Atelier Amman by Ammar Homsi

III

a thesis presented to the acadimic faculity university of jordan

ammar m. homsi ghaith h. takruri jamal s. al-kharouf

supervised by: Dr. saleem m. dahabreh university of Jordan Department of architecture January 2013

Acknowledgment

This dissertation wouldâ&#x20AC;&#x2122;nt have been possible without the guidance and the help of several individuals who in one way or another contributed and extended their valuable assistance in the preparation and completion of this study. Foremost, we would like to express our sincere gratitude to our Department of architecture in Jordan university for providing us the opportunity to complete this thesis, and most of all our advisor Dr. Saleem Dahabreh for his continuous support of our thesis research, for his patience, motivation, enthusiasm, and immense knowledge. Last but not the least, we would like to thank, and devote the appreciation to our families, friends and all the good people who supported us in long nights and days .

regards ammar, ghaith and jamal

VII

table of contents

Chapter 1

INTRODUCTION

001

Chapter 2

Movements\Schools

1-1 new, however authentic 1-2 intentions 1-3 what is atelier 1-4 what is artisan 1-4-1 termenology 1-4-1 Sight size

002 002 003 004 004 005

2-1 2-2

008 010

Arts and crafts movement Century guild of artists

007

Chapter 3

site analysis

013

3-1 Amman Downtown 3-1-1 Abstract 3-1-2 Amman in histroy 3-1-3 location 3-1-4 APPROACH AND ACCESIBILITY 3-1-4 street circulation 3-1-5 Street hierarchy 3-1-6 site traffics and nods 3-1-7 main land marks 3-1-8 Site dimension and zoning

014 014 015 018 019 019 020 020 021 022

3-2 Natural physical environment 3-2-1 topographic data 3-2-2 climatic data/charts 3-2-3 natural features 3-2-4 Sensory qualities /from 3-2-5 Sensory qualities /toward

023 023 024 025 026 028

3-3 techno-physical environment 3-3-1 figureground 3-3-2 Building heights 3-3-3 landuse 3-3-4 existing building use 3-3-5 infrastructure / water 3-3-6 Infrastructure / electricity 3-3-7 site elements & forces 3-3-7-1 markets and other forces 3-3-7-2 landmarks 3-3-7-3 Previous interventions 3-3-8 building typologies 3-3-8-1 urban types 3-3-8-2 building phases 3-3-8-3 from historical to local 3-3-8-4 windows and doors 3-3-8-5 building materials 3-3-8-6 structural techniques 3-3-9 stairs

029 029 029 029 030 030 030 031 031 031 034 036 036 037 037 038 039 040 041

3-4 socio-economic analysis 3-4-1 political history 3-4-2 demographics 3-4-3 educational levels 3-4-4 mental maps 3-4-5 Site impressions 3-4-6 Behavioral patterns 3-4-7 Touristic Resources 3-4-8 QUESTIONNAIRE

045 045 046 047 047 048 049 049 051

3-5 Site analysis precepts 3-5-1 topography 3-5-2 materiality 3-5-3 views 3-5-4 connectivity 3-5-5 changability 3-5-6 conclusion maps 3-5-7 existing buildings

054 054 054 055 056 057 058 059 IIX

Chapter 4

case studies

061

Chapter 5

Program

093

Chapter 6

Conceptual scenario

101

Chapter 7

sustainability

117

BIBLIOGRAPHY

149

4-1 4-2 4-3 4-4 4-5 4-6 4-7 4-8

brief perot museum of nature and science relink the texture with public space national library of israel green incubator plassen cultural center a.m. qattan foundation bulding casestudies conclusions

062 063 071 074 077 082 085 090

5-1 organizational chart 5-2 areas, functions and performance 5-2-1 reception area 5-2-2 administration 5-2-3 public department 5-2-4 theatre department 5-2-5 exhibition spaces 5-2-6 work & training rooms 5-2-7 Educational Department 5-2-8 apartments 5-2-9 services

094 094 095 095 096 096 097 097 098 098 099

6-1 From Techne to Praxis 6-1-1 termenology 6-1-2 relationships 6-2 How to TECHNE? Methodology 6-3 Concept approach 6-3-1 Conclusion 6-3-2 Statement 6-3-3 AMMAN Atelier 6-3-4 Why Atelier? 6-4 Engaging into zoning 6-5 Formal language

102 102 103 104 105 105 105 106 106 107 114

7-1 introduction 7-1-1 brief 7-1-2 reducing enviromental impact 7-1-3 goals of green buildings 7-1-4 leed certificate 7-1-5 green buildings in jordan

118 118 119 119 120 120

7-2 sustainable strategies 7-2-1 insulation 7-2-2 lighting 7-2-2-1 daylighting 7-2-2-2 artificial light 7-2-3 building orientation 7-2-4 site slope 7-2-5 sun spaces 7-2-6 sustainable landscapes 7-2-7 green roofs 7-2-8 solar photovoltics 7-2-9 ventelation 7-2-10 thermal mass 7-2-11 Water Efficiency 7-2-12 geothermal

121 121 122 122 124 125 125 126 128 132 133 134 136 137 138

7-3 sustainable casestudies 7-3-1 Eco-house design green, 2011 7-3-2 Green House Design, 2012

139 139 142 149

chapter

1-1 1-2 1-3 1-4

new, however authentic intentions what is atelier what is artisan 1-4-1 termenology 1-4-2 Sight size art

chapter 1 introduction

1-1 New, however, Authentic. “They say ‘‘ every new thing is a forgotten old one. It is, obviously, true, since many modern designers, artists, and architects among them, derive their inspiration, images and forms from the legacy of the previous generations.“ “The only constant is change, continuing change, inevitable change, that is the dominant factor in society today. No sensible decision can be made any longer without taking into account not only the world as it is, but the world as it will be.

’’”

Isaac Asimov.

1-2 Intentions It should be all about being loyal to the surrounded elements that the project is being connected to, is the main driving intention, being Loyal to the city of Amman, to the people of Amman and to the originality of the style of architecture in Amman. This would be implemented by celebrating the acts of craftsmen of the near past, when the have been dealing with machine as a semi-automated instrument and technology, with high dependence on their effort of the craftsmen themselves. Nowadays, it’s all about machine. It’s about what level of quality a machine can output. Man effect has been deducted all along developing new technologies. This gives a lack in the artistic and authentic values in any work. Craftsmen used to devote their maximum effort to output an extremist level of quality in their work. But now, a man is there only to click the button, no need to use hands. This project is intended to be celebrating and reviving the term “ARTISAN”.

Loyalty should be put as a main constrain in when creating a new work to keep it genuine. Loyalty would be defined as: The faithfulness or a devotion to a person, country, group, or cause, and here, it might be devotion for all of those mentioned.

1-3 What is

ATELIER

Atelier: is the French word for “workshop”, and in English is used principally for the workshop of an artist in the fine or decorative arts, where a principal master and a number of assistants, students and apprentices work together producing pieces that went out in the master’s name. This was the standard for European artists from the Middle Ages to the 18th or 19th century, and common elsewhere in the world. In medieval Europe such a way of working was often enforced by local guild regulations, of the painters’ Guild of Saint Luke if there was one, and those of other guilds for other crafts. Apprentices usually began young, about age twelve, working on simple tasks, and after some years became journeymen, before becoming a master themselves

The current “Atelier method” is a form of fine art instruction modeled after the historic private art studios of Europe. An atelier consists of an artist, usually a professional painter or sculptor, working with a small number of students to train them in art. Atelier schools can be found around the world, particularly in North America and Western Europe. Although the methods vary, most Ateliers train students in the skills and techniques associated with creating some form of representational art, the making of two-dimensional images that appear real to the viewer.

1-4 What is ARTISAN 1-4-1 Terminology An artisan or artisan (Italian: artigiano) or craftsman (craftsperson) is a skilled manual worker who makes items that may be functional or strictly decorative, including furniture, sculpture, clothing, jewelers, household items and tools or even machines such as the handmade devices of a watchmaker. An artisan is therefore a person engaged in or occupied by the practice of a craft, who may through experience and talent reach the expressive levels of an artist using their hands, mind and heart in their work and what they create. During the Middle Ages, the term “artisan” was applied to those who made things or provided services. It did not apply to unskilled labourers. Artisans were divided into two distinct groups: those who operated their own business and those who did not. Those who owned their businesses were called masters, while the latter were the journeymen and apprentices. One misunderstanding many people have about this social group is that they picture them as “workers” in the modern sense: employed by someone. The most influential group among the artisans were the masters, the business owners. The owners enjoyed a higher social status in their communities.

Antiques are usually objects which show some degree of craftsmanship, or a certain attention to design such as a desk or an early automobile. Artisan and craftsman quality could be spotted very clearly in Amman, here we’re not mentioning the archeological nor the heritage architecture or work, but in the heavy duty and fine artistic works in facades, openings, signage works, artifacts and finishing works, especially the ones that shows copies of and affection by modern, post modern or international style trends in design.

1-4-2 Sight size

(inspiring method of artisan work). Sight-Size is a method of drawing and painting an object exactly as it appears to the artist on a one to one scale. The artist first sets a vantage point where the subject and the drawing surface appear to be the same size. Then, using a variety of measuring tools - which can include strings, sticks ,mirrors, levels, and plumb-bobs - the artist draws the subject so that, when viewed from the set vantage point, the drawing and the subject have exactly the same dimensions. When properly done, sight-size drawing can result in extremely accurate and realistic drawings. It can also be used to draw the exact dimensions for a model in preparation for a painting.

Ateliers following the sight-size method generally agree that the practice of careful drawing is the basis of painting, teaching a form of realism based upon careful observations of nature with attention to detail. Using this method, students progress through a series of tasks such as cast drawing, cast painting, drawing and painting from the live model, and still life. Students must complete each task to the instructor’s satisfaction before progressing to the next. This system is referred to as “systematic progression” or “systematic teaching and learning.”

sight size execution represents a pure artisan work and demands all loyalty to get the work perfect just as the perfection of the outdated authentic works we can spot in Downtown Amman.

chapter

2-1

Arts and crafts movement

2-2

Century guild of artists

chapter 2 Movements\Schools to follow

2-1

Arts and crafts movement THE ARTS AND CRAFTS MOVEMENT (ACM) aimed to promote a return to hand-craftsmanship and to assert the creative independence of individual craftspeople. It was a reaction against the industrialized society that had boomed in Britain in the Victorian period, and aimed for social as well as artistic reform. Its example was followed in other countries, particularly the U.S.A. After the 1914-18 war, other artistic trends overtook the ACM, and it declined.

William Morris (1834-96) provided yet greater inspiration. Simultaneously a romantic poet and dreamer, a businessman, and a political campaigner, he had an impressively forceful, practical character. He had great manual skill (J.D. Sedding said that Morris “put an apron on, tucked up his sleeves, and set to work”), and, because he himself could design and execute work of outstanding beauty in wallpapers, in printed, woven and embroidered textiles, and in book production, he offered a living example to others of what they might achieve. He founded a firm to retail furnishings produced in his own workshops, where craftsmen were given free rein. The firm’s products, however, while intended to brighten the lives of ordinary people, were too expensive to sell to any but the rich. Nonetheless, Morris’s immense charisma provided the driving force behind the ACM.

County Oregon public library

“

William Morris_design for Trellis wallpaper

trends overtook the ACM, and it declined. Industrial production of consumer goods developed in Britain in the eighteenth century, increased massively in the nineteenth, and inevitably aroused some opposition. The Gothic Revival, the principle artistic trend in nineteenth-century architecture and art, can itself be seen as a reaction against industrialisation. Its early exponent, A.W.N. Pugin (b.1812), contrasted the iniquities of modern industrial society with a highly romanticised view of the Middle Ages. Pugin died in 1852, but an even more eloquent critic emerged in John Ruskin (1819-1900). After establishing himself as a writer on painting, he turned to architecture, publishing The Stones of Venice in 1851-3. In its second volume (1853) appeared a chapter entitled “On the Nature of Gothic”, which presented an image of the medieval craftsman working out with his hands the free impulses of his creative mind. This vision remained a prime source of inspiration for the ACM

Give me love and work ,these two only. William Morris

Morris had set out to train as an architect, in the office of the eminent Gothic Revivalist, G. E. Street (1824-81). Also working for Street was Philip Webb (1831-1951), who, a lifelong friend of Morris, designed for him the Red House, Bexley (1859-60), which is regarded as the first fully integrated Arts and Crafts domestic environment. Webb continued to work primarily as an architect. He and his contemporaries developed styles inspired by vernacular architecture and extended patronage to Arts and Crafts artists as well as influencing many younger architects with the Arts and Crafts ethos. Some artists who began with architectural training moved on, like Morris, to specialise in the decorative arts, but architecture remained a decisive influence in the ACM.

Sydney building

Red house

Both Ruskin and Morris felt that modern art was bad largely because of the conditions of life of working people in an industrialized society, and therefore campaigned for a better quality of life. Ruskin was a paternalistic conservative, but Morris eventually wholeheartedly embraced socialism. In this he was followed to a greater or lesser degree by most adherents of the ACM, who, while promoting beauty and the status of the individual craftsperson, usually saw their work in a wider context of social reform.

William Morris

John Ruskin

The ACM chiefly made progress through special-interest associations. In imitation of medieval craft guilds, Ruskin started the St George’s Guild. Though this was more concerned with communal living than with art practice, it surely inspired adherents of the ACM to band together in guilds. Sometimes these were small co-operative production units, sometimes broader confederations dedicated to publicising the cause. One of the earliest was the Century Guild (1882-8), founded by A.H. Mackmurdo, regarded as a pioneer of the Art Nouveau style. While this guild was chiefly concerned with production, its stylish magazine, the Hobby Horse (1886-92), projected an alluring image of the Arts and Crafts lifestyle. A greater, more enduring association (which survives today) was the Art Workers’ Guild, founded in 1884, chiefly by a group of architects from the architectural office of Richard Norman Shaw. Meeting every month, this guild aimed primarily to succour its members, functioning as “a spiritual oasis in the wilderness of modern life”. A more outgoing, missionary agency was the Arts and Crafts Exhibition Society, founded in 1887. This arranged exhibitions and lectures, which were widely influential. It functioned as the public face of the ACM, and introduced the term “Arts and Crafts”. The ACM was always as much about ideology as about decorative art objects themselves, and this aspect was grounded in the National Association for the Advancement of Art and its Application to Industry (1888-91). This held Congresses in Liverpool, Edinburgh, and Birmingham, in which many of the principal figures in the ACM took a larger view of the current state of the decorative arts.

Creative groups and similar societies arose in provincial towns. C.R. Ashbee started his Guild of Handicraft (1888-1914) and school in the east End of London, but in 1901 moved the workshops and the workers to Chipping Camden in Gloucestershire. This was an attempt to live out his conviction that the practice of the crafts required “repose, margin, leisure, reserve, restraint, and colour in life”, and that these qualities “are better found in country surroundings where there are green fields, and trees and beauty…” Some other craftspeople set up their workshops in the country, but on the whole, the decorative arts flourish best in towns, and London remained the centre of the ACM.

