Portfolio of works 2014-2018 by Adel Kameshki

‫قائمة المحتويات‬

G ANGES

M.ARCH

M.ARCH, STAGE 5,

DISSERTATION

SEMESTER 2

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CON TESTED

SPECTERS OF

IN MEDIA RES

HERI TAGE

UTOPIA AND

MODERNISM PAGE

S T O P

T H E

“R OT T E ” P A GE

YEAR OUT

2015-2016

S E LE C T E D

PA GE

REFUGE 66

B.A ARCHITECTURE

GRAD PROJECT

DISSERTATION

BUILDING OVER

S E LE C T ED

WHAT IS ALREADY

PR OJE CTS

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PR O JE C T S

SH ELTER

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2015

TAY- L E

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2018

M.ARCH THESIS

AN IMAT E PAGE

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ูก M . A R C H

T H E S I S

A T A Y - L E ( TA L E ) OF

GANGES This studio focuses on delivering exhibitionstandard work under the premise that we are participating in the 16th International Architecture Exhibition. Every two years, a curator is chosen to set the theme for this exhibition. In this case, the curators are Shelly McNamara and Yvonne Farrell of Grafton architects who have chosen the theme of Freespace which is defined by a manifesto. With this manifesto in mind, this project asks that we engage with the theme of Freespace to identify and implement architectural proposals within a specific landscape. In the context of this studio, the landscape we are to engage with is that of the Tay Valley, focusing on its people, time, place, repercussions, and history. It is required for each studio member to enter the landscape of the Tay Valley with a selected ally associated with this landscape in one form or another. It is this ally, who will, through research, inform the function and location architectural proposals and approaches to representation. The ally I have chosen to enter the landscape with is Duleep Singh, the Last Sikh Maharaja and research on this character has led to my Freespace being the Freespace of Hybrid Identities.

F R E E S PA C E STUDIO + CONTEXT This studio focuses on delivering exhibition-standard work under the premise that we are participating in the 16th International Architecture Exhibition. Every two years, a curator is chosen to set the theme for this exhibition. In this case, the curators are Shelly McNamara and Yvonne Farrell of Grafton architects who have chosen the theme of Freespace, which is defined by the following manifesto: 1. Freespace describes a generosity of spirit and a sense of humanity at the core of architecture’s agenda, focusing on the quality of space itself. 2. Freespace focuses on architecture’s ability to provide free and additional spatial gifts to those who use it and on its ability to address the unspoken wishes of strangers. 3. Freespace celebrates architectures capacity to find additional and unexpected generosity in each project - even within the most private, exclusive or commercially restricted conditions. 4. Freespace provides the opportunity to emphasize nature’s free gifts of light - sunlight and moonlight, air, gravity, materials - natural and manmade resources. 5. Freespace encourages reviewing ways of thinking, new ways of seeing the world, of inventing solutions where architecture provides for the well-being and dignity of each citizen of this fragile planet. 6. Freespace can be a space for opportunity, a democratic space, un-programmed and free for uses not yet conceived. There is an exchange between people and buildings that happens, even if not intended or designed, so buildings themselves find ways of sharing and engaging with people over time, long after the architect has left the scene. Architecture has an active as well as a passive life. 7. Freespace encompasses freedom to imagine, the free space of time and memory, binding past, present and future together, building on inherited cultural layers, weaving the archaic with the contemporary. With the manifesto in mind, this project asks that we engage with the theme of Freespace to identify and implement architectural proposals within a specific landscape. In the context of this studio, the landscape we are to engage with is that of the Tay Valley, focusing on its people, time, place, repercussions, and history. The host of the 16th International Architecture Exhibition will then be theoretically occupied by the Tay Valley in some form It is required for each studio member to enter the landscape of the Tay Valley with a selected ally associated with this landscape in one form or another and it is this ally who will—through research- inform the definition of each studio member’s unique Freespace in relation the manifesto as well as the function and location architectural proposals and approaches to representation.

F R E E S PA C E O F HYBRID IDENTITIES Throughout his life, Singh struggled to place himself within the two worlds that shaped him: Punjab and Britain in which there were moments where he was either Punjabi, British, neither, or both, struggling to fully fit in both contexts- this even extended to his children, especially his daughter princess Bamba, who lived the last years of her life in Lahore, her dynasty’s territory, feeling like an alien. This as such defined Duleep Singh and indeed his children as hybrids of British and Punjabi identities. Thus, my Freespace is the Freespace of hybrid identities in which the concept of hybridity is explored with the intent of developing an architecture that is relatable and inclusive to different groups or identities. “…Traditions co-exist with the emergence of new, hybrid and cross-over cultural forms of tremendous vitality and innovation. These communities are in touch with their differences, without being saturated by tradition; they are actively involved with every aspect of life around them, without the illusion of assimilation and identity…” Stuart Hall (1999) According to Prabhu (2007), hybridity can lead to a way out of binary thinking (that is “us” vs “them” in terms of race, identity, religion, politics etc.), allowing for a restructring or even destabalizing of power and social hierarchy. Originally, the term “hybrid” came from biology, referring to the breeding of specific plants to create new variants with enhanced qualities. In the case of race, hybrids of African and European ancestry were referred to as “creoles” in the colonial era, and a fear of hybridity was widespread at the time (Stafford, 2000). Hybridity has become a key feature of the postcolonial era in which post-colonial theory demands justice, seeking to speak to the extensive social and psychological suffering, exploitation, violence and enslavement of powerless victims of colonization around the world. It challenges the authority of Western perspectives, aiming to re-position and empower the marginalized and subordinated “other” (Parsons and Harding, 2011). According to Lusty (2007), hybridity is a cross between two distinct/differing races or cultures. It is something that is mixed. Frello argues that the concept of hybridity is not limited to mixing cultures of differing origins, but also refers to the ‘shaking up’ (as in disturb or displace) established identities. Furthermore, it is the destabilization of identities in encounters between colonizer and colonized in addition to encounters in which post-colonial citizens enter former colonial centers (Frello, 2012). According to Bhabha (1994), hybridity referes to the creation of new transcultural forms within the contact zone produced by colonization. Hybridity may come in the form of language, culture, and race- though it is not limited to those and can indeed include architecture. When the concept of hybridity is applied in theories of globalization, this concept becomes connected to the discussion regarding the differentiation between the local and the global and other conceptual ideas to overcoming this binary in which the interdependence and merging of scales, places, and practices is stressed (Frello, 2012). As such, my defnition of “hybrid” is something that has combined two [or more] forms, cultures, societies, or identities to create something that is new- something that is both [or all] or neither [or none] and in all cases, established identities that are subject to this merging of identities are disrupted. This ‘new’ hybrid identity would be something that different groups could interpret as ‘familiar’ or ‘relatable’, allowing for different groups to identify with these hybrids and find common grounds with one another.

The Singh Twins: “Laird Singhs His Tartans Praises”, 2011

BEGINNINGS A MERGING OF TWO WORLDS In addition to the collage, the first attempt to hybridize the two contexts of Punjab and Scotland came in the form of this model, which sits on a slab of salt, a literal object of loss in Duleepâ&#x20AC;&#x2122;s life. A large-scale model of a segment of Castle Menzies sits on the slab acting like a cage that covers a small model of a portion of Lahore Fortâ&#x20AC;&#x201D;Haveli Mai Jindan where Duleep and the Maharani stayed during his brief rule of Punjab. This model represemts the prison of faux luxury Singh inhabitted, but also represents the way his identity was supressed during his stay at Castle Menzies.

A TAY- L E O F G A N G E S CASTLE MENZIES, WEEM, SCOTLAND In an attempt to better understand the two formative contexts of loss in Duleepâ&#x20AC;&#x2122;s life, planometrics of Lahore Fort and Castle Menzies were produced. Spatial qualities, function, orientation, and scale of residence were taken into account in these studies alongside other architectural elements like thermal mass. The planometric to the left depicts the estate of Castle Menzies with a larger blowup of the actual residence on the top-left corner.

A TAY- L E O F G A N G E S LAHORE

FORT, LAHORE, PUNJAB, PAKISTAN (FORMERLY PART OF INDIA)

The planometric to the left depicts Lahore Fort and Haveli Mai Jindan (center of circle and blown up at top-left corner.) Haveli Mai Jindan was the specific residence Duleep and his mother occupied within the fort complex. The design of Lahore Fort comprises of extensive gardens inspired by the symmetry of Persian rugs as a result of Persian influence on Mughal architecture (which Lahore Fort falls under.) The fort utilizes a grid known as the Gaz Grid which is based on modules of 800 x 800 mm. One of the most interesting features of the fort is its North-South functional division. Spaces in the North carry a more intimate feel with their smaller courtyards and serve as the residential part of the complex, whereas spaces on the South utilize wider, grander courtyards that are suited for its political and official function.

A TAY- L E O F G A N G E S TRACING HYBRID MOMENTS IN THE VOIDS As the idea of my Freespace became clearer, it became an important part of my research and design process to explore the manifestation of hybrid spaces or moments. This emerged when the two studied planometric drawings (zooming in on the actual residences of Duleep) were overlaid and aligned based on orientation. Initially, it was intended for voids between the facades, floors, and walls to be traced, however the latter two proved ineffective in creating effective spaces. Voids traced between the facades and internal elevations of the two residences resulted in the emergence of hybrid forms that were to be spatialized. This became a pivotal moment in my project as it defined the approach taken later on to coming up with a design and form of representation.

A TAY- L E O F G A N G E S SPATIALIZING THE VOIDS OF HYBRIDITY Initially, the traced voids between Castle Menzies and Lahore Fort were to be represented as plan and section drawings, but there was a certain stiffness that hindered the potential of these moments. As such, these voids were translated into the model on the left in which each void was given depth and modeled as an inverse to be cast in soap and salt to represent a slab of salt with the same voids. This model would become the generator for my thesisâ&#x20AC;&#x2122; architectural style, representation, and tectonic intent. These voids became home to spaces that represented different identity-defining moments in the life of Duleep Singh, with each moment carrying a hybrid or split identity, depending on the specific moment. Each void was appropriated into a unique space in a scale of 1:50, containing a distinct atmosphere.

