ACADEMY of comic ART
AMNA AHMED
Academy of Comic Art by Amna Ahmed
A thesis book for the Final Architectural Project submitted to the Department of Architecture, School of Architecture, Art, and Design, American University in Dubai In partial fulfillment of the requirements of the Degree of Bachelors of Architecture Fall 2013
Copyright, 2013, by Amna Ahmed All rights reserved Š
Approval of the Thesis Book for Final Architecture Project Department of Architecture School of Architecture, Art, and Design, American University in Dubai
Student’s Full Name: Amna Aijaz Ahmed Thesis Book Title: Academy of Comic Art
Thesis Abstract : The purpose of this thesis is to provide information of the nature of comics and how introducing an academy of comic art within dubai would result in increased exposure to this medium. With the increasing popularity of comic culture over the world due to the “superhero age” of movies, people, specifically students have started taking an interest in making their own comics, whether it is something as minor as an iphone app called bitstrips or on a professional level. Futhermore, with the introduction of comic con in the middle east region, public interest has spiked. In order to further improve comic culture in dubai, a combination of the academy of comic art and comic con is proposed through this thesis. by expanding on different types, history, origin, layout and architecture of comics, one can deduce the variety that the academy of comic art is going to hold, allowing different comic cultures to bridge the culture gap caused by language barriers
Student Signature: ______________________________ Date: _____________________
Advisor/Professor’s Name: Dr. Georges Kachaamy
Advisor/Professor Signature: _______________________ Date: _____________________
In dedication to my sister, Kashaf Aijaz My parents, Muhammad Aijaz Ahmed and Hoorunisa Aijaz My brother, Muhammad Usman Ahmed And to all the comic book enthusiasts out there. In memory of my uncle, Sheikh Badruddin
Acknowledgement Sincere gratitude is expressed to these people who never ceased in helping with this thesis book: Dr. Georges Kachaamy, Associate professor of architecture, the thesis advisor, for the unwavering guidance. Mr. Arafaat Khan, Oraganizer of Middle East Film and Comic Convention for helping with the information within the thesis book. For the unwavering moral, emotional and financial support for me, my family and friends; Above All; utmost appreciation to the Almighty God for the divine intervention in this academic endeavor
SECT ION 1 CHAPTER 1 - THE HARBRINGER OF COMICS
1.1 - Comics : A beginning
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1.2 - Comics - What are They
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1.3 - Comics in Dubai?! Where?!
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1.4 - Academy of Comic Art: A necessity
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CHAPTER 2 - THE KINKS OF COMICS
2.1 - History of Comic Art - The pioneers
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2.2 - Architecture and Layout of Comics 2.3 - Comic Illustration - The Process 2.4 - Categories of Comics 2.5 - Western vs Eastern
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2.6 - Different Styles of Illustrations
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2.7 - Comics and Transmedia: Literature, movies, video games and television shows
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CHAPTER 3 - CASE STUDIES HISTORICAL
3.1 - Yale Art & Architecture Building 3.2 - School Of Arts in Canterbury
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CONTEMPORARY
3.3 - China Comic and Animation Museum
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3.4 - Middle East Film and Comic Convention 3.5 - Museum of Comic and Cartoon Art
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SECT ION 2 CHAPTER 4 - PROGRAM - CASE STUDIES AND PERSONAL
4.1 - case studies: comparison and analysis 4.2 - Bubble Diagram - Spatial Analysis 4.3 - Program and Dimensions
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CHAPTER 5 - SITE ANALYSIS
5.1 - Site Options 5.2 - Landmarks 5.3 - Timeline
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5.4 - Accessibility
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5.5 - Building Use And Zoning 5.6 - Mass and Void 5.7 - Building Height
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5.8 - Site Regulations and Weather
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SECT ION 3 CHAPTER 6 - CONCEPT DESIGH
6.1 - Concept #1 - Layers
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6.2 - Concept #2 - Frame Within a Frame
References
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SECTION 1 Introduction
CHAPT ER CHAPT ER 1 1 T HE N GER T HE HARBRI HARBRI N GER OF OF C CO OM MI IC CS S
With the perception of the general public that comics are “reserved for children”, the idea that comics are not a pure form of literature has been embedded into history.
The basis of this idea stems from the era of literature that the first “American” comic was released in.
The first comic was released along with the likes of science fiction and pulp fiction; both forms of literature that were considered a disgrace at its time, therefore, association with comics was inevitable
These genres of literature, at the time, lacked depth and were a form of escape from reality, therefore, the stories were easy to follow and read.
“
Comic books are important because they represent a segment of the population that like to fantasize so that they can escape the hardship of everyday life
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- EZComics The derogatory word “nerd” or “geek” is used to describe people who are invested in comics far enough for them to be considered a fan boy.
However, with the industry ever increasing, comics have managed to gain a worldwide audience through trans media.
This is what further stops people from getting exposed to comics; not wanting to be part of the “nerd” culture.
By being a visual medium, comics were able to translate well into other forms of media like television shows, movies and video games,
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Since the mid-20th century, comics have become a growing medium for a combination of storytelling and artistic expression.
With the increase in demand for comic culture, certain characters in certain comics have become iconic to the point where they break out of the boundaries of the comic universe and disperse into several other media like video games and movies.
Because of the current generation being exposed more to mediums like video games and movies, revenues for comics have taken a downfall and the general public has forgotten the origin of the beloved characters that storm their screens through cartoons and movies.
BUT WHAT EXACTLY IS A COMIC?
A lot of people have the misconception that comics are picture books for children. But there is quite a significant difference between a comic book, a graphic novel and obviously, a children’s book.
A graphic novel, unlike comic books, covers one entire story, broken down into several volumes
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These images would help a reader get a clear vision on what the artist was trying to portray all throughout the story. This difference can be parallel to the difference between short stories, novellas and novels
For example, Manga Books have a complete story in each released issue, whereas The Dark Knight series is considered to be a graphic novel mainly because, it is divided between several different story arcs.
“Comics” is a word worth defining as it refers to the medium itself, not a specific object as “Comic Book” or “Comic Strip” do. One can visualize a comic.
The term “sequential art” was coined by Will Eisner to describe Comics. Taken individually, pictures are merely standalone images with significance.
