of the Quran 2012-2015
HONORS AND AWARDS
Auburn University, Dean’s List
The National Program for Gifted Identification, Saudi Arabia, nominated twice Ministry of Education, Saudi Arabia, nominated to skip 11th grade
Ministry of Education, Saudi Arabia, nominated to skip 4th grade
This thesis aims to design three residential villas across Al Baha, rooted in vernacular architectural principles. By analyzing surviving vernacular structures and case studies, the project establishes design criteria to create contemporary homes that respectfully reinterpret local heritage while addressing modern needs.
To View and Download the Full Thesis Book at Highest Quality: https://indd.adobe.com/view/be94ba85-2c47-4eb6-8762-bca1c15f7657
Saleh Mansour
RESEARCH CONTEXT
Location
Al Baha Region is located in the southwest of the Kingdom of Saudi Arabia. It is placed south of Makkah and north of Asir Region. It is the samllest region of Saudi Arabian, covering around 4,000 mi² (around 0.60% of Saudi Arabia). Al Baha City, the capital, sits at an elevation of 7,014 feet (2,138 meters) on a hilly plateau and is encircled by juniper-covered terraced hillsides. Al Baha includes 11 municipalities: Al Aqiq, Baljurashi, Al Hajrah, Al Makhwah, Al Mandaq, Al Qara, Bani Hassan, Bani Kabir, Ghamed Al Zinad, Maashuqa, and Qilwah [1]. “Over 70% of Al Baha is occupied by Al Sarawat Mountains and adjacent plateaus. Al Sarawat Mountains strongly slope down to meet Tihama Plains (approximately at the sea level)” [1].
Socio-Economic Context
For eternity, the main job of the local community was farming and herding. They carved the hills around their villages to be farmable, creating amphitheaters and waterways to cultivate rainwater and utilize it for growing agricultural grains, pomegranates, peaches, apricots, grapes, and many other crops. This, as in many mountain communities around the world, depended on the annual rainfall, so it was unsustainable. The living conditions were sometimes great and sometimes tough [2].
This remained unchanged up until the discovery of oil and the beginning of urbanization of Saudi Arabia, where the local youth started to seek opportunities in the growing cities. Many of the farmers would send their kids to seek jobs and abandon the unsustainable lifestyle. That resulted in the abandonment of most of the farmlands.
A major migration to the larger cities occurred, where most of the migrated locals would visit their hometowns once a year during the summer [1].
Fig. 1: The highlands of Al Sarawat Mountains in Al Baha
Figure 2: Showing Thee Ain Village in Al Baha, a UNESCO world heritage cultural Site [2]
This shift resulted in the mixing of cultures between the locals and the newly urbanized locals as they introduced what they have seen in the larger cities. Attempts of applying plaster and paint, and trying to incorporate electricity and plumbing into tradtional stone houses started to appear [2](Fig 3,4,5). Reinforced concrete also was introduced for the first time in Al Baha. At the time, no serious building code that analyze the regional social and environmental conditions was introduced, so everyone started building different houses forms and styles, copying from the trending styles that were not properly designed for the local context [3].
“The adoption of foreign models in the planning and design of newly developed communities in Saudi Arabia yielded serious problems with respect to people as users and physical elements as responsive to people... Traditional built form was never perceived by builders in terms of geometric relationships and arithmetic measures, in contrast to contemporary built form which is so perceived by professionals. The built form was a product of a thorough understanding of the basic needs and associated functions in the cultural milieu of the inhabitants” (Eben Saleh, 1998)[1].
This resulted in a hideous picture where a mixture of unorganized, disproportionate, houses that does not serve the functional needs of the inhabitants. One would rarely see successful design attempts here and there.
THE RESEARCH PROBLEM
The adoption of national and global residential design themes resulted in a grey picture of Al Baha that does not represent the vernacular architecture. These designs conflict with the region’s social and environmental needs.
THE RESEARCH GOAL
The goal of this thesis is to attempt to reintroduce the deep-rooted stone houses heritage in a comprehensive contemporary way that represents the unique qualities of the vernacular architecture of Al Baha and addresses the functional and social needs of the inhabitants.