A TAY- L E O F G A N G E S PROGRAMMING THE INVERSE-VOIDS OF HYBRIDITY Along with the soap model, I managed to salvage the initial mould that was to be used to cast the soap into. This model became the ‘inverse-void’ model in which it was inhabitted with more preceise, program-related elements at 1:200, based on my research on the Sikh diaspora, the UK Sikh Survey, and Operation Blue Star- all of which helped generate a program for my scheme later on. Cage-like elements were added as additional architectural spaces that represented Duleep’s prison of luxury in relation to Scottish Sikhs, the project’s intended users. The shift in scale between the two models and the use of voids and inverse-voids helped represent Duleep’s split and hybrid identity better. This inverse-void approach would later inform some of the models produced at the end of the project, ultimately representing the process of making becoming a key element in this design project.

SELECTED SITE KENMORE Further research on Singh later led to the discovery of Kenmore- home to the grave of Duleep’s firstborn son who was buried in the Church’s grounds. Kenmore was chosen as the site for my design for this reason, as well as—and more importantly— because it is the point in which the River Tay meets the Loch Tay. This made the site a point of confluence between two bodies of water, which is considered sacred in India. Furthermore the merging of two bodies of water made Kenmore a ‘hybrid point’, making the site quite fitting for the Freespace of Hybrid Identities. Despite Duleep being Christian at the time of the death of his firstborn son, Kenmore has become a pilgrimage site to Sikhs as part of the Anglo-Sikh Heritage Trail. In 2012, a ceremony was held to honor the Maharaja’s firstborn in which bigpipes played in the background whilst Sikh figures chanted in Punjabi, representing a very strong sense of hybridity in Kenmore.

D E S I G N K I C K S TA R T E R A RUG-INSPIRED INSTALLATION As a means of generating a design and tying our research to the Arsenale di Venezia, a two-week task of designing an installation was assigned for studio members. My design is inspired by the use of my soap and salt model as a means of bringing the landscapes of loss into the Arsenale. This installation takes on the form of a cast staircase which in plan replicates the form of the medallion of an Amritsar rug. Voids are placed within the staircase as a nod to the previous soap and salt model, but to also represent the inability to access such spaces. This is to represent Duleep’s longing to return to Punjab without ever reaching it. Amritsar rugs are hybrids in nature as they are heavily influenced by Persian rugs, but are manufactured in Amritsar and designed for ‘Westerners’ in mind. As such, these rugs take on the form of Persian rugs in the eyes of ‘Westerners’ but are not made by these ‘Westerners.’

IDEALIZING KENMORE AS A RUG AN ANALYSIS AND EARLY INTERVENTION STRATEGY The cast staircase inspired by an Amritsar rug became the generator of an approach to reaching a design for my project. The staircase inspired me to approach and envision Kenmore as an idealized garden, often depicted in rugs. This drawing combined an analysis of the existing elements of Kenmore whilst attempting to bring in studied buildings into the composition such as Castle Menzies, Lahore Fort, and the Harmandir Sahib. As part of making Kenmore an ideal garden much like a rug, the Square had to be transformed into the medallion of a rug in which it would have some sense of symmetry to it. As such, a channel of water was introduced, becoming one of the key moves for my design. To creater further emphasis on Kenmore Square as a medallion of this rug, elevations of the Harmandir Sahib, representing the religious intent I had in mind for the Square were drawn around the island like a pattern. This later became the enclosure that would demarcate Kenmore as a religious site. To further give a rug-like character to this drawing, a border showing elevations of Kenmore Square was drawn. This would later inform future drawings of my design. This rug drawing comprises of different architectural projections, ranging from plans, sections, elevations, and perspectives. This is done intentionally to represent Singhâ&#x20AC;&#x2122;s hybrid and split identity.

CROSSING OF T WO WORLDS LAHORE FORT AND A VIEW OF THE LOCH TAY This collage represents part of my approach to introducing my intervention to Kenmore. A view of an adminstrative courtyard from Lahore Fort is superimposed with a view from the Loch Tay. This approach is reminescent of the treatment of the Sukhasan room and Gurdwara, as can be seen in the next few pages.

CROSSING OF T WO WORLDS THE HARMANDIR SAHIB COMES TO KENMORE This collage represents my general approach to introducing my intervention to Kenmore. The walls of the Harmandir Sahib are superimposed onto the peninsula of Kenmore, informing how the site is enclosed. The approach to how Kenmore is accessed is also inspired by this collage.

CROSSING OF T WO WORLDS THE LONELY CASTLE SITS BY THE RIVER This collage has influenced the approach taken with the placement of the crematorium in my intervention. The crematorium sits in a more isolated manner on the site whilst being in close proximity to the river. The isolated Castle Menzies was the place where Duleep spent his last days with the Maharani before her passing. This sentiment of loss is carried into the crematoriumâ&#x20AC;&#x2122;s placement onto the site as such.

PROCESS DESIGN SKETCHES

PROCESS

D E S I G N S T R AT E G I E S

Water is introduced into the peninsula Kenmore sits on, transforming it into an island that resembles the Harmandir Sahib.

Kenmore Square is pedestrianized to accommodate its religious site status.

Vehicular access + service route. Parking is provided in the basement level of the highlighted building.

Where reasonable, access is created in the cardinal directions, resembling the symbolism of a Gurdwara welcoming people from every direction or place.

The newly created intervention is an enclosure that is an offset of the shape of Kenmore Square. It is set back from the square at a distance that is a multiple of 800 mm, which is the grid spacing used in Lahore Fort.

Obstructions or spaces are added at access points in such a manner that they are bisected, creating two entrances that resemble gender-specific entrances in Gurdwaras.

Where the outline of the enclosure comes into contact with an existing on-site void close to a public building, that void becomes part of the building. This process resembles the process of casting soap and salt into a mould.

Where the outline of the enclosure comes into contact with an existing building that is private in function, a void is inserted into between the two, creating a new hybrid in-between space in a process similar to the creation of a mould to cast soap into.

VOIDS AND INVERSE VOIDS REDUX CASTING THE MASSING MODEL In order to tie-in the massing model to the soap model as well as to convey a sense of materiality representing transluscent alabaster, each foam mass was placed in boxes made of MDF to develop formwork in which alginate was poured in to create a mould. The use of alginate ensured a quick and foam-friendly process, with each mould being set with two minutes after being cast. This mould would then have soap and salt poured in. The result is in the surrounding images. Despite the transluscent quality of soap, these casts lacked the brilliance of the initial soap model due to scale.

L APIDARY ADDING BRILLIANCE As mentioned, the soap casts lacked the brilliance the initial soap model had. As such a process of peeling and squaring the edges of each soap cast was implemented. Interestingly enough, this was to add brilliance which became reminescent of the process of cutting the Kohi-Noor diamond, to give it more brilliance. Lapidary is the art of gem-cutting, thus this process became another representational process referring back to the loss of a symbol of Duleepâ&#x20AC;&#x2122;s power and sovereignty. This process ultimately allowed for each soap cast to glow better under light, allowing one to appreciate the nature of the material better. A series of tools was utilized in the lapidary process. A palette knife proved effective for larger casts, whereas a stanley knife was most effective for smaller casts, creating a smooth, more transparent look.

FINAL MASSING MODEL As this model was always intended to be refined into a final model, the roughness of soap and salt, even after squaring and adding brilliance needed a more prescise element to counterbalance it. As such, the existing buildings were recreated using dark walnut timber. To further give the impression of the idealized Kenmore as an island, the timber base was removed and the model was suspended on legs to grant it a floating aesthetic. Perforations were introduced into the layers of MDF to allow for light to shine through and make the soap casts glow whilst accommodating room for trees to be placed in some of them. The addition of trees would further help give a clearer impression of the landscape of Kenmore, whilst also giving the overall model an opportunity to become more of a spectacle in order to better fit with the studioâ&#x20AC;&#x2122;s core idea or presenting exhibition-standard work.

INHABIT TING THE VOID ALGINATE MODELS The moulds that were host to the soap models were left to be inhabitted. Due to the sheer scale of my project, it proved difficult to have resolved plans and as such, these models would become hosts to glimpses into some of the spaces my intervention would have. Being a material-driven project, it was essential to work with the alginate in creating these spaces. The roughness of the material had to be contrasted with a sense of precesion inspired by the inverse-void model made earlier in the project. This model and the site model could be seen as a hybrid of the precise and rough elements of previous models. Due to the alginateâ&#x20AC;&#x2122;s high-moisture content and gradual purging of moisture, many of these models have gradually begun to warp, giving each inhabitted space a strange, distorted aesthetic. This was important to embrace as I had to work with the qualities of alginate.

SUKHASAN ENTRANCE MATERIAL REPRESENTATION This 1:100 cast soap model is a depiction of the hybrid moment between Taymouth Castleâ&#x20AC;&#x2122;s gateway/entrance to Kenmore and the Sukhasan room. Despite its roughness, the overall purpose of this model was to recreate a sense of atmosphere that would be provided through the use of transluscent alabaster as well as to give an idea of how this part of the intervention would sit alongside the existing. The model was made into a section to allow users a glimpse into the Sukhasan room and immerse themselves within the intended atmosphere. A bed and rug were added to further emphasize the spaceâ&#x20AC;&#x2122;s function as a Sukhasan room, where holy Sikh scriptures are kept in a bed and treated with the utmost respect. To further emphasize its sectional aspect, a pink MDF frame was added.