However, when part of a sequence, even a sequence of only two images, the art of the image automatically draws connection between the two imaged thus being called “The Art of Comics”. This definition applies to all genres, therefore not affecting the style, quality and subject matter of the comic.
NO!! ANIMATION AND COMICS ARE DIFFERENT!!
Eisner’s definition instigated that animation and comics would be the same thing, because they’re both sequential visual art.
The difference is quite significant because while animation relies on time by having different images in the same position posed again and again, comics rely on spatial juxtaposition. Each successive frame of a movie is projected on exactly the same space – the screen – while each frame of comics must occupy a different space and therefore provide a steady but broken motion between the frames
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With the rapid growth of the comic industry and the massive marketing of comic culture in well-known cities like New York and Tokyo, the popularity and craze of this fandom has become a worldwide phenomenon.
Around the world, various comic book stores have been catering to fans of comics, but once again the general public remains ignorant to their existence.
Major cities in the world like New York and Tokyo retain this comic culture by hosting events like an annual Comic Cons and museums or festivals that promote comics/manga, whereas other cities might not have the opportunity to be exposed to this culture.
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We live in the age of geeks
- Ben Caddy, Middle East Film & Comic Con Organizer
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We’re essentially creating a paradise for video games, film and comic book aficionados. Of course there’s San Diego, Toronto has one, New York has the second biggest, Chicago, Florida, London, Tokyo. But in the Middle East? Nothing
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– Arafaat Khan, MEFCC Managing Partner The city of Dubai is known to be a growing metropolis and yet comic culture has only been limited to an annual small scale Comic Con and the existence of comics for purchasing at bookstores like Kinokuniya and Borders. Ben Cady goes on to state that people in Dubai are misinformed about the birth of some of the best characters a television screen has ever seen.
Both these events are not advertised well and therefore result in a lack of audience on the day of the event
Majority of the public in Dubai are still unaware of annual events like Comic Con or the IGN Convention because the former started 3 years ago in Dubai and the latter is just an introduced concept for the current year (2013, in Dubai).
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Furthermore, comics are much more famous in cities like New York and Tokyo because the youth of these cities are exposed easily to reading material.
Along with having easy access, there are institutes that teach people the specific illustrative art of comics
COMICS!!
Most universities include this type of art as part of the curriculum for an art department, whereas certain schools or academies specialize in comic art.
Moreover, graphic representation can be used to bridge the cultural gap between countries. The common language or communication is graphic representation because it illustrates concepts and ideas without the use of text to draw attention to
The figure below shows the story of a raccoon wanting to reach the contents inside a bottle, eventually getting tired and in a comical twist, using an electric saw to cut the bottle in half.
This story doesn’t contain any words but can portray a story simply by illustrating the actions of the raccoon.
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The proposed project is to introduce a fairly unpopular form of artistic expression in the Middle East, specifically Dubai, through an academy; An Academy of Comic Art.
This will allow university level students, ranging from the optimum age of 17 years above, to be able to learn the different sequential art forms.
It will house different studios and classrooms, which would be specific to a certain genre of comics.
Comics have barely gained any recognition in Dubai. The only exposure this form of art has gotten is through the culture of Comic Con, held every year, since the past 3 years.
The academy will be used to promote the study, understanding, recognition, and cultural legitimacy of comics, and to coordinate communication within and about the medium.
Other forms of media, like video games and movies are universally acclaimed but comics are far less popular.
Therefore, a flourishing community of comic book lovers and individuals interested in this type of art form will exist with the introduction of an Academy of Comic Art, solely established to teach this specific form of art.
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CHAPTER 2 THE KINKS OF COMICS
With different cultures, comics diverged into sub categories like commix, graphic novels, comic strips or comic books.
The history of comics varied in different cultures and countries
Yet in today’s world, comics are considered to be a minor form of art, mainly because people have a notion that reading comics is attributed to childhood. However, with the recent rise in media promoting characters from comic books, studies have begun to analyze said comics book as a major and obtain a degree in comic studies.
The very first sample of comic art in its most basic form is the Egyptian hieroglyphs; painted stories in the form of creatures on a wall, without the presence of text.
But the beginning of the modern comic started in 1920s!!
This history dates back to the 9th century!!
1920S... TThe first ever American Comic Strip is created. This was a small one way strip in an American newspaper called “the little bear”, which brought about the invention of the form of sequential art. In 1923 light-hearted manga strips, targeted towards children, were released. These strips, called Ganbatte, were published in gender based magazines,
Franco-Belgian comics were the first ones to be published in the form of a book. In 1925, Alain Saint-Ogan’s Zig Et Puce was the first internationally recognized comic
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1930S...
This was when the Golden age of the comics began. In America, the first Action Comic featuring Superman was published and this began the revolution of comics worldwide.
With the increasing success of American Comics, manga started to incorporate western ideas and thus became popular in the international market
When France and Belgium were invaded by Germany during the World War, importing comics from America became impossible due to the ban on American Media by the Germans. Thus Franco-Belgian writers like Jije and Edgar Jacobs decided to illustrate their own homemade interpretation of the on-going Superman and Flash Gordon series. This change in styles allowed them incorporate the western technique of illustration. The creation of homemade comics was also halted upon discovery, whereupon the artists had to come up with their own characters and storylines. This led to the release of Bravo, one of the most famous Franco-Belgian comics and the worldwide success of comic artists like Peyo and Herg.
1956–1961...
This period marked the popularization of Astro Boy, one of the first manga that became an international success, followed by Sazae-san, which had sold over millions of copies till date.
In America, the Silver Age of comics began when stories Detective Comics and Fantastic Four were published marking the rivalry between DC Comics and Marvel
A lot of Franco-Belgian Comics did not survive the war. Publishers and artists were suggested to have been conspiring with the enemy and were imprisoned during the period of the war, thus resulting in certain comic franchises ending.
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1965–2007... In America, a dramatic change in the style of drawing and illustrating comics occurred in this time period. Different color schemes and sharper tones, along with re-design of certain characters in the DC and Marvel world
Shojo comics were introduced that led to the rise of female interest in manga. This was later rivaled by introducing Shonen manga
2008-PRESENT...