Fig. 3: An attempt to apply plaster and paint on a stone house in Naash Village
Fig. 5: An example of introducing electricity in a stone house in Naash Village
Fig. 4: An example of introducing plumbing in a stone house in Naash Village
Al Hellanah is a traditional architectural feature. It is a wall opening serves as a storage niche, blending practicality with vernacular design. It reflects regional building customs while offering functional space for household items within domestic interiors
Al Kutrah
Al Kutrah is a traditional architectural feature found in Al Bahah’s buildings. This ceiling opening provides both natural light and ventilation, demonstrating the region’s climate-responsive design. The element reflects local ingenuity in passive cooling techniques while maintaining cultural authenticity in vernacular construction.
Al Joun
Al Joun is a traditional architectural feature where the upper part of a stone house projects slightly outward, adorned with triangular quartz stone decorations. This detail blends functionality and ornamentation, reflecting regional craftsmanship while adding a distinctive aesthetic to the structure.
Al Ra’sh
Al Ra’ash is a traditional architectural element—a projecting wooden balcony used for shade, ventilation, and discreet observation. Positioned on upper floors, it balances environmental function with social privacy. This feature exemplifies how vernacular design responds to climate and culture, offering valuable insight for contemporary architectural reinterpretation.
Surfaces & Textures
Exterior Walls
Materiality Stone Color Palette
#997d65
#5e605f
#785e39
#81625f
#4d5c59
#866556
#706352
#744d30
Interior Walls
Mud Wood Materiality Color Palette
#86776b
#928478
#806f62
#494038
#917f72
#bfaa97
#525252
#66554a
Floors
Materiality Color Palette
Mud Flooring Carpet
#a15856
#978e86
#7f6043
#6c503a
#492f24
#4c3722
#a27e5a
#322419
Ceilings
#786d6b
#635343
#5e5a57
#826d5a
#57452d
#4c4239
#736759
#392f2d
Ornaments
3. Combine
4. Refine
Vernacular Building Technique
Throughout history, the Zahran tribe, like many other mountain communities worldwide, has relied on locally available stone to construct their homes and architectural terraces. Stone, being the most accessible material, became the foundation of their traditional building practices.
Building Crew
A typical building crew consisted of at least four builders, each with a specific role. The head builder, known as Albannaa, oversaw the construction process, while the assistant, called Qarari, supported him. At least two additional workers, referred to as Almuhdhirah (meaning “stone bringers”), were responsible for gathering and transporting stone.
Building Process
The walls were built using a rubble stone technique, forming the primary structural element. The roof was constructed using layers of crossed wooden sticks supported by wooden columns called Al zuffur (plural) or Al zafer (singular). Each column was divided into two main parts: Al zafer (the lower section) and Al Wesad (the upper component). To secure the column in place, stones known as Al Batanah were packed around its base for stability.
This traditional method of construction reflects the Zahran tribe’s adaptation to their mountainous environment, utilizing natural resources efficiently while maintaining a structured and collaborative building process. The roles within the crew, along with the specific terminology for materials and techniques, highlight the cultural and practical knowledge passed down through generations.
Fig. 84: Double-Story Verncular House Remains in Na’ash Village, Al Baha
Stone Building Methods Today
Modern stone building techniques have evolved significantly, blending traditional craftsmanship with contemporary engineering and sustainability. Around the world, architects are increasingly revisiting stone as a primary material in residential design, not only for its durability and thermal performance but also for its aesthetic qualities and ecological benefits. A prime example is the Atelier Landauer House-Studio in Portugal, designed by Leopold Banchini Architects. This project showcases how stone can be reimagined in minimalist, modern architecture. The house uses locally sourced limestone in massive blocks, a technique that reduces the need for concrete and steel, minimizing the building’s carbon footprint. The stone walls are not merely cladding but serve as the structural core of the building, emphasizing the solidity and permanence that stone can provide.
This technique reflects a broader trend in modern stone architecture—using stone for load-bearing purposes rather than as a decorative surface.
Globally, similar techniques can be seen in projects like the Stone House by John Pawson in Spain or the House of the Big Arch in South Africa. These homes incorporate thick stone walls for thermal mass, maintaining comfortable indoor temperatures with minimal energy use. Advances in stone-cutting technology, such as CNC milling and dry stone assembly, allow for precision and speed while preserving the tactile quality of natural stone. In many regions, architects are combining stone with glass, wood, and steel to create a dialogue between the ancient and the modern.