SITE PLAN A VISUAL GUIDE TO THE GRAND GURDWARA KEY A. Hybrid moment between gurdwara and church B. Hybrid moment between crematorium and cemetery C. Hybrid moment: a view from Duleepâ&#x20AC;&#x2122;s room D. Hybrid moment between the main entrance & the Sukhasan room 1. Sikh ethos school 2. Political office 3. Linking bridge 4. Kenmore Hotel 5. Grand Gurdwara managerial office 6. Cultural center 7. Kenmore Parish (church) 8. Gurdwara 9. Crematorium 10. Asylum/therapy center 11. Residence A with parking 12. Existing Kenmore Square houses 13. Residence B 14. Run of the river hydroelectric power plant 15. Sukhasan room with sarovar 16. Entrance to Kenmore via Taymouth Castle

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HYBRID MOMENT B THE CREMATORIUM FRAMES A VIEW OF DULEEP’S CHRISTIAN FIRSTBORN SON’S GRAVE The cenral frame takes on the form a section of the projecting waiting area in the crematorium. The top of this section then merges with a full section of the crematorium. The central frame depicts a view looking back at the waiting area from behind Duleep’s son’s grave. This central frame then merges with a nearby water channel introduced into the site in which the crematorium sits by. The water channel merges with cut lines/thickness of the walls of the crematorium. Surrounding the plan of the crematorium and the central frame is a portion of the site, giving a sense of context, which then merges with a persspective of a view of the Loch Tay behind the crematorium which sits immediately behind the overall section of the building. In all hybrid drawings, an intentional color contrast is made to represent the coming together of two worlds. The bright salmon color is a reference to the pink salt and refers to the Punjabi identity of this intervention, whereas the darker, greyer colors refer to the existing and the Scottish landscape.

HYBRID MOMENT D SUKHASAN ROOM DISRUPTS ENTRANCE This hybrid moment is framed by shape of the opening of the Sukhasan room, which itself is based on the shape of the central entranceway of Taymouth Castleâ&#x20AC;&#x2122;s gate. This frame then merges with a site section in which the Sukhasan room sits, surrounded by a body of water as the viewer gets a glimpse into the space and understands the material and tectonic qualities of the alabaster. The podium in which the bed of the Sukhasan room sits on then forms the cut line of a plan of the very room and the pathway which leads to it which then bleeds onto an elevation of the Sukhasan room behind the gates. This elevation is then flanked on both sides by the two remaining entrances which represent the gender-specific entrances in a Gurdwara. Each entrance frames a different view: one of Kenmore Parish and the Gurdwara, the other of the Sukhasan room from within the Square. The gate initially had three entrances, but by adding a room at the end of one that leads to a dead-end with a view of the Square, only two entrances leading to the Square remain, thus creating a tension in the gateway by enforcing Sikh spatial qualities on the gate.

HYBRID MOMENT A WHEN TWO RELIGIONS INTERSECT This hybrid moment is framed by a section of Kenmore Parish’s nave. This section frames a section of two added staircases to the sides of the nave which go through the existing windows into the Gurdwara. The twin stairs once more represent the gender-specific entrances found in a Gurdwara, but are also a nod to Singh’s split identity. The nave becomes a point of intersection, tension, and interest between two different identities in which users either continue into the church, or make their way into the Gurdwara. To each side of the section is a sectional detail of the junction between the existing walls of the parish which are joined to the new walls of the Gurdwara. The two wall have a movement joint and insulation in between. When this section is flipped upside down, another section is created in which the two staircases meet in the center. This central frame takes the form of the central window at the end of the nave, which depicts a section through the Gurdwara’s diwan and langar hall. On each side of this frame is a section of the stairway leading up to the diwan hall, framed by the outline of the former church windows, turned into openings to access the Gurdwara. The sky above the diwan hall depicts a plan view of the ground floor of the church and Gurdwara.

HYBRID MOMENT C A VIEW FROM DULEEP’S WINDOW LOOKS BACK AT A VIEW OF HIS FRAMED ROOM This hybrid moment takes on an asymmetrical frame representing a structural column and the office block of my intervention. In the center of the frame is the shape of the framed portion of Kenmore hotel where Duleep stayed, however this framed portion shows an internal perspective of his room. The column part of the building is made into a sectional detail showing the build up of the alabaster facade when it is meant to glow. At the top of the hybrid drawing is a window frame which merges with the form of the office block. Through this window frame, once sees the intervention framing Duleep’s room and this is identifiable through the recurring pink window frame in each drawing. At the very bottom of this hybrid drawing is a section of the office block that frames Duleep’s room which hybridizes with the frame’s outline, giving a sense of inhabitation. The ultimate purpose of this hybrid moment is to show how the existing and proposed frame each other, bringing the best out of each other in terms of experience and view.

T H E K E N M O R E G R A N D G U R D WA R A A RUG DEPICTING THE INTERVENTION WITHIN ITS CONTEXT This drawing draws inspiration from the previous hand-drawn, rug-inspired site analysis drawing, whilst building on the idea of a rug in a manner where the composition attempts to take on a more central and symmetrical appearance, commonly found in rugs. The central medallion depicts a planometric-like projection of my intervention on the island-ed Kenmore. To further emphasize that medalion-like quality on Kenmore as an island and draw eyes to the center of the composition, internal elevations of the scheme merge with the land mass of the island, giving it a similar appearance to that of rugs. This compoisition is then framed with external elevations of the scheme which form the first frame or border of the rug, which is then framed by the grey skies of Scotland and a pink, himalayan-salt inspired border that utilizes celtic motifs to further emphasize the schemeâ&#x20AC;&#x2122;s location in Scotland. The sky and pink border take on a slightly brighter appearance than the center, representing the arrival of a brighter, Punjabi world to the overcast, grey landscape of Scotland and the Tay.

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D I S S E R T A T I O N

CONTESTED H E R I TA G E : COMPETING VISIONS FOR SOUQ AL-MUHARRAQ, BAHRAIN

This dissertation tackles issues regarding the conservation-led development of Souq AlMuharraq in which different stakeholders have different views on how the Souq should be treated. The next page only contains the abstract of the dissertation due to the length of the actual document. Furthermore, this dissertation ultimately explores my interest towards the context of the Souq and my apprehensions towards its current direction and can such be seen as a work of passion towards a context that is important to me. Lastly, this dissertation anchors my interest in architectural heritage, urban heritage, and multiculturalism within homogenous spaces and can in many ways be seen as influential to the approach I have implemented in my thesis project as I have revealed in my critical reflection. This gives insight to my architectural approach albeit in an indirect manner.

CONTESTED H E R I TA G E : COMP ET I NG VI SI O N S F O R S O U Q A L MUHAR R A Q , BA H R A I N

ADEL KAMESHKI 63

ABSTRACT

The conservation of heritage becomes problematic when the prevailing attitude to conservation is focused on the built past through which it is dominated by actors who define what is worthy of conservation through a top-down approach (Galvan Lopez, 2010) rather than considering the values of the area’s community who may have different views on the matter. Such approaches often involve the reconstruction, adaptation and restoration of buildings to which the top-down approach is forced upon the local community. This often leads to an increase in property value, the emergence of new functions, the displacement of the community and the emergence of issues stemming from conflicting agendas. In the context of Souq Al-Muharraq in Bahrain, the Bahrain Authority for Culture and Antiquities (BACA) has implemented such an approach. This context however, is dominated by Bahraini nationals and migrant labourers whose values and desires clash with each other and those of BACA, who wishes to attract tourists. In doing so, BACA has focused on conserving Souq Al-Muharraq’s built heritage rather than the values and desires of its community. This led to a form of conservation that was forced upon the other actors, and issues have emerged as a result. As such this the question: how compatible are the agendas behind the development of Souq Al-Muharraq in a context where heritage is contested by key actors? The question is answered firstly through a literature review that establishes how contested agendas or views on heritage may emerge, and clarifies how use of heritage by a dominant actor can accommodate issues resulting from conflicting agendas. Alongside the literature review, a survey of the Souq is performed by collecting the occupational data of shops and tourist destinations. Furthermore, photographs of the Souq are taken to show changes in the area. Findings collected from news articles in both Arabic and English are then utilised to identify some of the issues emerging from the conflicting agendas involved in the Souq. These issues are then tied back to the literature review, thus establishing the compatibility of these agendas. Findings from the walking survey and collected news articles indicate that the dominant agenda of BACA focuses on its wants rather than the needs of the local community which led to issues emerging. This is seen in the results from the walking survey in which only tourists visited cultural destinations. Furthermore, this is proven in BACA’s priority in renovating derelict houses planned for tourist use rather than ones that remain occupied by the local community as well as in the Bahraini nationals’ demonstrations during the 2012 Spring of Culture, when the call to prayer—Athan—was banned in favour of a music performance. As such, the fulfillment of BACA’s agenda and the subsequent emergence of issues reveal that the agendas of the actors involved in the conservation-led development of Souq Al-Muharraq are not compatible. It is likely that if other agendas were fulfilled a different set of issues would have emerged.

PHOTO: IWAN BAAN

ŮĽ S T A G E

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S E M E S T E R

SPECTERS OF UTOPIA & MODERNISM A S H E LT E R F O R R E F U G E

This project requires us to embrace or banish the ghosts of modernism by exploring and investigating their traces in specific surviving modernist buildings from both the pre-World War II and post-World War II era. As we continue our exploration and development of our projects, we are to consider whether the building retains the ghosts of modernity, modernist architecture, and the specter of utopia. Through this investigation, we are to react to our findings and confront the building, correcting its flaws via an intervention that should be treated like an alien which inhabits and suffuses the existing building. As part of our investigation, each of us chose a building to explore intially. Following the initial explorations, each of us would settle on a building to work on for the rest of the project. For the initial investigation, I chose to study De Bijenkorf which also became the building I chose to work with for the rest of the project.