Following the Japanese trend, adult comics became popular in 1968 in France and Belgium. Metal Hurlant was a comic published in this period, which was later translated into an American market called Heavy Metal , which became viral worldwide.
This marked the reboot of the DC Comics, along with the introduction of contemporary comics. This reboot marked another re-design of well-known comic characters.
At this point in time, Franco-Belgian comics followed a similar layout to the American Comics. Adult books, however, at this point became rare. Franco-Belgian comics of this period have relied more on narration than graphical illustration.
In 2010 in Japan, the Tokyo Metropolitan Government passed a bill to restrict sexual content, which was previously found in abundance in Shonen manga.
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Drawings have been conveying narratives through sequences of images through millennia, whether painted on cave walls, carved into reliefs, hung on medieval tapestries, or, in their modern context, appearing in comic books.
A vital part of sequential storytelling and comic book art is the way white space, placement, and order play a significant role in the telling and pacing of the story.
A comic strip follows a universal structure regardless of the genre and country. Comic vocabulary includes the following:
BORDERS The edges or outline of a panel to define a particular picture. If said border does not exist then the image is something occurring over an extended period of time, simultaneously along with all the existing panels on the page. A borderless panel also forces that particular panel to be the center of attraction for that particular page. Not all panels are bordered; this is usually because the actions of one panel are simultaneously occurring in another panel, allowing a seamless flow for the reader.
PANELS Confined rectangles or squares where the action of the comic is drawn. These panels are an illustration of the story reading from left to right in a zig zag pattern. Panels are complimented by borders because it helps illustrate a sequence in time, where one panel is placed one after another. The panels on the right shows a series of events in reaction to the original borderless panel.
GUTTERS The space between the panels of the comic. This space allows the reader to imagine what happens between each panel. Comics lack the transition that animation has, and this gutter allows the reader to have closure on the actions of a character present. This figure shows a taco that is being subjected to sprinkled salt. The reader gets the idea that the salt is moving because of the placement of the salt in the two panels
SPLASH PANELS A panel that takes up the space of several panels in the comic in order to introduce or highlight an action or character. These panels can span over 2 pages
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NARRATOR BLOCK Rectangles or square in which a narrator or a character from the story shares information with the readers. The box usually narrates something that is happening or that happened before the scene in the panel. In this example, the narrator block describes what is happening in the scene
BLEED A bleed is when the comic panel runs to the edges of the paper. This usually appears as a case on covers of comics usually featuring a single shot
SPEECH BALLOONS Object used to contain the dialogue that characters in the comics speak. This category is also known as speech bubbles. Speech Balloons are frequently rounded but can take many shapes including rectangular. Different types of shapes for speech balloons can convey different emotions, for eg. A jagged speech bubble would imply anger
MOTION LINES Motion lines indicate movement in panels. This is shown by having lines behind the character to show that he/she just moved from a particular position. Furthermore, a lighter tone of the character is left behind in the previous position
SOUND EFFECTS Sound effects are present in comic panels without a speech bubble. This 2D form of color full text indicates an emphasis on the sound made by an object, when an action is provided. For example, when a gun is shot, the word “BAM!” is quickly accompanied with the shooting. Some sound effects are specific to certain objects, like “TWHICK” for the sound of Spiderman’s web slinging, etc.
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“
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Making comics is much more than copying drawing styles
- Scott McCloud Creating a comic book is a hectic and time-consuming process. Along with having the ability to draw, a comic book artist must also have the imagination of a writer, being able to associate the emotions of his/her drawings with the accompanied text
The production itself takes around a month to go through the rigorous processes of drawing/inking/lettering etc. The main process of creating a comic from scratch involves the following:
A central theme of the story is needed in order to begin making a comic book. This can either be something as elaborate as a fleshed-out main plot or just a vague idea of characters. A comic book artist, usually, starts off with deciding the protagonist of the story as a foundation. Using that, the artist proceeds to create scenarios surrounding the character. This leads to the creation of supporting characters that stimulate the main character’s dialogue and story Using these elements, the artist creates an interesting plot (if he/she did not already have one in mind before the characters). After the creation of a stable plot and believable characters, the artist proceeds to the next step.
Like movies and television shows, comics require a script too. In order for the artist to form a base for a scene, the artist creates a simple script using software like Celtx
The script for a comic book follows the same format as the script for a movie; where the setting of the scene is first mentioned followed by the dialogue or actions exchanged between individuals present in the scene This is the script of a comic called “the guild” which will be used as an example for the rest of the creation terminology
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3. THUMBNAIL ILLUSTRATION
The next step involves the comic artist drawing thumbnails to illustrate the script that was previously written. These are rough sketches usually in the form of single line figures and no refinement, almost similar to a film maker’s storyboard.
They are done using light pencil strokes allowing the artist creative freedom to erase and create the scene however he/she would like to interpret it. The artist also forms a basic idea of the paneling in this phase.
4. PENCIL AND INKING
The artist then proceeds to draw the thumbnail in a much more detailed manner using darker strokes to distinguish between foreground and background. These allow the artist to develop a world that focuses on the character in a particular panel
Furthermore, the artist then proceeds to go over the pencil lines using black ink to provide sharpness and professionalism to the panels, giving it more depth and a 3D atmosphere.
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The inking process is often referred to as “glorified tracing”, which can either be physical or digital. The penciled comic is often scanned and traced over using Photoshop, which is sharper than by hand.
5.COLORING
The comic artist then uses Photoshop to color in the white space (unless it is a monochrome comic, in the case of most manga comics).
However, at times, comic artists skip this phase due to it being the most time consuming and if done in a production company, very costly.
Lighting and shadow are added to give the comic a sense of realism along with using color palettes that complement the rrtone of the comic
6.LETTERING Once the scene of a page is established, the dialogue that was originally scripted is placed into the comic. The placement of the speech bubble itself is a technique that is taken into consideration well before drawing The speech bubble should be placed in such a manner that it does not obstruct the elements required in a panel to advance the story.
For artists who refuse to use electronic means to execute a comic, a stencil is available that allows custom lettering
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7.EDITING
Last minute changes are applied to comics. This is the last point of correction before publishing the comic through a publishing company.