Fig. 85: Atelier Landauer House-Studio, Portugal
Fig. 86: Detail Section of Atelier Landauer House-Studio
What Not to Do
1. Unplanned Design Mixture
This house appears to be a chaotic amalgamation of design elements, producing a jarring and uncoordinated architectural form. While it might attempt to reference the vernacular architecture of Al Baha, it does so with little sensitivity to traditional proportions, composition, or spatial coherence.
Form: The massing of the house is inconsistent with traditional forms. Al Baha vernacular architecture typically relies on compact, cubic stone volumes that emphasize verticality in response to mountainous terrain. In contrast, this house has disjointed masses, with no clear hierarchy or balance. The rooflines clash rather than harmonize, and the transitions between volumes appear arbitrary rather than functional.
Color and Material: Traditional Al Baha houses use locally sourced stone and earthy tones that blend with the natural environment. However, this house uses a confusing palette—possibly a mix of artificial stone veneers, stark whites, or painted surfaces—that dilute the authenticity. The choice of materials lacks the textural richness and tactile honesty of the traditional context. Details and Ornamentation: Any vernacular-inspired details seem forced and disconnected. Rather than integrating traditional patterns or motifs in a meaningful way, decorative elements are pasted onto the surface without contextual justification. This results in a cartoonish representation of tradition rather than a respectful reinterpretation.
Architectural Integrity: The house lacks a coherent language. It reflects a design-by-accumulation mentality, where elements are added for visual impact rather than for cultural or environmental resonance. The result is a superficial and confused reference to tradition.
Fig. 82: Unplanned Design Mixture
2. Superficial Imitation of Traditional Architecture
Compared to Fig. 82, this building makes a clearer attempt at mimicking the appearance of Al Baha’s vernacular architecture. However, it still suffers from a lack of depth in understanding the principles that underlie traditional forms.
Form: The silhouette of the building seems more ordered, with defined volumes and a central tower-like mass that vaguely resembles the defensive stone towers characteristic of the region. Despite this, the proportions are exaggerated or misapplied. The verticality is overstated, and the massing seems more theatrical than functional.
Color and Material: This building does a slightly better job in using a muted, stone-like material palette. However, on closer inspection, the surface treatments may still be synthetic or merely cladding. True vernacular architecture would feature thick stone walls, not thin veneers. The imitation here is skindeep—it attempts to simulate appearance without adopting traditional construction logic.
Details and Ornamentation: This building includes elements that resemble traditional wooden lintels, small window openings, and perhaps defensive slits. However, these are likely decorative rather than functional. The traditional architectural language is used as an aesthetic toolkit, not as a spatial or climatic strategy. Architectural Integrity: While more disciplined than Fig. 82, this building still fails to internalize the environmental, social, and cultural rationale behind Al Baha architecture. The imitation remains on the surface; it lacks the thermal mass, spatial organization, and material authenticity of the original.
Conclusion
Both houses fall short of meaningfully engaging with Al Baha’s rich architectural heritage. The house in Fig. 82 is more problematic due to its incoherent composition and lack of stylistic discipline. The house in Fig. 83, while visually more cohesive, still misrepresents tradition by reducing it to surface decoration. True vernacular architecture is not a style to be mimicked—it is a system of building rooted in place, material, and culture. Without understanding these roots, attempts at imitation risk undermining the very authenticity they aim to celebrate.
Fig. 83: Superficial Imitation of Traditional Architecture
Thesis Proposal
Al Bahah, Saudi Arabia
Why Stone, and Why Housing?
The choice of stone as a primary material stems from Al Baha’s historical and geographical context. Throughout history, the people of this mountainous region relied on stone construction due to its abundance and durability. However, with Saudi Arabia’s rapid urbanization and the widespread adoption of reinforced concrete, traditional stone architecture has gradually faded. This shift has led to a disconnect between the region’s architectural identity and contemporary building practices. Housing, in particular, demands urgent attention because it represents Al Baha’s most pressing architectural challenge.
The current housing situation reflects a troubling contrast—between the region’s strong architectural heritage and the diluted, often incongruous mix of modern styles. This disparity calls for an immediate and rigorous design response. Without intervention, the erosion of cultural identity in residential architecture risks becoming irreversible. By revisiting stone construction, not as a nostalgic gesture but as a sustainable and culturally rooted solution, we can address both the practical and symbolic dimensions of Al Baha’s housing crisis. The goal is to create homes that honor tradition while meeting contemporary needs, ensuring architectural continuity in a rapidly changing landscape.
