Graduation Project Thesis by Ashraqat Khaled

Rosetta Heritage Complex “A Place Where Heritage Meets Civilization”

Rosetta Heritage Complex Graduation Project 1 October University For Modern Science And Arts Faculty Of Engineering Architecture Department ASE 554 – Fall 2019 Supervisors: •

Dr. Omar Fawzy

•

Dr. Sameh El-Feki

•

Dr. Rania El Messeidy

•

Eng. Rana Adel

•

Eng. Mirna Mohamed

•

Eng. Sherien Abu Dagher

Group – M1

Authors: •

Ahmad Gamal

153971

•

Alaa Mohamed Tahir

155373

•

Alshaimaa Osama

164171

•

Ashraqat Khaled

164583

•

Aya Ismail Ghobashy

160195

•

Jomana Ezzat

164743

•

Marwa Abdulrahman

165393

•

Maram Ahmed

161145

•

Mohamed Alaa Sami

155215

•

Mona Hassan Sakr

160637

ABSTRACT

BSTRACT

We were asked to investigate the problems in Delta and Focus on a specific problem and find an architectural solution to it. After researching about the different governorates and cities we were mostly interested in the city of Rosetta “Rasheed”, in Al Beheira Governorate, and its amazing historical background. We felt the need to find out why is Rosetta not a touristic destination, being the largest city after Cairo that has Islamic Monuments, as well as its strategic location at the intersection of the Mediterranean sea and river Nile. Moreover, the city rich with its unique cultures, traditional handcrafts and it is famous for yacht productions. Therefore, we started looking for reasons and statistics, and accordingly we settled on a project that would help revive the tourism in Rosetta. We travelled to Rosetta, conducted interviews with the people there and visited the monuments there which motivated us to try and find a solution for the heritage deterioration. Due to the negligence of the historical monuments from the government, Rosetta started to lose the strong identity it had, and its history is starting to fade away. Hence, losing its image as a touristic city. The proposed project is mainly dealing with the heritage deterioration by creating “Rosetta heritage complex” that is going to allow people to rediscover the treasures of Rosetta.

TABLE OF CONTENTS 00 ABSTRACT 01 HISTORICAL BACKGROUND

01 02-08

1.1 1.2 1.3 1.4 1.5 1.6 1.7

02 02 03-05 06 07 08 08

02 2.1 2.2 2.3 2.4 2.5 2.6 2.7 2.8 2.9 2.10 2.11

2.12 2.13 2.14

2.15 2.16

Introduction Context Historical Overview Rosetta Timeline Rosetta Historical Monuments Heritage of Historical Sites Rosetta Coastal line Development

URBAN ANALYSIS

08-39

City's Location and context Urban Development Urban Fabric Road Hierarchy Transportation Analysis Solid and Void Land Use Building Heights Building Conditions Building Constructions Environmental Analysis 2.11.1 Vegetation Analysis 2.11.2 Climate Analysis Landmarks Map Services Map City Image 2.14.1 Skyline 2.14.2 Elevations 2.14.3 Street Views Analysis 2.14.4 Center of the City Socio-economic Analysis SWOT Analysis for Rosetta City

03 Project Selection 3.1 3.2 3.3 3.4

Common Problems Problem Statement Scope Project Objectives 4

TABLE OF CONTENTS 3.5 3.6 3.7

Project Main Components Project Approaches Target Groups

04 Site Selection 4.1 4.2

4.3

4.4

4.5

4.6

Site Selection Criteria Sites Selection Site Location 4.2.1 4.2.2 Further Analysis Site 1 Analysis Street Hierarchy Maps 4.3.1 Land Use Map 4.3.2 Building Conditions Map 4.3.3 Building Heights Map 4.3.4 Solid And Void Map 4.3.5 SWOT Analysis 4.3.6 Site 2 Analysis Street Hierarchy Map 4.4.1 4.4.2 Land Use Map Building Condition Map 4.4.3 Building Heights Map 4.4.4 Solid And Void Map 4.4.5 SWOT Analysis 4.4.6 Site 3 Analysis Street Hierarchy Map 4.5.1 4.5.2 Land Use Map Building Conditions Map 4.5.3 Building Heights Map 4.5.4 Solid And Void Map 4.5.5 SWOT Analysis 4.5.6 Comparative Analysis Of The Three Sites

05 Design Issues 5.1 5.2 5.3 5.4 5.5 5.6 5.7

Security Safety Circulation Flexibility Interaction Maintenance Durability 5

TABLE OF CONTENTS 5.7 5.8 5.9 5.10 5.11 5.12 5.13

Durability Environmental Impact Energy Efficiency Mood And Ambience Image Legibility Comfort