Located in the Coolsingel (Cool district) of Rotterdam, next to De Lijnbaan, the Maritime Museum, and Beurstraverse (ofwel Koopgoot) is De Bijenkorf: a luxury department store that was built in 1957 and designed by renowned architect Marcel Breuer. The equally as iconic sculpture that sits next to it is an untitled piece of work by Naum Gabo. De Bijenkorf was the first building in Rotterdam to have both escalators that had bristles to clean shoes and elevators. The building is iconic for its almost completely unglazed facade and hexagonal travertine motif representing beehives (Bijenkorf in Dutch.)

Escalators in De Bijenkorf act as a human conveyor belt for profit, resembling industrial functions of mechanization or production through which users are manipulated.

Repetetive floor areas create a standard area for all spaces, allowing for maximum spatial utilization in terms of display and net profitable area. With an optimized number of levels, merchandise and overall retail spaces can be maximized.

The near total absence of glazing creates an internalized volume and environment conentrated on shopping and products alone.

KEY PRECEDENT: BAIT AL KURAR As part of designing my intervention, I had to look at a key precedent that I would “inject” into De Bijenkorf like a vaccine. Located in the city of Muharraq in Bahrain, Bait Al Kurar is a recently refurbished house, showcasing elements of traditional Bahraini architecture. What makes this house shine the most however, is the atmosphere delivered within the courtyard space. The next few pages contain sketches and observations of all of the elements that help in creating the atmosphere of Bait Al Kurar in hopes that I would be able to apply them in my intervention.

ٍ “‫ أواجه‬،‫لساعات طويله‬ ‫ إنه مكا ٌن ميكنني الجلوس فيه‬.‫ أشعر بالنقاء والطأمنينة‬،‫كلام أدخل فناء بيت الكورار‬ ً‫ أتخيل نفيس جالسا‬.‫ وأتأمل و أفكر مبا حصل ومبا مل يحصل‬،‫األشجار الباسقة التي تجلب الضوء الناعم إىل الفناء‬ ً‫ وما أجمل ذلك املنظر حينام يرضب املطر أرضية الحجر و يصدر ضجيجا‬،‫هناك مواجهاً الفناء و األمطار تتساقط‬ ً‫ و ما أجمل صوت أوراق الشجر عندما يتالعب بها الريح فرتفرف و تصدر حفيفاً ناعام‬.‫جميالً و فريدا ً من نوعه‬ ‫ و غناء الطيور يشعرين بأنني يف غاب ٍة بعيدة‬.‫ وحي ٌد مع الله‬،‫ هناك أشعر بأين وحي ٌد مع الطبيعة‬.‫ينسيني العامل‬ ‫وكأنني مل أعد واقفاً بني أربعة جدران‬.”

BAIT AL KURAR: PRECEDENT STUDY

LIGHT

N AT U R E

A soft, dappled light enters the courtyard space through the towering trees, creating a tranquil and still atmosphere.

Two date palms and a mangrove tree tower above the courtyard, creating a sheltered and protected, yet open feeling. The different heights in Bait Al Kurar create an opportunity for an interesting skyline.

SHADOWS

SMELL

STEEL PLANTER

A strong, sharp shadow is created from the taller volume in the house, which blends with the shadows of the trees. These shadows gradually, soften and blend with the soft daylight which enters the courtyard. The balance of shadow and light create dim, but not dark spaces with a sense of clarity.

An occasional gentle and pleasant breeze enters the courtyard space as if softly embracing those that enter the space. The air is filled with the smell of leaves from the mangrove tree, providing a refreshing, yet subtle aroma. The smell of soil permeates in the air after it has rained.

The cold, clean-cut steel offers a sharp contrast to the more natural and earthy elements of Bait Al Kurar, which is used effectively to separate the planes of horizontality and verticality between the trees and the floor. The cold steel creates a frame upon which the tree sits, granting it a sense of significance.

TEAK

SOUND

Teak is a strong, durable, and resistant material. These characteristsics help aid in providing the courtyard with an overall protected, yet warm feel. This material is used on doors and windowframes.

The gentle sound of rustling leaves from the occasional breeze gives the courtyard a gentle and embracing atmosphere. The sound of rain falling in the courtyard space is unique as when the rain strikes the stone flooring, a distinct sound is heard, emphasizing the weather condition. This creates a sense of awareness of whatâ&#x20AC;&#x2122;s happening outside. The sound of rain and rustling leaves create a spiritual, temple-like atmosphere which allows users to reflect or meditate.

BAMBOO

PEBBLES

MANGROVE

Bamboo is used as a ceiling cladding material to keep water out. Though ineffective, in keeping a space dry, the bamboo creates a feeling of warmth in sheltered spaces.

The pebbles are placed at the base of each tree’s trunk, creating a feeling of being in a natural landscape or environment. They create a sense of sturdiness along with the stone flooring.

The mangrove rafter poles provide structural stability to the floors above in addition to supporting the roof structure. The poles provide a feeling of ‘rustic sturdiness’ to the space.

STUCCO

S TA I N E D G L A S S

STEEL PLANTER

The white stucco render provides uniformity to all wall surfaces in the courtyard, but also servesto reflect light deeper into the space. The irregular surface of the wall helps diffuse light, softening it as it enters the courtyard. The result is a clean, bright, stimulating space that makes the walls act like a blank canvas for the oasis that lies within.

Stained glass is used to filter out sunlight that might enter the rooms adjacent to the courtyard whilst allowing for access to daylight. The stained glass provides the courtyard space with a church-like feeling, whilst also providing privacy to those in the courtyard and those in the adjacent rooms.

TEAK

S L AT E

The slate flooring used in the courtyard gives a warm, downto-earth feeling in the courtyard. When rain strikes the slate a distinct noise is created, which amplifies the feeling of outdoorsiness indoors.

MAN-MADE A planter made of steel separates the plane of natural stone flooring from the tree, acting as a divider between that which is vertical and that which is horizontal. It helps frame the trees, creating the impression of acknowledgement and grounding.

PROCESS

A SE N S O RY A P P R OAC H The main aim of my design is to create an atmosphere similar to that of Bait Al Kurar, primarily in the courtyard spaces. By using four of the five senses in elements of the design with the aid of technology, atmosphere is achieved. The sense utilized are: sound, smell, touch, and sight.

Experience the sound of the courtyard

To prevent creating a state of claustrophobia or agoraphobia, courtyards must not exceed a height of 12 meters. Furthermore, a proportion of 2:1 must not be exceeded.

Massing and number of storeys for refugee housing units should vary to create an interesting skyline.

١ All spaces must have a view outside and access to daylight.

٤ Additional structure is introduced between the existing columns, ensuring stability. Beyond that, modules are reduced in size as a result, guaranteeing ideal dimensions for ventilation.

٧ Window inlets and outlets must vary in size to ensure effective cross-ventilation. Rooms must not exceed 6m in depth.

Trees must be placed in parts of the courtyard where there is solar access.

Volumes must not completely overshadow courtyard spaces.

All bedrooms must look out to a courtyard.

Sheltered communal seating areas must face courtyards to maximize impact of atmosphere.

S T RU C T U R A L S T R AT E G Y

Structural grid prior to intervention

Structural grid post-intervention

Primary Structure: (Intervention) steel columns [Welded H-section] - 300mm cross-section on grid-lines. Steel I-beams spanning ±6 m between columns longitudinally. Castellated beams are used to maximize floor to ceiling heights, whilst accommodating for services, such as air ducts or wiring. 600 mm deep flat trusses are placed between columns at every 6 m interval for further structural reinforcement and to allow for the placement of new slabs at thicknesses of and 500 mm (insulation, finishes, and screed are included in thickness). 300mm deep I-beam can achieve a span of 6 m. Beams and trusses connect to existing structural components via steel connection plates and fixing channels which are inserted into the existing walls and columns. The overall structure is further reinforced by the presence of three cast-in-situ concrete lift cores & secondary structural elements such as concrete block walls. Foundation: Pile foundation to withstand the soil’s high water table. The existing foundation pads are utilized, but additional piles are introduced for further reinforcement. (Existing) Cast concrete columns- 350 mm in diameter which support cast floor slabs, both of which support the existing cast-in-situ concrete external walls. Existing walls are 200 mm thick and are (prior to intervention) left uninsulated. All structural (steel) components are painted with intumescent paint if left exposed, however in most cases, these structural elements are to be covered by false ceilings and soffits. Secondary structure: Individual refugee housing units and communal areas. All walls that sit behind the existing building’s walls are secondary and are made up of 400 mm thick concrete blocks (insulation and finishes accounted for in overall thickness).

I N T E R FA C E S BETWEEN EXISTING AND PROPOSED

١ . Castellated steel beams are connected to existing columns using steel connector plates which are then bolted into the columns. Openings in these beams are used to host services.

٢. Rigid vacuum thermal insulation panels (thermal conductivity of 0.007 W/m.K) are added in the interior of the existing cast in-situ concrete walls and are held in place by steel clips which are then connected to the existing wall. The insulation is then covered by plasterboard that is connected to the steel clips.

٣. Steel beams are installed onto existing cast in-situ concrete walls using steel connector panels which are then bolted into the walls. ٢

E N V I R O N M E N TA L S T R AT E G Y

An overall environmental approach is implemented in the design. Refugee housing units on the upper levels are designed to maximize the effects of natural ventilation. Spaces on the lower levels are provided with mechanical ventilation to provide warm or cool air (depending on season) but also to exhaust stale air or air that might carry unpleasant odors out of those spaces.

The atmospheric Suikinktsu is immediately connected to a rainwater harvesting system which collects water for use in the nearby units.

All units are designed with single-sided ventilation as a minimum, however most utilize cross ventiliation as a rule all units must not exceed a depth of 6 m.

