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Altagamoa Al Khames, Main centre of town, end of 90th Street
New Cairo
Egypt
Faculty of Engineering & Technology
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OSAMA Mohammad Elrawi Osama Elrawi

Basic information

Name : OSAMA Mohammad Elrawi Osama Elrawi
Title: Professor
Personal Info: Working in practice, teaching, and research since 1981. Prepare and conduct lectures and seminars to undergraduate and graduate students. Advise students with respect to academic performance, career opportunities, and pursuit of advanced degrees. Mentor and advice new academics, typically teaching assistants, research assistants, and junior faculty members. Carry out administrative and managerial duties, including chairing committees, and representing the university in the community. View More...

Education

Certificate Major University Year
PhD Architecture Engineering Ain Shams University - Faculty Of Engineering 1993
Masters Architecture Engineering Ain Shams - Egypt 1988
Bachelor Architecture Engineering King Saud - KSA 1981

Teaching Experience

Name of Organization Position From Date To Date
Alazhar Univ. Associate Professor of Architecture 02/09/2009 31/08/2011

Researches /Publications

Origins of Computational Design in Architecture - 01/0

OSAMA Mohammad Elrawi Osama Elrawi

01/03/2020

The changes that the computer is bringing to architecture are one part of a revolutionary social upheaval. Tools not only change individual patterns and behaviour, but also cause transformations in institutions. Just as other tools have in the past, the computer is in the process of conditioning our understanding of the world and our perception of our place in it. The application of computers to architecture is more than anew sophisticated tool that can be manipulated like a pencil or pen. It is rather, “the culmination of the objectifying mentality of modernity and it is, therefore, inherently perspectival. The tyranny of computer-aided design and its graphic systems can be awesome: because its rigorous mathematical base is unshakable, it rigidly establishes a homogeneous space and is inherently unable to combine different structure of reference.” Digital space is quantified by a programmer, who enacts a simplification of reality through a process of abstraction in which empirical that does not fit the chosen conceptual framework is discarded. The aim of this paper is to investigate and track the origins of the core concepts of geometrics in the history of architecture and to designate its basic conceptual applications that could be probably using the same concepts and processing steps that are used today with computers. The gained benefits of this investigation could help in boosting new methodologies in architectural design regarding form generation. Comparative analysis shall be the methodology used to reach these theoretical origins, and, the royal palace of the Alhambra will be the main case study together with related styles from Islamic architecture.

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Virtual Encyclopedia of Islamic Civilization VEIC - 01/0

OSAMA Mohammad Elrawi Osama Elrawi

01/02/2020

The Virtual Encyclopedia Islamic Civilization -VEIC- is an underdevelopment application with multiple knowledge structures, schema, associations involved in creative thought. The VEIC is built up on the Hepteract Hypercube of Islamic Civilization, a database platform system having the capability of getting back to life elements of cultural heritage. The functions set up on this platform are to support determine the conservation elements through the objective analysis of the database elements combining relevant information screening within multiple knowledge structures. The rapid loss and deterioration of Islamic Historic cities recalls promoting and integrating multiple knowledge structures that could result in the production of an advanced documentation, preservation and visualization system of higher quality and more original problem-solutions to sustain the attributes of this property's Outstanding Universal Value. To target this issue, the knowledge cube of Islamic civilization shall be implement to re-address key theoretical issues of formal knowledge and models representation representing the preoccupied elements of the original design, and also re-address the process of 'the trans- valuation of values'. The concept for VEIC came from the extreme importance of having a deeper comprehensive understanding to Islamic civilization with a coherent analytic methodology in dealing with its multiple dimensions that turned it to be one of the most important phenomena's in human civilization. This research shall follow mixed applied research methods both qualitatively and quantitatively within one entity. This research shall explore the capabilities of using the VEIC for the virtual reconstruction and virtual knowledge representation of the tangible and in-tangible elements of Islamic architecture and Islamic civilization.