06 Case Studies

6.1 6.2 6.3 6.4 6.5 6.6

Singapore Indian Heritage Center The King Abdul-Aziz Centre for World Culture The museum of Aga Khan Palestine Museum The Grand Egyptian Museum Etihad Museum

07 Design Requirements 7.1

7.2

Design Requirements Main Components 7.1.1 7.1.2 Program Design Standards -Administration -Historical Sector + Commercial/Retail -Culture Sector -Entertainment Sector-diving Center -Theatre

08 Sustainability 8.1

8.2

8.3

Sustainability In General 8.1.1 Sustainability In Architecture 8.1.2 Description Of UN 8.1.3 The Main Categories Of Sustainability Social Sustainability 8.2.1 Social Sustainability In Architecture 8.2.2 Social Sustainability Approach In Our Project 8.2.3 Social Sustainability Case Study Environmental Sustainability 8.3.1 Environmental Sustainability In Architecture 8.3.2 Environmental Sustainability Approach In Our Project 8.3.3 Environmental Sustainability Case Study 6

TABLE OF CONTENTS 8.4

8.5 8.6 8.7 8.8

Economic Sustainability Economic Sustainability In Architecture 8.4.1 8.4.2 Economic Sustainability Approach In Our Project 8.4.3 Economic Sustainability Case Study Green Buildings Sustainable Buildings LEED LEED Rating System 8.7.1 GPRS GPRS Rating System 8.8.1 8.8.2 GPRS Category Weightings

09 Individual Work 9.1 9.2 9.3 9.4 9.5 9.6 9.7 9.8 9.9. 9.10 10

10.1 10.2

Ahmed Gamal Abdelnaser Alaa Mohamed Taher AL Shaimaa Osama Ahmed Ashraqat Khaled Khalaf Aya Ismaiel Ghobashi Jomana Ezzat Maram Ahmed Enany Marwa Abdulrahman Alaswadi Mohamed Alaa Sami Mona Hassan Sakr Bibliography

List of Figures List Of Refernces

HISTORICAL BACKGROUND

Historical Background 1.1 Introduction: Egypt is a unique touristic destination , which has witnessed many historical eras. It is rich with many historical cities and sites. One of them is Rosetta, the city of million palm trees, which follows El- Beheira Governorate. Rosetta, once a major Mediterranean harbor, is now a forgotten Egyptian city with a hidden treasure of Ottoman roots. It has traditional crafts such as a palm leaves furniture, shipbuilding and carpet weaving workshop. The total area of city is 2.5 km 2 and is elevated 15m from sea level. It contains large amount of monuments and archeological sites. It is the second after Cairo in number of the Islamic monuments.

Fig 1.1 city location, data source (google maps), illustrated by (authors,2019).

Concerning its governorate, Beheira is by far the largest governorate as to area of agricultural lands, estimated at 1623.59 thousand feddans. The governorate has 4 industrial zones: in Natron Valley, Al- Bousili Desert, New Nubaria and Edco. Beheira is also distinguished with many tourist attraction sites constituting the foundation for tourism development in the governorate. Rosetta branch on the Nile River extends to meet the Mediterranean to the East at Alexandria city. The north coast of Beheira governorate is a natural extension to Alexandria coasts. ( State Information Service, 2016).

1.2 Context Rosetta is located near the Nile junction (The West Bank of the Rosetta branch) with the Mediterranean Sea, east of Alexandria, which is not further than 15 km. This site has made it available to be one of the main delta exits, where the Rosetta branch was considered as one of the most important transportation routes, especially in the middle age Boundaries: - From North: The Mediterranean Sea. - From South: Abu Mandour and Sand Dunes. - From East: Branch of Nile River. - From West: Abu Qir Bay. Fig 1.2 city location, data source (google maps), illustrated by (authors,2019).

Historical Background 1.3 Historical Overview Pharonic and Batlimic era Rosetta is the ancestor of many human settlements, dating back to the Predynastic period. Sources indicate that it was conquered by Menes in the 4th millennium BC during his campaign to unite Upper and Lower Egypt. Remains of these ancient settlements have been discovered over the area of Tall Abu Mandur. Also, historic data mentions a temple in the same area, referred to as Bulbitinum, which was probably was built for Cleopatra. Evidence from that time can be seen everywhere in Rosetta; in mosque columns, as well as in stones with hieroglyphic inscriptions in building. Sources of the Coptic era refer to a town called Rekhit, which became Rashid after the Arab conquest and is still used today. Roman era Moreover, some sources say that round 270 A.D., the Roman Emperor Aurelian constructed a castle and walls around the city, most likely to protect it from Persian and Nubian invasions. The city used to be tremendously influential in the twelfth century, when the route to Alexandria was through Rosetta using the Khabur canal, which was later disregarded and used to be totally sanded at the end of the 14th century. This caused the city to lose its commercial position, because of the crippling of this route.