In summer when solar gains may be undersirable, trees provide shading in the courtyard space, which in turn protect residential units from unwanted solar gain. Dappled light is created in the process and light is still filtered through.

In winter, the trees will have shed their leaves, allowing for deeper solar penetration into courtyard spaces which radiate heat into adjacent rooms. A different effect of dappled light is created where the branchesâ&#x20AC;&#x2122; shadows become much more apparent.

Trees create moisture in the air through a process called â&#x20AC;&#x153;evapotranspiration,â&#x20AC;? which drops the temperature anywhere between 1o-5oC, aiding in the cooling process in summer. Atmospheric water generators utilize the moisture created by evapotranspiration to create clean water that is suitable for use in the residential units nearby.

I N T E G R AT E D S E C T I O N W I T H C O N T E X T (A-A) NEW/INTERVENTION EXISTING

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B B

T E L L - T H E - TA L E D E TA I L A D AY

This tell-the-tale detail aims to culminate all of the daytime approaches outlined in the â&#x20AC;&#x153;sightâ&#x20AC;? section of the tech portfolio and as such will summarize some points that have been shown in more detail previously.

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This tell-the-tale detail tells the tale of light during the day in relation to materials and elements used in construction. These light-bringing or effectcreating elements relate to other technological systems such as atmospheric water generators, and rainwater harvesting systems (shown in Tell-the-tale detail B). 1. 800 mm glass balustrade with polished steel guardrail, 50 mm in diamter.

2.Upper deck floor structure comprising of 20 mm thick 600 x 600 mm slate flooring, 70 mm tapered gravel bed, 100 mm tapered screed, damp proof course, 100 mm rigid vacuum thermal insulation, and a 300 mm concrete slab. 3. Castellated 600 mm deep steel I-beam. Voids in the beam will accommodate ductwork and wiring. The beam is connected to trusses of the same depth which connect to H-profile columns that are 300 mm deep via steel connection plates. 4. Light transmitting insulated concrete blocks, 400mm thick. The blocks are made of two 100 mm thick concrete panels with a 200 mm thick rigid vacuum thermal insulation panel. This allows for some daylight to be transmitted internally, but also allows for the diffusion of light from these spaces into the courtyard at nighttime.

5. Balcony floor structure comprising 20 mm thick teak flooring, 70 mm tapered gravel bed, 100 mm tapered screed, damp proof course, 100 mm rigid vacuum thermal insulation, and a 300 mm concrete slab. 6. Double-glazed structural glass-two sheet of 12 mm clear glass bound by polyvinyl butane to prevent cracking glass from harming users. The glazing is suppotyrf supported by steel connectors which connect to 600 mm deep steel castellated i- beams. Each module of glazing is joined to the other with silicone. Steel hangers support a series of 60 mm deep steel channels from which lighting fixtures are installed to provide illumination at night. 7. The planted tree creates a dappled light effect in the courtyard space, creating a sense of shelter whilst being outdoors. Water is channeled to the tree from the excess water tank in the rainwater harvesting system. Furthermore, evapotranspiration created from the tree is converted into water by nearby atmospheric water generators. The tree also provides shading during the summer months, preventing overheating. Cooling is further enhanced by evapotranspiration, which drops temperatures anywhere from 1-5oC. Moisture in the air created by evapotranspiration is converted to water via an Atmospheric Water Generator to refeed the tree or provide clean water to nearby units. 8. Light transmitting concrete allows for daylight to enter into spaces.

The use of differing heights for the volumes surrounding the courtyard in my design allows for more daylight to enter. The addition of a tree with a permeable canopy allows for the diffusion of sunlight into the courtyard space without glare, creating a soft, even, dappled light. The volumes that flank the courtyard are provided with large windows, 1500 mm wide by 3000 mm high to fully utilize all the daylight that enters the courtyard and draw it into the housing units. Porticos are added in front of higher housing units to create a thresholding of light, allowing the eye to adjust to the different lighting conditions gradually. This makes the overall space and experience of it easier on the eyes quite literally. During the day, dappled light is meant to cover the courtyard space, with some daylight entering through the facade of the housing units via the light transmitting concrete blocks. This ensures that there is adequate and even lighting. Furthermore, because of the sandblasted finish of the concrete, the light that enters resembles the dappled light created from the tree. At times it may even be possible to see silhouettes behind the wall.

T E L L - T H E - TA L E D E TA I L A NIGHT 2

This tell-the-tale detail aims to culminate all of the nighttime approaches outlined in the “sight” section of the tech portfolio and as such will summarize some points that have been shown in more detail previously. This tell-the-tale detail can be considered to be a continuation of the one shown previously, telling the story of light at night. Lighting fixtures and their relation to both materials and light effect-creating elements (such as the tree) are outlined here.

Different color tempratures (in Kelivns) are chosen for each space depending on its function. This is to ensure that all the artificial lighting used in each space is best suited for its function and desired atmosphere.

The desire to explore the atmosphere of the courtyard space at night is inspired by my infatuation with Bait Al Kurar’s courtyard space during the day and my desire to create an atmosphere with a similar “magic” to it.

1. Floor-mounted LED floodlight with a light temperature at 3000 K. Lux levels: 3700 lm. Light emitted by the floodlight gives the tree a soft glow, creating a magical effect. 2. Light diffuses out from nearby residential units into the courtyards through the light transmitting concrete, providing soft illumination, making them look as if they’re glowing. When light shines through, the optical fibers in the light transmitting concrete resemble dappled light thanks to the sandblasted finish used.

3. LED downlight with frosted glass oculus. ø232 mm LED bulbs installed with a temperature of 3000 K to provide a warm light. 4. LED downlight with frosted glass oculus. ø232 mm LED bulbs installed with a temperature of 5000 K. 5. LED downlight with frosted glass oculus. ø232 mm LED bulbs installed with a temperature of 2800 K. 6. LED downlight with frosted glass oculus. ø232 mm LED bulbs installed with a temperature of 4000 K.

I wanted to create an atmosphere similar to that of Bait Al Kurar’s courtyard during the day in my courtyard during the night. As a result, certain materials and light fixtures were selected to create a unique atmospere. During nighttime, the role of light is reversed. During the day light enters from the outside (courtyard) into the surrounding spaces. However at night, light enters from the surrounding spaces into the courtyard to deliver an equally relaxing atmosphere. This is achieved through the light transmitting concrete blocks which allow light from the housing units to diffuse out into the courtyard. The light that directly shines through the concrete blocks resembles the dappled light created by the tree during the day. This effect is assisted by the presence of LED downlights with a color temperature of 3000 K in the housing units. Some of this light diffuseds into the courtyard via window openings for a more dramatic effect. Lastly, a LED floodlight with a color temperature of 3000 K that creates a lux level of 3700 lm is placed at the base of the tree to project its shadow onto the facade of one of the volumes to create a dynamic shadow at night that moves along the small bits of light hining through the concrete.

TELL-THE-TALE DETAIL B This tell-the-tale detail, along with “Tell-the-tale-detail C” aim to culminate all of the approaches outlined in the “sound” section of the tech portfolio and as such will summarize some points that have been shown in more detail previously. 1. Existing 200 mm cast in-situ concrete parapet with parapet coping, clad in 20 mm travertine. 2. 12 mm 3O sloped tin roof cladding supported by 50 mm battens. The sound of rain drops is amplified by suspending the cladding over the roof structure with a 50 mm gap. Rainwater flows towards the 50 mm thick steel gutter which channels water into the courtyard space’s Suikinkutsu (refer to 7a)

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3. Roof structure with a bitumenous layer, 100 mm rigid vacuum thermal insulation, 100 mm screed, and 300 mm concrete slab.

4. 600 mm deep steel truss and castellated I-beams. Connected to existing structure via steel connection plates and fixing channels. Coated in intumescent paint where exposed.

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12 mm perforated bamboo ceiling supported by suspended ceiling hangers fixed to concrete slab. The perforation in the bamboo helps reduce noise transmission into residential units. The underside of the slab is clad in 25mm thick acoustic insulation to minimize noise from the tin-clad roof. 6

5. Existing 200 mm cast in-situ concrete wall. Original 20 mm travertine cladding is maintained. The wall is insulated on the inside with 117 mm rigid vacuum insulation and connected to the existing structure via steel clips. The insulation is then convered by 13 mm white plasterboard. White allows for daylight to reflect deeper into the space creating better daylighting conditions. 6. Light transmitting insulated concrete blocks, 400mm thick. The blocks are made of two 100 mm thick concrete panels with a 200 mm thick rigid vacuum thermal insulation panel. These blocks allow for further daylight access into spaces, but also allow for diffusion of light at night. The glowing fiber-optics in the blocks resemble dappled light created by the tree during the day.

7. Courtyard floor structure comprising of 20 mm thick 600 x 600 mm slate flooring, 70 mm tapered gravel bed, 100 mm tapered screed, damp proof course, 100 mm rigid vacuum thermal insulation, and a 300 mm concrete slab.

7a. Note the 5 mm unglazed ceramic Suikinkutsu pots, which are cast into the slab. The pots are connected to a rainwater harvesting system, water filter, boiler, and excess water tank. Excess water is used to water the tree (see 9.) whereas the remainder is used to provide water to nearby residential units. The Suikinkutsu pots create a soft chime-like sound when water drops enter.

8. 50 mm steel planter with a root ball supported by 600 mm deep castellated steel I-beams. 950 mm structural soil is used to recreate the feeling of being outdoors when it rains as the smell permeates into the air. 8a. Cross ventilated air from adjacent residential units (no deeper than 7000 mm) leave into the courtyard, causing the tree to rustle, generating a soothing sound. 9. Rainwater harvesting system, excess water storage tank, water filter, and boiler 10. 300 mm deep steel columns. Coated in intumescent paint where exposed. 11. Pile foundation. Atmospheric sequence: Note that some information may be repetitive. Rainwater hits the tin-clad roof, amplifying the sound of rain. The tall parapets help keep the sound from reflecting out of the courtyard. The rainwater slides down the roof towards the gutter where it is drained into the courtyard space. Some of that water will enter the Suikinkutsu pot. The pot will also get rainwater from direct rainfall. The suikinkutsu, filled with water halfway will create a soft chime-like sound. Water is in the Suikinkutsu is directly linked to the rainwater harvesting system, boiler, filter, and excess water tank which feeds the tree.