After the comic book is completely designed and finalized, it is ready to be printed and published. Traditionally most American comic books are printed on A4 with a hard cover; some however, like Archie comics are printed on A5. A4 is the format that most Franco-Belgian Comics follow, while manga is generally published in an A5 size.
9.MARKETING AND DISTRIBUTION Marketing for a comic that is ready to sell is done through advertisements; usually websites and magazines. The first printed copies are sent to critics and reviewers.
If the comic receives good reviews, it generates a buzz on the internet, which ultimately results in increasing popularity of the comic. The comic is then distributed to retailers; comic book stores, comic conventions or a large bookstore that carry categories of comics.
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Comics are also given advertisements through video games and movies
Comics had a varied history throughout different cultures and societies. By the 1920s, comic culture had become a trend in the United States, Western Europe (particularly France and Belgium) and Japan.
1. FRANCO-BELGIAN COMICS
The father of modern comics is considered to be Rodolphe Tรถpffer, whose light satiric picture stories, starting in the mid-1800s, employed cartooning and panel borders
His artistic style featured the first interdependent combination of words and pictures seen in Europe.
This marked the beginning of Franco-Belgian comics which brought about the creation of well-known comics like The Adventures of Tintin series
2. AMERICAN COMICS
American comics appeared as a mass medium in the early 20th century with the advent of newspaper comic strips, followed by magazine style comic books in the early 1930s.
In 1938, the success of Action Comics and its lead Superman marked the beginning of what came to be known as the Golden Age of comics
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3. JAPANESE COMICS
Japanese comics also known as Manga, can be traced back to the 13th century. Modern comic strips appeared in Japan in the early 20th century in imitation of Western Comics.
The modern era of comics in Japan began after World War II, which was started by the serialized comic called Sazae-san by Osamu Tezuka. 3.CHINESE COMICS
Although not as well known – Manhua are Chinese Comics that began in China, Hong Kong and Taiwan, which often involved translated copies of Japanese Manga.
LIST OF SOME COUNTRIES WITH WELL KNOWN COMIC RELEASES
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Belgium (The Adventures of Tintin by Hergé, 1907) (Steven Strong by Peyo, 1960) Canada (Scott Pilgrim by Bryan Lee O’Malley, 2004) China (Cyber Weapon Z by Andy Seto, 1993) France (The Adventures of Asterix and Obelix by René Goscinny, 1959) Italy (W.I.T.C.H by Elisabetta Gnone, 2001) Japan (Fullmetal Alchemist by Hiromu Arakawa, 2001) (Inuyasha by Rumiko Takahashi, 1996) United Arab Emirates (Majid by The Abu Dhabi Media Company, 1979) United States of America (The New 52 by DC Comics, Inc, 2011)
Western Comics differ dramatically from Eastern Comics. The most noticeable difference is the style of illustration, because that is the first thing that a reader notices
Other differences are influenced from the culture of the country they originated in which, in turn, has an impact on the themes of each has produced comic
The three main differences between Western Comics and Eastern Comics are:
1. CULTURAL
The most noticeable difference between Western Comics and Eastern Comics is that based on the country’s respective languages, the Eastern comics are read from right to left whereas Western Comics are read from left to right
Furthermore, Western Comics emphasize action as opposed to Eastern Comics that emphasizes emotion. This inadvertently means that Western Comics are much faster paced than Eastern Comics
This is proven by maximizing panel use for action in Western Comics rather than dialogue and emotional reactions, which is what Eastern Comics do
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2. THEMATIC While Western Comics, specifically DC Comics, have explored the possibility of dark and crude plots, they are still known for their family friendly superhero Genre
However manga (a form of Eastern Comics), specifically has diverged into the dark risque material like violence, gore torture etc.
3.STYLE
Middle Eastern comics are known to have family friendly content. One of the most famous Middle Eastern comic book called Majid, is a story about a boy who is mischievous and tried to be an adult but gets himself into trouble most of the time.
Western Comics are considered to be Graphic Novels and this means that the narrative of the comic might not coincide with the image in the background
Eastern Comics, however, do not have a narrative styled after current events that are portrayed in a cinematic way
The establishing shot of the page is centered in a Western Comic, however in an Eastern Comic; it is placed in the bottom of the page, for dramatic effect
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This section focuses on the most famous forms of comic illustrations;
1. AMERICAN
The American comic book art style is the most universally acclaimed art style in the world. Some of the major comic companies in the world use the American comic book style like DC comics and Marvel comics
Human anatomy is given preference in this type of art. This means that elements that are not paid much attention to in cartoon comics are emphasized, for example, the toning of muscles, along with perfect proportions of the body.
However, some American comics use a caricature form of people or a more cartoon style of depiction for example, Archie comics, where humans are depicted with correct anatomy but certain details are over looked.
The perfect anatomy gave rise to the idea of comics based on superheroes for example, Batman and Spiderman etc.
Furthermore, adding to the close to realistic depiction of life is the realistic and detailed background. This, not only provides a fleshed-out setting for the character, but also allows the setting itself to have an emphasis on the story.
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2. JAPANESE
The Japanese comic book, also known as manga is derived from Anime and vice versa. This form of art is illustrated through a series of small drawings starting from top right, going in a zig-zag pattern, to the bottom left.
Furthermore, the art style itself is very different from either of its competitors. Japanese Manga consists of characters that have exaggerated appearances, for example, elongated eyes, petites noses, big cartoon hair and an overall feminine appearance as opposed to the more masculine qualities of the American Comics
Characters in a manga tend to have elongated limbs and an over emotional presence, showcasing different forms of facial expression in accordance to their mood
Also, manga characters are designed to have certain attributes that are proportional to their physical appearance. For example, the protagonist, Hei from Darker than Black, has black hair which represents power and evilness and this goes hand in hand with his character.
Other comic effects are used to add emotions to the manga like the twitching of the eyebrow and the cruciform and water drop near the forehead to show that the character is angry. Manga is drawn in a black and white color scheme differentiating it severely from its competitors.
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3. FRANCO-BELGIAN COMICS
Franco-Belgian comics are considered contextually realistic as opposed to aesthetically realistic. The characters are a cartoon version of human beings while maintaining the basics of anatomy. Emphasis on the basics of anatomy because, while the characters have two legs and two arms, the proportions of said limbs might not be accurate, for example, Asterix from Asterix and Obelix.