Fig 1.3.1 Tall Abu Mandur, Data source (frame.es, 2016 )

Fig 1.3.2 hieroglyphic inscriptions on bricks, Data source (googlemaps.com)

Fig 1.3.3 the Khabur Canal, Data source (factsanddetails.com, 2017).

Mamelukess era The Mamluk period marked the beginning of Rosetta development and, under Ottoman rule, reached its peak. In the 18th century, Rosetta was Egypt's main commercial port, ahead of Alexandria. As a result, the city's streets were packed with traders from around the world, creating a mul ticultural environment reflected in the façades and the still current architectural style.

Fig 1.3.4 Mammluk trading in Rosetta, Data source (googlephotos.com)

Historical Background 1.3 Historical Overview Mamelukes Era

In the late 1400s, commercial activities in Rosetta were on hold after the Portuguese discovered Cape of Good Hope. Shortly after, Sultan Qayitbay constructed his castle in Alexandria in 1479, After that he became to Rashid and constructed a fortress at the border of 'Izbat ai-Burg village, at the northern part of Rosetta. Ottoman Era As the Ottomans invasion continued to threaten Egypt, around 1515 Sultan “Al-Churi” extended and repaired the fortress of Qayitbay additionally built walls round Rosetta. But eventually the city has fallen in 1517. At an early stage, the Ottoman conquest of Egypt introduced no fundamental modifications to the city. Moreover, the city grew to be Egypt's closest port to Istanbul and all ships carrying merchandise from Istanbul landed there, Egypt became the Empire's main provider of rice, grain and other products.

Fig 1.3.5 Qayitbay fortress, data source (Aufnahme Von Van Berchem)

Fig 1.3.6 City of Rosetta, ottoman empire. data source (britishmuseum.org)

The French Invasion Napoleon invaded Egypt In 1798, launching the Expedition d'Egypte. A year later, as Napoleon's army stayed in Qayitbay's fortress, the most essential Egyptological discovery of all time was found its walls: the Rosetta Stone. The stone had written text in 3 languages: hieroglyphics, demotics, and Greek. The French scholar Jean-Feancois Champollion subsequently examined the stone and after many years managed to translate it in 1822. The French presence did not last for a long time but led to an increase in commercial movement of Rosetta as French merchants had free passage to the city.

Fig 1.3.7 Rosetta stone, data source (The British Museum).

Fig 1.3.8 Rasheed battle, data source (alwan.elwatannews.com).

Historical Background 1.3 Historical Overview The British Invasion At 1801, the British intervention came and ended Napoleon's time in Rosetta. The British navy launched attacks on Egypt along with the Ottomans, and Napoleon was Defeated. In 1805 Mohammed Ali took the throne of Egypt. After two years, he defeated Fraser who was leading the British forces in a battle round the city of Rosetta .

Fig 1.3.9 British forces in Egypt, data source (mutualart.com).

Muhammed Ali Era Years after, Muhammad' Ali started to modernize Egypt. Consequently, railroads have been constructed, industries had been built up and the street network was improved. As a result, land transport grew to become better and a lot more cost effective than transport by the river. Muhammad 'Ali also appeared to prefer the development of Alexandria over Rosetta, which was no longer related with Cairo on a direct railroad. Rosetta was also bypassed by the construction of the Al-Mahmdiyyah canal in 1819-20. The new canal connected Alexandria directly with the Nile, making sure that boats no longer had to stop in Rosetta on their way to the Mediterranean.

Conclusion:

Fig 1.3.10 Muhammed Ali victory, data source (wikiwand.com).

Fig 1.3.11 Al-Mahmdiyyah canal , data source (Google photos).

In conclusion, Rosetta city had witnessed a different eras during its history. Its strategic location - one of the key Mediterranean accesses to Egypt-has made it an important military outpost since the early days. The city is known worldwide for the stone Rosetta, which was the gateway to hier oglyphic deciphering. The city’s trade has been affected after discovering the Cape of Good Hope. In the AH 9th / AD 15th century, it regained part of its importance again after the Ottoman conquest of Egypt and reached the height of its urban prosperity, including the construction of mosques and homes

Historical Background 1.4. Rosetta Timeline The city was conquered by Menes in the 4th millennium BC during his campaign to unite Upper and Lower Egypt.