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Reviving the Missing History of Mosques Using the Virtual User Interface of Islamic Civilization-VUIIC - 01/1

OSAMA Mohammad Elrawi Osama Elrawi

01/11/2019

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The Use of Mixed-Realities Techniques for the Representation of Islamic Cultural Heritage - 01/0

OSAMA Mohammad Elrawi Osama Elrawi

01/02/2017

Left in the wake of cataclysmic change are the knowledge creation and holding structure of the past. Information knowledge and culture are central to human freedom and human development. How they are produced and exchanged in our society critically affects the way we see the state of the world as it is and might be. In recent years Mixed Reality (MR) has emerged as an area of extreme interest for visualizing and interacting with three-dimensional (3D) information in context, set in a story that reinforces learning and understanding of the cultural content. A commonly used and very inclusive definition of MR is that of all applications between pure Virtual Reality and the real world. How can we provide an intuitive user-friendly application for cultural heritage, which blends virtual imagery with the actual world, where users operate and interact with the information? How effectively can historical information and visual interpretations of the past be disseminated through such technologies? ‘Tangible Pasts’ consists of cultural domain expressing and analyzing the intended meaning of the shared vocabulary of concepts and relations in a domain of knowledge containing hierarchical classification systems and structured vocabularies with rich inter-linking of conceptual ‘trees’ i.e.: an object-oriented conceptual KC “Knowledge Cube", which combines audio-visual information and three dimensional models and animations. Modern cultural heritage exhibitions have evolved from static exhibitions to dynamic and challenging multimedia explorations. The main goal of visualization is to bring understanding of data. The task is to present complex information in the most comprehensive manner. Considering architectural artefacts, the visualization process is mostly focused on the understanding of spatial relations and on the recognition of particular style and form, letting users see characters and events in the past. This paper describes a storytelling-driven framework for Islamic Cultural Heritage representation that supports a new communication strategy able to combine content belonging to different cultural archives and accessed through an ontology-based integration and discovery mechanism, and fosters new data sharing and distribution policies that preserve the intellectual property rights of the involved institutions.

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The Sustainable Sensed Principles of Islamic Landscape Architecture - 01/0

OSAMA Mohammad Elrawi Osama Elrawi

01/02/2016

The sensed quality of a place is an interaction between its form and its perceiver. It is irrelevant in a sewer layout or in an automated warehouse. But wherever people are, it is a cultural quality. Sensuous requirements may coincide or conflict with other demands but cannot be separated from them in judging a place. They are not “empirical”, or merely decorative, or even nobler than other concerns. Landscape design reflects a particular relationship between man and nature. The biological and physiological aspects of man could be said to form part of the natural universe, but on the other hand, technological achievements may sometimes encourage a feeling of being above and beyond nature, with power to reorder it. When man and nature are in contact, harmony may prevail; on other occasions, there seems to be conflict. The aim of this paper is while analyzing the genesis of cultural identities and the significance of historic landscape, we will try to obtain a sustainable methodology to capture the sensed principles of Islamic landscape architecture from within, i.e., by reverting to the inner forces that are able to nature a living culture and re-establish a sense of presence, integrity and continuity.

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Origins of Geometric Computational Design in Architecture - 01/0

OSAMA Mohammad Elrawi Osama Elrawi

01/02/2016

The changes that the computer is bringing to architecture are one part of a revolutionary social upheaval. Tools not only change individual patterns and behaviour, but also cause transformations in institutions. Just as other tools have in the past, the computer is in the process of conditioning our understanding of the world and our perception of our place in it. The application of computers to architecture is more than anew sophisticated tool that can be manipulated like a pencil or pen. It is rather, “the culmination of the objectifying mentality of modernity and it is, therefore, inherently perspectival. The tyranny of computer-aided design and its graphic systems can be awesome: because its rigorous mathematical base is unshakable, it rigidly establishes a homogeneous space and is inherently unable to combine different structure of reference.” Digital space is quantified by a programmer, who enacts a simplification of reality through a process of abstraction in which empirical that does not fit the chosen conceptual framework is discarded. The aim of this paper is to investigate and track the origins of the core concepts of geometrics in the history of architecture and to designate its basic conceptual applications that could be probably using the same concepts and processing steps that are used today with computers. The gained benefits of this investigation could help in boosting new methodologies in architectural design regarding form generation. Comparative analysis shall be the methodology used to reach these theoretical origins, and, the royal palace of the Alhambra will be the main case study together with related styles from Islamic architecture.