Rain falling on the tree will create a rustling leaves sound, which may also occur on dry days via buoyancy achieved by differing building volume heights and cross-ventilated air entering the courtyard. When wet, the structural soil from which the tree is planted will permeate its natural scent, creating a refreshing, yet outdoorsy feel in the courtyard.

TELL-THE-TALE DETAIL C This tell-the-tale detail, along with “Tell-the-tale-detail B” aim to culminate all of the approaches outlined in the “sound” section of the tech portfolio and as such will summarize some points that have been shown in more detail previously. 1. 400 mm concrete block parapet with coping, rendered in white stucco. 2. Light transmitting insulated concrete blocks, 400mm thick. The blocks are made of two 100 mm thick concrete panels with a 200 mm thick rigid vacuum thermal insulation panel. This allows for some daylight to be transmitted internally, but also allows for the diffusion of light from these spaces into the courtyard at nighttime. 3. 12 mm 3O sloped tin roof cladding supported by 50 mm battens. The sound of rain drops is amplified by suspending the cladding over the roof structure with a 50 mm gap. Rainwater flows towards the 50 mm thick steel gutter which channels water into the courtyard space’s Suikinkutsu.

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Roof structure with a bitumenous layer, 100 mm rigid vacuum thermal insulation, 100 mm screed, and 300 mm concrete slab. 4

4. Castellated 600 mm deep steel I-beam. Voids in the beam will accommodate ductwork and wiring. The beam is connected to trusses of the same depth which connect to H-profile columns that are 300 mm deep via steel connection plates.

12 mm perforated bamboo ceiling supported by suspended ceiling hangers fixed to 300 mm concrete slab. The perforation in the bamboo helps reduce noise transmission into residential units. The underside of the slab is clad in 25mm thick sheep’s wool acoustic insulation to minimize noise from the tin-clad roof.

5. Courtyard floor structure comprising of 20 mm thick 600 x 600 mm slate flooring, 70 mm tapered gravel bed, 100 mm tapered screed, damp proof course, 100 mm rigid vacuum thermal insulation, and a 300 mm concrete slab. Note the 50 mm unglazed ceramic Suikinkutsu pots, which are cast into the slab. When water enters the Suikinkutsu, a soft, chime-like noise is created. 6. Pile foundation 7. Cross ventilation is utilized in each housing unit where inlets and outlets vary in size, creating a pressure difference which increases wind velocity and cooling/exhaustion of warm, stale air when needed. This higher velocity wind exists into the courtyard where it rises up via thermal stratification, causing the branches and leaves of the tree to rustle, creating a serene sound. The rustling of the tree’s leaves and branches is enhanced by air entering the courtyard from above via buoyancy which is created by the differing volume heights in the design. All windows facing the courtyard are 2650 mm high by 1500 mm wide, using a red teak frame. The window panes comprise of two sheets of 12 mm clear glazing with a krypton fill for insulation purposes. For residential units with no balconies, another window is placed in the back that is 2400 mm high and 1000 mm wide, also framed with red teak and uses the same glazing composition as the aforementioned window. The difference in size creates a pressure difference, increasing wind velocity which enhances ventilation. ATMOSPHERIC SEQUENCE: Note that some information may be repetitive. Volumes of varying heights in the intervention allow for wind to enter the courtyards via buoyancy which causes the tree’s leaves to rustle. This rustling can be intensified further when windows on both sides of adjacent residential units are left open for cross-ventilation. The different sizing of the openings causes the wind to speed up, increasing cooling whilst effectively causing the tree to rustle.

T I N - C L A D R O O F D E TA I L S

٣ ٢

١ ٤

١. Rain falls on the 12 mm thick tin roof cladding, emitting a noise that lends to the atmosphere of the courtyard. tin is used is to emphasize or amplify the sound of rain. the cladding is supported by 50 mm thick battens which connect to the roof structure ٢. Rain slides off of the tin roof and onto the 5 mm thick steel gutter where it is drained into the courtyard space (to be continued in the next detail) ٣. sound emitted from the tin roof is reflected back into the courtyard via parapets. ٤. 25 mm sheep’s wool (acoustic insulation) is installed to minimize the sound of the rain in residential units for comfort purposes.

S U I K I N K U T S U - R A I N WA T E R D E T A I L S

٢ ٥

٣ ٤

١. Rainwater falling from the gutter or directly from the rain enters the 5 mm thick unglazed ceramic suikinkutsu. a soothing sound is emitted. ٢. Water leaves the suikinkutsu into the rainwater harvesting system, where water is collected ٣. Collected rainwater is stored in the tank. excess water is used to feed the tree through a pipe which connects to the steel planter. ٤. If water is needed in one of the units, then the water enters the filtering device where it is cleaned from toxins and contaminants. ٥. Filtered water is taken through the boiler should hot water be desired. The water then exits through a tap where it is used by residents.

B U I L D I N G S YS T E M S A N D AT M O S P H E R E 1. Rainwater hits the tin roof, creating an amplified rain sound. The rainwater slides down the gutter through which it falls into the courtyard. Some of that water enters the suikinkutsu, emitting a distinct noise. A suikinkutsu (水琴窟, literally “water koto cave”) is a type of Japanese garden ornament and music device. It consists of an upside down buried pot with a hole at the top. Several Suikinkutsu are placed in the courtyard space to maximize acoustic impact. 2. Water from the Suikinkutsu goes through a pipe leading to a rainwater harvesting system. The water is stored in a tank and goes through a filter, and if in need of hot water, a boiler, which then connect to adjacent spaces in need of water. Excess water in the tank is used to feed the planted tree in the courtyard which provides the effect of dappled light onto the space. 3. The tree(s) increase(s) the overall humidity of a space through a process known as Evapotranspiration. The water vapor released by the trees reduce the temperature of spaces from 1oC to 5oC and is especially effective during the summer months for that reason. The vapor from the tree(s) is utilized by an Atmospheric Water Generator through which the humidity is converted into clean, purified water. This would also be used to provide water to adjacent spaces. Beyond the aspect of dappled light and evapotranspiration, trees are intentionally placed in courtyard spaces to create the relaxing sound of rustling leaves whilst acting as a shelter of some sort.

S T A G E

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S E M E S T E R

IN MEDIA RES STOP THE ‘ROTTE’ A collaborative project

This studio is focused on developing paired briefs in sites with a wide variety of criteria. These selected sites are in a neighborhood in the city of Rotterdam, a city which associates itself with the concept of “tolerance,” derived from the city’s claim on the renaissance scholar Erasmus of Rotterdam. The neighborhood of Crooswijk lies north-east of the Nieuwe Mass Delta on the suburbs of the city. Built on the banks of the River Rotte, the river from which Rotterdam has been named, Crooswijk has a rich and distinctive character, as can be seen through its history, its physicality and, most prominently, its society. It is one of the areas of Rotterdam that survived the Rotterdam “Blitz” of 1940. It is through its richness that, in pairs, we have each generated unique paired projects, which play on a binary of public and private interfaces and overlaps as well as the concept of tolerance. Each pair has worked in a different area of Crooswijk- a square which is then divided in half per person. Each area has its own story which ties in to the greater overall story of Crooswijk. The areas are extruded as lines from the center of the Crooswijk Cemetery, which acts as the center of the area. Situated in Nieuw Crooswijk, this collaborative project between my project partner, Rob Wills and I, aims to tackle the issue of gentrification and mass demolition in the area by proposing a much more sensitive approach.

THE SITE ASSIGNED

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S I T E O B S E R VA T I O N S VISUAL CONNECTIONS AND THEIR I M PA C T O N P U B L I C A N D P R I V AT E S PA C E S The large openings in the houses makes them feel as though the street is part of the private space belonging to these houses. The visual connection between the construction work and the houses creates an inversion of public and private, where the house ends up feeling as though it is part of the construction site, and the construction site part of the house. The high-rise apartment buildings overlook the houses, projecting their territory into the large openings of the houses facing them, thus compromising any sense of privacy in these spaces. It is worth noting however, that large opening are part of Dutch culture, due to their protestant background of having nothing to hide being a sign of sinlessness.

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S I T E O B S E R VA T I O N S VISUAL CONNECTIONS AND T H E I R I M PA C T O N P U B L I C A N D P R I V AT E S PA C E S . The trees and shrubs in the cemetery create a sense of enclosure in the sub-walkways, whereas the main walkways tend to feel more exposed. Also note the clearing in the trees, which gives direct visual access across the river.

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THE SITE H E T PA R A D I S H O V

The site selected for this design project is the now demolished Het Paradijshov, a former complex of social housing. Het Paradijshov was demolished to make room for housing for higher income residents as part of the masterplan by West 8 Architects, which is part of the overall urban regeneration plan of the area. The reason this site was specifically chosen was it sat on the boundary between what is unchanged and fully gentrified. Het Paradijshov is surrounded by social housing on two sides, with another side being new houses. As a result, Het Paradijshov can be seen as being sat between the boundary of that which has changed and that which is to change, in a sense making it a fleeting space. Additionally, the fact that it was recently demolished (April 2015) with no construction work being made yet, meant that the opportunity for an intervention was present.

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Area of intervention

New higher income housing

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Existing social housing

١.

KERKHOFLAAN

٢.

RUSTHOFSTRAAT

٣.

KERKHOFSTRAAT

EXISTING BUILDINGS TO BE DEMOLISHED FOR INTERVENTION.