Thesis Project Goal
This thesis aims to design three residential villas across Al Baha, rooted in vernacular architectural principles. By analyzing surviving vernacular structures and case studies, the project establishes design criteria to create contemporary homes that respectfully reinterpret local heritage while addressing modern needs.
Program
3 Residential Villas: Courtyard
5 Bedrooms
2 Living Rooms
Kitchen
Dining Room
Kitchenette
2 Guest Rooms
Circulation Multiplier
Total
sqft
Rubaa Village , Bani Hasan
Al Baha, Saudi Arabia
Bani Hasan, Al Baha
02 Bakkarah House
03 Jradaan House
01 Al Jellah House
Vernacular Door
Re-shaped Door
Vernacular Window
Re-shaped Window
Re-shaped Column
Vernacular Column
01 AL JELLAH HOUSE
1. Site
3. Retaining Wall
5. Courtyard
2. Extraction
4. Extrude
6. Final Form
1. Private Bathroom
Private Bathroom
Gues Bathroom
Bedroom 1
Bedroom 2
Laundry
Master Bedroom
Women Majlis 9. Dining Room
Kitchen
Living Room
Courtyard
Guest Initial Seating
Exterior Room
Men Majlis
Guest Bathroom
Guest Spaces
Public Spaces
Private Spaces
Al Jellah House is the first of three exploratory projects developed as part of a thesis that proposes a structured methodology for reinterpreting architectural heritage. Rather than relying on superficial replication or eclectic formal gestures, this project establishes a critical framework that merges local identity with contemporary spatial and material logic.
Set in a culturally rich but climatically challenging environment, Al Jellah House begins with an analytical extraction of traditional spatial configurations and construction techniques. These elements are not mimicked but abstracted—transformed through a process of reinterpretation that respects their cultural and environmental logic. Key strategies include the use of load-bearing stone walls, an inward-facing courtyard, and a spatial hierarchy that separates private, semi-private, and public domains, all derived from regional domestic typologies.
The project is developed through a phased design methodology: identifying key site and typological elements, reimagining spatial relationships, and finally articulating the architectural form. The resulting design features a robust stone envelope that protects and defines interior spaces, while a central courtyard brings light, ventilation, and communal focus to the home. Each functional zone—such as the women’s and men’s majlis, guest quarters, and private family areas—is organized to reflect social customs while providing comfort and adaptability.
By embedding contextual research into each design decision, Al Jellah House serves as a prototype for contemporary architecture that evolves from tradition rather than overwriting it. It represents not just a building, but a critical position on how architects might ethically and creatively build within heritage contexts. This thesis argues that true architectural progression arises from careful study, respectful reinterpretation, and a deep understanding of place
Exterior Stone Walls
02 BAKKARAH HOUSE
1. Site
3. Extrude
5. Refine Form
2. Extraction
4. Define Stone Walls
6. Final Form
1. Men Majlis 2. Living Room 3. Dining Room 4. Kitchen 5. Courtyard 6. Electrical/ Mechanical Room
Bakkarah House is the second installment in a trilogy of architectural explorations aimed at reinterpreting heritage through a structured and analytical design methodology. Rooted in the thesis’s overarching framework, this project advances the investigation by applying regional typologies and material logic to a complex residential program, emphasizing the layered relationships between public, semi-private, and private spaces.
The design begins with a critical extraction of vernacular architectural elements from the site’s cultural and environmental context. Through a series of methodical design phases—site analysis, formal extraction, spatial extrusion, wall definition, and form refinement—the house takes shape as a reinterpretation of traditional stone dwellings. The process refrains from literal mimicry; instead, it distills the spatial essence of heritage forms and reimagines them using contemporary design sensibilities.
The architectural composition is centered around a private courtyard, which functions as a climatic and social anchor. Surrounding this void, programmatic zones are articulated with careful hierarchy: the guest reception areas (including separate majlis spaces for men and women) are placed toward the front, while private family functions—including multiple bedrooms and a master suite—are nested deeper within the structure and extended vertically onto a second floor.