They’re realistic in terms of human physics (ignoring the fantasy factor in a story), therefore; majority of Franco-Belgian comics lack motion lines, sound effects etc.
Color schemes are also very minimal and lack the depth and variety present in American Comics, but are ofcourse much more developed than Japanese Comics
They use a form of color style called vintage color theme. This color scheme was originally followed by both Franco-Belgian and American comics from 1930s to 1960s
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While comics themselves are a widely renowned form of media and could qualify as a form of literature, majority of the public prefers or are rather more exposed to other forms of interactive media like movies, television shows and video games
This is one of the reasons why majority of the public do not relate characters from comic books to characters in movies, video games and television shows
For example, most anime cartoons have a manga counter-part; however, with the vast advertisements of anime through television commercials and billboards, the anime gains an edge over the manga, because while reading comics is a popular pass time in Japan watching television is a much more universal form of entertainment.
Another example is that the manga book of Fullmetal Alchemist was released much before the release of the first anime, however the series only received global recognition after the release of the anime, proving further the theory that television is a more popular form of media than physical books/comics.
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This is why most directors utilize the idea of introducing American comic characters on the big screen, making the current decade (2010 – present) the “Superhero Age”.
References of stories from comics in different forms of media are in abundance. The “Superhero Age” itself is centered on DC and Marvel comic characters.
Translating stories from paper to the big screen has been around ever since film production started
For a standard movie with no background history, the script writer has to make a script from scratch about the story; however, for a movie based on comics, the script writer already has a set of rules he/she has to follow in order to remain canon with the universe of the comics
Such traits that the comic artist has to follow are usually based on a specific character; his/her appearance, personality, style and actions.
The plot and the supporting characters can differ, but the main protagonist of the story is what ties the two mediums together.
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As long as the iconic character remains the same character, whether on the big screen or on an A4 paper, the connection between the two universes is entirely possible
For example, Christopher Nolan’s Batman trilogy , while being set in the same universe as the comics (Gotham City), had a more realistic and gritty approach to the world of Batman
All the characters in the movie were humanized, to the point that the mass media believed it was possible for people to imitate the actions of the villains, provided the conditions
In this case, Batman maintained his gruesome stature similar to his comic counterpart, while his villains (the supporting cast) were given a storyline more believable in real life than their comic book counterparts
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Similarly, storylines from comics were adapted into cartoons and television shows as well
The French-Canadian television show Herge’s The Adventures of Tintin was one of the most successful children’s show from 1991-1992
This show incorporated the story line of the twenty one Tintin books in 39 half hour episodes and was aired in 50 different countries, dubbed in respective languages
The age demographic that this show was aimed at, however, had no idea that the show was based on a comic book
The 2012 television show, Arrow, is once again loosely based on the Green Arrow, from DC Comics
While the show retains the backstory of Oliver Queen, it diverges in terms of storyline and supporting characters from the comics, going so far as to change the physical appearance of Oliver Queen, from being blonde to black haired
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Watchable media is not the only form of media that comics have transferred into. With the recent development in graphics and intractable media, video games have become a form of media that infers the idea of reality The world of comics might seem unreasonable and most of the time unrealistic, but with the help of video games, the reader/player gets more immersed in the setting of the universe of the story
For example, Fullmetail Alchemist 2: The Crimson Elixir was released on the Playstation 2, incorporating the story of a comic book arc
This provided publicity for the comic, inviting video game players to look up the origin material to gain background story of the game Similarly, many video games have been released that incorporate the world of comics as a setting/backdrop for the game
FOR EXAMPLE.....
Injustice: Gods Amongst us
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The Adventures of TinTin
While the previous statement instills the idea that comics have become the basis for well-known cartoons and movies, the vice versa is also possible
Certain forms of media originally released as movies/games/ television shows have gained sequel/prequel/add-on stories in the form of comic books
This is usually done to add extra content or a background story further explaining the already existing original story
For example, the video game, The Last of Us, has 2 main characters, Ellie and Joel.
Ellie’s origin story is not referenced in the game but is expanded upon through a 4 volume comic book released a few months after the game
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CHAPTER 3 CASE STUDIES: COMICS AND ARCHITECTURE
DESCRIPTION
Designed in 1963 by then Chair of the Yale School of Architecture, Paul Rudolph, the Rudolph building was considered Paul’s legacy building; his best work till that point. The building is considered to be the best designed building in the Yale campus; however, it has received as many negative reviews as it has praise. It was recently renovated and expanded by adding a new History of Art department.
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It was the most talked about building of its time - Robert A. M. Stern
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The building houses 9 floors; 2 basement levels and 7 above ground with a total area of 114,000 square feet including the new department. During the renovation, a new wing was added to the already existing structure because of the art students’ complaint over lack of space
A new block of 87,000 square feet called the Jeffrey H. Loria Center for the History of Art was added
With the addition of the new wing, possibilities to restore the original design of the rooftop penthouse, student lounge and bridges that were destroyed before arose
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The main cause for renovation was a large fire that started on June 14, 1969 causing damages to the original design. The repairs that were done after the fire disregarded Rudolph’s design, which is why the renovation was a necessity. With the renovation, the building gained a silver LEED certification.
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The A&A Building was born of the desire to consolidate and expand the space available to the University’s art, architecture, graphic design and city planning programs
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- Yale Alumni Magazine
It is speculated that the inspiration behind the building’s aggressive stature is Frank Lloyd Wright’s Larkin Administration Building in Buffalo, New York along with some of Le Corbusier’s later buildings
The building is most distinguishable from the rest of the campus because of its “rough bare concrete surface and interlocking masses and voids”, which complements the concept of brutalist architecture
The building was originally designed to have an atrium run through the seven story height, but due to fire laws, the idea was scrapped
However, in its place, Rudolph created two spacious open areas; the gallery on the ground floor and the architecture studios on the fourth and fifth floor.