The ACM also encouraged amateurs to take up the decorative arts. “Carry your crafts home,” cried J. D. Sedding, “… in old days … art was a dear and genuine inmate of home: take your crafts home, let them make your home homelier, family-life brighter.” The Home Arts and Industries Association (1888) supported non-professional craftspeople (including members of the royal family), organising classes and exhibitions throughout the country. Although the ACM promoted the individualism of the craftsman, it had some influence on commercial firms, such as Heal and Son, and Liberty, which retailed and commissioned goods in the Arts and Crafts spirit. 9

Arts and Crafts objects were produced in all media: metalwork, ceramics, glass, textiles and furniture. Architecture often provided a setting for a unified achievement in interior design. William Morris’s Kelmscott Press inspired several adherents of the ACM to experiment with typography, with varied results. Painters contributed decoration to decorative art objects, though there was no identifiable school of Arts and Crafts painting. While, say, Morris’s textiles, Gimson’s furniture, or Ashbee’s jewellery manifested exquisite finish and superb technical skill, a good deal of ACM production had a home-made air. This was a deliberate endeavour to proclaim that these objects were not made by machine: Ruskin had asserted the aesthetic value of an imperfect finish in “The Nature of Gothic”, and a later furniture maker, Romney Green (1872-1945), said that the “play of light on the tool-marks … is almost better than conscious ornament”. It was a point of honour with ACM artists to respect the materials they worked with. Machines, they thought, had destroyed the intimate relationship between a craftsman and his material, and this they aimed to restore, using natural materials and relishing rough textures. Nature was for them the chief source of applied ornament. By the beginning of the 20th century, the ACM had established itself as the principal art movement in Britain, and was well known abroad, through illustration in European magazines, An American ACM was more democratic and less ideological than its English counterpart. In Europe, Germany responded most enthusiastically to Arts and Crafts influence, especially in the Darmstadt Artists’ Colony, and through the foundation in 1907 of the Deutscher Werkbund, which was, however, less antagonistic to industry. In the countries of eastern Europe and Scandinavia, Arts and Crafts influence combined with a revival of interest in folk art, which fed into nationalist movements. A late echo of the ACM was the Mingei movement in Japan.

After the First World War the ACM declined. Although some adherents of the ACM accommodated themselves to the machine, and were involved in the foundation of the Design and Industries Association in 1915, its anti-machine stance no longer carried weight. Indeed, when the “Modern Movement” (which glorified the machine-made) had become established, the art historian Nikolaus Pevsner, in his book Pioneers of the Modern Movement (1936), argued that the ACM had foreshadowed it. This view was widely accepted for many years, but now the idea that there was a line of progressive advance from the ACM to Modernism does not command assent. There were, indeed, common elements of ideology and theory in the two movements, but the art and architecture they created are unmistakably different.

2-2 Century guild of artists.

The Century Guild of Artists was an English group of art enthusiasts that were active between 1883 and 1892. It was founded in 1882 by Arthur Heygate Mackmurdo. The Century Guild aimed to preserve the artistic trade and the authenticity of the craftsmen behind it. The members were forerunners of the Arts and Crafts Movement which aimed to unify the arts. Roughly 20 people were associated with the guild, but the only members were Arthur Heygate Mackmurdo, Herbert Horne and Selwyn Image.

Augustus Pugin

The Guild produced primarily domestic design such as furniture, stained glass, metalwork, decorative painting and architectural design. The style was high end and was based on both 18th-century art and Art Nouveau. Despite limited disbursement, the group gained recognition through exhibiting. These designs were all displayed at the Inventions Exhibition (London, 1885), the Exhibition of Navigation and Manufacture (Liverpool, 1886), Pownall Hall (1886–7; Cheshire) and the Royal Jubilee Exhibition (Manchester, 1887). The group also published a quarterly magazine called ‘The Century Guild Hobby Horse’ which ran from 1884–1892. The journal was then renamed The Hobby Horse, and continued for another two years before it ended in 1894. The Hobby Horse served as a way of sharing the views of the Guild and promoted crafted art as opposed to mechanical industry. The group also published a quarterly magazine called ‘The Century Guild Hobby Horse’ which ran from 1884–1892. The journal was then renamed The Hobby Horse, and continued for another two years before it ended in 1894. The Hobby Horse served as a way of sharing the views of the Guild and promoted crafted art as opposed to mechanical industry.

The Century Guild’s magazine Hobby Horse is seen by many today as probably one of the most iconic of the official mouthpieces of the Arts & Crafts Movement, along with being perhaps one of the best designed pieces of printed work of the era.

Arthur Heygate Mackmurdo

Century Guild of Artists 1882 The Century Guild itself was set up by the architect Arthur Heygate Mackmurdo in 1882 as a loose organization of architects, artists and designers working in a number of mediums. The remit of the group was the standard Victorian utopian dream, where tradesmen would work and be appreciated as medieval style artists. However, what was perhaps different about the Century Guild was the number and diverse backgrounds of some of the well-known names attached to the project. Apart from Mackmurdo, Herbert Percy Horne and William de Morgan were full time members and Charles Francis Annesley Voysey was an associate member. The Guild was in fact an organization that remained fluid as an institution and names both well-known and otherwise, drifted freely in and out, allowing the Guild to boast a very wide base of experience.

The Hobby Horse, rather than being a magazine dedicated to the theories and practicalities of design and decoration, was meant as an example to the general public of the dream that was the Arts & Crafts lifestyle. The rarefied atmosphere that the magazine portrayed through its poetry, woodcut illustrations and articles might have made sense to the members of the Century Guild and perhaps many in the Arts & Crafts movement in general, but meant little to most of the critics outside of the movement who could be and were often extremely vociferous. Many of the critics saw the Guilds magazine as representing more a society of fine artists than that of practical designers.

chapter

3-1 3-2 3-3 3-4

Downtown Amman

natural physical environment techno-physical environment socio economic analysis

amman downtown amman amman downtown downtown

3-1-1 Abstract Amman, the capital of Jordan, is a fascinating city of contrasts – a unique blend of old and new, ideally situated on a hilly area between the desert and the fertile Jordan Valley. In the commercial heart of the city, ultra-modern buildings, hotels, smart restaurants, art galleries and boutiques rub shoulders comfortably with traditional coffee shops and tiny artisans’ workshops. Everywhere there is evidence of the city’s much older past.

Due to the city’s modern-day prosperity and temperate climate, almost half of Jordan’s population is concentrated in the Amman area. The residential suburbs consist of mainly tree-lined streets and avenues flanked by elegant, almost uniformly white houses in accordance with a municipal law, which states that all buildings must be faced with local stone.

3-1-2 Amman in histroy Amman was occupied by people since almost 8000 years, even evidences were found showing that prehistoric humen (neanderthals) lived in the region , jabal al qala’a is an example of these settlements . amman, especially jabal al qala’a has layers of human civilizations making it one of the most continuous inhabited cities in the world. the valley at the bottom of jabal al qalaa is a good settlemnet for early people due to : 1- seil amman that ran in the valley 2- the engraved caves in the foothill of jabal al qalaa making it a suitable shelter. the modern history of amman began at the end of the 19th century ,100 years ago, amman was then no more than a house of water and a small place for balqaa bedouins. the early commuinity of amman consisted of : 1- bedouins settled around amman 2- a bunch of merchants in the center (seil amman) 14

The downtown area is much older and more traditional with smaller businesses producing and selling everything from fabulous jewellery to everyday household items. The people of Amman are multi-cultural, multi-denominational, well-educated and extremely hospitable. They welcome visitors and take pride in showing them around their fascinating and vibrant city.

1- maintaining it’s cultural heritage through out the years, so for as to see such as the theatre ,ummayad palace on jabal al qalaa, al husseini mosque. 2- amman being beside acient cities such as damascus, cairo, jerusalem, and the blending of the architectural elements , due to the memory of the architectes,planners and constructors who apply these elements in amman giving it a special architectural touch 3-geographic reasons, amman being a mountainous city which gave it’s special landscape and skylines.

1.neolithic period

8000 - 3200 b.c .PRE-HISTORIC HUMEN SETTLED IN THE AREA (NEANDERTHALS) .HOUSE TYPES: CAVES ENGRAVED IN THE FOOTHILL OF JABAL AL QALA’A AND BUILT THEIR OWN DOLMENS TOWERS AND silos are the remains of this era (ex. malfoof tower)

2.bronze period

3200 - 1200 b.c .civilized city growth .amman as a trade center (due to the remains found in marka that are egyptian and helenistic pottery) .the spread of walled cities

3.iron period

1200 - 323 BC Amman was named rabet ammon after the ammonites They 1st lived in tents then occupied jabal al qala’a caves ,then built their own stone house. Amman consisted of lower and upper part.(Lower for the norms used. Upper for governors and religion and clergymen) The area prospered with cultural interaction The wall surrounding the jabal was to protect the ammonites. The area of the city was 245 skm.

4.hellenistic period

5.roman era

6.byzantine period

332-63 BC Amman was named Philadelphia at the time of Ptolemy philadelphus. Built their own city over the remains of the old ammonite city The region prospered during this period The urban characteristics: -The upper city (the acropolis),the royal city surrounded by walls -The lower city (the locals city) Amman became one of the decapolis cities (in the time of Seleucid 218 BC ) During this era the nabatians settled in Petra south of Jordan

63 BC 330 ad Re-planning the city according to roman standards Philadelphia prospered culturally,intellectually and architecturally Trajan road from Damascus to aqaba passing through Amman was established. Increase in built structures’ scale such as public buildings, markets, theaters, music halls The forum, roman baths ,Heracles temple on jabal qala’a, nymphaeum ,oduon which was use for entertainment are some ruins of this era. The romans the Ceiling with vaults to protect the urban spaces

395-635 ad Christianity was recognized as the official religion and Philadelphia became the seat of a bishopric. Byzantine excelled in the art of mosaic and fresco shown in the flooring of their remaining churches found near the Ceil of old Amman Three churches were constructed: one of them within the citadel walls and another on the remains of the old temple in the city center. The forum was relocated from in front of the amphitheater to next to the church 15

islamic period

635-1517 ad

mo’ta battle was the 1st conflict between the muslim arabs and the byzantians

10. ayoubi period

1169-1250 ad Amman was sometimes a gathering site for the salah al deen army which were fighting the crusaders.

7.umayyad period

11. mamluk period

661 - 750 amman regained its name .castles were built to the east of amman a castle was built on jabal al qala’a amman became on the pilgrim road money stamping building was established during this era on 749 an earthquake hit amman,it affected the area very badly.

1250 - 1516 ad Amman became the capital of major balqa’a The villages around it increased to become 300 village 1356 ad a school was built by the prince sargghatmesh for Islamic hnafee studies. Deviation of pilgrimage route which minimized the urban use of Amman

12. 14th - 19th century A sequence of earthquakes caused destruction of many monuments. Malaria and Jarad caused the death of many people Amman was abandoned for 500 years

The reason for their settlement is the ottoman government desire to compose a barrier towards the Bedouin tribes The lands on the slope of jabal al qala’a were used for agriculture, grid system was used dividing it into rectangular plots . Straight streets 6-8 m wide . Simple housing typologies : 1st : sharkas house type (portico house) 2nd :open court house. A typical circassian house was built in jabal al qala’a : They used mud bricks tempered with straw , and for roofing bundles of cane arranged regularly on oak beams.

13.circassian’s migratin 8. abbasid period

750 - 969 ad amman declined politically but flourished culturally, economically and socially. .restoration of umayyad castle

9. fatimid period

953 - 975 ad Amman stayed an economical center due to being on the pilgrim road. Shea was spread in the region

14. The begin of the 20th century Beginning of establishment of east Jordan emirate, (British mandate) 1921 ammir Abdullah declared Amman the capital of the new state of trans-Jordan Amman became a central station for governmental , civic, military enterprises. 1903 establishment of hejazi rail station in Amman Syrian refugees came to Amman due to unstable political situation. Along with refugees from Lebanon and Palestine 1921- 1947 Amman experienced a gradual spatial expansion 1924 two roads intersected in the town and al Husseini mosque was established over a mosque of the ummayad era 16

1878 ad Amman started the spontaneous growth. Many tribes came: 1. shabsough tribe which were the 1st to come (shabsough and abzakh tribesettled in caves and some archaeological site of jabal al qala’a, in the amphitheater , and residential houses were constructed in the valley) 2. qabartay tribe 1883 settled in al husseini mosque district 1927 an earthquake hit amman .1938 great flood ,which made the houses climb up the mountains (jabal al qalaa one of them) .stairs penetrated the mountains for the transportation .asbali bridge over amman’s seil which connected amman with govermental offices.

15. After world war-ii 1945 ad After this war Amman expanded in area and population. 22/ 3 / 1946 Jordan got Independence and Amman became the capital of hashimite kingdom of Jordan. Development characterized Amman after it was declared as the capital

World war two, Arab-isreal war,numbers of refugees,establishment of professional unions, the arrival of professional planners and architects, creating al wehdat and al husseini refugee camp and trying to declare a modern city and applying the European ideas,all affected the image of new Amman Amman was growing in different directions mainly by 2 axis: Amman-wadi seir Amman-salt

16.after war 1948 waves of refugees came to amman from palestine raising political, social , economical problems. .expansion of amman resulted in shortage of arable land, housing supply,rise of housing rents and many other problems. .the urban and the architectural image was affected by the random expansion

Resettling in the valley 1878-1900 That was formed by the natural morphology of the narrow valley along which seil Amman ran ,starting from ras elâ&#x20AC;&#x2122;en seil to seil alzarga along which archaeological monuments were located on the sides of the old roman decumanus .(the valley was located between two mountains ;jabal qalaâ&#x20AC;&#x2122;a and jabal aljofa )

Where the circassian effect was so clear on the existing buildings .

Climbing up the mountains 1900-1920 Settlement started to develop due to the simple growth and the immigrants from SYRIA ,LEBANON ,PALESTINE ,the architectural influence was clear ,the new urban pattern was characterized by a pedestrian system of long narrow stairs climbing up the mountain ,running down for hundreds of meters .

( emphasising the narrow stair ways ,narrow lots for building )

OCCUPYING MOUNTAINS TOPS 1920-1948 the development characterized Amman after it was declared as the Capital ,it also appears that the earthquake was one of the reasons encouraging people to move ,(it was for whom is financialy capable )growing more and more of the narrow steps parallel to the contor opposite to the ones before

THE CITY OF THE PLANERS 1948-1970 .world war two ,arab _israeli war , numbers of refugees ,establishment of professional unions , the arriaval of professional planners and architects ,creating alwehdat and alhusein refugee camp ,trying to declair a modern city ,streets and lots were planed due to regulations , a new image . the shift from the traditional central hall types to modern houses and architecture the new merchants started using stone as a building material just like in the region around

THE CIRCLES OF AMMAN 1970 TO THE PRESENT The bloom of oil , wars in the surrounding areas,big rise of population ,uncontrollable expansion . The expansion two axis the first was the road to wadi AL-SEIR ,the second was the road to SALT via SWEILEH Tremendous power to grow out of the capital AMMAN . 17

3-1-3

location

location of site in JORDAN , Amman Jabal al qal’a is located in jordan which is southwest of asian country, boadrded by syria to the north, iraqto the northeast, saudiarabia to the south, and palestine to the west, all these border lines, add up to 1.6 km.

location of site in AMMAN jabal al qal’a . The propsed site is in jabal al-qal’a which is one of Amman’s seven hills, the site is on the southern side of it.