Thick stone walls, a hallmark of local building traditions, define the structure’s perimeter and serve both as climatic buffers and symbolic thresholds. Modern mechanical, electrical, and service areas are integrated discreetly to uphold the purity of spatial experience.
Bakkarah House demonstrates how contextual sensitivity, when paired with analytical design strategies, can yield a contemporary architecture that is both culturally grounded and forward-looking. It builds on the thesis’s central claim: that meaningful architectural evolution emerges not from nostalgia, but from critical engagement with place, tradition, and progressive spatial thinking.
10. Courtyard 11. Kitchen 12. Dining 13. Women Majlis
14. Gues Bathroom 15. Men Majlis 16. Garage 17. Backyard
Exterior Stone Walls
Guest Spaces
Public Spaces
Private Spaces
Jradaan House completes the trilogy of design investigations in this thesis, offering a nuanced response to the reinterpretation of architectural heritage through systematic analysis and thoughtful transformation. Serving as both a culmination and refinement of the research methodology, the project synthesizes the lessons learned from earlier iterations and pushes the spatial language toward greater formal clarity and cultural relevance.
The design process follows a consistent methodology—beginning with site study, formal and typological extraction, volumetric extrusion, and spatial refinement. Jradaan House, like its predecessors, uses the courtyard as the core organizational element, serving both environmental and social functions. However, this iteration introduces greater fluidity between zones and emphasizes the integration of private and semi-private spaces through carefully choreographed transitions.
The spatial program balances family privacy with hospitality, a key cultural value in the region. The layout includes distinct zones for men’s and women’s majlis, guest areas, and a well-defined family core, including multiple bedrooms and private bathrooms. The backyard, garage, and service spaces are seamlessly embedded into the massing without compromising the design’s conceptual rigor.
Materially, the house remains faithful to the thesis’s emphasis on thick exterior stone walls, which perform thermally while visually rooting the project in its local context. The architectural vocabulary maintains a minimalist clarity while referencing traditional domestic forms, avoiding literal historic replication.
As the third case study in the thesis, Jradaan House represents the most resolved expression of the research. It demonstrates how deep contextual engagement—combined with structured design analysis—can result in architecture that is simultaneously grounded in tradition and responsive to contemporary needs. Through this project, the thesis reaffirms its central argument: heritage can be a foundation for innovation, not a boundary to it.
Semester: Spring 2024
Studio: Integrated Studio VI
Instructor: Kevin Moore
Type: Dance Center
Location: Huntsville, AL
Date: May 2024
02 Dance Center
The approach of this scheme is to maximize the utilization of the property by locating all the heavy duty spaces (Theater, the two rehearsal Studios, and public space) on the ground floor to create an activated space utilized by the community as it becomes rentable. In addition to that, A sun screen has been created on the southern and western facades to manage Huntsville’s sun. The shading device wraps around the two floors on the western side of the building, separating them from the triple height theatre on the eastern side.
The Dance Center project proposes a dynamic cultural hub located in Huntsville, Alabama. The architectural scheme is rooted in maximizing the potential of the site by concentrating major public and high-occupancy functions— such as the theater, rehearsal studios, and community spaces—on the ground floor. This layout not only supports accessibility but also fosters community engagement by making key areas rentable and open to the public. The design encourages interaction between artists and the surrounding neighborhood, transforming the building into an active participant in the city’s cultural life.
Architecturally, the building employs a design logic that starts with the site’s footprint, followed by the extrusion of the building mass, then the strategic definition of glazing, and finally articulation of form. A standout feature is the integration of a sun screen on the southern and western facades, significantly reducing solar gain by 81%. This not only enhances energy efficiency but also moderates indoor thermal comfort in response to Huntsville’s intense sun exposure. The sun screen wraps around the western side, visually separating the two-story administrative wing from the triple-height theater on the eastern side, adding a sense of contrast and functional clarity to the building’s form.
Functionally, the program is distributed across three levels. The first floor contains high-traffic spaces like two rehearsal studios, a public lobby with café and community rooms, dressing rooms, a scene shop, and the theater stage. The second floor houses support functions, including administrative offices, costume and prop storage, meeting and board rooms, and a control room. The third level consists mainly of catwalks and corridor space necessary for stage operations. Each floor is supported with essential infrastructure such as VRF HVAC systems, displacement air systems, and designated mechanical and sprinkler rooms, ensuring comfort and safety.