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This was the first thing to be designed in the building, with the rest of the building being designed around the concept of the main open space, hence the odd circulation within the building In order to provide the walls with a different texture, Rudolph produced a new technique “The concrete was poured into ribbed forms, then workers with hammers smashed the ribs, revealing the rough aggregate beneath� – Yale Alumni Magazine The original design by Rudolph left a lot to be desired. Art students were known to picket the opening of the building due to the realization that the art students were not given enough space in the building
The arts students were confined to the basement levels with low ceilings in terms of classes, while the architecture students occupied the design studios on the above ground levels
Furthermore, students who majored in painting complained that the area that would have been of optimum efficiency for them with the perfect amount of sunlight was wrongfully dedicated to the city planning department
A student was quoted saying that he had long wanted to learn the art of miniature painting and thanked the architect for providing the small environment that compelled him to do so
Students also became aware of the fact that the concrete used for the walls was hazardous for their clothes and skin. According to students and critics alike, it seemed like function was less important than form for this building
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Following the fire of 1969, repairs were made to the already dysfunctional design; this led to the A&A building’s design being completely different from the original.
While the changes to the building were minor after the renovation, they played a significant part in updating the buildings conditions to match those of the current times
The exterior outlook of the building remains untouched other than the addition of the new wing and cleaning out the rough textured concrete
The mechanical systems were changed along with installing air conditioning in the building
The windows of the building were replaced and new, faster elevators were added, while moving the older ones
The new added wing is a building made from scratch using materials like zinc and limestone, which houses new lecture rooms and halls for art students
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RELEVANCE TO PROJECT (ACADEMY OF COMIC ART): SITE AND FUNCTION
Located in New Haven, Connecticut, the building is part of the Yale extended Campus. Surrounded by coffee shops, an art gallery
The Yale Repertory Theatre and Dwight Hall, the A&A building is easily accessible for students with multiple facilities like the post office and the old campus courtyard nearby.
FUNCTION
The building, as stated before, is utilized by architecture and art students, housing architecture studios, faculty offices, and student exhibition spaces.
RELATION TO THE ACADEMY OF COMIC ART A standalone academy is not a feasible option; therefore locating the academy in an academic zone in Dubai is the most suitable option; namely, Knowledge Village and Academic City. Knowledge Village is the area that comes close to being as rich in surroundings as the Yale Campus, with its own food court, student facilities and dorms that are not on campus. In terms of function, the Yale Art and Architecture building is not specifically for students looking to study the art of comic books, however, facilities have been provided in order for art students to diverge into that field. These facilities are present in the basement level. Therefore, these spaces will be utilized as a precedent for The Academy of Comic Art
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PROGRAM AND FACILITIES Programs
Color Code
Area
Yale Art and Architecture Building Sub-Basement Office Digital Media Classroom Metal Shop Hastings Hall Wood Shop Digital FabLab
24m² 92m² 192m² 194m² 224m² 98m²
Basement Offices Classroom Great Hall/Library Drawing Studio Hastings Hall Reception Registrar Lounge
76m² 265m² 720m² 164m² 194m² 48m² 276m² 50m²
Ground Floor Main Library Café Circulation Workstation Study Room Office Teaching Lab
Pink Brown Purple Red Yellow
1038m² 120m² 65m² 24m² 75m² 70m²
2nd Floor Exhibition Space Seminar Classrooms Conference Room Lecture Theatre Classroom Graduate Computer Room
455m² 127m² 51m² N/A 45m² 30m²
3rd Floor Offices Seminar Classrooms Conference Room Lecture Theatre Registrar Lounge
350m² 138m² 76m² 227m² 58m² 80m²
4th Floor Office Seminar Classrooms Laser Printing Room Design Studio Registrar Lounge
264m² 15m² 10m² 1098m² 34m² 90m² Total Project Size
114,000 sqm
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Ground Floor
Second Floor
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Third Floor
Fourth Floor
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Sub Basement
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Two sets of emergency staircases, enclosed in a dressing of zinc mesh (and eventually climbing plants), flank the building.
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CONTEMPORARY
CASE STUDIES
DESCRIPTION “Hangzhou urban planning bureau has announced MVRDV winner of the international design competition for the China Comic and Animation Museum (CCAM) in Hangzhou” – Archdaily
MVRDV won the competition for the China Comic and Animation Museum, beating the likes of EMBT, Atelier Bow Wow, Tsinghua Architectural Design and Tongji Institute of Architectural Design
The design concept was the utilization of one of comic book’s trademarks; the speech bubble
Eight speech bubble shaped volumes connected together through a series of different forms of circulation forming a space of a total 30,000m2
The project also contains a series of side attractions ranging from parks on small islands, a public plaza to a 13,000m2 expo centre
MVRDV believed that visitors would relate to the physical form of the speech bubbles and that it would be instantaneously recognizable as a building that houses one of the most under rated forms of art
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“The 30.000m2 are distributed over eight volumes which are interconnected allowing for a circular tour of the entire program” – Archdaily
The theatre and the comic book library both occupy their own respective volumes. The comic book library holds over 10,000+ comic books starting from the early editions from 1930s all the way to the new and latest issues. These books can be checked out or read within the premises. They can also be bought but at a hefty price
The theatre holds the opportunity for visitors to watch programs or movies that have aired before and are not available anymore. This can also hold premieres for new animation movies
The two volumes collide thus allowing the common ground between the two to become openings into the other.
“One of the balloons is devoted to interactive experience in which visitors can actively experiment with all sorts of animation techniques like blue screen, stop motion, drawing, creating emotions etc” – Archdaily
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This interactive experience and the grand scale of the project allows for a versatile space for exhibition
This dynamic space will allow any type of exhibition to be held because it is not genre limited. Furthermore, the museum holds a space for purchasing collectibles of comics/action figures/videos etc
ARCHITECTURAL ANALYSIS As stated by MVRDV, the main inspiration behind the form of the museum is the speech bubbles that are used in comics to convey text. They believed that by using this form, people would instantly be able to recognize the function of the building and what it stood for
This reference is further accented by using a white concrete designed in the form of a relief which references a Chinese vase. The building consists of 6 interlocking volumes
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The space between two interlocking volumes becomes the route from one to the other. This allows free flowing dynamic spaces throughout the museum, allowing people to move from one wing to another with ease.