Pharaonic & Batlimic Era (3000 BC)

Roman Era (270 BC)

The Mamluk period marked the beginning of Rosetta development. Sultan Qayitbay constructed his fortress at this era.

Mamluk Era (15-16th Century)

Ottoman Era (16-17th Century)

Napoleon and his army invaded Egypt and they found the Rosetta stone, then were defeated by the British and Muhammad Ali

The roman constructed a castle and walls around the city, most likely to protect it from Persian and Nubian invasions

Rosetta became Egypt's closest port to Istanbul and all ships with merchandise from Turkey landed there

French & British Invasions (1798)

Muhammed Ali Era (1805)

Muhammad 'Ali prefered the development of Alexandria over Rosetta, which wasn’t connected to Cairo on a direct railroad.

Fig 1.4. Rosetta’s Historical Timeline, data source (authors, 2019).

Historical Background 1.5. Rosetta Historical Monuments

St. Mark Apostle, 5th century Fig 1.5.1. data source (google earth)

Hasiba Ghazal House, Ottoman Era Fig 1.5.3. data source (Authors, 2019)

Qayitbay Fortress, 1945, Fig 1.5.5. data source (google earth)

Azzuz bath, 19th century Fig 1.5.7. data source (Authors, 2019)

Abu Shahin Mill Fig 1.5.2. data source (google earth)

Abu Mandur Mosque, 991 Fig 1.5.4. data source (Authors, 2019)

Al-Amassily House, 17th century Fig 1.5.6. data source (Authors, 2019)

Abu Al Reesh Gate, 8th century Fig 1.5.8. data source (google earth)

Historical Background 1.6. Heritage of Historical Sites The number of heritage buildings fell from 52 in 1963 to 37 in 2006. The city has several informal markets in the historic area's streets, resulting in traffic jam and garbage accumulation. Regulatory Framework National policies support heritage cities to be upgraded. The government declared Rosetta a tourist city by law 13/1986. However, there is a lack of specific heritage building codes that would allow the city's old urban fabric to be preserved. The three authorities responsible for the city and its historic area are in conflict. First it is the duty of Al- Beheira Governorate to issue licenses to erect new buildings or to modify or clear existing ones, either within or outside historic areas. Secondly, the Endowment Ministry, which provides services to a number of historic mosques Thirdly, the Supreme Council for Antiquities is responsible for the maintenance and reconstruction of historic buildings listed in the national registrar. The authorities ' disagreement and lack of coordination led to the decline of historical regions. Several leased stores in the historic buildings ' ground level have been used for such purposes as raising cattle and livestock and holding horses, practices that are not suitable for the design and character of the area and have a negative effect on the monuments.

Fig. 1.6 Rosetta historical buildings being misused. (Ouafa Belgacem, 2006)

1.7 Rosetta Coastal line development The formation, growth and decline of Rosetta are closely connected with the river and the Mediterranean Sea. The city is situated on one of the Nile's main branches (Rosetta branch) near its Mediterranean drainage location. Water has influenced the city's surroundings, whether from the Nile or the Mediterranean, placing it further or nearer to the coast. In the 16th century, the nearest Rosetta was to the coast.

1600 1700-1800 1900

Fig. 1.7 Rosetta coastal line Map. (Ouafa Belgacem, 2009), (Illustrated by authors, 2019)

URBAN ANALYSIS

Urban Studies 2.1 City’s Location and Context: Location: Rosetta city has a very strategic location, connecting Alexandria and El-Beheira Governorates. It’s one of the Nile Delta cities located at the Northeastern part of El-Beheira Governorate, on the West Branch of the Nile River. The surrounding area expands towards the west reaching the borders of “Edku Lake”. The city lies between longitudes of 30ْ 20’00” and 30ْ 26’00”, and latitudes of 31ْ 22’30” and 31ْ 30’00”, as shown in Figure (2.1.1).

Fig.2.1.1 .Maps showing Rosetta City location and its links with the surroundings, Data Source (El-Raey, Fouda and Gal, 1999), illustrated by (Authors,2019)

Context: The city is surrounded by the Mediterranean sea from North, Abu Kir Bay from West, Abou Mandour Hill and sand dunes from South, and from East it is bounded by the Nile river branch named after it. The city is 263 Km away from Cairo to the North, 60 km away from Alexandria to the East, 159 Km away from Tanta to the North, and 186 Km away from El-Mansoura to the West, as shown in Figure (2.1.2). Fig.2.1.2 Map showing context of Rosetta city and its links with other cities, Data Source (Google maps, 2019), illustrated by (Authors,2019)