3-1-4

APPROACH AND ACCESIBILITY

DISTANCES AND `TIME TRAVELS BETWEEN MAJOR NODES AND OUR SITE

3-1-4

street circulation

3-1-5

Street hierarchy

3-1-6

site traffics and nods

3-1-7

main land marks

1. ROMAN NYMPHAEUM

3- ROMAN THEATER

2. ARCHAEOLOGICAL MUSEUM

4.THE ROMAN ODEUM

7- PUBLIC TRANSPORTATION ADMINSTRATION 8-MOSQUE

5. BYT AL SHOARA’’AND THE MINISTRY HOUSE

6-HASHIMITE PLAZA

9-FIRE STATION

10-RAGHADAN NEW TERMINAL

3-1-8

Site dimension and zoning SITE DIMENSION 24.30 15.79 35.70 37.30 9.10 22.10 30.60 23.70 22.70 39.40

SITE PERAMETER 59.30 M 67.60 M

NET AREA

4789.9 sqm

EXISTING STREETS FRONT BACK

20 m 8m

D CALSS RESEDINTIAL 52% BUILDING PERCENTAGE SET BACKS FRONT REAR SIDES

3 m 2.5m 2.5m

SLOPE 48 %

3-2

3-2-1

Natural physical environment topographic data

3-2-2

climatic data/charts

sun path diagram

3-2-3

natural features

WASHINGTONIA OBUSTA palm tree ever green 15 m max height 4 m spread columnar shap

SCHINUS MOLLE ever green 8 m max height 8 m max spread globular shape

VITIS VINIFERA deciduous tree 6 m max height 6 m max spread climbing tree

OLEA EUROPAEA ever green 14 m max height 10 m max spread rounded shape

CASUARINA EQUISEFIFOLIA ever green 18 m max height 6 m spread slender shape

EUCALYPTS CAMALDULESIS ever green 20 m max height 8 m max spread ovoid shape

3-2-4 Sensory qualities / views views from site

from the view point (almatal)

3-2-5

Sensory qualities / views

site slope

view point (almatal)

existing building

view toward the site

3-3

techno-physical environment

3-3-2

Building heights

3-3-3

landuse

3-3-1

figureground

3-3-4

existing building use

3-3-5

infrastructure / water

3-3-6

Infrastructure / electricity

3-3-7

site elements & forces 3-3-7-1

markets and other forces 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23

DARET ALFONON ORDON CAFE BALAD THEATER POST CENTER HASHEM REST. QUDS REST. ZAHRAN CINEMA POLICE STATION BALAD CAFE ARABIC BANK MAHMAS BASMAN QAIRAWAN SCHOOL ISA’AF SCHOOL BALQIS SCHOOL ISLAMIC CENTER SALMA EBN AQWA’AMOSQUE LIBRARIES SALAH ELDEN HOTEL AMIR HASSAN MOSQUE AMIR HASSAN SCHOOL IBN KHALDON SCHOOL RAMLE BENT OUF SCHOOL JA’AFAR ALTAYAR SCHOOL

A-FHAIS SUQ B-DAHAB SUQ C-MANGO SUQ D-SHABSOGH SUQ E-ASFOUR SUQ F-BOKHARIE SUQ G-BALABSE SUQ H-SUKKAR SUQ I-KHUDAR SUQ J-WOHAM SUQ K-HARAMIE SUQ L-SLAH SUQ M-HERBS SUQ N-JORAH SUQ a-SERVICE STOP(3,ALDAHIE) b-BUS STOP c-SERVICE STOP(RAGHADAN) d-SERVICE STOP f-PARKING e-SERVICE STOP(JOFEH,ASHRAFIEH,WEHDAT)

3-3-7-2

landmarks

ROMAN THEATRE Roman theatre used for theatrical performances and musicals. Because of the quality of the sound system, is used to this day sometimes for performances. Capacity theater 6,000 spectators, is the largest of the south theater in jerash, which has a capacity to 4,000 5,000 spectators is to this day the largest theater in Jordan. In front of the platform surmounted by theater artists, there is a certain place in the center of the theater spectators can hear the sound of it in a clear manner in the all runways theater. Stands divided into 44 classes, in three main groups. The first set of rows used for the elite and dignitaries, while groups were the second and third rows dedicated to the rest of the people. There are rooms behind stage platform, used by artists to change their clothes and prepare to appear before the public. He was building a platform altitude original theater about three floors, the top of the columns in the piazza alform. There was a small temple at the top of the theater, carved in the rock, statues of the roman gods.

Built during the reign of Marcus Aurelius (169-177 ad), the large and steeply raked theatre could seat about 6,000 people. It is built into the hillside, and oriented north to keep the sun off the spectators. In this photo, the orchestra and stage are viewed from the first diazoma (horizontal division) of the caves. For terminology, see: Greek-roman theatre glossary by Thomas g. Hines at Whitman college .

This view of the east side of the caves illustrates its division into three horizontal sections (diazomata); the lower seats were naturally more desirable, just as in today’s theaters. Side entrances (parodoi) appear at ground level, one leading to the orchestra and the other to the stage. Rooms behind these entrances now house the Jordanian museum of popular traditions on the one side, and the Amman folklore museum on the other side.

Here is a precipitous view of nearly the whole theatre, as seen from close to the top. The highest section of seats in a theatre was (and still is) called “the gods,” for reasons evident here. Although far from the stage, even here the sight-lines are excellent, and the actors could be clearly heard, owing to the steepness of the cavea .

hough its origin is Greek, roman theatre has got a semicircular plan instead of a circular one. This change was made in order to form just one structure between scaena and rows. Decoration of the whole is very luxury: marmors, columns, inscriptions... Specially on the scaena, where every design of orders is applied by roman architects.

Design of structure for theaters could be of two kinds: directly on the floor or through a structure supporting it. The most usual was locating theaters in concrete areas in order to get that the most important part of the rows was directly fixed on the ground, that is, on the slopes of hills or mountains. Structural parts that could not take advantage from this situation were built with roman concrete pillars and vaulted walls. The usual was that the upper area from rows: the summa cavea, was based on an artificial structure. .

It got an oval plan as a result of duplicating theaters joined by the stage. Name shows it since it comes from a Greek word that means “two theaters” (amphi -two- and theatros). it is not exactly like that, because the result of two semicircular plans -theatre- should be a circumference and not an oval shape. The fact is that the idea was so and was only changed in order to enlarge the area for performance: the arena. 32

“

These buildings were never used for performing literary plays nor political speeches. They were rather for spectacles like gladiators fighting against each other or against animals and for simulation of battles. They were even used for performing naval fights -naumachias-, including the water inside.

“

ROMAN THEATRE

GREEK THEATRE

The roman theater,thus the stage building was normally three stories high in comparison with the two stories of the skene in later Greek theatersno permanent theaters in Rome have survived one other difference between the Greek and roman theaters should be noted. The orchestra in the roman theater for the most part became a seating area because of the virtual disappearance of the chorus from roman drama .

Greek theaters were usually built on the natural slope of a hill, taking advantage of the terrain and acoustics. Seats were often cut into the hillside and the audience looking toward the stage would also catch a glimpse of the valley beyond it. The romans built theaters anywhere, even on flat plains, by raising the whole structure off the ground. As a result, the whole structure was more integrated and entrances/exits could be built into the cavea, as is done in large theaters and sports arenas today.

TEMPLE OF HERCULES The great temple of Hercules (Heracles) was built between 162-166 ad. Larger than any temple in Rome itself, the massive structure faces east and is seen here from the front (northeast corner.) The temple portico is framed by six 33-foot tall columns. The absence of columns on the rest of the structure, has convinced the excavator that the temple was actually left unfinished. A model of the temple is displayed at acor, the American center for oriental research in Amman. 2the temple, described on the previous page, is viewed here from the rear (northwest corner). the temple itself is 31m long by 26m wide; its outer temenos (sacred precinct) measures 122x72 meters

UMAYYAD MOSQUE This view looking north shows the domed entrance (vestibule) to the umayyad governorâ&#x20AC;&#x2122;s palace (8th century) in the background. The dome is a modern reconstruction that gives the building an odd, pace-man-like appearance. The entrance to the vestibule is the large semicircular archway below the dome. In the foreground are the remains of the palace mosque, whose column bases surround an open courtyard. A short section of the mosqueâ&#x20AC;&#x2122;s wall has been re-erected here. 33

BYZANTINE CHURCH the byzantine basilica was constructed in the 5th-6th centuries ad. its nave is flanked by two rows of columns. the photo looks eastwards from the entrance down the length of the nave, towards the partially reconstructed semicircular wall of the apse.

DOME OF THE VESTIBULE the interior of the dome of the umayyad vestibule is shown here. this is a modern recreation; the original dome’s interior would have been painted and plastered, giving a much different appearance

CISTERN this large cistern, located to the right of the vestibule, was the primary water supply to the governor’s palace. at 5m deep and 16m in diameter, it would have held just over 1,000 cubic meters, or approximately 250,000 gallons, of water. the cistern was fed by rainwater through an inlet channel, and could be entered for maintenance by the stairs shown in the photo. a column, whose stump is standing at the bottom of the cistern, measured the water level.

3-3-7-3

Previous interventions /

jica’s intervention e x i s t i n g c o ndition Suggested condition

Any authentic work of art must start an argument between the artist and his audience. Rebecca West

3-3-8 building typologies 3-3-8-1 urban types

3-3-8-2

BUILDING phases

3-3-8-3

from historical to local

FROM HISTORICAL TO LOCAL At the very recent past times , no ruins were being demolished, new extensions gives the old ruin an ability to be an enclosure to live in .

latest middle phase

early phase 37

3-3-8-4

WINDOWS AND DOORS

CIRCULAR AND SEMI-CIRCULAR

Circular and semi-circular arches were used in both doors and windows in the early and middle phases. As a structure this technique would be very useful within the past time when there were no concrete, keystone was the element to hold everything Together.

STRAIGHT OPENINGS

Modernity and importing building adhesives(as concrete) has affected at a whole style. Rough stone straight openings has been the flavor of that time during 1920â&#x20AC;&#x2122;s to 1980â&#x20AC;&#x2122;s

LATE POPULAR STYLE

Finance, low income and fast urban sprawl demanded quick, cheap and dependable techniques as building by concrete blocks, this leaded to the late popular style in openings.

3-3-8-5

BUILDING materials

STONE

plaster

allacabond

3-3-8-6

STRUCTURAL TECHNIQUES

-As any civilization, jabal AL qalaâ&#x20AC;&#x2122;as inhabitants developed there way of building and creating enclosures, affected by economics, traditions, inventions and time, this development has been processed since the beginning of time in Amman.

3-3-9

stairs

STAIRS OF AMMAN the topography of down town amman (the valley and the mountains ) forced that narrow alli and stairs . OCCUPYING MOUNTAINS TOPS 1920-1948 The development characterized Amman after it was declared as the capital ,it also appears that the earthquake was one of the reasons encouraging people to move ,( It was for whom is financially capable )growing more and more of the narrow steps parallel to the contour opposite to the ones before

RESETTLING IN THE VALLEY 1878-1900 That was formed by the natural morphology of the narrow valley along which seil Amman ran ,starting from ras elâ&#x20AC;&#x2122;en seil to seil alzarga along which archaeological monuments were located on the sides of the old roman decumanus .(the valley was located between two mountains ;jabal alqalâ&#x20AC;&#x2122;a and jabal aljofa) The stairs now are a significant part of the urban context of Amman, they are the physical element which act as social interaction points.

stairs as SPATIAL STRUCTURE The stair is forming an edge transition ahead between the street and the building. And leads to another layer, private outdoor spaces like courtyard or other narrow stairs or a nave that can be considered as another transitional area between the stairs and the indoor spaces. By walking through those layers,

SOCIAL ASPECT

SPATIAL FEELING

Stairs are places with rich social activities: they become a public space where children play, greetings, conservations, seeing and hearing. Are connected through private outdoor spaces like gardens and courts, private stairs and roofs which provide easy access in and out ,good staying areas directly in front of stairs, so the activities flow freely outside and inside the buildings. These places developed in connection with the activities, because people are in the same place- meeting passing by one another or merely within the view. Stairs become a source of inspiration: the opportunity to see and hear people and join them. So it is potentially self-reinforcing process.

Walking in the stairs can provide a sense of dynamism, through movement and complex changing levels, {rythem of the place} this rythem is strengthened through the platform after each group of steps, which added another dimension that should be considered while preserving the stairs

3-4

socio-economic analysis 3-4-1 political history of Amman 1858-2012

Through the period from 1921 to 1947 Amman experienced a gradual spatial expansion. Its population was estimated at 10,500 in 1930 and 45,000 in the early 1940s, with the city extending over an area of some 2.5 km2 by 1947 .

In 1921, Emir Abdullah declared Amman the capital of the new state of Trans-Jordan and from that point onwards, the city became the administrative and economic hub of the country. Indeed, it has been observed that the development of the city ‘‘was carried out in parallel with the construction of the state’’.

The original site of the city occupied seven hills or ‘jabals’ around the Wadi ‘Ras el Ain which flows north-east from the plateau toward the River Zarqa basin. The original central part of the city was at an altitude of between 725 and 800 m. Expansion of the city in the past 25 years has resulted in the occupation of some 19 hills in total with an attitudinal extension to 875 m and above.

3-4-2

demographics

3-4-3

educational levels

existing schools High level of education . The majority of people finished high school. Stairs are used by students to go to school .

3-4-4

mental maps

3-4-5

Site impressions

3-4-6

Behavioral patterns

itadel Nights event, which runs through the holy month of Ramadan: A range of activities are offered at the site every night, from live concerts to markets stalls to food and beverages, creating a new attraction for both locals and visitors.

It offers great entertainment and fantastic views of Amman. Each night a different group of authentic oriental musicians performs a live concert, and visitors have the opportunity to taste traditional foods, hear traditional stories told by a ‘hakawati’ (storyteller), relax in a Bedouin tent and stargaze. The hashemite plaza is an old historical place Abbreviating the story and memory of the place. Nowadays its used by residents to spend time with their families.

Residents of “AL Ballad” work at “Souq” - the decorated storefronts with variety of beautiful goods (artifacts, textiles, wood and clay products, fruits and vegetables).

3-4-7

There are several popular cafe In the City Centre of Amman, visited by local and non-local Residents to spend a good time with their friends and families.

Husseini Mosque is the oldest and most known mosque in the City Centre of Amman, the front yard of the mosque is used sometimes by people for selling goods, sit-ins and demonstrations, and as a rest area.

Touristic Resources

abal al-Qal’a is one of Jordan’s cultural-heritage show pieces,it has commanding views of the city centre of Amman. The Citadel is currently visited by some 125,000 persons per year. Visitors spend minimal time at the site, because of the site’s shortcomings: • • • • •

Poorly maintained and operated visitor services No retailing Poorly presented interpretation and museum No restaurant No entertainment

PATH OF TRIPS Tourists visit the Citadel first. When they have finished, there are a set of steps at the end of the road, which lead down to the amphitheater site. Tourists can walk from the Roman theatre to the Citadel . The most significant archaeological sites in the area stairs are important part in their trip .

