Edward NakhlePortfolio

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48 Isabella St. Toronto, Ontario

M4Y 1N2, Canada

C 1 647 922 6257nakhle@gmail.com

Masters of Architecture + Urban Design, Professional Degree - Kent State University, Florence, Tuscany, Italy 2011 - 2011Concentration: Urban Design Study Abroad SemesterMasters of Architecture, Professional Degree, With Distinction - Lawrence Technological University, Southfield, Michigan, USA 2010 - 2011Concentration: Critical Studies in ArchitectureBachelor of Science in Architecture, Summa Cum Laude - Lawrence Technological University, Southfield, Michigan, USA 2008 - 2009Concentration: ArchitectureBachelor of Applied Science, Honours - University of Windsor, Windsor, Ontario, Canada 2001 - 2005Concentration: Civil/Structural Engineering

Associate Forensic Engineer - Giffin Koerth Inc., Toronto, Ontario, Canada 2012 - 2014Junior Structural Engineer - Arcan Engineering Ltd., Windsor, Ontario, Canada 2005 - 2008

Professional Engineers Ontario (PEO)Ontario Association of Architects (OAA)Ontario Building Envelope Council (OBEC)

English (Fluent), Arabic (Fluent), French (Basic), Italian (Basic)

Advanced in AutoCAD Architecture 2014; Revit Architecture 2014; Microsoft Word, Excel, Power Point Proficient in Adobe Acrobat Pro; Photoshop, Illustrator; InDesign; 3ds Max 2012; SketchUP; Mathcad; SurveyingAbility to follow instructions well and with little guidanceGreat leadership qualities; work independently or in a groupImpeccable reading, writing and oral communication skills in EnglishOrganized, skilled problem solving, decision making, critical thinking and project management

Edward Nakhle B.A.Sc., B.S.Arch., M.Arch., EITarchitectural designer + engineer

Hearts Together for Haiti Board of Directors - Windsor, Ontario Canada 2007 - 2010Hearts Together for Haiti (HTFH) - Travelled to Haiti as a volunteer 2001, ’05, ’07

contents[mapping]

[architecture]

[architecture]

[architecture]

[architecture]

[architecture]

[industrial design]

[drafting]

[drafting]

[critique]

West Summit Plane

South Oakland YMCA

Detroit School of Preforming Arts (DSPA)

The Stone

City Link

Runners Wall

Isabella Bench

CAD floor plans & details

CAD details & sections

Writing Excerpts

[mapping] West Summit Plane

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Generative Grid + Property Lines

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Site 3

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The superimposed grid was used in this case as a study on the effects of its generative qualities; such that it developed contextual formalisms weaved into the fabric of three independent sites. By extending a grid consisting of twenty-foot intervals across three sites, each site would become further defined and interconnected through the mechanisms of the grid. Thus, each site is redefined with new context and meaning as each new building form is generated and connected by the grid.

Current Figure Ground Redefined Plane + Superimposed Grid

Site 1

Site 3

Site 2

Section A-A

First Floor Second Floor

0' 4' 8' 16' 32'

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The balance of space in the South Oakland Family YMCA is derived from the idea that mind, body and spirit, not only on a physical level but also in a spatial sense, form the connective qualities found in transition. Space is no longer hierarchical, rather, it is fluid. Allowing for both privacy and exposure, studio spaces for yoga, spin, dance or community classes are central to the composition of space forming the YMCA.

This facility provides a balance, generating a harmony between the community’s health and wellness needs and the personal goals of the individual. From hardwood courts to a street side pool, this gym nurtures all elements required for physical, mental and spiritual growth.

[architecture] YMCA

The focus of the Detroit School of Performing Arts (DSPA) is developed around the main performance stage where all support spaces are arranged with respect to its presence. The use of a diamond shape in the main theater allows for a more intimate performance and experience, as the distance from the back of the theater to the main stage is minimized through the diamond and a personal spatial is formed. Since, the diamond is subtly nestled into the footprint of the building, clearly pronouncing its existence within the urban fabric or a lively performance. Additionally, classroom spaces are provided on the second level where a more private function of the building exists, where the cantilevered private space creates definition to the street edge of Detroit.