Urban Studies

2.2 Urban Development: Through years, Urban expansion of the Rosetta city has been horizontally towards the West, as shown Figure 2.2.1, infringing the agricultural lands surrounding it, which are dense with high quality palm trees. These lands are acting as the limiting boundaries for the urban areas, from the North and the West, all along the longitudinal direction of the city, and from the south merely next to Abou Mandour hill, which is deemed as a natural Southern edge for the urban extension. Another natural edge, is the basin of the Nile River acting as the Eastern boundary of the city. Therefore, the only feasible directions for the urban extension are to the West and Northwest of the city, in spite of the high cultural and economic loss that would be entailed from this unplanned and undirected expansion (El-Ibiary, 2006).

2019

Fig.2.2.1 .Maps showing the urban extension of Rosetta City, Data Source (El-Raey, Fouda and Gal, 1999), illustrated by (Authors,2019)

Fig.2.2.2 Maps gathering all the phases of the city's urban extension, (Authors,2019)

As shown in the following map, Figure (2.2.3), Rosetta city was divided into six regions that differ in their urban patterns, their different uses, and their stages of development (El-Ibiary, 2006), these are: 1. The old region: It is the first nucleus of the city, which occupies the strip on the Nile River. It is characterized by the distinctive traditional old housing where it consists of buildings with a height of 3-4 floors and with mixed uses, such as residential uses, commercial uses as well as craft workshops. Further, it is where the commercial center of the city and most of the historical buildings are located. This area occupies about 110.6 acres with a population density of 200 people/acre.

Zone 1 Zone 2 Zone 3 Zone 4

Fig.2.2.3 The Urban structure of Rosetta city “Main 6 Regions”, Zone 5 Data Source (General Organization for Physical Planning, 1990- Zone 6 2010), illustrated by (Authors, 2019)

Urban Studies

2.2 Urban Development: 2. The cemeteries region: It is located in the southern part of the city, and due to the urban sprawl, large areas have been deducted from it, which necessitated the construction of a wall around it to prevent the random urban extension on it. Moreover, it lacks main services and facilities and suffers of poor road conditions.This area occupies about 65 acres with a high population density of 215 people/acre. 3. Abu Al-Rish region (Rural Housing): It is located at the North of the city and it has a rural character, where the buildings are of mudbrick with height of one floor in most cases. Some modern public housing units and traditional dwellings were built there. Abu Rish Gate is deemed as one of the important Islamic monuments of this region. This region depends in its services on the city center. It is about 25.5 acres with a density of 170 people/acre.

1 Floor 3-4 Floors

Fig.2.2.4 The Urban structure of Rosetta city “Heights”, Data Source (General Organization for Physical Planning, 1990-2010), illustrated by (Authors, 2019)

Fig.2.2.6 Abu Al-Rish gate, (Authors, 2019)

4. Services area: It is located in the north-east of the city, and it is where most of the city's services are concentrated, including educational, health, and administration facilities. Old housing of different materials exist due to the increasing population. It occupies 30 acres with high population density of 350 people/acre.

Near Services Far from Services

Fig.2.2.7 Services area (Authors, 2019)

Fig.2.2.5 The Urban structure of Rosetta city “Services”, Data Source (General Organization for Physical Planning, 1990-2010), illustrated by (Authors, 2019)

Urban Studies

2.2 Urban Development: 5. The Western region (Slums area): It is the random extension as a result of the population increase, located at the west of the city. This region is divided into two parts, the eastern high level part, which causes problems in the infrastructure networks, and the western low level part, where modern buildings are extended. There are some vacant lands and there is a lack of all types of services, such as educational, health and social services. Its housing is divided into two parts: the old traditional buildings located in the eastern part, consisting of 3-4 floors, and the modern buildings with one floor located in the western part. This area occupies about 60 acres with density of 70 persons/acres. 1 Floor 3-4 Floors

Fig.2.2.4 The Urban structure of Rosetta city “Heights”, Data Source (General Organization for Physical Planning, 1990-2010), illustrated by (Authors, 2019)

Fig.2.2.8 Slums area, (Authors, 2019)

6. Abu Mandour Region: It is located at the southern end of the city. It was classified as a private housing belonging to the Reconstruction Bank and Public Housing. Buildings are built out of with modern materials and this area is considered as one of the planned areas. It occupies about 41.6 acres with a density of 60 people/acre.