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Boosting Creativity Skills & Innovation in Architectural Design Process Using Multimedia - 01/0

OSAMA Mohammad Elrawi Osama Elrawi

01/01/2015

Within architecture, generative design can be defined as the approach of developing applications, or systems which can develop, evolve, or design architectural structures, objects, or spaces autonomously depending on emerging circumstance. This paper tries to add additional design tools to support the existing design tools, to be based efficiently on perceptual actions that are important in the design process. It is a loop design method starting from shapes that are transferred to music, then extracting the parameters of this music into components related to those shapes. The out-coming musical components will be parametrically controlled in order to obtain newly generated music. The modified music shall be transferred back to shapes, materials and light in a pool of alternatives that gives the designer a wide chance to visualize form generation in purely interactive and aesthetic terms. It is the concept of playing music and architecture within multi-cognitive processes.

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Architecture, Music and Pattern Recognition- The Case of Andalusian Architecture - 01/1

OSAMA Mohammad Elrawi Osama Elrawi

01/12/2014

The aim of this ongoing research project is to reach a pattern recognition process (design system) that can turn architecture to music, and turn music to architecture. . In both operations, style and character will be an essential issue in the design of this process system. Based on the artistic relationship between architecture and music, we shall try to settle a mechanism for a pattern recognition audio-visual system that can that can turn a certain style of architecture to a collection of melodies that truly reflects the character of that architecture. This system can also perform the inverted process that is turning a certain musical style to a collection of shapes and forms. In this regard it is important to point out to the inter-relationship between the architectural design process and writing a musical note. A musician composing a melody works from above, that is from the whole to the parts. A composer does not usually put notes together in order to get some melody; he envisages the character of a melody in a statu nascendi and proceeds from above as he tries to concretize it in all its part. In this respect, the articulation of the whole and the important junctures of the parts, the beginning(s), or the end(s), the composer accepted the attitude of his contemporaries, and could therefore integrate principles of architecture such as the golden section and the Pythagorean Theorem, along with principles of acoustic harmony. The melody steps of these musical golden sections (time-space intervals of varying scales) can follow the rules of the Pythagorean Theorem. Originality in expression does not depend on invention of new words; nor originality in poetry on invention of new measures; nor in painting on invention of new colours, or new modes of using them. That means that innovation and creativity is a matter of "relationships". In architecture relationships exist in two ways, in the environment itself, and in the individual's ability to understand and relate to them. They exist at a real, concrete level where the individual is aware of them through his senses, perception, hearing, touching, etc. And the also exist at an abstract or conceptual level in the actual object. They cannot be seen or heard even though the can be described. At the end we are referring to "linguistics" as a platform that can consist architecture and music i.e.: a perceptual or surface structure and a conceptual or deep structure that combines both architecture and music. Architecture and music share the unification of three realms: conceptual, objectual and perceptual. In the historical writings of ikhwãn al-safã; (The Brethren of Sincerity-Muslim philosophers in Basra, Iraq, in the 10th century), the relationship between arts, architecture, music, astronomy, mathematics and chemistry was clearly mentioned. In this paper we had chosen Andalusian Architecture as a part of Islamic Architecture that existed in Spain (AD 711-1492). Also there is a significant retrieving and re-composing for Andalusian music prepared by Al Rahbaniya in Lebanon in seventies of the 20th century, also Andalusian music is still played in Morocco, Algeria and Tunisia.