[architecture] DSPA

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1. BALCONY LEVEL LOBBY2. CONTROL & PROJECTION ROOM3. SPOTLIGHT BOOTH4. MECHANICAL ROOM5. CONFERENCE ROOM6. OPEN OFFICE AREA7. STAGE MANAGER8. MEN’S WASHROOM9. WOMAN'S WASHROOM10. COSTUME WORKSHOP11. COSTUME STORAGE12. CHORUS REHEARSAL HALL13. INSTRUMENTAL REHEARSAL HALL14. ACTING REHEARSAL HALL

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BUILDING KEY:1. MAIN LOBBY2. ORCHESTRA PIT3. FRONT STAGE4. BACK STAGE5. CHAMBER MUSIC THEATER6. BLACK BOX THEATER7. STORAGE, TRASH, SHIP & REC.8. MATERIAL STORAGE9. STAGECRAFT WORKSHOP10. GREEN ROOM11. DRESSING ROOM 112. DRESSING ROOM 213. MEN’S WASHROOM14. WOMAN'S WASHROOM15. FOUNDATION ROOM16. TICKET OFFICES17. COMMUNICATIONS18. BAR19. COAT ROOM20. LOADING DOCK

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21. ELECTRICAL22. PROP OR SCENE STORAGE23. INSTRUMENTAL STORAGE24. EMPLOYEE LOUNGE & LOCKERS

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DSPA

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BUILDING KEY:1. ORCHESTRA PIT2. SUB STAGE3. MEN’S MAKEUP ROOM4. WOMAN’S MAKEUP ROOM5. DRESSING ROOM 16. DRESSING ROOM 2

The organization of space is developed around the main theater with supporting space arranged around it. The diamond like shape of the main theater allows for a more intimate performance area. Distance from the back of the theater to the stage is minimizedthrough the properties of it geometry. Classroom spaces were provided on the second level where a more private function of the building can exist. The cantilevered private space facing Woodward allows the building to maintain the de�nition of the street edge. Also, it allows for the extension of the Performing Arts Theater courtyard to public, o� of Woodward.

DSPA

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[architecture] The Stone The Stone lies north of City Hall, placed as an object in constant dialogue with the city. A box of pebbles sits a few paces south of The Stone, where each pebble marks as a moment as they are thoughtfully placed atop the stelae. Past memories or future desires, a forgotten dream or the simple reminder of one’s own existence is represented by symbolically placing a pebble onto the stelae, allowing endless threads to be weaved into the city fabric and into space (on The Stone).

The symbolic gesture of creating one stelae amidst the motion of people is intended to integrate The Stone within the city fabric. Anchored by four columns, The Stone hovers above the ground plane as an empty light well is located underneath the stelae. At night, a glowing band of light effortlessly separates the ground from the stelae. Ultimately, this empty void becomes engendered through The Stone as the stelae is fixed, motionless, absorbing and projecting new meaning.

In five entities – the stelae, light well, pebble box, ground plane, and anchors – space is forever crafted into the urban fabric. The Stone is then enabled to exist in its own natural state of being, amongst the city and its people, providing a place, a habitation of space where one will not exist in isolation but in unity. It does not dominate space; rather, it will exist in sole unity with its citizens, as it is at rest amidst the motion of the city.

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[architecture] City Link Generated by the proximity of two cities, Windsor and Detroit, the City Link researches the architectural link through identical objects communicating between two cities and two nations, Canada and the USA. What’s apparent in the sister stairways is that they exist in identical form, on different sides of a border and river. This decision is held paramount to uncovering the process of evolution in space, since each City Link will evolve according to its respective location, in the city and within its neighbourhood.

The placements of both stairways is primarily based on an underground rail line between two cities and are located prominently on each cities river front. Ultimately, the stairways will exist as one but inhabit two different social spheres. The composition of the City Links is comprised of two distinct spaces. There is the option of climbing the stairway or moving through and around the City Link as space is inherently created underneath the rise of each stairway. In inhabiting one of these two spaces, the stairway silently engenders a hive of activity as it gracefully interacts with those who choose to be its observers.

Existing as a line of communication between two cities (and two nations), each City Link will be in constant dialogue between its sister stairway. Inherently, each stairway is initially conceived to exist identical to the other, however, through time they will embody different stories developing their own idiosyncratic identities, as their built reality ultimately exists on two sides of a river.

