2. Address
References
Available Upon
Request
Education
WorkExperience
Volunteer Experience
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48 Isabella St.
Toronto, Ontario
M4Y 1N2, Canada
C 1 647 922 6257
nakhle@gmail.com
Masters of Architecture + Urban Design, Professional Degree - Kent State University, Florence, Tuscany, Italy 2011 - 2011
Concentration: Urban Design Study Abroad Semester
Masters of Architecture, Professional Degree, With Distinction - Lawrence Technological University, Southfield, Michigan, USA 2010 - 2011
Concentration: Critical Studies in Architecture
Bachelor of Science in Architecture, Summa Cum Laude - Lawrence Technological University, Southfield, Michigan, USA 2008 - 2009
Concentration: Architecture
Bachelor of Applied Science, Honours - University of Windsor, Windsor, Ontario, Canada 2001 - 2005
Concentration: Civil/Structural Engineering
Associate Forensic Engineer - Giffin Koerth Inc., Toronto, Ontario, Canada 2012 - 2014
Junior 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; Surveying
Ability to follow instructions well and with little guidance
Great leadership qualities; work independently or in a group
Impeccable reading, writing and oral communication skills in English
Organized, skilled problem solving, decision making, critical thinking and project management
EdwardNakhle B.A.Sc., B.S.Arch., M.Arch., EIT
architectural designer + engineer
Hearts Together for Haiti Board of Directors - Windsor, Ontario Canada 2007 - 2010
Hearts Together for Haiti (HTFH) - Travelled to Haiti as a volunteer 2001, ’05, ’07
4. [mapping] West Summit Plane
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Generative Grid + Property Lines
Site 1
Site 3
Site 2
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.
6. SectionA-A
FirstFloor SecondFloor
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
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8. 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
SectionA-A
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SECOND FLOOR / BALCONY
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1. BALCONY LEVEL LOBBY
2. CONTROL & PROJECTION ROOM
3. SPOTLIGHT BOOTH
4. MECHANICAL ROOM
5. CONFERENCE ROOM
6. OPEN OFFICE AREA
7. STAGE MANAGER
8. MEN’S WASHROOM
9. WOMAN'S WASHROOM
10. COSTUME WORKSHOP
11. COSTUME STORAGE
12. CHORUS REHEARSAL HALL
13. INSTRUMENTAL REHEARSAL HALL
14. ACTING REHEARSAL HALL
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1. MAIN LOBBY
2. ORCHESTRA PIT
3. FRONT STAGE
4. BACK STAGE
5. CHAMBER MUSIC THEATER
6. BLACK BOX THEATER
7. STORAGE, TRASH, SHIP & REC.
8. MATERIAL STORAGE
9. STAGECRAFT WORKSHOP
10. GREEN ROOM
11. DRESSING ROOM 1
12. DRESSING ROOM 2
13. MEN’S WASHROOM
14. WOMAN'S WASHROOM
15. FOUNDATION ROOM
16. TICKET OFFICES
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BUILDING KEY:
1. ORCHESTRA PIT
2. SUB STAGE
3. MEN’S MAKEUP ROOM
4. WOMAN’S MAKEUP ROOM
5. DRESSING ROOM 1
6. 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 minimized
through 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 definition of the street edge.
Also, it allows for the extension of the Performing Arts Theater courtyard to public, off of Woodward.
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12. [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.
14. [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.
16. [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.
18. [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.
24. [...] Ultimately the folie represents an impossibility of one central meaning (as in a
text or language), which is deconstructed through the foundations and multiple
meaningsfoundwithinlanguagestudies.Tschumi’sformalizationofdeconstruction
theory into form occurs at the physical level. The folies are deconstructed and
thenreconstructedwithnomeaning,quintessentiallyformingitsexistencethrough
philosophy and not through stylistic applications of structure and form.
Paramountintheideaofthefoliesistherefusalofanyhistoricismascribed
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
visiblysimilarinthedesignofParcdelaVilette.Thus,thereisanapparentinfluence
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
hisdesign,rather,hegroundshisdesignintheoriesfromFrenchphilosophers,such
as Foucault, Baudrillard, and as expressed in Parc de la Villette, Jacques Derrida.
Overall, Tschumi’s folies are a formal experimentation through the
experienceofspaceandevent.Synthesizinggeometrythroughthesuperimposition
of overlapping systems, Tschumi fractures and displaces the quandaries of
context.Throughtheuseofcinematic,literaryandmainlyphilosophicfoundations
(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
Villettewascreatedasaculturalprojectwhichcritiquessocietiesinfluenceonform
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 [...]
...completecritiqueavailableuponrequest
BernardTschumi’srenderingsfor
ParcdelaVillette(top)compared
to Iakov Chernikhov rendering of
‘Architectural Fantasies’ (bottom)
[critique] Writing Excerpts
25. 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