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GAs and Evolutionary Design in Architectural Heritage-The Case of Islamic Architecture - 01/1

OSAMA Mohammad Elrawi Osama Elrawi

01/11/2014

The cosmological nature of Islamic architecture makes it a useful case study for the capability of the adaptation, assimilation and accommodation with the development of evolutionary algorithms and their applications in architectural design. Genetic algorithm derives its structure from the observation of nature. Since algorithmic art consists of generation of images on the basis of algorithms, algorithms can be viewed as a notation, and notation is something that music has but visual artefacts in general miss. This paper aims to discover the role of evolutionary algorithms in historical Islamic architecture. Also, we shall try to investigate the way in which the future development could occur not only through the discovery of new facts or theories, but also through the rise and dissemination of new visions having different explanation of Islamic architecture that considers it as a result of serious application of formation through evolutionary genetic algorithms.

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Knowledge Cube - 01/1

OSAMA Mohammad Elrawi Osama Elrawi

01/11/2013

Architectural identity, as an evolutionary chain of creative tradition, can only be sustained and revived from within, starting with a strengthening of these very internal processes and not by imposing external forms. Usually talking about architectural heritage it is just about the one preserved for touristic events. To overcome this shortage we are going to deal with depends on knowledge or expertise and also on effective application of requisite processing operations to relevant knowledge. The prototyping, testing, evaluation and evolution all use the formidable power of the computer, but the initial spark come from human creativity. The aim of this paper is to resolve the missing integrative vision of culture as a phenomena concept within the existing ontologies. One common criticism of visualization research is that it presents techniques that are technically interesting but that do not provide solutions to real problems. This is a classic problem in research tool and system designs, where technologists have a vision, based on what is computationally possible, but lack an understanding of what is really needed to solve the problems of their generative systems to become a source of inspiration for architectural design process. The new relations between digital form and digital processes are contributing today to the emergence of new conceptual vocabulary, and domain knowledge. Ontologies are known as artifacts designed to model domains of knowledge in a machine understandable manner. In order to exploit machine power in historical data processing it would be necessary to achieve machine interpretable knowledge which is tied with knowledge representation and ontologies. Creative thought potential users. The solution to this problems are the imaginative use which means using the computer like the genii in the bottle to compress evolutionary space and time so that complexity and emergent architectural forms are also a source of inspiration.

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Architectural Heritage as a Source of Inspiration for Generative Design - 01/0

OSAMA Mohammad Elrawi Osama Elrawi

01/01/2013

Architectural identity, as an evolutionary chain of creative tradition, can only be sustained and revived from within, starting with a strengthening of these very internal processes and not by imposing external forms. Usually talking about architectural heritage it is just about the one preserved for touristic events. To overcome this shortage we are going to deal with depends on knowledge or expertise and also on effective application of requisite processing operations to relevant knowledge. The prototyping, testing, evaluation and evolution all use the formidable power of the computer, but the initial spark come from human creativity. The aim of this paper is to resolve the missing integrative vision of culture as a phenomena concept within the existing ontologies. One common criticism of visualization research is that it presents techniques that are technically interesting but that do not provide solutions to real problems. This is a classic problem in research tool and system designs, where technologists have a vision, based on what is computationally possible, but lack an understanding of what is really needed to solve the problems of their generative systems to become a source of inspiration for architectural design process. The new relations between digital form and digital processes are contributing today to the emergence of new conceptual vocabulary, and domain knowledge in a machine understandable manner. In order to exploit machine power in historical data processing it would be necessary to achieve machine interpretable knowledge which is tied with knowledge representation and ontologies. Creative thought potential users. The solution to this problem are the imaginative use which means using computer like the genii in the bottle to compress evolutionary space and time so that complexity and emergent architectural forms are also a source of inspiration.