Path of tourists

There are motels in the area to serve the tourist. They are of the twentieth century buildings

motels in the site

‫‪3-4-8 QUESTIONNAIRE‬‬

‫استبيان ألهالي جبل القلعة‬

‫هذا االستبٌان خاص بالجامعة االردنٌة ( طلبة سنة خامسة ) ‪ ,‬كلٌة الهندسة والتكنولوجٌا ‪ ,‬قسم هندسة العمارة ‪ٌ ,‬هدف دراسة حً‬ ‫جبل القلعة ‪ ,‬منطقة السفح الجنوبً ‪ ,‬من النواحً االجتماعٌة ( التركٌبة االجتماعٌة ‪ ,‬التفاعالت االجتماعٌة ‪ ,‬التوزٌع‬ ‫الدٌموغرافً للسكان ) ‪.‬‬

‫اسم رب العائلة ‪:‬‬ ‫هاتف المنزل ‪( :‬اختٌاري )‬ ‫عدد اقراد العائلة ‪:‬‬ ‫الرجاء وضع دائرة على االجابة ‪.‬‬ ‫كٌف تقٌم الحً كمكان للسكن ‪:‬‬ ‫جٌد‬ ‫جٌد جدا‬ ‫كٌف تقٌم المظهر االجمالً للحً ‪:‬‬ ‫جٌد‬ ‫جٌد جدا‬ ‫منذ متى و انت تسكن فً هذا الحً ‪:‬‬ ‫من ‪ 5-1‬اعوام‬ ‫اقل من عام واحد‬ ‫هل انت ‪:‬‬ ‫مستأجر‬ ‫مالك‬

‫اسم معبئ االستبٌان ‪:‬‬ ‫العنوان ‪:‬‬ ‫المهنة ‪:‬‬

‫‪3-4-9 QUESTIONNAIRE‬‬ ‫سٌئ‬

‫اجابة اخرى ‪:‬‬

‫سٌئ‬

‫اجابة اخرى ‪:‬‬

‫من ‪ 10-5‬اعوام‬

‫من ‪ 20-10‬اعوام‬

‫اكثر من ‪20‬‬

‫مشارك فً عائلة ممتدة‬

‫هذا الجزء عن حً جبل القلعة ‪.‬‬ ‫ما هو اكثر شًء ٌعجبك ب حً القلعة ‪:‬‬ ‫ما هو اكثر شًء ٌزعجك بالحً ‪:‬‬ ‫هل انت و عائلتك مهتمٌن بالمشاركة فً مشروع اعادة تأهٌل حً جبل القلعة عن طرٌق ‪:‬‬ ‫استبدال االضاءة الخارجٌة‬ ‫المشاركة فً تنظٌم الحً‬ ‫المشاركة فً تحضٌر الحً‬

‫هذا الجزء من االسئلة عن مشروع االدراج ‪JICA‬‬

‫‪51‬‬

‫بأي طرٌقة تنتقل لالغراض التالٌة ‪:‬‬ ‫مشٌا على االقدام‬ ‫العمل ‪:‬‬ ‫مشٌا على االقدام‬ ‫التسوق ‪:‬‬ ‫مشٌا على االقدام‬ ‫المنزل ‪:‬‬ ‫مشٌا على االقدام‬ ‫اغراض اخرى ‪:‬‬

‫االدراج‬ ‫االدراج‬ ‫االدراج‬ ‫االدراج‬

‫ما هو برأٌك افضل استخدام لحً جبل القلعة ‪:‬‬ ‫ثقافً‬ ‫سٌاحً‬

‫اجتماعً‬

‫سٌارتك‬ ‫سٌارتك‬ ‫سٌارتك‬ ‫سٌارتك‬

‫اجابة اخرى ‪:‬‬

‫وسائل النقل‬ ‫وسائل النقل‬ ‫وسائل النقل‬ ‫وسائل النقل‬

QUESTIONNAIRE results 50% of the people who lived there are tenants 87% of the people there believe that the most important thing its archaeological nature 80 % of the people face waste problem and noise pollution 46% of the people are ready to re-organize the area 80% of the people use the stairs when they go to work 57% of the people use the stairs when they go shopping 62% of the people use their cars when they go home 46% of the people use their cars for other purposes 98% of the people believe that the best use of the project in tourism

“‘‘When you look at a city, it’s like reading the hopes, aspirations and pride of everyone who built it.’’”

3-5 site precepts

3-5

Site analysis precepts topography 3-5-1 Our site is located on the cliff of jabal alqalâ&#x20AC;&#x2122;a, where the topography is one onf the major constrains . As dealing with slope 48% it must address zoning and new structural techniques in order to maximize the use of the volume.

High slope controls the horizontal expansion Vertical expansion could be efficient to create the horizontal space

3-5-2

materiality

The choice of materials may often be determined by their resistance to change or by heir known characteristics over time. Both typology and functionalism have their roots in the use aspects of the building. Both say nothing about appearance even though style may eventually become a distinguishing aspect of each theory. Despite their common root, the two design theories lead to opposite results: typology favors continuity,functionalism is more likely to lead to innovation,

3-5-3

views

he main potential in the site of jabal alqalâ&#x20AC;&#x2122;a site, are the views and the ability to percept site main land marks. The potential to develop more design possibilities transparency and non-transparent facades has to follow vistas .

from the existing building

from the view point ( alMatal)

3-5-4

connectivity

Our site is located between two major architectural archeology site in Amman, addressing that the relationship between the two historical sites are least connected when it is now considered two different districts “Jabal alqal’a” and “roman amphitheater”.

Revitalizing In many ways, healthy downtowns represent healthy communities. With revitalization, downtown areas can once again serve prominent and important roles within their communities. Communities should consider revitalizing their downtowns for a number of important reasons: •Improves Image. Downtown’s appearance is the first impression a community offers to visitors. •Makes Use of Existing Buildings. Reusing properties can help communities manage growth. •Develops Community. Because downtowns have been a traditional focal point in most communities, they are a source of identity to most local residents. •Provides Residents with Retail and Services. In many rural places, Main Street offers a diversity of retail stores, financial institutions, public agencies and local government offices, historic areas, and cultural and educational institutions. This diversity provides long-term strength to downtown. •Downtown is an employment center. Downtowns are still a major source of local employment. This provides the potential for a regular and continuing user base for functions located in downtowns. •Expands the Tax Base. Successful downtowns generate local revenues to pay for community services. 56

3-5-5

changability

MAYBE change is about Modifying ,transforming , organization , maintain or improving their effectiveness, ambitious environment Relativism, pragmatism The most responsive to change is the most intelligent and strongest Change is all about survival Change is related to socio-economic cultural and political advancement into new emergent technologies and sustainability of the context. The earlier need to change is recognized the greater the numbers of options for successful implementation

3-5-6

conclusion maps

3-5-7

existing buildings

chapter

4-1 4-2 4-3 4-4 4-5 4-6 4-7

breif about cases perot museum of nature and science relink the texture with public space national library of israel green incubator plassen cultural center a.m. qattan foundation bulding

chapter 4 casestudies 4-1 brief contextual analysis due to the massive importance of al qalâ&#x20AC;&#x2122;a to our design, as a context. we decided this criteria is vital; studying a precedent of similar socio-cultural & natural-physical environments.

technical analysis to learn about creating structures and using processes that are environmentally responsible and resource-efficient throughout a buildingâ&#x20AC;&#x2122;s life-cycle from sitting to design, construction, operation, maintenance, renovation and deconstruction

formal analysis this is usually done to either trace design process of form or identify a certain relation between elements at a certain time. as form is a configuration of elements, governed by relations & principles.

conceptual analysis this criteria addresses the theoretical construct of a project; a statement of an ideal set of relations between context, program, form, theory & technology.

functional analysis this criteria addresses the kind of activity & necessary space, the activity proper & support to a user, thing or institution, the activity ritual & finally the activity meaning; providing an understanding of the pragmatics of our design project.

PEROT MUSEUM OF NATURE AND SCIENCE RELINK THE TEXTURE WITH PUBLIC SPACE NATIONAL LIBRARY OF ISRAEL GREEN INCUBATOR PLASSEN CULTURAL CENTER

A.M. QATTAN FOUNDATION BULDING

4-2 PEROT MUSEUM OF NATURE AND SCIENCE - MORPHOSIS ARCHITECTS

4-2-1 abstract profile LOCATION CLIENT AREA PROGRAM

TYPE DESIGN

Dallas, Texas, USA museum of nature and science 19020.2 SQ M galleries, Theater, Café, Store, Education, Office cultural morphosis architects

Brief Museums, armatures for collective societal experience and cultural expression, present new ways of interpreting the world. They contain knowledge, preserve information and transmit ideas; they stimulate curiosity, raise awareness and create opportunities for exchange. The new Perot museum of nature & science in victory park will create a distinct identity for the museum, enhance the institution’s prominence in Dallas and enrich the city’s evolving cultural fabric. Designed to engage a broad audience, invigorate young minds, and inspire wonder and curiosity in the daily lives of its visitors, the museum will cultivate a memorable experience that will persist in the minds of its visitors and that will ultimately broaden individuals’ and society’s understanding of nature and science

4-2-2 context museums, armatures for collective societal experience and cultural expression, present new ways of interpreting the world. they contain knowledge, preserve information and transmit ideas; they stimulate curiosity, the immersive experience of nature within the city begins with the visitor’s approach to the museum, which leads through two native texas ecologies: a forest of large native canopy trees and a terrace of native desert xeriscaping. the xeriscaped terrace gently slopes up to connect with the museum’s iconic stone roof. the overall building mass is conceived as a large cube floating over the site’s landscaped plinth. an acre of undulating roofscape comprised of rock and native drought-resistant grasses reflects dallas’s indigenous geology and demonstrates a living system that will evolve naturally over time. enhance the institution’s prominence in dallas and enrich the city’s evolving cultural fabric. raise awareness and create opportunities for exchange. the new perot museum of nature & science in victory park will create a distinct identity for the museum, enhance the institution’s prominence in dallas and enrich the city’s evolving cultural fabric. designed to engage a broad audience, invigorate young minds, and inspire wonder and curiosity in the daily lives of its visitors, the museum will cultivate a memorable experience that will persist in the minds of its visitors and that will ultimately broaden individuals’ and society’s understanding of nature and science

figure-ground study of the site’s relationship to the greater downtown dallas area context. the site is located in a highly-visible part of downtown and at the nexus of several types of transportation routes.

the team performed several urban diagramming exercises bto better understand the pmns’s relationship to recreational, transportation,and civic improvements in thedowntown area.

the team performed several urban diagramming exercises bto better understand the pmns’s relationship to recreational, transportation,and civic improvements in thedowntown area. 64

4-2-3 concept museums, armatures for collective societal experience and cultural expression, present new ways of interpreting the world. they contain knowledge, preserve information and transmit ideas; they stimulate curiosity, the immersive experience of nature within the city begins with the visitor’s approach to the museum, which leads through two native texas ecologies: a forest of large native canopy trees and a terrace of native desert xeriscaping. the xeriscaped terrace gently slopes up to connect with the museum’s iconic stone roof. the overall building mass is conceived as a large cube floating over the site’s landscaped plinth. an acre of undulating roofscape comprised of rock and native drought-resistant grasses reflects dallas’s indigenous geology and demonstrates a living system that will evolve naturally over time. enhance the institution’s prominence in dallas and enrich the city’s evolving cultural fabric. raise awareness and create opportunities for exchange. the new perot museum of nature & science in victory park will create a distinct identity for the museum, enhance the institution’s prominence in dallas and enrich the city’s evolving cultural fabric. designed to engage a broad audience, invigorate young minds, and inspire wonder and curiosity in the daily lives of its visitors, the museum will cultivate a memorable experience that will persist in the minds of its visitors and that will ultimately broaden individuals’ and society’s understanding of nature and science

the site planting concept illustrates an abstracted cross-section of major texas ecologies. each unique set of plant species is placed in a different microclimate created by the building and sitework‘s relationship to the urban environmental systems cross section of greenroof plinth showing progression of planting from upland prairie to the higher elevation desert rock cap plantings.

4-2-4 form the project’s outdoor plaza spaces are conceived of as a series of tectonic platforms that appear to heave out of the ground and envelop the museum’s cube form. the site’s dynamic design, contrasts with the right angles of the cube overhead, and plays an equal role in visually promoting this attraction that will be showcased to prospective visitors. at the local level, the view of this “green plinth” from the freeway and the adjacent city streets will alert motorists and pedestrians to the presence of a compelling new development. the site platforms are meant to function as flexible event and exhibit space accommodating gatherings of various sizes throughout the day. the landscape architect brings the project’s spirit of learning about the natural world to the project’s planting and hardscape design concept by making a visible, sustainable, expression of plant life and minerals

the immersive experience of nature within the city begins with the visitor’s approach to the museum, which leads through two native texas ecologies: a forest of large native canopy trees and a terrace of native desert xeriscaping. the xeriscaped terrace gently slopes up to connect with the museum’s iconic stone roof.

it’s the main circulator towards the vertical phenomenal galleries and of the technical structure it holds and balance the whole cube by transferring the main load to ground

the overall building mass is conceived as a large cube floating over the site’s landscaped plinth. an acre of undulating roofscape comprised of rock and native drought-resistant grasses reflects dallas’s indigenous geology and demonstrates a living system that will evolve naturally over time. simple cube-shaped building with an interior core designed by the principles of the “sponge concept”

and a sculptural façade created by a steel screen fluctuates in its offset from the cube.

4-2-5 fUnCTION

perspectival view of expansive outdoor plaza space formed by the intersection of the greenroof landscape plinth and the 10- story cube form. this view illustrates the relationship of the rain-tube fountain and shallow stream to the museum’s main entrance.

Moving from the compressed space of the entry, a visitor’s gaze is drawn upward through the soaring open volume of the skylit atrium, the building’s primary lightfilled circulation space, which houses the building’s stairs, escalators and elevators.

4-2-6 technical STRUCTURAL SYSTEMS

conventional steel post & beam system in the main cube downward the basement floor

the plinth construction used the steel beams carried on the partitions in the under floor level

The exposed structure

FAÇADE TREATMENTS the perot museum of nature and science in dallas—is examined in detail to show how its precast concrete panels can contribute to design excellence, including sustainability, high performance, efficient construction, and advantages for occupant health and safety. examples of the benefits of precast concrete include durability, low maintenance costs, good life-cycle performance, high thermal mass, acoustical isolation, and resistance to air infiltration and weather. choice of cements, aggregates, coloration, and other additives for both performance and aesthetic characteristics is an important part of developing any architectural solution. general guidelines are presented for determining the concrete mix, with attention to the specifications for the new museum. in many projects utilizing precast, as was the case at the perot museum in dallas, an important attribute of a precast panel mix is to minimize panel or unit weight without compromising the durability and sustainability of the cladding. the resulting mix may be compared to ordinary portland cement concrete to determine weight and material savings. this simple consideration will impact the building’s green attributes, construction cost, and other variables. the use of pigmentation is isolated to an exterior portion and sandwiched against the uncolored grey cement, which typically comprises the interior. integral color affords some advantages in design expression.

the building is a testament to recent advances in 3d modeling. to create the unique concrete panels, several different rubber molds were used, which could be moved around to make different patterns. the standardized,

unique façade treatment where the flow of water is always down in order to maximize the benefit of water harvest during rainy days , and gathered in cisterns

more bumps façade details on the southern part to decrease the solar heat and to be used as ‘sun breakers”

less bumps on the northern façade to increase solar heat

SUSTAINABLITY in the reality of the ecological crisis that threatens the world, the museum building is a flagship of innovation, utilizing ecological building principles and adapting to the climate. much thought has been given to this while planning. in choosing materials & construction installation techniques. perot museum will consider local material sourcing & aim to minimize transportation.

building materials without a high thermal insulation value, such concrete, was used in unconventional ways by assimilating heat insulating materials into them to optimize the climactic conditions. the building is located on 4.7 acres of former brownfield, and it’s aiming for three environmental certifications — leed, sustainable sites initiative and green globes. leds are used throughout the building, as well as natural daylighting, to reduce energy costs. learning labs, located on the building’s lower level, have light wells, which enable the rooms to be partially lit by natural light.

one of the most interesting features of the building is the roof — instead of a traditional green roof, the perot museum features a hardscape of stones and drought-tolerant plants that are meant to reflect the texas ecology. the roof also features solar thermal (hot water) panels, and a rainwater collection system will store up to 50,000 gallons of water to be used for irrigation. dallas-based firm talley associates served as the project’s landscape architect, and the firm planted more than 60 different types of trees, grasses and shrubs on the grounds surrounding the new building.

skylight

WATER DRAINAGE rainwater for irrigation and building system function is captured through parking lot bioswales, a gravity-fed waterfall, and an interactive rain tube feature. all of theseelements empty underground into two cisterns with a 50,000 gallon total capacity.