The Dance Center is not only a performing arts venue but also an efficient and sustainable facility. The extensive use of glazing is counterbalanced with performance-driven design strategies like shading devices and high-efficiency mechanical systems. The circulation is carefully calculated, exceeding egress and stairway requirements, which ensures compliance and enhances user experience. Overall, this project balances architectural expression with technical performance, offering Huntsville a new civic landmark dedicated to dance, creativity, and community interaction.
Concept
1. Property
3. Define Glazing
4. Articulate Form
2. Extrude Volume
Glazing
VMZINC Panels
Mullions
Steel Structure
Building Performance Diagram
The southern and Western facades of the building are fully glazed. Adding The sun screen decreases the solar gain by 81%.
Life Safety Diagram
Egress: Required: 336 in. Provided: 504 in.
Circulation
Stairs: Required: 30 in. Provided: 144 in.
Public Elevator
Freight Elevator
Loading Dock Door
Mechanical Diagram
Dislacement Air System
VRF System
Chase
VRF Duct
Displacement Duct
Coil Fans
Mecanical Room
Electrical Room
Sprinkler Room
Structural Diagram
Group Project: Team Branch
Semester: Summer 2024
Type: Design-Build Event
Host: Stick Architecture
Location: Birmingham, AL
Date: 14-18 May, 2024
StickBuilt
“StickBuilt is an invitation to inhabit an ad hoc community of designers immersed in the work and play of practicing architecture without walls. While living and working in the woods alongside the Little Cahaba River, participants engage with the uniquely instructive challenge of visioning, making, and improvising with wood in real time at 1:1 scale. Unexpected forms arise from a limited material palette of minimally-processed timber. Novel ideas emerge from a familiar discipline”
- StickBuilt Host 2024
The event began by assigning teams of 5-6 people. Our team, 'Branch', consisted of 5: Two professionals, Marry McGarity and Ed may, and three students, Jake Cocke, Kati Warner, and myself. Everyone was given a general prompt: 'watershed'. Then, we went into design meetings to discuss the prompt at hand, which was one word: 'branch'.
The team then moved to the assigned site to analyze it. After some exploration, we decided the location of our "watershed branch" then we started bringing loads of 2x4s and 2x6s one by one to the site. After agreeing on the general form of the structure, , we split into two smaller teams of 2 and 3 with specific tasks for each smaller team.
First design meeting at the main cabin. Image by C.W. Newell, 2024
Marking the post for further work. Image by C.W. Newell, 2024
The first smaller team was assigned to Place the steel foundation and measure and cut the NLT (Nail-Laminated Timber) foundation elements along with the base that would hold the larger piece later. The other team was prompted to determine the specific measurements of the long structure and cut them accordingly.
Before the final workday, a few of us had a 30 minute window before dinner to go float in the Little Cahaba River in the nice weather and the perfect stream for floating. Such activity helped us relax after a long day of moving around loads of lumber, nailing and drilling them,and making sure they are at the right spot.
Placing the spacers to ensure stability. Image by C.W. Newell, 2024
Floating away in the Little Cahaba. Image by C.W. Newell, 2024
Final workday before presentations. Image by C.W. Newell, 2024
This angle shows the floating "Branch" mixing with the surroundings.
The structure branching off earth.
Semester: Fall 2024
Studio: Studio VII
Instructor: Scott Allen
Type: Multi-Use
Location: Columbus, GA
Date: Dec, 2024
04 The View
The tallest mass timber building in Columbus, Georgia with 85 feet, the building serves Columbus State University students by providing biophilic living spaces which promotes better health and mind. The property has 38 units ranging between two-bed dwellings to studio apartments. The main courtyard of the building is open for Columbus citizens to enjoy, with an unforgettable view of the river. The property offers 3 retail spaces to rent, two spaces on the main street corner on the ground floor of the 85 ft high building, along with a primary retail
The tallest mass timber building in Columbus, Georgia with 85 feet, the building serves Columbus State University students by providing biophilic living spaces which promotes better health and mind. The property has 38 units ranging between two-bed dwellings to studio apartments. The main courtyard of the building is open for Columbus citizens to enjoy, with an unforgettable view of the river. The property offers 3 retail spaces to rent, two spaces on the main street corner on the ground floor of the 85 ft high building, along with a primary retail space that provides an astonishing view that could be a restaurant.