Near Services Far from Services

Fig.2.2.9 Abu Mandour mosque, (Authors, 2019)

Fig.2.2.5 The Urban structure of Rosetta city “Services”, Data Source (General Organization for Physical Planning, 1990-2010), illustrated by (Authors, 2019)

Urban Studies

2.3 Urban Fabric: The urban fabric of Rosetta city is not based on a fixed grid. As shown in Figure (2.3.1), two main patterns can be distinguished in Rosetta city, these are: Orthogonal urban fabric and Irregular “Random/Informal” urban fabric.

Irregular urban fabric

Orthogonal urban fabric

Fig.2.3.1 Rosetta’s Urban Fabric Map, Data Source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019)

Fig.2.3.2 Diversity of Urban Patterns (Authors, 2019).

1. Orthogonal urban fabric: It appears in the coastal areas on the Nile and in the Southern part in Abou Mandour region. It has experienced a gradual process of replacement, which resulted in a good urban conditioned area, that is planned to some extent (El-Ibiary, 2006). 2. Irregular urban fabric: It appears in the regions of modern urban extension, which is unplanned and located in the Western part of the city. It exits also in the Northern extension “Abou Al-Rish”, where the random rural housing exits.

Urban Studies

2.4 Road Hierarchy: As mentioned previously, the street network of Rosetta is not constructed according to a grid, contrariwise roads are random and not organized to a fixed pattern. As shown in (Fig.2.4.1), main arterial Roads are few unlike the narrow secondary roads.

Key: Main Arterial Roads

Collectors

25%

75%

Fig.2.4.1 Rosetta Road Hierarchy map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019)

Fig.2.4.2 Rosetta Road Hierarchy Percentage, (Author, 2019)

Rosetta is accessible from the main roads, which are “Al-Bahr Al-Aazam” road at the Western side of the city aligning the Nile River, with width of 15m, “Abdelsalam Aref/ Rashid-Alex” road, passing through the center of the city, and “Madrab Al-Tahrir” road, both of width 20m. However, the majority of the city’s streets are collector streets and Alleys. These are irregular in pattern, specially in the old region, and their width do not exceed 3-5 m. Secondary roads have a very poor existence and they are mainly branching out of the main roads.

Urban Studies

2.4 Road Hierarchy: Concerning their condition, the further away from the main roads approaching the center of the city, the worse the condition of the streets. The main roads are properly asphalted and have the best condition compared with other roads. Secondary streets are asphalted as well, but not in a very good condition. However, other streets, represented in alleys and collectors, are of a bad condition as they get narrower approaching the city’s center. Some of these are poorly asphalted while others are rugged and sandy roads.

Fig.2.4.3 Al-Bahr Al-Aazam Road, Data Source (Google Earth), illustrated by (Authors, 2019)

Fig.2.4.4 Bad conditioned alley, (Authors, 2019)

Fig.2.4.5 Secondary Road, Data Source (Google Earth), illustrated by (Authors, 2019)

Fig.2.4.6 Collector Street, Data source (Google Earth), illustrated by (Authors, 2019)

Urban Studies

2.5 Transportation Analysis: Since the main roads are asphalted and are the only access to the city, they are suitable for the heavy and main transportation vehicles, these include trucks with their different types, such as delivery trucks, factories trucks..etc, micro-buses for visitors and residents of other cities and cars. The number of cars decreases gradually as we head towards the city center, where the markets and souq are located, as the condition of the streets is not suitable and they keep getting narrower as mentioned previously. Locals frequently use the toktok for transportation, as large percentage of the locals cannot afford purchasing a car. Alleys between buildings are walkable to some extent, but yet not very pedestrian friendly.

Trucks

Microbuses

Fig.2.5.1 Trucks and cars in the main roads, Data Source (Google Earth), illustrated by (Authors, 2019)

Cars

Toktok

Walkability

Fig.2.5.2 Walkable Alleys, illustrated by (Authors, 2019)

Fig.2.5.3 Cars and small trucks in narrow streets, (Authors, 2019)

Fig.2.5.4 Walkable Alleys, (Authors, 2019)

Urban Studies

2.6 Solid and Void: As shown in Figure (2.6.1), the fabric of the city is very dense and the solid to void ratio is clearly high within the built up area, as the solid ratio is about 85% to 15% of void. While surrounding the current urban clusters there are large void spaces bordering the city and they are in risk of decreasing due to the random extend.

Key: Solid Void

, 15%

, 85% Fig.2.6.1 Rosetta Solid and Void map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019).

Fig.2.6.2 Rosetta Solid and Void percentage, (Author, 2019)

Solids are represented in all types of buildings, including Residential, commercial, Educational..etc, while voids are represented in unused lands, roads, parkings , vacant lands between buildings and the agricultural lands surrounding the current built-up area of the city.