4-3 RELINK THE TEXTURE WITH PUBLIC SPACE STEFANO ENG. NASINI, DOMENICO ENG. CONTI 4-3-1 abstract profile urban regeneration of â&#x20AC;&#x153;piazzale azzolinoâ&#x20AC;? in the historic center of fermo europe - italy - ancona discipline categories designer

architecture,urban design housing, office, mixed use, stefano eng. nasini, domenico eng. conti

4-3-2 context fermo is one of the most beautiful and peculiar city of marche, especially for its historic center. the town developed along the steep slope of the hill, where the cathedral, built on the peak, dominates and overlooks the surrounding landscape. the project inserts a new mixed use building (public spaces, retail, office, housing, parking) in a precise place of the north side of the slope; it is the new attractive center between the central old public space and the recent development outside the ancient town.

the project is a well-structured and dense layout of open public spaces and built volumes. the public space is the main topic of the composition; it is a system of squares, different for shape and position, linked by systems of staircases. the buildings are the basics of the whole project; they are the background for the public space, so the open space is improved. the project wants to create a new image for the entire city and, at the same time, to tell the dynamic urban landscape, without forgetting the typical, formal, material and structural characteristic of the historic center. in this way the project is both well integrated with the dense and peculiar texture of the ancient town and able to confront itself with the requirement of a contemporary city.Â

the project is not just a path between the new and the old town; it wants to relink the urban texture and turn this current anonymous place into a great square; for meeting and for staying. the building changes and redraws the topography of the slope.

4-3-2 FUNCTION

CONNECTIVITY PLAN

the retail, the public functions and the public spaces have a continuous and horizontal way; the residential blocks and the staircases have a vertical and punctual way to link themselves with the built up context.

THE PRAGMATIC FUNCTION WAS USED IN ORDER TO CREATE A SIMPLE LAYERING TECHNIQUES , BOLDNESS OF MASSES AS A CONTEXTUAL APPROACH AS A CUBES, THE CONCENTRATION WAS ON THE PUBLIC OPEN SPACES IN A CONTEXT THAT HAVE HIGH DENSITY OF BUILDING RESEDENTIAL

OFFICES COMMERCIAL PARKING

4-3-3 TECHNICAL the project wants to create a new image for the entire city and, at the same time, to tell the dynamic urban landscape, without forgetting the typical, formal, material and structural characteristic of the historic center. in this way the project is both well integrated with the dense and peculiar texture of the ancient town and able to confront itself with the requirement of a contemporary city

4-4 NATIONAL LIBRARY OF ISRAEL - ODA ARCHITECTURE 4-4-1 abstract profile location program

type design

brief israel exhibitions, conference, reading halls, auditorium educational oda architecture

the proposal for the national library of israel by oda takes on special significance as a site where past, present, and future converge. unlike traditional libraries, often closed fortresses of knowledge, the new library is organized around a variety of platforms of activity that enhance interaction between the users, enabling the library to become a forum for cross-disciplinary conversations.

4-4-2 concept the library underscores the idea that education and learning are the bedrock of democracy.

Through the form of a floating monolith that visually connects to the foundations of Parliament, the library underscores the idea that education and learning are the bedrock of democracy.

The mountain is excavated to reveal a dynamic hub of programming within the cavern.

Stepping into the excavated space of the mountain

4-4-3 form the pure form of an horizontal monolith containing the traditional functions of a library sits on top of a mountain, excavated to reveal dense layers of activity. the monolith expresses modernity and progression, taking on an iconic character, whereas the excavation below refers to jewish tradition anchored to jerusalem sone

a vast void is captured between the monolith and the mountain. the cavern becomes the central gathering space, featuring multilevel activity and panoramic views.

a continuous landscape wraps around the building, onto the roof. accessible to the public, the landscape enhances the buidingâ&#x20AC;&#x2122;s sense of openness and permeability.

the monolith defines a shelter under its large shadow. physically, it protects from the climate acting as a canopy. symbolically, it hosts a diverse array of cultures associated with israelâ&#x20AC;&#x2122;s history.

4-4-4 FUNCTION over 7000 square meters of open space. This vast volume is broken into smaller areas that create a sense of micro-urbanity, encouraging interaction between users and researchers from different fields. Organized across multiple gradients of light, sound, and security, the reading areas accommodate a range of study typologies, from most quiet to most social.

Visitors discover a mix of events including permanent and temporary exhibitions

The public plaza located directly opposite the Parliament building marks the beginning of a journey of learning.

The sloped landscape acts as aÂ natural amphitheater

4-5 GREEN INCUBATOR - PLUS THREE ARCHITECTURE 4-5-1 abstract profile location area program type design

brief south shields, uk 3,085 sqm workshops, offices business center plus three architecture

one trinity green is a new, high-tech business centre for smes in the renewables sector. forming phase 1 of the trinity south development in south shields, the scheme redevelops and regenerates a brownfield site formerly occupied by an electronics factory which was one of the major employers in the town. the green incubator will house 41 units comprising a mix of light industrial units and office space to serve aspiring entrepreneurs and smes. typical users will include start-up businesses, high-growth smes operating in the low carbon and environmental industries and other smes in strategic knowledge economy sectors.

4-5-2 concept the design concept seeks to address the social issues of multi-occupancy buildings by creating a clustered arrangement of studios and hybrid units and through the celebration of circulation space as a social amenity and interaction space. green strategy the design team embraced breeam as a fundamental of the design. this proactive approach resulted in the ‘outstanding’ rating achieved. all of the breeam points that could feasibly be achieved were targeted – most of the ‘lost’ points were out of the control of the design team, as they resulted from factors such as the location of the site. reducing the heating and cooling loads with highly insulated materials and glazing with a low shading co-efficient, and maximising the use of natural ventilation, minimises the energy used for space heating and cooling. use of photovoltaics and solar pre-heating of domestic hot water allowed the 20% renewable energy target set by south tyneside council to be achieved.

4-5-3 formal a three-storey office designed as three interconnected wings around a central circulation area, the green incubator can accommodate a number of work styles – from open-plan, call centre type layouts to more cellular-based arrangements – and provide excellent opportunities for exciting shared break-out spaces.

4-5-4 function

4-5-5 TECHNICAL

building services heating is provided by highly efficient gas fired condensing boilers, with radiators for offices and under-floor heating for the winter garden. heat loads are minimised with fabric u-values that are 20% better than building regulation maximums. - a rainwater harvesting system utilises rain water from the roof for toilet flushing. - solar water heating preheats domestic hot water. - roof mounted photovoltaic panels provide electricity. - the building is naturally ventilated with cooling only provided for communications room. - a winter garden and chimney utilises natural ventilation and allows night time cooling. - solar gains are minimised by reflective glazing with a low shading co-efficient. - lighting is controlled by presence detection and daylight sensing, which minimises the use of artificial lighting.

photovoltaics (pv) is a method of generating electrical power by converting solar radiation into direct current electricity using semiconductors that exhibit the photovoltaic effect. photovoltaic power generation employs solar panels composed of a number of solar cells containing a photovoltaic material.

materials presently used for photovoltaics include monocrystalline silicon, polycrystalline silicon, amorphous silicon, cadmium telluride, andcopper indium gallium selenide/sulfide. due to the growing demand for renewable energy sources, the manufacturing of solar cells and photovoltaic arrays has advanced considerably in recent years 80

HIGH-PERFORMANCE WINDOWS the amount of heat loss in a typical home through windows and doors is about 20% of the total heat loss. in order to reduce this heat loss and achieve the best thermal effectiveness, the use of high-performance windows is essential. these windows all share the following attributes: insulated frames, multiple glazing layers, low-e coatings, gas fills, and warm-edge spacers.

the traditional role of the glazing has been as a “climate moderator,” an element of the façade that mediates between the changing outdoor conditions and the relatively constant desired indoor conditions, filtering and modifying energy flows. using the technology described above, the next few years should see continued advances in efforts to use the façade to directly become an energy and service provider to the building, a source of heat, light, and “onsite electric power.

4-6 PLASSEN CULTURAL CENTER - 3XN ARCHITECTS

4-6-1 abstract profile location year client area program type design

molde, norwayproject 2012 molde kulturbyg ab 5,800 sqm theatre, concert hall, café, gallery, library cultural 3xn architects

brief the norwegian city of molde has just 25,000 inhabitants, but every july the biggest stars of jazz and about 100,000 jazz enthusiasts flock to the town’s world famous international jazz festival. in designing the city’s new cultural center, the challenge faced by 3xn was to create a building that was flexible and robust enough to provide a framework for cultural life on both scales. “there must be room for celebration in this building, both inside, on top of it and around it. and it must be able to withstand being invaded by happy people throughout the year – year after yearâ€ , says head of competition and partner of 3xn, jan am

4-6-2 CONTEXT located in the city center and overlooking both the fjord and the, mountains the plassen cultural center is an obvious meeting point. with an optimal use of every square meter, 3xn has created a building that can function both when a hundred and 100,000 people gather for concerts, festivals or theater.

FJORD

4-6-3 FORMAL the architectural solution is a structure where almost all surfaces and spaces have more than one function. together with the buildings roof, an existing staircase next to the building constitute a total of three outdoor amphitheatres that collectively accommodate several thousand spectators.

MOUNTAINS

PLASSEN CONTEXT, URBAN CONTEXT plassen is a compact and chaste construction

plassen’ (meaning the square or the space in norwegian) is formed like a giant paper cutting. the building literally grabs the city square, gorvellplassen. it cuts and folds the surface, resulting in a building where the inside and the outside, the surface and the roof, merges into one. this compact and well-functioning structure with its highly usable and easy accessible areas maintains the public space of gorvellplassen, and even enhances the flexibility of the square. a box within a box

4-6-4 FORMAL

the external staircase adjoins the northern wall of the building, linking the neighboring market square with a roof terrace that accommodates a sunbathing lounge, an exhibition area and a sculpture garden. the entrance to the three-storey building is positioned at the foot of the stairs, and leads into a concert hall through a triple-height atrium. there must be room for celebration in this building, both inside, on top of it and around it it must be able to withstand being invaded by happy people throughout the year, year after year.

4-6-5 TECHNICAL plassen is a compact and chaste construction, but by giving the shape a number of breaches, we have created a diversity in its expression, which means that it is flexible and roomy, without seeming very big” explains jan ammundsen, who has emphasized that the building of nearly 6000 m2 and three floors should adapt to the relatively small properties located around it.

the same bright granite is used on all exterior surfaces and gives the building a bright monochrome expression that in the evening is contrasted by a warm red light coming from the heart of the building the concert hall – around which other features, such as a library, cafe, exhibition space and performance areas are distributed. the warm color scheme of the interior combined with the solid hardwood floors and plenty of natural light result in a friendly and informal environment, which together with the many entrances make the building seem inviting and accessible to al

the windows of the building can be described as wide horizontal openings allowing plenty the daylight, and providing a splendid view from within as well as from the outside. 84

4-7 A.M. QATTAN FOUNDATION BULDING - DONAIRE ARQUITECTOS 4-5-1 abstract

profile

brief

location program

client area type design

ramallah, palestine art gallery, residence, library, workshop a.m. qattan foundation 4,372 sqm2 cultural

the proposal for the quattan foundation is perceived as a lighthouse bringing enlightenment to the palestinian people. this role as flagship of palestinian culture is in need for a recognizable image worthy to represent its social leadership with a physical landmark.

donaire arquitectos

4-7-2 CONTEXT

we imagine this landmark as a light up the mountain, seen from everywhere and although modern and contemporary in its form, it is built from the palestinian very earth and stone. the future building will target an international audience with a contemporary language, but what it will deliver is the local vernacular and very particular qualities. as a building bound to the ground, it is designed to be in harmony with its physical setting, while taking advantage of the siteÂ´s features. the main body is conceived as a stone plinth carved in terraces out of the natural soil, enhancing the interior-exterior relation through the use of lattices and natural stone permeable screenings. this innovative and contemporary use of the local stone will be used to clad entirely a tall transparent volume seating on top of the plinth. this volume will therefore perform like a lighthouse, a glittering landmark on top of the hill.

4-7-3 FUNCTION the distribution of uses is based on a suitable relation between public and private uses. most public spaces and common facilities (art gallery, residence and parking lot) are located within the plinth, whereas the rest (library, multipurpose space, storage/workshop space and book cafe) are located where the tower meets the plinth. the tower will house those uses in need for privacy and certain security, like the general management, qcerd and cap, all conceived as open plan working spaces with enclosed private office spaces. in order to supply the building with no disruption to its normal functioning, an independent loading bay will be arranged at the multipurpose hall level from a private lane perpendicular to the main street.

4-7-2 FUNCTION

4-7-3 technical

in the sustainability side we are proposing some simple yet very effective mechanisms, most of them already used by vernacular architecture long before the air conditioned entered the scene. like ancient palestinian used the materials they could find where they lived, we propose to use locally sourced limestone and ceramic tiles, saving not only budget, but also improving the overall carbon footprint and providing durable and low maintenance materials.

in order to save energy we employ every possible way to introduce natural light into the building, like courtyards, big openings and a light well or atria in the tower. similarly we arrange a section which allows cross ventilation through the courtyards and the central atria in the tower, as well as propose to install pv panels on the technical floor at the towerÂ´s roof. as for the solar protection we have mentioned before the stone screening which will shade the towerÂ´s glass surfaces, in addition to the deep cantilevers shading the wide openings we have proposed for the plinth.

4-7

casestudies conclusions

A PEOPLE WITHOUT THE KNOWLEDGE OF THEIR PAST HISTORY, ORIGIN AND CULTURE IS LIKE A TREE WITHOUT ROOTS.