With the building being based on speech bubbles, a minimal facade was used, however voids were introduced in order to provide natural light in the interiors.
These voids have been carefully placed in order to avoid light in unnecessary places, thus creating an illusion of the manipulation of light and shadow in the interior.
PROGRAM AND FACILITIES Programs
Color Code
Area
Ground Floor Central Lobby Introduction and Collection Hall Interaction and Experience Hall Stop Motion Room Dubbing Room Performance Room Literature Room Comic Library Imax Theatre Multi-functional Theatre Multimedia Room Lecture Room Conference Room Training Room
860m² 1685m² 960m² 90m² 53m² 53m², 95m² 280m² 765m² 544m² 310m², 240m² 72m² 380m² 146m², 168m², 90m² 60m², 42m², 60m²
Pink Brown Purple Red Red Yellow Orange Blue Teal Teal Teal Lime Green Dark Green Ink Blue
First Floor Introduction and Collection Hall Administrative Facilities Reading Room Food Court/Snack Bars Café/Ice Cream Bar
1020m² 43m², 30m², 27m², 48m² 230m² 360m² 110m²
Brown Red Orange Teal Green
Total = 30,000m² (Halls and circulation included) 60
GROUND FLOOR
FIRST FLOOR
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The MEFCC, is the first ever Comic Con & largest popular culture festival in the region that was held at the Dubai International Marine Club on April 20th & 21st 2012.
The culture of Comic Con is a universal one; however this was the first time that it has been introduced in the UAE The MEFCC is more than just an annual event in the UAE that showcases comics and video games. It allows people that are enthusiastic about comics to meet up on a common ground, to cosplay and enjoy the theatrics of the comic world
The exhibition is held in the Dubai International Marine Club which houses 2 floors. There’s an outdoor exhibition as well. But the main focus by the public is on the indoor exhibition
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The Ground Floor Exhibition area is where many of the showcase stands and larger retailers are situated giving people the opportunity to build whatever they like to attract and excite thousands of MEFCC fans
This area is a high traffic area and is the main entry point for all the visitors. It houses different exhibitions like Geekay Games and Kinokuniya stalls Situated on the ground floor, the Comics Village contains some of the world’s largest publishers alongside the international comic artists for signing and sketch commissions.
MANGA TOWN
They are known as shell booths (2mx3m) which are exclusively for upcoming new artists to display their works of art.
Japanese Content and comics are incredibly popular in the Middle East with titles like Naruto, Bleach and One Piece often the favorite amongst younger audiences.
This area contains both regional and international manga publishers, retailers and fan clubs and the sponsor is branded prominently throughout this extremely popular area, ranging from selling merchandise like action figures and comics.
While the ground floor is more commercially based, the first floor is more for local artists to exhibit their work
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FIRST FLOOR The ever popular Artist Alley is for budding artists who wish to display an array of items ranging from posters to bracelets; it does not have to related to comic.
THE GAME ZONE The game zone is an area where the most latest and upcoming new games are put up for a demo play
It contains exhibitions from every major player in the regional market with some highlights from international publishers as well alongside a PowerLeague Gaming tournament.
This zone has its own completely separate area and is a major attraction of the event. Constructed in its own tent on the grounds of DIMC, it is separate from the main building and requires a lot of walking to get to from the main entrance
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OUTDOOR - OPEN EXHIBITION SPACE A huge feature of the event is the festival lawn area where fans gather to eat drink and watch events on the main stage. It is surrounded by different facilities that further promote comic culture like a costume shop, smurf village and games
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Bubble Art Display is a way of presenting comic and cartoon art into an architectural building as a public display that attracts people with the intention of promote the art itself
The concept originates from a series of bubble quotes used in comics, which, in this design, is used to display the programs of the Museum
the general volume of the building was first subdivided into storeys and programs after negotiating the appropriate area for each function. represented by bubble quotes, the individual rooms were adjusted in to modules and arranged to seemingly hover in space on top of the other
circulation is mainly driven by a central helix ramp while shortcuts are provided by short, by-passing slides in between levels. views toward the street and brooklyn bridge are established while open roof surfaces are converted into multi-functional areas
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GROUND FLOOR
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SECTION 2 PROGRAM AND SITE
CHAPTER 4 PROGRAM CASE STUDIES AND PERSONAL
In terms of Case Studies - An Academy of Comic Art is non-existent other than the Joe Kubert School which is a school that houses around 25 students a year.
However, with the existence of Art schools that teach this particular form of art, gathering case studies was not impossible.
While one case study does not provide all the information required for the project, combining programs from multiple cases allows variety in terms of academia and commercial space
YALE ART AND ARCHITECTURE SCHOOL
EDUCATIONAL
UNIVESITY OF KENT SCHOOL OF ART
EDUCATIONAL
CHINA COMIC AND ANIMATION MUSEUM
EDUCATIONAL
MIDDLE EAST FILM&COMIC CONVENTION
MUSEUM OF COMIC AND CARTOON ART
EDUCATIONAL RELATION
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COMMERCIAL
COMMERCIAL
EDUCATIONAL
COMMERCIAL RELATION
COMMERCIAL
DIVISION OF SPACES - MATRIX DIAGRAM
utilities
Student Lounge
Comic Con
Food Court
Exhibition Hall
Library
Conference Room
studios/labs
Lecture Theatres
Classroom
outdoor facilities
Administration
Lobby
Entrance
Entrance
Lobby
Administration
outdoor facilities
Classroom
Lecture Theatres
studios/labs
Conference Room
Library
Exhibition Hall Food Court Comic Con
Student Lounge
utilities
NECESSARY
SHOULD BE
MAYBE
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4.3 4.3 - PROGRAM PROGRAM AND AND DIMENSIONS DIMENSIONS PERSONAL PROGRAM.....