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The Sustainable Cybernetics of Formal Language in Islamic Cities - 01/0

OSAMA Mohammad Elrawi Osama Elrawi

01/01/2013

Sustainable development is not a process to reach an end state but rather an ongoing process. Sustainability is the self- evident term for the dynamic equilibrium between man and nature and for the co-evolution of both within the Gaia mega system. The complementary system in nature in its profusion of formal language is expressed in infinite multidimensional patterns. Approaches to form generation that operates without employing a priori categories of form have required a new definition of the concept of form. Here the distinction between form and formation becomes significant. If we study architecture as the history of meaningful form, we will discover man, nature and we will know how God gave us the tools for real creativity. Creativity involves the development of original, imaginative ideas, usually for a particular purpose and can be situated in both cognitive and social domains. For the purpose of cultural heritage presence, we shall be dealing with the cybernetics theory, especially the second – order cybernetics that can contribute to symbiotic dialogues between societies, at a side, and art, architecture and urbanism on the other side. In this regard, we shall try to reach an understanding for the sustainable creative process considering changes in human faculties in Islamic cities. This paper tries to discover the ability of historic cities to become a source of inspiration which enables a society to innovate by re-interpreting the past, overcoming the dichotomies resulting from a single – minded pursuit of a narrow vision of progress. It will also try to identify the way in which a creative exploration and a careful evolution of historic cities can give birth to cultural continuity that can re-establish organic motivations that goes beyond the rationality of these cities. Keywords: Cybernetics, cultural heritage, Arabic-Islamic cities, architecture

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Model Based User Interface Design for the Encyclopedia of Islamic Architecture - 01/0

OSAMA Mohammad Elrawi Osama Elrawi

01/01/2012

The Encyclopedia of Islamic Architecture (EIA) provides the architectural design information that is empirically believed to best represent the content of this kind of architecture, besides being a platform for achieving all accumulated information elements. It is also containing a design information framework to operate as a mechanism for representation of design through an integrated software/hardware solution. The electronic Encyclopedia of Islamic Architecture is designed to meet the unique needs of specific professions working in true collaborative research operations across the multi-disciplinary extended enterprise including style and form design, historical background and the definition of detailed characteristics of Islamic Architecture. It is a useful research, prototyping and information seeking tool which comprise a number of activities from topic formulation to database search and browsing through accessed document providing a mechanism for user's information need that is useful in every phases of the information seeking process. Keywords: Data modeling, Architectural heritage, Islamic Architecture, user interface

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Cosmology as a Source of Sustainable Design Ideologies - 01/0

OSAMA Mohammad Elrawi Osama Elrawi

01/01/2010

"Ideology" is "visionary theorizing." Alternatively, it is "a systematic body of concepts especially about human life or culture," or "a manner or the content of thinking characteristic of an individual, group, or culture." Human beings think in concepts. The term concept describes any set of closely related ideas that we group together under a single word or image. Concepts allow us to create categories and make distinctions among things. However, if our role model, real or imagined early life experiences, or as a trauma reinforce distorted notions, some of our early incomplete or flawed rules and concepts may remain fixed as we grow older. Without concerted effort to evaluate whether, on hindsight, our early theories were accurate, and without the capacity to honestly examine how they affect our lives today as adults, rules and concepts can harden in our minds. We become slaves to our concepts and fail to realize that they are not real, but are merely ideas and constructs we established in our heads to make sense of the world. If we aren’t careful, we begin to create our own reality and constantly reaffirm the myths and images we already hold. This is how mental frames are formed that produce inflexible, myopic climate-damaging thinking and behaviour. Mental frames are the deeply felt beliefs, assumptions and stories we hold in our minds about the nature of other people, hoe the world works and our role in it all. Mental frames have three interlinked elements: core beliefs, core assumptions and automatic thoughts. Core beliefs are the deepest level of cognition. They are the unconditional views we hold about the world around us, including the physical environments, other humans and ourselves. The problems that happened with the transformation to modernity had caused that most cities had eventually lost identity and character. To overcome these problems and the defects that were caused with the use of Computers that had brought change to architecture and urbanism to be a part of revolutionary social upheaval-for that- we are going to deal with generative systems in the universe that had become a source of inspiration for a number of architects. The aim of this paper is to investigate sustainable design ideologies, as well as introducing a new vision for developing design process by getting cosmic rules and actions to be our source of inspiration, and insure that is one of main sources of getting sustainable sustainability.

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Awards

Award Donor Date
Original Patent Pending for the invention of: "Adjustable Radial Scaffolding for Arch Construction" Academy of Scientific Research and Technology - Egypt 1996

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