‘‘

chapter

5-1 5-2

organizational chart areas, funcions and preformance

chapter 5 program 5-1 organaizational chart ORGANIZATIONAL CHART ATELIER RECEPTION AREA

ADMINISTRATION

PUBLIC DEPARTMENT

THEATRE DEPARTMENT

EXHIBITION SPACES

WORK & TRAINING

EDUCATIONAL DEPARTMENT

APARTMENTS

SERVICES

RECEPTION HALL

RECEPTION DESK

CAFETERIA

MAIN THEATRE

LOUNGE

WORK SHOPS

LIBRARY

SINGLE ROOM

LOBBY

TICKET OFFICE

DIRECTOR OFFICE

CAFÉ

STUDIO THEATRE

EXHIBITIO N ROOM

REST & SHOWERS

STUDY ROOMS

DOUBLE ROOM

TECHN. ROOMS

INFO. DESK

SECRETARY OFFICE

SHOPS & BOUTIQUES

WORK SHOPS

LECTURE ROOMS

SWEETS

STORAGE

INFO. DESK

ADMINISTRATOR OFFICE

BUSINESS CENTER

STAFF REST

AUDIOVISUAL SERVICE

LOBBY

WASTE STORAGE

TICKET OFFICE

MEETING ROOMS

PRESS ROOM

OFFICES

RECEPTION DESK

KITCHEN

SECURITY ROOM

ARCHIVE

PARKING

1830

TECHNOLOGY SUPPORT

USER

M²/ USERS

ROOMS

M²

AREA

LOBBY

100

TECHNICAL ROOMS MECHANICAL ROOMS ELECTRICAL ROOM

25 20

75 20

STORAGE

100

WASTE STORAGE

KITCHEN

LOADING DOCK

DOCK OFFICE

COMPACTOR,

OPERATION OFFICE STAFF ROOM LOCKER, RESTROOMS

ELECTRICAL SYSTEMS

RECYCLING MAIN SECURITY OFFICE

NET AREA

WASTE STORAGE

LOCKERS REST ROOM

256 633

GROSS AREA

3798

LOADING DOCK

TECHNO. SUPPORT

STORAGE

STAFF ROOM

KITCHEN

3,165

GROSS RATIO (20%)

TECHNICAL ROOM

COMPACTOR RESYCLING

DOCK OFFICE

WORK SHOP

LOBBY ARCHIVE MAIN SECURITY

OPERATION

6-1 6-1-1 6-1-2 6-2 6-3 6-3-1 6-3-2 6-3-3 6-3-4 6-4 6-5

chapter

From Techne to Praxis termenology relationships How to TECHNE? Methodology Concept statement Conclusion Statement Amman atelier Why Atelier? Engaging into zoning Formal language

chapter 6 Conceptual scenario

6-1 From

Techne

Praxis

6-1-1 Terminology Artisan is directly about pure applying of Aristotle definitions of “Elements of factual knowledge”, Theory and practice, and practical reasoning, which are mainly categorized into a series of terminologies,

Episteme The factual knowledge, which architects would gain from the natural sciences for work. As distinguished from techne, is etymologically derived from the Ancient Greek word ἐπιστήμη for knowledge or science, which comes from the verb ἐπίσταμαι, “to

know”.

In Plato’s terminology episteme means knowledge, as in “justified true belief”, in contrast to doxa, common belief or opinion. The word epistemology, meaning the study of knowledge, is derived from episteme

Techne Greek τέχνη (Ancient Greek: [tékʰnɛː]) is a Greek term that is often translated as craftsmanship, craft, or art. Techne resembles epistēmē in the implication of knowledge of principles, although techne differs in that its intent is making or doing as opposed to disinterested understanding

Phronēsis (Greek: φρόνησις) is an Ancient Greek word for wisdom or intelligence which is a common topic of discussion in philosophy. In Aristotelian Ethics, for example in the Nicomachean Ethics it is distinguished from other words for wisdom and intellectual virtues – such as episteme and techne – as the virtue of practical thought. For this reason, when it is not simply translated by words meaning wisdom or intelligence, it is often translated as “practical wisdom”, and sometimes (more traditionally) as “prudence”, from Latin prudentia

102

Poïesis (Ancient Greek: ποίησις) is etymologically derived from the ancient term ποιέω, which means

make”.

“to

This word, the root of our modern poetry”, was first a verb, an action that transforms and continues the world. Neither technical production nor creation in the romantic sense, poïetic work reconciles thought with matter and time, and person with the world. Martin Heidegger refers to it as a ‘bringing-forth’, using this term in its widest sense. He explained poiesis as the blooming of the blossom, the coming-out of a butterfly from a cocoon, the plummeting of a waterfall when the snow begins to melt. The last two analogies underline Heidegger’s example of a threshold occasion: a moment of ecstasis when something moves away from its standing as one thing to become another.

Praxis is practice in the sense of simply doing something, either in the present or regularly. Praxis does not include rehearsal or training, for which the “real” action in question will happen in the future. For example, if musicians play a certain kind of music regularly, that is their praxis; if they rehearse for a performance or to improve their skill, that is the other sense of practice. Praxis can also mean application - the putting of theory into practice

Aristotle

defines techne in the following manner

Since building is an art [techne] and is essentially a reasoned productive state, and since there is no art that is not a state of this kind, and no state of this kind that is not an art, it follows that art is the same as a productive state that is truly reasoned. Every art is concerned with bringing something into being, and the practice of an art is the study of how to bring into being something that is capable either of being or of not being ... For it is not with things that are or come to be of necessity that art is concerned [this is the domain of episteme] nor with natural objects (because these have their origin in themselves) ... Art â&#x20AC;Ś operate in the sphere of the variable.

In Aristotle terminology, the whole work is based on poiesis and praxis Praxis is acting and behavior, and Poiesis is making , manufacturing and producing, Poiesis is the skillful craft knowledge of techne, but Praxis is based on knowledge of another category which is called â&#x20AC;&#x153;Phronesisâ&#x20AC;?, which is directive true behavior based on reasons in the sphere of what is good and bad for man.

6-1-2 Relationships Techne

is considered to be the highest prior element in the whole praxis process, however it cannot work alone, and needs episteme as a motivator to implement ans supply the other skills.

Episteme

supplies Techne, Poiesis and Phronesis by knowledge. Both Poiesis and Phronesis are involved in a direct relationship with Techne in an interchangeable way

Praxis

interchange with Techne directly, Techne works with both Phronesis and Poiesis to support Praxis

Episteme

might develop, that refers to the feedback that results from developing Praxis along the Techne - Praxis process Poiesis and Phronesis are not directly connected, but working together to provide Praxis

Praxis

has nothing to do with Episteme directly, that due to the lack of other skills that translate Episteme in a way that Praxis can deal with 103

6-2 Here, one might ask:

How to

TECHNE

What is design ?

Methodology

What are the tools of design?

In terms of TECHNE Design is linking a countless pieces of info from different disciplines without loosing the sight of the project as a whole Design is about :

Devotion to theoretical basis and development (Episteme/ Techne)

Describing “1” by detailing. (Phronesis/ Poieses/ Praxis)

To output original work, dominate and control standards, one should not let standards control work. Standards neglect cultural, artistic and historical aspects, reducing architectural design to something purely technical. Artisan worker may invent genuine standards by their very phronesis and praxis.

Both classical and current architectural theories discuss the role of criteria, examples and results of design work, but constrained by tools and cultural design techniques

Avoid undergoing the “scientific approach to design” which Kucker mentioned “Cutting the dimensions of design down to something comprehensible on the basis of a rational planning process is bound to fail, as designing is an artistic act, and this is the so called scientific approach to design.”

One shouldn’t make oneself the slave of one tool only, that is why I always work with paper drawings from the drawing board with sketches and with models at the same time.” Alvaro Siza.

104

6-3

Conceptual approach

6-3-1 Conclusion Due to the resultants of the preceded factors, precepts and terms, the project now, is about to support and rehabilitate the means of loyalty and man-depending outputs, handicrafts and that outdated but high quality methods of production, which has been fought by machines within the last few decades

6-3-2 Statement Summarizing the whole intended design process would be expressed by :

“

RESURRECTION OF WHAT’S AUTHENTIC

This would be illustrated as revival of the spirits of authentic values of what production is, as it’s about artisan and not mass produced, natural and not artificial and produced in the means of ethics not prophet.

Since ATELIER, ARTISAN and AUTHENTICITY are well defined now, it’s worthy now to ask: What is Amman Atelier, Why Atelier, and How to Amman Atelier?

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Amman Atelier

Amman Atelier is intended to be a public mixed use community centre, in a special spirits of a workshop for decorative works, visual arts atelier and graphic design training centre. Amman Atelier aims to revitalize how heart, mind and hand all works together once. This would reduce how machine is deducting the means of independent output work of man, and rehabilitate craftsmen abilities to create their own work. This also benefits tourism flow by making it available to exhibit the works to the tourists and pass-byres to buy artifacts that attract them.

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Why Atelier?

As Atelier has been defined previously as a workshop of an artist in the fine or decorative arts, it can be generalized as a workshop to train and output artisans that would be able to execute artifact works, the desired artifacts are meant to be the ones that tend to extinct rapidly as machine dominate production process. That should affect positively in Preserving the means of loyalty and faithfulness when craftsmen create their own work. Keep the spirit of sweat and blood in work alive Provide a contemporary _ old type of career.

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how Atelier?

When noticing how media, new graphics and visual works at worldwide tends recently to adapt how the near past was abstract and nice in the output, but with engaging the man world revolution in technology, so as the outputs might say: oh due to that technology, we can be more complicated, we can be more sophisticated, w can be more fancy but we donâ&#x20AC;&#x2122;t have to be, we are ok at the way we are; nice, simple and smart. Rising nostalgic feelings when viewed, the feelings of legacy

Clearly by adapting the concept statement as is, the design process is about to intend revival of outdated authentic techniques of handicrafts and visual art works, sculpting, drawing, draughtsman work, arabesque and wooden works, sheet metal works, calligraphy and so on. This, of course should consider the being of new technologies and ways of outputting those mentioned works. Techne-Praxis process is the legacy that must be adapted from the past to be executed on the present to feel how present is authentic in the future

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Engaging into zoning

6-4-1 Techne-praxis process The project is about to benefit several categories to develop it’s goals, these categories are summarized by: CATEGORY

TERMINLOGY

SPACES INVOLVED

Production

Praxis

Workshops \ Execution workshops

Commerce

Praxis

Housing \ Exhibition \ Shops

Applied education

Poiesis\ Techne

Training workshops \ Training studios

Community

Praxis\ Episteme\ Phronesis

Theatre \ Exhibition

Education

Techne\ Episteme

Lecture rooms \ Library \ Study rooms

History

Episteme\ Poiesis

Exhibition

6-4-2 Space-terminology overlap The very last section above, has introduced relationships between terminologies and spaces as in a row way, should be developed by taking

TERMINOLOGY ∩ TERMINOLOGY taking the pure resultant

TERMINOLOGY ∩∩ SPACE This results with intermediate spaces that overlap within more than one terminology, as “Intermediate spaces diagram” illustrates 107

6-4-3 articulation episteme-praxis diagram

Breaking theory structure From STUDY ROOMS as an EPISTEME toward SHOPS as a PRAXIS, passing by THEATRE as PHRONESIS

From TRAINING STUDIOS as a PHRONESIS toward SHOPS as a PRAXIS, passing by LECTURE ROOMS as PHRONESIS

From LIBRARY as an EPISTEME toward SHOPS as a PRAXIS, passing by TRAINING WORKSHOPS as POIESIS

SPACES REATIONSHIP AS A WHOLE / DIRECT RESPONSE TO THE SITE

SPACES CLUSTERING RESPONDING TO THEORY

production -theory

intermediate volume

SCHEMATIC SECTIONS

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6-4-4 schematic sections

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6-4-5 zoning on site

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n sa ti

Circulation articualtion 3 d

Theory

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ss pa

6-4-6 matrix diagram

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chapter

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introduction sustainable strategies case studies

chapter 7 sustainability 7-1 7-1-1

INTRODUCTION brief

Green building (also known as green construction or sustainable building) refers to a structure that is environmentally responsible and resource-efficient throughout a buildingâ&#x20AC;&#x2122;s life-cycle: from sitting to design, construction, operation, maintenance, renovation, and demolition. This requires close cooperation of the design team, the architects, the engineers, and the client at all project stages. The Green Building practice expands and complements the classical building design concerns of economy, utility, durability, and comfort.

Although new technologies are constantly being developed to complement current practices in creating greener structures, the common objective is that green buildings are designed to reduce the overall impact of the built environment on human health and the natural environment by : Efficiently using energy, water, and other resources as shown in fig. Protecting occupant health and improving employee productivity. Reducing waste, pollution and environmental degradation.

We owe it to ourselves and to the next generation to conserve the environment so that we can bequeath our children a susWangari Maathai tainable world that benefits all.

â&#x20AC;&#x153;

.. . â&#x20AC;&#x153;

A similar concept is natural building, which is usually on a smaller scale and tends to focus on the use of natural materials that are available locally. Other related topics include sustainable design and green architecture. Sustainability may be defined as meeting the needs of present generations without compromising the ability of future generations to meet their needs. Green building does not specifically address the issue of the retrofitting existing homes. 118

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REDUCING ENVIRONMENTAL IMPACT

While buildings and development pro- Impact 40% of vide countless benefits to society, ď&#x201A;ˇ they also have significant environ72% mental and health impacts. This summary presents some basic facts about 38% those impacts. Footnotes provide links to the sources of this informa13.6% tion, which offer much more context and detail on these issues.

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U.S. Building Resource primary energyinuse. electricity consumption. CO2 emissions

(more than all the transportation activity combined).

potable water consumption.

GOALS OF GREEN BUILDINGS:

The concept of sustainable development can be traced to the energy (especially fossil oil) crisis and the environment pollution concern in the 1970s. There are a number of motives to building green, including environmental, economic, and social benefits. However, modern sustainability initiatives call for an integrated and synergistic design to both new construction and in the retrofitting of an existing structure. Also known as sustainable design, this approach integrates the building life-cycle with each green practice employed with a design-purpose to create a synergy amongst the practices used.

Green building brings together a vast not array of practices , techniques and skill to reduce and ultimately eliminate the impacts of buildings on the environment and human health. It often emphasizes taking advantage of renewable resources, e.g., using sunlight through passive solar, active solar, and photovoltaic techniques and using plants and trees through green roofs, rain gardens, and for reduction of rainwater run-off. Many other techniques, such as using wood as a building material, packed gravel or permeable concrete instead of conventional concrete or asphalt to enhance replenishment of ground water, are used as well.

While the practices, or technologies, employed in green building are constantly evolving and may differ from region to region, there are fundamental principles that persist from which the method is derived: Siting and Structure Design Efficiency, Energy Efficiency, Water Efficiency, Materials Efficiency, Indoor Environmental Quality Enhancement, Operations and Maintenance Optimization, and Waste and Toxics Reduction as shown in.

The essence of green building is an optimization of one or more of these principles. Also, with the proper synergistic design, individual green building technologies may work together to produce a greater cumulative effect 119

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LEED CERTIFICATE

LEED stands for Leadership in Energy and Environmental Design. The United States Green Building Council (USGBC) created LEED as a rating system for green building Green building refers to the design, construction, and operation of buildings in an environmentally friendly way. LEED promotes a whole-building approach to sustainability by recognizing performance in five key areas of human and environmental health: sustainable site development, water savings, energy efficiency, materials selection, and indoor environmental quality. The rating system is specific to the type of project being worked on. Some of the specific programs are LEED-New Construction, LEED-Existing Buildings, LEED-Commercial Interiors, LEED-Core and Shell, LEEDHomes, LEED-Neighborhood Development, LEEDSchools. The rating systems are broken down in to points for each type of credit

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Certification levels within the systems as shown Minimum points: Certified Second highest points: Silver  Third highest points: Gold  Fourth-maximum points: Platinum

GREEN BUILDINGS IN JORDAN

Jordan enjoys the status of mission and strategy in the region and when it comes to green building, Jordan is a leader in the region. Look at the Royal Society for the Conservation of Nature (RSCN). It began about 40 years ago when no one was even thinking about the environment. In Jordan we can use traditional building, with materials that surround us in a very green and cost effective way. We can use the stone since we have great quarrie’s in Jordan. Another way to start building green, to get right green building from the beginning special software can be used at Green Building Council. You can know how much energy your building will consume, so if you calculate the energy it will be very cost effective. There are things we can do within our building that will not cost you a lot and will save you a lot of money in the long run. it is about how creative you get to utilize your environment and your materials. We can be very simplistic by applying traditional concepts or you can use high tech. Green goes from the simple tent to the avant-garde buildings that use PVC electronic cells and solar panels. 120

The Jordan GBC is a member-based organization established in 2008. It received its “Emerging Member” status from the World Green Building Council in Nov. 2010. Its Mission is to: Promote and advocate for the adoption of Green Building Practices in all phases of the building process leading towards making Green Buildings a widespread reality in Jordan. Our Council is part of a global network of more than 80 GBCs worldwide and holds the authority to represent the World Green Building Council (WGBC) in the Hashemite Kingdom of Jordan.