Detroit

Windsor

[architecture] Runners Wall Starting and stopping on an existing path following the riverside of downtown Windsor, the massive wall lies in direct contradiction to the cities vision corridor. Its intention is to create tension and dialogue between the removed observer and the inhabitant, where the actual influence of the wall is paralleled to the embodiment of its being. As one passes through the Runners Wall, an immediate connection is formed. Whereas to the observer, those who pass into the anonymity of the Runners Wall instantly becomes obscured and absorbed.

Meaning is directly attached to the ambiguity the wall generates, as the altered path is now formed by triangular shaped stones set parallel rising into the sky. A new corridor carves a light well into the existing path. There are several openings alongside the Runners Wall, with each slit seamlessly flowing through both faces and offering a glance into the city of Detroit or Windsor. These wall openings are intended to allow both cities to remain connected, as most views are intentionally controlled and some are random.

The black stones exist in the reflection of the city and its environment. The corridor generates an alternate motion, one where the reflection of the individual, amongst a stream of people is absorbed as they pass alongside the dark stoned mirror. This reflection is not lost in nights darkness, as the space underneath ones feet will begin to glow in the embraced of night. The Runners Wall rises in graceful repose as it captures the city in its physical existence as it acts as the cities silent time keeper.

AGW

Vision Corridor

[industrial design] Isabella bench Designed for the residence of 48 Isabella St., in Toronto, Ontario, this elegant bench is created with a timeless quality. Crafted of pure walnut, he seamless presence of this bench is carefully thought out as each dimension is a strict multiple of 3. Furthermore, the natural charm of the Isabella bench lies within it’s walnut finish. Ultimately, the bench may be of solid wood, however it deifies it’s material nature through it’s modern lines and chic curves. Thus, the Isabella bench makes one simple statement... Immateriality is the generator of form.

[drafting] CAD floor plans & details

[drafting] CAD details & sections

[...] Ultimately the folie represents an impossibility of one central meaning (as in a text or language), which is deconstructed through the foundations and multiple meanings found within language studies. Tschumi’s formalization of deconstruction theory into form occurs at the physical level. The folies are deconstructed and then reconstructed with no meaning, quintessentially forming its existence through philosophy and not through stylistic applications of structure and form. Paramount in the idea of the folies is the refusal of any historicism ascribed through the deconstruction of its meaning, generating no meaning. However, placing the folie in respect to Russian Constructivist architecture, it can be seen that there are definite influences in form found through the formal characteristics of this Russian movement, which took place earlier in the 20th century. The similarities are strikingly evident when looking at Chernikov’s drawings from early 20th century, as Tschumi’s forms, drawing style and structure (Figure 3) are quite visibly similar in the design of Parc de la Vilette. Thus, there is an apparent influence from Russian Constructivism in the formal characteristics of the park, especially through Tschumi’s interest in disrupting and disturbing traditional threads of architecture. Tschumi never admits to the influence of Russian Constructivists in his design, rather, he grounds his design in theories from French philosophers, such as Foucault, Baudrillard, and as expressed in Parc de la Villette, Jacques Derrida. Overall, Tschumi’s folies are a formal experimentation through the experience of space and event. Synthesizing geometry through the superimposition of overlapping systems, Tschumi fractures and displaces the quandaries of context. Through the use of cinematic, literary and mainly philosophic foundations (among other influences) Tschumi engenders a disjunction between events in space and architectural space. Through his conviction that architecture, as well as architects themselves, should import ideas from outside their field, Parc de la Villette was created as a cultural project which critiques societies influence on form in architecture. Moreover, it was his contribution to the world of deconstructivist architecture, in that the creation of disjointed forms in nature would fragment traditional conventions in architecture through discontinuity, further displacing it from the inheritances of history [...]

...complete critique available upon request

Bernard Tschumi’s renderings for Parc de la Villette (top) compared to Iakov Chernikhov rendering of ‘Architectural Fantasies’ (bottom)

[critique] Writing Excerpts

Familiar to all, we dream and imagine, project and venture, inhabit and engage the virtues of real space through our lived experiences. This is where space lies; it is intrinsically connected to our body as we move through and experience its realities.

— Edward Nakhle, A Sense of Space