Typical Floor (3rd-4th)
Typical Floor (5th-7th) Ground Floor
Typical Floor 1 (1st-2nd)
Shading Strategy NTS
Southern Facade
East/West Facades
Structural Diagram NTS
Reinforced Concrete Footing
GLT Structure
CLT Slabs Sound Barrier Concrete Slabs
Semester: Spring 2023
Studio: Studio IV
Instructor: Omar Degan
Type: Community Center
Location: Lilongwe, Malawi
Date: May 2023
05 Inclusion
This is a community center in Lilongwe, Malawi in Africa. The aim of this design scheme is to enrich Lilongwe citizens with a building they can utilize for the different aspects of their daily lives. The complex includes a library, lab, restaurant & cafe, multifunctional space, and courtyard for public events, vegetable garden, and a residential quarter. All buildings are under one roof, and the circulation between them is covered to provide shelter from the rain. All buildings have access to enough sunlight during the day and are well lit at night.
This community center project, located in Lilongwe, Malawi, was designed in Spring 2023 as part of Studio IV under the guidance of instructor Omar Degan. The project addresses the diverse needs of the local population by creating a multi-use complex that promotes inclusion and community engagement. The design integrates essential functions including a library, laboratory, restaurant and café, multifunctional event space, vegetable garden, and residential quarters—all unified under a single roof to foster connectivity and protect users from rain.
Circulation between the various programs is sheltered, ensuring comfort during all weather conditions. The spatial layout ensures that all buildings receive ample natural light during the day and are well-illuminated at night, enhancing safety and usability. The design’s central courtyard offers a flexible public space for community gatherings, performances, and other social activities. Thoughtfully incorporating local materials and climate-responsive strategies, the project demonstrates a deep sensitivity to context and community needs. By merging educational, social, and residential functions within one cohesive design, the project aims to enrich the daily lives of Lilongwe residents and foster a sense of shared ownership and identity within the space.
Concrete Layer 1”
Polyethylene Film 1/16”
Insulation 2”
Vapor Barrier 1/32”
Roof Rebar 1” dia.
Brick
Plaster 1/2”
Vapor Barrier 1/32”
Window Glass 1/2”
Window Clearance Frame
Reinforced Concrete Column 6” thick
Footing Rebar 1” dia.
Drain 5” dia.
Footing 12”x12”x18”
Gravel
The lighting and zoning diagrams clarify the functional layout and illumination strategy of the community center in Lilongwe. The zoning diagram organizes the building into three primary areas: public, educational, and residential. Public zones include spaces like the restaurant, café, and multifunctional courtyard, promoting social interaction. Educational zones encompass the library and lab, offering resources for learning and skill development. The residential zone provides living quarters for staff or visitors, ensuring privacy and comfort.
The lighting diagram ensures each zone is appropriately lit based on its use. Public and educational areas receive abundant natural daylight through large openings, reducing the need for artificial lighting during the day. At night, these spaces are equipped with sufficient artificial lighting for safety and usability. The residential area prioritizes softer, more ambient lighting to create a calm atmosphere. Together, the diagrams demonstrate how thoughtful spatial planning and lighting enhance usability, comfort, and energy efficiency across the center.
Zones Diagram
Lighting Diagram
Zones Diagram
06 Model Making
1. Main Elements Models of the Thesis Project, 3” = 1’
2. Precedent Study model of Yusuhara Bridge & Museum, by Kengo Kuma, 1/8"=1'
3. Flagg Mountain Restroom Facility, 1/8"=1'
4. Flagg Mountain Tourist Center, 1/16"=1'
5. Malawi Community Center, 1/32"=1'
Vernacular Door
Re-shaped Door
Vernacular Window
Re-shaped Window
Re-shaped Column
Vernacular Column
2. Precedent Study model of Yusuhara Bridge & Museum, by Kengo Kuma
3. Flagg Mountain Mass Timber Restroom Facility
4. Flagg Mountain Mass Timber Tourist Center
5. Malawi Community Center
Operative Conditions
Philip Johnson Exhibition
Printers Row
After School Center
Olli
Classroom Center
Pliable Planes
Malaw
Huntsville Dance Center
The View
To View and Download at Highest Quality: https://indd.adobe.com/view/82c8f3e5-3dee-4a03-9946-c636415e7ce4