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THE RULES ١. Only publicly owned social housing with weak foundations will be demolished. ٢. If a private investor wishes to purchase a house in the most desirable area: The Central Avenue, he must purchase an existing property on the perimeter of Het Paradijshov and fund its refurbishment and extension. The central avenue is a newly created route in the middle of Reserveboezem that hosts shops and community functions at the bottom, such as cafés, launderettes, corner shops, and even a communal kitchen. Above the shops and communal spaces, is a series of private houses and apartments. These properties get a view of the side green areas within Reserveboezem and the roof gardens of the surrounding houses. Each property has access to various balconies in several directions, looking into the side green areas, central avenue, and the courtyard between each property, thus creating a series of spaces that engage with the created fabric. These houses have varying roof heights to create opportunities for light for the other properties as well as opportunities for visual connections between various properties. The central avenue acts as a bridging space between the various green spaces in the site, thus creating a link between several bits and making the overall scheme more outward-looking than it was initially proposed to be. This is meant to act as a counter to the inward-looking scheme of West 8 as well as the initially inward-looking Het Paradijshov. ٣. If a social house is to be demolished, then the private developer must extend and improve another social house. This may come in the form of extending a corner, adding protrusions to the volume or adding another level. Access to daylight must be considered throughout. ٤. All newly constructed houses must be set back by 2 m from the street to allow for green spaces that would extend on to the street and thus improve the overall street quality. Passersby and residents would benefit from the view of others green space at street level. ٥. The river house blocks, a series of newly built houses without demolition by the river are spaced out and proportioned in a way as to allow for people to see through them onto the river whilst providing solar access. All buildings are to have varying heights and gaps to provide views and solar access into other spaces as well as to create opportunities for new green spaces. ٦. These river houses would serve as a “commodity” to help fund “The Portal” building, a tower comprising of two tower blocks that would have social housing sections as well as private residences. The river houses, portal, and overall scheme will be outlined and explained in the next pages. ٧. Construction work is to be carried out in phases to minimize displacement and keep it under control. As part of the management of displacement, the brown field factory will be converted into temporary housing for those that are displaced. ٨. All buildings at the corner between streets will be extended, with the extension only being at ground floor level. The roof of the extension shall act as an open courtyard, benefiting the users of the building and its neighbors with a nice view. ٩. Green spaces on roofs of properties which vary in height to create visual connections between older and newer properties. Spaces benefit (and their quality improves) by overlooking into the green spaces of other people. ١٠. Building facades on perimeter streets are to have recesses and modular benches integrated into their construction to provide opportunities for the houses to engage with the streets and improve the overall public realm. These recesses and benches would allow for reappropriation by the residents and passersby, where they can sit on the benches or place objects of ornamentation on them. These benches can be arranged and stacked in various ways to create different opportunities for use.

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THE RULES, DIAGRAMMED

٤*

٥*

These diagrams summarize the rules my collaborator and I have established in the intervention. Some rules have variations from the point of view of a developer and social housing resident. Symbols correspond to the ones used for the rules. Symbols with an asterisk* refer to rules in the point of view of social housing.

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٨*

٩*

١٠*

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BREAKING DOWN THE SCHEME

١. Perimeter housing, consisting of a series of social housing and

٣. The factory. This derelict building has been reappropriated

٢. River houses, which follow the natural slope of the earth. These

٤. The "Portal." This building is comprised of two volumes that

private houses which are set back with green space to improve the public aspect of the street.

into temporary housing for the displaced until they are provided with new housing.

houses are intentionally made low in height to allow for the other properties to look past these houses into the river.

meet at certain levels. One block hosts private housing, whilst the other hosts social housing. The upper levels are shared communal spaces.

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٥. The central avenue, which consists of two rows of shops and

٧. The raised garden, a public space that sits atop a parking

٦.

٨. The pedestrianized street (Kerkhovstraat.) Houses on this route

communal areas on the ground floor with private apartments and houses on the upper levels. The properties in this area are the most desirable due to the fact that they are given the best views in the area. The central avenue links Kerkhovstraat to Kerkhovlaan. The plaza(bottom-left), a paved public space with some planting and seating. It is located between private and social housing and is accessible from various points in the site. The beer garden (top right.) A public space meant for the use of the residents of the area to socialize.

space for the residents of the area. This space consists of allotments, green areas, a playground, and some areas for seating. The raised garden bleeds into the pedestrianized avenue, through a series of steps. have modular benches for reappropriation. There is also a special bike lane for bikers with two pedestrian routes flanking it. Houses surrounding this street are intentionally made low to allow for solar penetration into the houses behind Kerkohvstraat.

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SITE PLAN

Private houses

Social housing

Green areas in context

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Link between green areas and intervention & between the distant green areas.

S T R AT E G I E S

One of the key approaches in this design or intervention was the variation of building heights. This idea comes from my happening, based on a quote from Michel de Certeau's "The Practice of Everyday Life" where I asked my colleagues to raise their head and look above, identifying the lowest and highest objects they see. The opportunity to do so is existent in the design.

In one of site observations, and axonometrics for the symposium, I mentioned how the narrowness of space in the case of the cemetery creates a sense of enclosure and thus privacy in a sense. Here, I attempt to directly translate this observation into part of the design by having sub-routes leading to more private spaces in the site by leading one away from the busy central avenue and pedestrianized Rusthofstraat.

In my site observations, I stated that the tall apartment buildings in the distance overlook the houses in Nieuw Crooswijk, which made them extend their space beyond the walls that enclose them thanks to visual connections. This observation is translated in the design where each building has a vantage point of at least one roof top of someone else's building. The rooftop has a garden, and though technically belonging to the owner of the space under the roof, the visual connection provided through height creates an overflow of ownership and in a sense makes the place feel more shared and communal.

The large windows of the private houses of Nieuw Crooswijk extended the domain of the house beyond its walls. This was also done through the placement of belongings on the street, thus literally marking the public space as the house's. I attempt to do the same by emphasizing spatial overflow through a two meter setback of the house. The patch of grass placed in front of the private residence demarcates the house's domain without any walls or doors. This also blurs the line between the house's territory and the street, because the patch of grass is clearly on the street, causing a spatial influx and constant shift between what space belongs to who.

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PRO CESS & FINAL MODEL

Models were used extensively in the development of this design in which there was an attempt to allow all masses to overlook each otherâ&#x20AC;&#x2122;s roofs which would host garden spaces. Furthermore, buildings were massed in such a manner in which each building would have access to sunlight when the sun faces the South. This would allow for each building to not only have a pleasant atmosphere via the sunâ&#x20AC;&#x2122;s rays, but would also allow for thermal mass to store some of the solar heat gain for winter months.

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SITE SECTION R U S T H O F S T R A AT

Views on level 0

Views on level 1

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Views on level 2

Views on level 3

Views on level 4

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Views on level 5

T H E C E N T R A L AV E N U E With shops and communal functions on the ground floor and a series of apartments and houses above, properties in the central avenue are the most sought after, as they are provided with access to the best views in the site in various orientations rather than one. The central avenue acts as a link between various green areas of the site as well as a cut-through of Het Paradijshov, opening up the formerly inward-looking block.

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PERIMETER HOUSE TYPE B This variety of private housing has an open courtyard that breaks the house into two blocks, with one block being a guest room (which can also be rented to other users.) The larger volume: the main house overflows into the rooftop of the smaller volume, which acts as a balcony for the bedroom on the first floor, as well as a vantage point on to the newly pedestrianized street. This house gets enviable views of green spaces on street level.

LOCATION IN CONTEXT

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LEVEL 0

LEVEL +1

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THE RIVER HOUSES This variety of private housing is situated by the river that separates Het Paradijshov from the cemetery. Each house uses an open-plan design with direct views to the river and the vegetation of the cemetery. Some houses extend on to the river. Because of the low height of these houses as well as the sloping earth which they sit on, neighboring houses and buildings are still able to get a view of the river. Because these houses are placed on an area where nothing has been demolished, they serve as a "commodity" for funding and improving the social houses in the area as well the construction of the"Portal" building.

LOCATION IN CONTEXT

LEVEL 0

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LEVEL +1

LEVEL +2

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THE STREETSCAPE

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KEY ١. View of Rusthofstraat. ٢. View from the back balcony of an apartment in the central avenue. ٣. View through the central avenue. ٤. View from an improved social house.

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2 0 1 5 - 2 0 1 6

YEAR OUT W O R K E X P E R I E N C E AT M A S ARCHITECTURE

This position involved me working in a small, vibrant practice. Projects were mainly residential with some serving a hospitality or commercial function. This position gave me a wide range of responsibilities such as assisting other members of the team with designing and producing architectural drawings for projects, the production of presentation-standard architectural graphics, including photorealistic renders, research and selection of finishes, communication and coordinating with other parties, including engineers, construction specialists, and material manufacturers/ suppliers, designing buildings, the production of presentation and material boards for clients, revision of architectural drawings for coordination purposes, and assistance with technical details.

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MARRIOTT INN WATER GARDEN BAHRAIN

RESIDENCE CITY,

MANAMA,

Our client for this project is an investment company called Itico, which has appointed us to design a project with a budget of ÂŁ15755186 (converted from 9 million Bahraini dinars) and overall area of 20,000 square meters. The building follows all the guidelines and spatial requirements requested in the Marriott residence Inn design guidelines document. I participated in this project during stage 2 till the end of stage 3 of the RIBA Plan of Work, assisting in selection, research, and application of finishes and production of presentation graphics and minor technical details.

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Podium (+4)

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Photorealistic render

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Entrance flooring layout

Entrance elevation with selected materials

Garden cafe landscape and hardscape

Podium landscape and hardscape

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South-East elevation with finishes

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TARKETT OR SIMILAR APPROVED iD Inspiration Antik Oak

TARKETT OR SIMILAR APPROVED iD Inspiration Antik Oak product in use.