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sustainable strategies

Sustainability is based on a simple principle: Everything that we need for our survival and well-being depends, either directly or indirectly, on our natural environment. Sustainability creates and maintains the conditions under which humans and nature can exist in productive harmony, that permit fulfilling the social, economic and other requirements of present and future generations. Sustainability is important to making sure that we have and will continue to have, the water, materials, and resources to protect human health and our environment.

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Insulation

Insulation acts as a barrier to heat flow and is essential to keep your home warm in winter and cool in summer. A well insulated and well designed building will provide year round comfort, cutting cooling and heating bills by up to half. This, in turn, will reduce greenhouse gas emissions.

Insulate Concrete Forms (ICFs) New buildings are built on a foundation made from insulated concrete forms or ICFs as Much of a homeâ&#x20AC;&#x2122;s heat is lost through the basement walls because they are rarely insulated on both the interior and exterior. With ICFs, the wallâ&#x20AC;&#x2122;s Resistance Value achieves significantly better climate retention than conventional fiberglass insulation in exterior walls. ICFs are constructed of interconnected foam boards that snap together much like LegosÂŽ. The ICFs form the interior and exterior of the foundation. After snapping together the forms, re-bar is put in between for increased strength and then cement is poured in.

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lighting daylight

Natural daylight is maximised in the building with all habitable rooms oriented to the north. The design incorporated adjustable shading devices throughout the ground floor living areas to allow for flexibility in controlling solar access in an unpredictable climate. The meals area is shaded with a pergola fitted with adjustable shade sails and the remaining north and west facing windows are fitted with parallel arm shading devices. At the time of writing these were yet to be installed, however the owners reported that the house still remained quite cool in summer. Upper floor bedroom windows are shaded with fixed eaves that are sized to admit the winter sun and exclude summer solar access.

- A horizontal overhang or an awning above a south window is an inexpensive, effective solution. - such an overhang will shade the window completely from early May to mid-August, yet allow for winter sun access.

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Lighting Energy

The dimmable fixtures in the high-performance rooms operated at reduced output much of the time. These fixtures used about half the electricity as the fixtures in the standard rooms on sunny days. The overall savings is somewhat less due to occasional overcast conditions, shorter days during the winter, and the fact that day-lighting was not possible for the interior room, which represents a quarter of the floor space.

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Artificial light

Lighting is one of the most critical – and most visceral – qualities of an indoor space. The difference between good and bad lighting can make or break comfort, mood and overall happiness in your home. Exposure to natural light affects your vitamin D and immune system, as well as your circadian rhythms, sleep cycle and hormones. Studies have linked lack of sunlight to depression (S.A.D), immune problems, diabetes and cancer. Read more: GREEN BUILDING 101: Environmentally Friendly Lighting | Inhabitat - Sustainable Design Innovation, Eco Architecture, Green Building However, consider lighting to be a hugely important element of sustainable building design. We consider “sustainable design” to include consideration of ergonomics, human health and comfort in addition to energy consumption. Because of this, we would like to expand on the LEED lighting criteria and explain how you can find the most sustainable, beautiful and healthy lighting options for your home.

This is one change that is easy to implement and can draw cash returns immediately. Replacing a 100-watt incandescent with a 32-watt Compact Fluorescent Light Bulb (CFL) can save you at least $30 in energy costs over the life of the bulb, AND, if every household in the U.S. replaced one light bulb with a CFL, it would prevent enough pollution to equal removing one million cars from the road. How’s that for a win-win situation? CFLs provide high-quality light without the heat of incandescent bulbs – and they use much less energy and last up to 10X longer. If you like this idea, consider taking Energy’s Star Change a Light Pledge.

The simplest fix you can make right now to your existing incandescent lights is to switch them to CFLs. However, there are plenty of other lighting technologies out there as well, the most promising of which for the future seems to be LEDs (Light-emitting Diodes). LEDs don’t heat up like incandescents, and they last longer and are more energy efficient than both traditional bulbs and CFLs. Although you can find LEDS in a lot of small personal products (like toys, gadgets and clothing), there currently aren’t many consumer options available in the market right now for LED home lighting products. Expect all this to change in the next few years, as LEDs get better and brighter.

collect sunlight on your roof and funnel it via fiber optics to different rooms in your house – completely eliminating the need for artificial lighting. One company, called Sunlight Direct, even combines sunlight transport with fluorescents and a photovoltaic energy system – so during the day your lamp emits real sunlight from outside, but at night emits fluorescent light, powered by the solar panels. 124

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building orientation

To minimize solar heating gain during cooling time, natural ventilation and daylight through the year. Northern exposure is the key physical orientation in the northern hemisphere. Rectangular building should be oriented with the long axis running east-west, so the north wall receive less direct sun in the summer the windows and skylight will oriented on the north side.

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site slope

The slope of the site is 48% degree toward south. The maximum height is 26m Depending of topography of the site the north historical wall facing north of our site and that can less windows on the north. In the other hand, the temperature of the ground less than ambient temperature almost 5 C in the summer, and more than ambient temperature by 5 degree in winter. And that can reduce cooling and heating load. Despite the ground blocked light in north face we can apply strategies to using daylight for the building.

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Sunspaces

A ‘Sunspace’ is a south-facing glazed area located outside of the main fabric envelope of the building. • The space naturally heats and cools allowing daytime temperatures to raise higher and night time temperatures to fall further than the ‘comfort zone’ temperatures of the adjoining living space(s).

Location + simple traditional concept + construction details tend to be easier - can shade adjoining areas of the façade - can reduce natural light into adjoining spaces

• The addition of a sunspace can realise significant gains in energy efficiency. This can amount to around 30% when compared with a direct gain equivalent (1), though this varies according to climate and latitude where buildings benefit from southern locations. Though unheated, sunspaces can provide additional living space when natural conditions make them comfortable.

+ the sunspace does not restrict daylight to adjoining windows. + anecdotal evidence shows that they are less subject to misuse. - self-shading - less compact envelope to living areas

In terms of design, whereas it is possible and profitable to use ‘lean-to’ sunspaces for thermal buffering to all heated accommodation, in practice most designs are limited to buffering the main living areas.

Functions of sunspaces Buffer space The sunspace functions as an intermediate space between the inside and outside of the building. By effectively adding another layer to the building envelope, the sunspace becomes a thermal buffer rather in the manner of air within a cavity wall. A further effect of the sunspace is to shelter the envelope from wind chill and rain – this factor becomes increasingly important in northerly and exposed locations

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Pre-heated ventilation Natural ventilation Warm air can flow into adjoining spaces via openable vents located in the common wall at the top of the sunspace. Cool air is returned from the living spaces through lower vents to be heated as part of the convective loop. (‘Thermosiphoning’)

Mechanical ventilation Mechanical ventilation can extend the penetration of pre-heated ventilation into areas of the house that are not adjacent to the sunspace. Heat is collected from the upper part of the sunspace and blown via ducting to other areas of the house.

Overheating Sunspaces are easily overheated in summer.

1 Shading from the sun.

- External solar shading from a roof overhang or adjacent louvers. - Deciduous trees (beware though that leafless trees will, to an extent, continue to shade.)

2 Ventilating the sunspace by placing operable vents to the exterior through the roof of the sunspace. These can be automatically opened and should be coupled with vents at low level to enhance the â&#x20AC;&#x2DC;stack effectâ&#x20AC;&#x2122;.

Design and construction Roofing the sunspace Opaque roof + Provides insulation + Provides shading - Restricts daylight to the living areas (though venting skylights could be a solution)

Glazed roof + Optimises solar gain - Increased heat loss in overcast conditions and at night - Prone to overheating - Susceptible to leaking - Prone to glare

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Sustainable Landscapes

The great thing about sustainable landscapes is that they can simultaneously address aesthetics and amenity, water management, air quality, passive design, climate modification, biodiversity habitat creation and local food production.There are literally hundreds of definitions for â&#x20AC;&#x2DC;sustainableâ&#x20AC;&#x2122; but the basic idea is that if something is sustainable it can keep going indefinitely. Natural systems have been operating successfully for millions of years. Nothing made by humans can do that.Sustainable landscapes are concerned with the planning and design of outdoor space. It is important to consider the landscape as an integral part of your homeâ&#x20AC;&#x2122;s sustainable designs.The scope of design of outdoor space may range from revegetation of a large bush block to the detailed design of small courtyard spaces intimately linked to a sustainable home. The extent and type of vegetation is obviously

Site Sustainable landscaping is about more than planting natives, it is about designing landscapes to fit the new ecology created when buildings are constructed. It can include food producing gardens irrigated by captured stormwater and landscaping practices like permaculture. Sustainable landscaping includes such diverse approaches as restoring creeks where development has trammeled or annihilated their previous course, or creating roof gardens to replace the productive capacity of the land taken up by a new building. Sustainable landscape may be used to control salination, help take up carbon dioxide and contribute to restoring and maintaining biodiversity. The location of vegetation can influence choices about building orientation: a tree may shade part of a site and limit solar access but be an essential part of retaining soil, providing habitat and creating shelter.When choosing a site, take account of existing vegetation for windbreaks, shading and views. Design landscaping to be experienced inside and out. Sustainable landscaping can be employed to create shade, or to enhance or frame views. It can be attractive to look at and also provide privacy from surrounding buildings. It can also supply food and help create pleasant areas for recreation. In recent years the definition of a sustainable landscape has evolved to include landscape elements that are literally part of a building. Many extensive green roofs are constructed specifically to support native and indigenous vegetation as part of a wider strategy for enhancing or replacing the natural biodiversity of a place or region. Often this kind of roof

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communities greening strategy is also geared towards providing habitat for threatened or endangered species. Depending on their context, function, vegetation types and watering regimes, green walls can be seen as legitimate contributions to the creation of a sustainable landscape and may even be integrated into wastewater treatment systems.

Growing plants Sustainable landscapes use plants which perform well in the local area. Avoid native or exotic plants that are weedy in your region. Suitable plants may include native and indigenous plants, as well as exotics (non-Australian plants) from similar climatic zones. Plants should ideally perform well once established on existing soils and existing rainfall patterns without the need for excessive watering, soil modification and intensive maintenance regimes.What is the difference between ‘native’ and ‘indigenous’? In general terms, native plants are all plants from Australia. Indigenous plants are those specific to a particular place.A sustainable garden uses a wide range of plants from different structural categories, such as trees, screening shrubs, medium shrubs, low shrubs, groundcovers, strappy plants and grasses, climbers, perennials and bulbs. Structural diversity will encourage wildlife into the landscape and prickly plants will provide shelter for small birds. Ensure wildlife are not compromised by domestic pets. Native birds and reptiles can be protected from cats by keeping the cats indoors or in purpose built enclosures.Growing fruit and vegetables is a way of reducing our ecological footprint. Most vegetables and fruit require fertile soils with good drainage, regular watering and moderate amounts of sunlight depending upon the climatic zone. Vegetable gardens can generally be provided in raised garden beds with the addition of home made compost and well rotted animal manures. Fruit and vegetables generally require regular drip irrigation.

Lawn is a common feature in Australian landscapes but it generally requires high levels of water, fertilisers and energy to maintain its appearance. These impacts can be minimised by: > Removing lawn and replacing it with a mix of groundcovers and non-woody plants and permeable surfaces such as gravel.> Reducing the extent of lawn and increasing the area of hardy garden beds. Substituting exotic grass species with drought tolerant low maintenance native grasses that retain the appearance of a conventional lawn. Synthetic grass products are an inappropriate choice for sustainable landscapes. Non-living, synthetic plant substitutes diminish, rather than add to biodiversity. They are products of mining and a great deal of water and energy are used in their manufacture. waterA house covers ground that was once productive natural landscape where rain soaked into the soil to support vegetation. Its roof can be used to capture rainwater that can then be used to irrigate new vegetation, perhaps even on a roof garden or balcony. Capturing water this way also reduces the release of stormwater to the street. Low water-use vegetation or ‘xeriscape’ can greatly reduce the need for supplementary garden watering. Indigenous species are usually the best for the low rainfall conditions found in much of Australia. Vegetation can even take up effluent via sub-surface irrigation, especially in outer urban and rural sites. The use of water bodies like ponds and water features can be integrated into a sustainable landscape solution as part of an overall water management system and as part of the passive climate response strategy for your home.

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Site Landscape materials account for much of the embodied energy in a landscape project. Consider reusing existing site materials such as pavers and excavated rocks. Employ recycled materials wherever possible such as crushed brick/ concrete, recycled timber and products like recycled glass. Where recycled timber is unavailable use sustainably managed plantation timber or timber composite products in preference to imported rainforest timbers. Avoid excessive amounts of paving which can contribute to microclimate heating and reduced site permeability. Following the saying “only pave where you sit, stand and walk!

Energy Appropriate landscaping can enhance passive heating and cooling. Used as an integral part of passive design strategies, windbreaks can reduce wind chill or the impact of hot winds. Vegetation can cool and filter air as part of a passive cooling strategy. Shading needs to be seasonal and is best provided by deciduous plants. Australia has few deciduous native trees (the Toona australis or so called Red Cedar is one). Other ‘deciduous’ natives such as Brachychiton lose their leaves in summer and therefore can not moderate solar penetration to suit passive design. It is best to assume that most native vegetation will give permanent or semi-permanent shade. Captured rainwater or treated wastewater can be used to irrigate deciduous plants that contribute directly to a building’s passive solar performance

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Restoration Ecology Particularly challenging sites occur where there is little ecological value or pre-existing ecology has been destroyed. In such cases a substantial contribution to creating a sustainable landscape can be made by restoring as much as possible of the original ecosystem and increasing the ecological value of the site. Such strategies are particularly pertinent to urban sites where, very often, all the indigenous vegetation has been removed for development. The movement to replace elements of original living landscapes now extends to the public realm. In choosing a site, consider the wider landscape and neighbourhood environment. If you donâ&#x20AC;&#x2122;t have a large garden space or want to contribute to restoring the landscape as part of compensating for off-site impacts, consider participating in native landscape and ecosystem restoration projects run by not-for-profit organisations like Trees For Life in SA and Men of the Trees in WA. Many tree planting and revegetation programs are also intended to compensate for carbon emissions.