Urban Studies

2.7 Land-Use: Rosetta city is mainly surrounded by agricultural lands and the Nile River. As illustrated in Figure (2.7.1), The majority of the buildings in Rosetta are residential in type, while the mixed-use buildings come in the second place representing 6% of the total area.

Key: Residential Commercial Industrial Educational Religious Mixed Use Cemeteries

4% 2%

75% Fig.2.7.1 Rosetta Land Use map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019)

Fig.2.7.2 Rosetta Land-Use area percentage, (Author, 2019)

Commercial buildings are few compared with other categories, representing 4% of the total buildings and located mainly on the main road “Alex-Rashid Road”. Cemeteries, illustrating 2% of Rosetta’s total area, are positioned at the center of the city, surrounded by residential buildings. Industrial facilities are gathered, to some extent, occupying a strategic location at the connection of the two main roads . Other building types such as educational, religious,..etc represent very small percentages of the total area.

Urban Studies

2.7 Land-Use: The following are some pictures showing the previous analysis of different buildings types scattered all over the city:

Fig.2.7.3 A residential building (Authors, 2019)

Fig.2.7.4 A mixed-use building (Authors, 2019)

Fig.2.7.5 A Historical House , (Authors, 2019)

Fig.2.7.6 Rosetta's museum (Authors, 2019)

Fig.2.7.7 Abou Mandour mosque (Authors, 2019)

Fig.2.7.8 Girl’s High School (Authors, 2019)

Fig.2.7.9 Rosetta’s General Hospital (Authors, 2019)

Fig.2.7.10 A mixed-use building (Authors, 2019)

Urban Studies

2.8 Building Heights: Building heights in Rosetta city are classified into 3 main categories: One to two storey high buildings, three to four storey high buildings and five and above storey high buildings, as shown in Figure (2.8.1). The majority of buildings are of height ranging from three to four storeys.

Key: 1-2 Floors 3-4 Floors 5+ Floors

, 12%

, 49% , 39%

Fig.2.8.1 Rosetta Building Heights map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019)

Fig.2.8.2 Rosetta building Heights percentage, (Author, 2019)

Three to four floors buildings are mostly residential buildings and Historical Ottoman houses. They are not condensed in certain regions, contrariwise they are scattered among the whole city, forming about 49% of the total area. The percentage of one to two storey buildings is less, 39%, and represented mainly in public services and certain facilities, such as educational, historical, religious buildings, workshops and industrial facilities.

Urban Studies

2.8 Building Heights:

Fig.2.8.3 Three-Four storey mixed-use building (Authors, 2019)

Fig.2.8.4 Four storey educational building (Authors, 2019)

Fig.2.8.5 Three storey Historical House (Authors, 2019)

High-rise buildings range from 5-12 floors, and these are few compared to other categories, representing about 12% of the total buildings. They are mainly located on the main Arterial road “Al-Bahr Alazam Road” overlooking the Nile River, this led to obscuring the Nile view for the buildings behind, yet some are scattered in various spots of the city.

Fig.2.8.6 Different building heights overlooking the Nile (Authors, 2019)

Fig.2.8.7 6+ storey high commercial buildings (Authors, 2019)

Fig.2.8.8 Different buildings heights overlooking the Nile (Authors, 2019)

Fig.2.8.9 6+ storey high mixed buildings (Authors, 2019)

Urban Studies

2.9 Building Conditions: As illustrated in Figure (2.9.1), buildings of good condition are few compared to others, they are either the newly built buildings, the ones located on the Nile river, such as Bank Misr, Rosetta Traffic Station, Rosetta sports club,..etc, or the religious buildings, such as Abou Mandour mosque, Abou El-Azayem mosque,..etc.

Key: Good Condition Moderate Condition Deteriorated

, 10% , 30%

, 60%

Fig.2.9.1.1 Rosetta Building Condition map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019)

Fig.2.9.2 Rosetta building conditions percentage, (Author, 2019)

Buildings of moderate condition constitute the highest percentage, they are represented mostly in residential buildings scattered all over the city, educational buildings and the hospitals or health buildings. Deteriorated buildings, not with a small percentage, are buildings either neglected by their owners or by the government and are not being maintained or renewed. Poor conditioned buildings are mostly markets, souq and public central services.

Urban Studies

2.9 Building Conditions: Poor conditioned buildings are located mainly in the center of the city or near it, where the condition of building materials and structures decrease in quality.

Fig.2.9.3 A Bad condition commercial building (Authors, 2019)

Fig.2.9.4 A Bad condition mixed use building (Authors, 2019)

Fig.2.9.5 A Bad condition mixed use building (Authors, 2019)

Although historical houses, which are present in high percentage, are not being maintained periodically, they are of a moderate condition compared to other buildings. Different facilities, such as educational, industrial and health facilities are of a temperate condition as well.