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MARAZZI OR SIMILAR APPROVED SistemT Graniti Bianco- Anti-slip

MARAZZI OR SIMILAR AP SistemT Graniti Bianco- A

PPROVED Anti-slip product in use.

JOTUN OR SIMILAR APPROVED Fenomastic Stain Resistant Emulsion in white

GYPROC OR SIMILAR APPROVED Gypsum Ceiling Panel 600 x 600 mm In use.

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VILLA CONCEPT DESIGN ASKAR, BAHRAIN Situated in a new residential area, this house combines elements of japanese, arabic, and modern architecture to create a composition that maximizes inside-outside connections within the bounds of the boundary walls. The result is an open, yet private house that contains a hidden oasis meant for the eyes of its users only. The buildingâ&#x20AC;&#x2122;s upper volume cantilevers over the West elevation to minimize heat gain from the sun. Glazing on upper levels is covered with louvers, based on the principles of Arabic mashrabiyas for privacy as well as a reduction in exposure to solar gain. By using louvers, visual access to the houseâ&#x20AC;&#x2122;s surroundings is not restricted. This also allows for a mediation between tradition and modernity.

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4 10

6 2

9 9

KEY

7 5

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1. Maidâ&#x20AC;&#x2122;s quarters

6. Main residence

2. External kitchen

7. Garage

3. Storage

8. Living area

4. Swimming pool

9. Bedroom

5. Majlis

10. Master bedroom

TA R A S U I T E S ADLIYA DISTRICT, MANAMA, BAHRAIN This five-storey commercial-luxury apartment building with a total area of 24650 square meters contains a total of 10 apartments, car parking spaces, 2 lifts, a ramp, a gym, and a swimming pool area. I have participated in Stage 2-3 of the RIBA Plan of Work, in addition to being in charge of assisting with the main design, I have was in charge of the production of presentation drawings showing selected materials for the facades and interiors as well as putting together some presentation boards. This design shares some similar principles to those implemented in the Marriott Residence Inn as the two projects were being worked on at the same time.

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Reflected ceiling plan of +3

Proposed flooring for lobby

Proposed bedroom flooring

Proposed bathroom finishes

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H O L I D AY E S TAT E MASTERPLAN ADLIYA DISTRICT, MANAMA, BAHRAIN This project involved the design of a masterplan for a holiday estate with existing buildings. This design covers an area of 18940 square meters and focuses on adding new buildings and activity spots for the client and his children such as a new infinity pool with deck, feature gardens, and a multi-purpose court. One of the key focuses of this design was to design new routes leading to new and existing destinations whilst ensuring the privacy of the clientâ&#x20AC;&#x2122;s family is maintained due to cultural factors. As such, there is an emphasis in landscape design in which vegetation is used extensively as a means to cool the temperature, provide shade, and obscure the vision of drivers and passersby, thus responding to the cultural and climatic factors that are present.and passersby, thus responding to the cultural and climatic factors that are specific to this context.

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16 18

MASTERPLAN KEY Helpersâ&#x20AC;&#x2122; quarters Store Main entrance Jetty Boardwalk Feature garden Poolside deck Barbecue area Gazebo

10. 11. 12. 13. 14. 15. 16. 17. 18.

1. Driveway 2. Planter 3.Multipurpose court 4. Playground 5. Swimming pool 6. Seaside lounge 7. Existing house 8. Walkway 9. Beach

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EIGHT VILLA COMPLEX RIFFA, BAHRAIN This project involved the design of a gated complex comprising of 8 villas for users to rent alongside a communal club house with a cinema and gym. Each house would include its own private swimming pool, parking space, and at least 4 bedrooms. Houses are designed with privacy in mind, with several points of access being included to prevent unwanted interaction between residents and potential guests. To further respond to this need for privacy, each house includes its own â&#x20AC;&#x2DC;majlisâ&#x20AC;&#x2122;; a guest room that has its own access, thus separating between public and private. To allow for external views without creating uncomfortable internal conditions, all window openings are recessed at a depth of 1.8 to 2.5 meters.

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Proposed finishes in corner villa

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Reflected ceiling plan with lights for typical villa

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Existing interior

FINANCIAL HARB OR LOBBY REDESIGN MANAMA, BAHRAIN The bahrain financial harbour is one of bahrain’s most iconic buildings, However its interior used low-quality finishes that were not on par with the significance of the harbor, and so, proposals were made for the lobbies’ interior that used better materials which reflected the project’s importance, whilst creating better lighting conditions. The proposed ceiling and bush-hammering of the existing floor would increase sound absorbency, thus reducing the echo-prone conditions of the existing lobby.

Proposed interior

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B . A

G R A D

P R O J E C T

BUILDING OVER W HAT I S A L R E A DY B U I LT A N I M AT E | I L L U M I N AT E

This project involved designing an intervention to the existing Grainger Market located in the heart of the City Center: Grainger Town. The overall aim was to renew or make a change to the market as well as add an additional 1/3 of the volume. This project proposes effective yet sensitive changes to all four elevations of the market as well as the roofs of all the alleyways. These changes are emphasized in order to resolve some of the existing issues in the Grainger Market in order to create a building that is more animate and well-illuminated. Key themes in this design are: inside-outside connections, visual connectivity, circulation, conserving the essential, and light.

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Visits to the Grainger Market early on in the project, revealed several issues with the actual building lacking adequate daylight and its facades having â&#x20AC;&#x2DC;confusedâ&#x20AC;&#x2122; entrances which are static, mainly due to older construction methods and more recent changes made. Furthermore with the advent of online shopping and nearby competitors such as Eldon Square and Tesco, Grainger Market requires an intervention that would give it a fighting chance. Thus, glazing now replaces the existing roofs which wrap around the facades to define entrances, providing an animate entrance and facade approach whilst illuminating the dark alleys of the market. Stonework is replaced with light-transmitting concrete to further animate the facades.

Glazed fingers define entrances to the market and allow for visual connections.

Revolving light-transmitting concrete doors help animate in the facade.

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Roof glazing allows for greater access to daylight, illuminating the market.

CONFUSED ENTRANCES The Grainger Market’s four façades have gone though a multitude of changes and retrofitting. Some of the original entrances were converted to shops, whilst some shops were converted to entrances. This has lead to a lack of articulation in the entrances, making them blend in completely with the rest of the façades. STATIC ELEVATIONS With the majority of all four elevations being solid blockwork, the shell of the Grainger Market becomes somewhat monolithic and lifeless; hardly any activity is seen through this outer surface or shell, making it static.

LACK OF INSIDE-OUTSIDE CONNECTIONS This relates back to the static elevations, because all four of them are static, there is a lack of insde-outside connections between the surrounding streets and the Grainger Market. Additionally, the shopfronts in the market’s shell do not link physically nor visually to the core of the Grainger Market, this creates a sense of undesirable isolation. INADEQUATE DAYLIGHT Although there are roof lights in the alleyways of the Grainger Market, the light that does enter the four alleyways (with the exception of the Grainger Arcade) is inadequate. This is proven through the use of artificial lighting in broad daylight hours. The four alleyways as a result, have a sense of undesirable enclosure.

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‫أ‬ ‫ت‬

‫ب‬

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E N V I R O N M E N TA L A P P R OA C H E S In order to ensure that the intervention made to the Grainger Market creates comfortable, pleasant spaces with consciousness on the environment, certain environmental approaches were implemented. They are as follows: ‫ أ‬Louvers to ventilate market. ‫ ب‬Solar hot water collectors. ‫ ت‬Stack ventilation.

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CONCEPT SKETCHES

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BEFORE AND AFTER

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Prior to intervention

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Photographs of final model

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3D visualizations

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Internal perspective of vertical garden in intervention.

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Detail of glazed entrance intervention. Note the stack effect.

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B . A

A R C H I T E C T U R E

D I S S E RTAT I O N LESSONS FROM THE TRADITIONAL V E N T I L AT I O N S Y S T E M S I N B A H R A I N

This dissertation involved extensive research and studies on vernacular ventilation and heat-mitigating systems in Bahrain. Studies were performed in Souq Al-Muharraq, host to some of the oldest living buildings in the country which still utilize such systems. These systems were then critically assesed and put against more modern systems and climatic conditions in Bahrain. It was concluded that these systems are viable, though mainly during transitional periods of weather as they are ineffective after a certain tempertature.

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ABSTRACT

For long, traditional Bahraini houses relied on passive ventilation systems and architectural features to create comfortable living conditions. This dissertation aims to explore the potential and limitations of these systems to minimize the unsustainable use of air conditioning. This was done through a detailed literature review explaining the traditional ventilation systems, architectural features, and possible improvements to create better effects that show their cooling potential. The limitations of these systems were explored through two case studies in which the maximum temperature needed for thermal comfort, based on outer conditions, was calculated using a formula from ASHRAE, and compared to the temperature of spaces in the case studies. It was found that the traditional ventilation systems and architectural features used in Bahrain could not help achieve thermal comfort due to the limitations of their performance being overshadowed by overheated conditions. However, these systems would have the potential to be utilized during mild weather conditions not exceeding 32Â°C. The sustainability of these systems was then put on emphasis by calculating the carbon dioxide emissions of a single air conditioner running throughout the entire year, then comparing the result to the emissions created by the same unit if it was running throughout the hot season only. The results of the comparison showed a 41.1% reduction in carbon dioxide emissions as well significant financial savings on an individual household. It is possible to conclude that traditional ventilation systems would only be effective up to 32Â°C, and consequently would be ideal for the climate of Bahrain when the temperature is mild during its cool season and transitional periods. This would mean that air conditioning is only needed during the extreme period of the hot season in Bahrain, and if used solely during that period, a more environmentally and financially sustainable result would be achieved.

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