CLIMATE CHANGE Consider the predicted changes for your region and adapt your landscape accordingly. To cope with increased temperatures increase shade protection to homes using trees, large shrubs to shade walls and climbers. Where space is limited use shade structures with climbers to reduce outdoor and building temperatures. Ensure the landscape has sufficient permeable surfaces to cope with increased rainfall events. Capturing water in rainwater tanks and through greywater recycling will ensure water is available to sustain plants during drought periods. Organic vegetable gardens will provide not only healthy food but reduce your householdâ&#x20AC;&#x2122;s ecological footprint.In dry regions consider creating a small mini-oasis which can provide passive cooling to the house. Locate this area on the cooler side of the building which receives evening breezes. Incorporate moisture loving plants, a water feature, permeable paving and water harvesting methods in this space

MAINTENANCE Sustainable landscapes have much smaller energy and water use impacts than traditional landscape designs but they still require management. Native gardens and the use of hardy plants can create environments that consume little water other than that provided by rainfall. Even then, there is no such thing as a maintenance-free landscape. Anything that has been artificially created for human purposes requires on-going maintenance and this should be factored into the overall picture of any home design. 131

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Green roof

A green roof or living roof is a roof of a building that is partially or completely covered with vegetation and a growing medium, planted over a waterproofing membrane. It may also include additional layers such as a root barrier and drainage and irrigation systems. Container gardens on roofs, where plants are maintained in pots, are not generally considered to be true green roofs, although this is debated. Rooftop ponds are another form of green roofs which are used to treat greywater. Green roofs serve several purposes for a building, such as absorbing rainwater, providing insulation, creating a habitat for wildlife, and helping to lower urban air temperatures and mitigate the heat island effect. There are two types of green roofs: intensive roofs, which are thicker and can support a wider variety of plants but are heavier and require more maintenance, and extensive roofs, which are covered in a light layer of vegetation and are lighter than an intensive green roof

Sustainable benifets Reduce heating (by adding mass and thermal resistance value). A 2005 study by Brad Bass of the University of Toronto showed that green roofs can also reduce heat loss and energy consumption in winter conditions. Reduce cooling (by evaporative cooling) loads on a building by fifty to ninety percent, especially if it is glassed in so as to act as a terrarium andpassive solar heat reservoir – a concentration of green roofs in an urban area can even reduce the city’s average temperatures during the summer Reduce stormwater run off Natural Habitat Creation Filter pollutants and carbon dioxide out of the air which helps lower disease rates such as asth‫ث‬ Filter pollutants and heavy metals out of rainwater Help to insulate a building for sound; the soil helps to block lower frequencies and the plants block higher frequencies If installed correctly many living roofs can contribute to LEED points Increase agricultural space With green roofs, water is stored by the substrate and then taken up by the plants from where it is returned to the atmosphere through transpiration and evaporation. Green roofs not only retain rainwater, but also moderate the temperature of the water and act as natural filters for any of the water that happens to run off.

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Solar Photovoltaic

Photovoltaic cells can be utilized individually for small applications, however more power is needed a number of cells are put together to form a module, and modules can also be grouped together to form arrays. In theory arrays can range from a small number of modules to power a building to thousands of modules to power a town. PV arrays can be integrated into the roofs and walls of commercial, institutional and industrial buildings, replacing some the usual wall cladding or roofing materials and minimizing the costs of PV systems. Commercial and industrial buildings are normally occupied during daylight hours which correlate with the availability of solar radiation. Therefore the power generated via the PV systems can theoretically minimize the need to purchase power from the grid at the standard commercial tariffs.

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Ventelation

atural ventilation is clearly a valuable tool for sustainable development as it relies only on natural air movement, and can save significant amounts of fossil fuel based energy by reducing the need for mechanical ventilation and air conditioning. Reducing electrical energy used for cooling contributes to the reduction of greenhouse gas emissions from the electrical generating plant providing the energy. From the earliest times building designers have made use of naturally induced air movement to address two basic needs in buildings: the removal of foul air and moisture, and personal thermal comfort. This increased use of mechanical services has provided building designers and clients with a great deal of freedom in terms of envelope design and internal flexibility. However, the cost has been much higher energy consumption and the introduction of centralized control systems, rather than user-based controls. The need to reduce our consumption of energy and to give users more control over their immediate environments, are good reasons for designers now to reevaluate the role of natural ventilation in buildings and to become familiar with the basic principles involved. Air movement in and around buildings is a complex, three-dimensional phenomenon. At present the tools available to design for good natural ventilation are either inexact rules of thumb, or complicated wind tunnel or computer based modeling techniques.

wind catcher Wind catchers have been in use since a distant past ,it is normally a tall structure with the height between 5 and 33 m mounted on the roof of a building. The design of these systems has been traditionally based on the personal experience of architects as well as the dignity, wealth and social position of the house owners and differed in the height of tower, cross-section of the air and it is one of the most effective methods of providing natural ventilation to any commercial building by using the outside wind. Clean, fresh air is captured at roof level and is carried down to the rooms below though a controlled damper arrangement. At the night time cooling is achieved without compromising the security of the building - warm stale air is exhausted by the passive stack quadrants of the wind catcher system and replaced by cool fresh air taken in from roof level, there are no running or energy costs.

Cross Ventilation Windows should be designed to admit natural ventilation. The most important design issue is whether the windows provide single-sided or cross-ventilation to interior spaces. The amount of air that flows through a window (ventilation capacity) dpends on the area and vertical distribution of openings. These depend on the way the window opens. Horizontal pivot windows offer the highest ventilation capacity: For single-sided ventilation, place them as high as possible to exhaust warm air at ceiling level.

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Wind Tower: Wind towers are generally used in Hot Dry climates for cooling purposes. A pre-requisite for using wind tower is that the site should experience winds with a fairly good and consistent velocity. A wind tower is operates in various ways, according to the time of day, and the presence and absence of wind. The cardinal principle behind its operation lies in changing the temperature and thereby density of the air in and around the tower. The difference in density creates a draft, pulling air either upwards or downwards,through the tower. The tower area is so designed that the top part provides large heat storage capacity, and at the same time has a large surface area for heat transfer. The tower walls and the internal walls of the air flow passages absorb heat during the day, and release it at night, warming the cool night air in the tower. Warm air moves up creating and upward draft and is exhausted through the openings. The pressure difference thus created pulls the cool night air though the doors and windows into the building. In the absence of wind, the tower acts as a chimney.

The nocturnal radiation through the roof and the external walls brings about further cooling. In the presence of wind, the cool night time air enters the tower and forces itself down into the structure. Though it is warmed slightly during the process, sufficient cooling can be achieved due to forced circulation.

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thermal mass

Trombe Walls Since ancient times, people have used thick walls of adobe or stone to trap the sun’s heat during the day and release it slowly and evenly at night to heat their buildings. Today’s low-energy buildings often improve on this ancient technique by incorporating a thermal storage and delivery system called a Trombe wall. A typical unvented Trombe wall consists of a 4- to 16-in (10- to 41-cm)-thick, southfacing masonry wall with a dark, heat-absorbing material on the exterior surface and faced with a single or double layer of glass. The glass is placed from to 2 in. (2 to 5cm) from the masonry wall to create a small airspace. Heat from sunlight passing through the glass is absorbed by the dark surface, stored in the wall, and conducted slowly inward through the masonry. High transmission glass maximizes solar gains to the masonry wall. As an architectural detail, patterned glass can limit the exterior visibility of the dark concrete wall without sacrificing transmissivity.

Rock Bed System (Thermosiphon) Thermosiphon, also known as thermosyphon, is a process used to exchange heat from liquids without a pump. This eliminates cost and simplifies the heat transfer process. The most common ways thermosiphoning is accomplished is through water and solar convection. The thermosiphon process can be used commercially in solar hot water heaters. A thermosiphon is a passive system, which means there are no mechanical moving parts. Instead, the system relies solely on the sun’s energy to work. The water is collected in a piece of equipment called a batch collector, which is mounted on a building’s roof. It is braced at an angle so when the water is collected, it can flow out using gravity.

Cold water is denser than warm water, so the storage tank is mounted slightly above the batch collector. As the sun heats the batch collector, the warm water rises and flows into the storage tank. Cold water sinks to the bottom and flows into a cold water supply line. This water is used for general cold faucet use. The warm water moves into the storage tank, where it continues to be warmed by the sun. This continuous rise and fall of water based on the temperature creates convection and allows the thermosiphon to work. When hot water is needed, a faucet is turned on inside the building and the warm water from the storage tank flows through the hot water supply line. 136

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Water Efficiency

Reducing water consumption and protecting water quality are key objectives in sustainable building. One critical issue of water consumption is that in many areas, the demands on the supplying aquifer exceed its ability to replenish itself. To the maximum extent feasible, facilities should increase their dependence on water that is collected, used, purified, and reused on-site. The protection and conservation of water throughout the life of a building may be accomplished by designing for dual plumbing that recycles water in toilet flushing. Waste-water may be minimized by utilizing water conserving fixtures such as ultra-low flush toilets and low-flow shower heads. Bidets help eliminate the use of toilet paper, reducing sewer traffic and increasing possibilities of re-using water on-site. Point of use water treatment and heating improves both water quality and energy efficiency while reducing the amount of water in circulation. The use of nonsewage and greywater for on-site use such as site-irrigation will minimize demands on the local aquifer.

Sustainable Drainage Systems The increased amount of surface water drained from developed areas is having a huge impact on Britainâ&#x20AC;&#x2122;s river catchments. As developments intensify, less water filters through the soil, leading to increased flows, risk of flooding, and a threat to water quality and the environment. This could worsen as the climate changes and has put drainage and water management firmly under the legislative spotlight.

Graywater Recycling Graywater is water used in homes has long been thought of in terms of clean Whitewater (potable drinking water) coming into the house, and Sewage going out. However there is waste water from baths, showers, washing machines, dishwashers and sinks that fits somewhere in-between and this is referred to as Greywater and typically makes up between 50-80% of households waste water. Roughly a third of the water used in households is used in toilets, which comes into contact with human waster and is known as Blackwater. Greywater is much easier to treat and recycle when compared with Blackwater as there is no faecal matter which is a haven for harmful bacteria and disease causing pathogens. If recycled properly, greywater can save approximately 70 litres of potable water per person per day in domestic households, therfore greywater recycling is one of a number of water solutions that we should look to decrease our usage.

Benefits Recycled water can meet a variety of water supply needs and can reduce the impacts of water supply on potentially sensitive areas. - There is a reduction in the amount of pollutants entering rivers and water systems 137

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geothermal energy

Geothermal energy can be tapped to realize significant savings in the heating and cooling of a home. While many parts of the country experience seasonal temperature extremes—from scorching heat in the summer to sub-zero cold in the winter—a few feet below the earth’s surface the ground remains at a relatively constant temperature. Depending on latitude, ground temperatures range from 45°F (7°C) to 75°F (21°C). Like a cave, this ground temperature is warmer than the air above it during the winter and cooler than the air in the summer. Geothermal heat pumps (GHPs) use the constant temperature of the earth to provide cooling and heating for a home. There are different types of geothermal heat pumps, but the principle on which they operate is similar. A loop of piping is buried in the ground and fluid circulates through the loop. In the summer, the fluid uses the cooler temperature of the ground to provide indoor cooling. During colder months, the geothermal heat pump uses the below-ground temperature, which is significantly warmer than the outside air, to warm the home. Unlike traditional furnaces and central air conditioning systems, geothermal heat pumps do not use energy to generate hot or cool air. GHP systems use energy only to move cooler or warmer air, depending on the season, into and out of the home. As a result, GHPs are a very energy-efficient method for heating and cooling. Even though the installation price of a geothermal system can be several times that of conventional heating and cooling systems of equal capacity, the additional costs are returned in energy savings in 5 to 10 years. System life is estimated at 25 years for the inside components and 50+ years for the ground loop.

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sustainable casestudies

7-3-1

Eco-house design green, 2011

Her highness princess Aliaâ&#x20AC;&#x2122;a for publis responsiblity . Universities dtudents competetion JO-GREEN`, held in march 2010, between all engineering students in hashimiate kingdom of Joradan. Designing an eco-house, on 600msq land, in sustainable greem standards . Hadeel ayed, yasmin jaâ&#x20AC;&#x2122;fari, mahdi abu sahab, adel batsh, Ammar Homsi

Design Concept The concept was to think about the design as three main parts:

1 Main living spaces which include typical house functions 2

Intermediate spaces which filter the effects of the outdoor environment, and provide interior spaces with heat, light, and ventilation depending on the season. ( sun space for heating and open glass room on the north side that provides indirect light)

3 Filtering

mesh, with climbing plants to enhance air quality.The design mainly utilizes passive design techniques, but is composed of several layers other than the main 3 parts, such as vegetation (roof gardens & climbing plants), solar cells..etc.

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7-3-2 proposal Design won the 2nd prize in Queen Alia Competition for Designing Green Building “JO Green” Design : Ghaith Takruri, Laith Bdour Mohammad Mukdadi- University of Jordan, Architecture Dept. site

: Dabouq, Amman, Jordan.

Concept 360º House

what is a 360° house ?... Our architectural concept was to make a house that can rotate not physically but by its architectural, mechanical and electrical systems with the climatic changes and the changing in wind and sun directions. So a 360° house is a house that can re-orient itself to respond with the climatic changes across the year, and it does not really rotate but it seems like rotating with the dual systems integrated. Thus, all systems are designed to function all along the year.

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morphology

Building Orientation;

Spatial Quality Analysis

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plans

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We cannot hope to create a sustainable culture with any but sustainable souls. Derrick Jensen, Endgame, Vol. 1: The Problem of Civilization

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BIBLIOGRAPHY . Damdi architectural publishing Co. Panel layout for competition. Korea, 2005. . Gänshirt, Christian. Tools for ideas to architectural design. Berlin, 2007. . Neufert, Peter and Ernest. Architects data, Third edition. UK, 2000.

. Amman The City and it’s society, Jean hannoyer and seteny shami . Amman A history with pictures, Arsalan Ramadan Bakig . Design with nature, Ian Mcharg . Kays, Barrett L. Challenging sustainable goals for landscape architects. FASLA. . Janovicek, Pavol. Architecture Legacy – Old, Outdated, or Eternal?. 2010. . Simon, Trinka Margua. Creative foreshortening exercise, The art of composition. 2008.

. Durdunji, Abeer\ Ikbarieh, Alaa’\ Khderat, Salsabeel. Urbansium. Graduation project thesis proposal. Supervision by Dr. Saleem M. Dahabreh. JU, 2012, Jordan. . Sayyed Ahmad, Mutasem\ Waleed, Rakan. Research-Trade hybrid centre. Graduation project thesis proposal. Supervision by Dr. Saleem M. Dahabreh. JU, 2011, Jordan. . Homsi, Ammar and others. A zero energy house. A proposal for H.H queen Alia competition for designing and development, sustainable design. Amman, 2011. . Takruri, Ghaith and others. A 360° zero energy house. A proposal for H.H queen Alia competition for designing and development, sustainable design. Amman, 2012.

. Dr. Saleem M. Dahabreh. Ju, Amman, Jordan. . Arch. Mohammad Abbas. Amman, Jordan. . Arch. Alaa’ Al-Hafez. Amman, Jordan. . Mr. Rakan W. Ansari. Jordan. . Miss. Salsabeel Khderat. Jordan.

. A\E Buisiness council, iSUSTAIN project competition. . GIS Department, Municipality of Amman. Amman, Jordan.

. Websites: . . . . . . .

Archdaily.com Archiprix.com Architonic.com Cruzine.com designmuseum.org Wikipedia.org arcspace.com

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