LIST OF PROGRAMS Academy of Comic Art - Amna Ahmed Category
Administration
Sub Category
Main Entrance President's Office Dean's Office Vice President's Office Full Time Faculty Office Staff Offices Administrative Office Admission Office Management Office
Neufert Standard
Number Required
Total Area Roughly
35m² 25m² 25m² 14m² 15m²/person 13.5m² 13.5m² 10m²
1 1 1 15 2 (10 people/room) 3 1 5
35m² 25m² 25m² 210m² 300m² 40.5m² 67.5m² 50m²
4.5m²/person 0.95m²/person 6.5m²/person 74m² 4m²/person N/A 4.5m²/person N/A N/A N/A
4 2 3 2 2 1 1 2 4 1
450m² 114m² 650m² 290m² 200m² 400m² 90m² 40m² 20m² 60m²
Educational
Classroom (25 seats) Lecture Theatres (60 seats) Studios (15 seats) Computer Laboratories (25 Computers) Conference Room (25 seats) Library Reading Rooms (20 seats) Digital FabLab Printing Room Student Lounge
Retail
Merchandise Shops Collection Hall Food Court Bookstore
N/A N/A N/A
N/A 1 2
350m² 300m² 150m²
Exhibition Space
Student Exhibition Hall
N/A
2
400m²
Comic Con
Exhibition Hall
N/A
1
700m²
Services
Bathrooms Mechanical Technical Store Room
250m² 100m² 100m² 200m²
Circulation
300m²
Outdoor Facilties/Central Quad
400m² Total Floor Area
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6317m²
.......IN COMPARISON TO CASE STUDIES
Yale Art And Architecture
90m²
University Of Kent
30m² 45m²
324m² (9m²/room) 25m² 45m² 21m² 28m² 310m² 227m² 1098m² 30m² 127m² 1758m² 24m² 98m² 50m² 65m²
China Comic and Animation Museum
Comic Con Dubai 2013
860m²
Museum of Comic and Cartoon Art
45m²
34m²
64m² 124m²
646m²
74m² 192m²
148m²
380m² 144m² 53m²
37m²
406m² 765m² 230m²
70m²
720m² 120m²
1685m² 360m²
455m²
2645m²
128m² 1321m²
270m² 500m² 245m² 1345m²
102m² 130m² 145m²
435m²
40m²
338m²
76m²
3000m²
1510m²
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CHAPTER 5 SITE ANALYSIS
Mina Al Siyahi
The first site was chosen in context to the area opposite the site. The area opposite the site is the Dubai Marina Yacht Club where the Annual Comic Con is held. This site was chosen to keep in mind the idea that the Academy is not just an educational facility but also a substitute venue for the annual Comic Con. By being exactly opposite of the original comic con site, this site will get more exposure, not to mention it is in one of the most busy areas of Jumeirah in Dubai. This site was however, not chosen as the final site.
University City
The second site was chosen in context to the educational zone. Due to the nature of the project (academy of comic art) it would be advisable for the site to be in an educational zone. Thus, this site, near the American University of Sharjah was chosen. However, this site is not the final site
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Near Tecom
The Third Site was also chosen for a similar purpose; placing the project in an educational zone. with schools like american school in dubai in proximity of the site and various other up and coming schools, this area is sure of becoming a blooming educational zone. However, in the immediate future, this area will not get much exposure, therefore this site was not suitable
NEAR AMERICAN UNIVERSITY IN DUBAI
The Fourth site is the empty plot next to the american university in Dubai. This was chosen in order to incorporate the Academy of Comic Art as part of the AUD campus. However, it turns out that AUD intends on expanding the campus within this region therefore, this site was not chosen
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CHOSEN SITE - KNOWLEDGE VILLAGE
The Fifth and final site is the empty parking lot in Knowledge Village. Knowledge village is known to be a place filled with individual institutes and colleges. Therefore this site was the perfect place to situate the Academy of Comic Art. This would allow students to be exposed to the culture of comics as well as people working in commercial zones nearby, like dubai media city etc.
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5.2 5.2 - LANDMARKS LANDMARKS Jumeirah Beach Hotel - 5.14 KM Burj Al Arab - 4.64 KM
PALM JUMEIRAH - 3.91 KM Mall of The Emirates - 3.84 KM
Site Knowledge Village
American University in Dubai - 1.64 KM
Dubai Marina - 3.23 KM
Jumeirah Island - 5.26 KM
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5.3 5.3 - TIMELINE TIMELINE 2004...
2005...
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2006...
2007...
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2009...
2013...
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Car & Bus Access
MAIN ROADS MAJOR ROADS MINOR ROADS
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5.5 5.5 - BUILDING BUILDING U USE SE AND AND ZONING ZONING
Commercial
Educational
Residential
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5.6 5.6 - MAS MASS S AND AND VOID VOID
5.7 5.7 - BUILDING BUILDING HEIGHT HEIGHT
9 - 30+m
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0 - 9M
0 - 6m
Under Construction
5.8 5.8 - SITE SITE REGULATIONS REGULATIONS AND AND WEATHER WEATHER
83 M
8310 SQM
110 M
COMMERCIAL HEIGHT
g+4
RESIDENTIAL HEIGHT
g+1
PARKING
1 BAY PER 400 SQFT
PARKING
1 BAY PER 1000 SQFT
SETBACK
4 m from the roads
SETBACK
3 m from the roads
7426 sqm
7782 sqm
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section 3 concept design
6.1 - CONCEPT #1 - LAYERS
The initial concept was to utilize comic book panels in a very linear shape by breaking them down. As shown in the image above, each panel of a comic book has a different layout. when layered on top of one another they would create a form that would be complimented by masses and voids
Looking further into the concept of Layouts and how crucial each panel is to the story, the separation of the panels based on the created program was done. This allowed me to experiment with spaces and volumes leading up to different sized panels/volumes like in comic books.
Layering the panels on top of one another would create dynamic spaces by utilizing voids and masses. This would allow different programs to interact with each other allowing fluid movement within the building, considering it is an academy.
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6.1 - CONCEPT #2 - FRAME WITHIN A FRAME
This concept originates from the previous concept. The utilization of layers in a volumetric format as opposed to a base by base layering. Using Suo Fujiomoto’s N House as an inspiration, the concept is to tell a story within the building using panels/windows that show activities on the outside/inside of the building
The pictures of the model shown above is an attempt at capturing the essence of this concept. By using a maze formation, a story can be told within the building. This can be done by utilizing the voids in the facade as windows to instill life into the project. By placing the frame in such a way that upon looking through the frame, a person will experience day to day activites that tell the story of not only the interior but also the exterior surroundings of the building
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