Fig.2.9.6 Rosetta’s hospital moderate condition (Authors, 2019)

Fig.2.9.7 Moderate & Bad cond. buildings (Authors, 2019)

Fig.2.9.8 Moderate condition buildings (Authors, 2019)

Good conditioned buildings are mainly positioned on the main road “Al-Bahr Al-Azam Road”, overlooking the Nile view and with height of 4 floors and more.

Fig.2.9.9 Bank Misr good condition building (Authors, 2019)

Fig.2.9.10 A good condition historical house (Authors, 2019)

Fig.2.9.11 A good cond. mixed use building (Authors, 2019)

Urban Studies

2.10 Buildings Construction: As Figure (2.10.1) shows, the construction methods of Rosetta’s buildings are categorized into 3 types, these are: Load bearing walls, Concrete structures and Mud-brick buildings. There are also residential units made up of Common reed (nests) and a group of tents also exists in some regions.

Key: Load bearing walls Concrete Structures Mud-bricks buildings

, 20%

, 55% , 25%

Fig.2.10.1.1 Rosetta Building Construction map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019)

Fig.2.10.2 Rosetta building constructions percentage, (Author, 2019)

The majority of buildings are load bearing structures, with a percentage of 55% of the total buildings, condensed mainly in the Northern West part of the city. Concrete structures come in the second place with percentage of 25%, while buildings built of mud-bricks represent a small percentage, 20% of the total buildings, and these two categories are not condensed in certain regions, contrariwise they are scattered all over the city.

Urban Studies

2.11 Environmental Analysis: 2.11.1 Vegetation Analysis: Agriculture represents a significant part of Rosetta’s heritage, it forms the limiting boundaries of the city from the Western side.

Key: Vegetation Urban

, 40% , 60%

Fig.2.11.1.1 Rosetta vegetation map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019).

It occupies about 60% of the city’s total area and cultivated mainly with palms. Unfortunately, this percentage is at risk of decreasing due to the urban expansion towards the West, because of the existence of Nile River at the East, which acts as a natural edge for the expansion.

Fig.2.11.1.2 Rosetta vegetation to urban percentage, (Author, 2019).

Fig.2.11.1.3 Rosetta surrounding vegetation, (Author, 2019).

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2.11 Environmental Analysis: 2.11.2 Climate Analysis: Rosetta’s Climate Summary: Rosetta is situated at 3 meters above sea level. It is known that Rosetta has a desert climate. There is almost no rainfall during the year. Rosetta has an average temperature of 20.8 ° C per year. The maximum one-year rainfall is 181 mm. The summers are long, humid, hot, dusty, and rainy, while winters are mostly bright, cold, dry and windy. Temperature: The hot season spans 4 months, from June 7 to October 11, with a daily average temperature of 27 ° C. The hottest day of the year is August 10, with an average OF 31 C° high and 25 C° low.The cool season lasts 3 months, with an average daily temperature below 20 C ° from December 12 to March 21. The coolest day of the year is January 31, with an average low of 10 C ° and high of 18 C °.

Key: Cold-Moderate Warm-Hot

Fig 2.11.2.1 Rosetta’s min. and max. temp, Data Source (climate-data.org,2019), illustrated by Authors, (2019)

The following figure shows a concise overview of the hourly average temperatures throughout the year. The horizontal axis represents the day of the year, while the vertical axis represents the hour of the day, and the colour for that hour and day is the average temperature. HOURLY AVERAGE TEMPERATURE

Key: Warm Comfortable Cool Cold

Fig 2.11.2.2 Rosetta’s hourly weather/temp, Data Source (weatherspark.com,2019), illustrated by (Authors, 2019)

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2.11 Environmental Analysis: 2.11.2 Climate Analysis: Daylight Hours: The length of the day in Rosetta varies significantly over the course of the year. In 2019, the shortest day is December 22, with 10 hours, 6 minutes of daylight; the longest day is June 21, with 14 hours, 12 minutes of daylight. ANNUAL DAYLIGHT HOURS

Key: Night Time Hours Daylight Hours

Fig 2.11.2.3 Rosetta’s annual daylight hours, Data Source (weatherspark.com,2019), illustrated by Authors, (2019)

Cloud Cover: In Rosetta, the average percentage of cloud-covered sky faces substantial seasonal variability throughout the year. ANNUAL CLOUD COVERS

Key: Clear Mostly Clear Partly Cloud Mostly Cloudy Overcast

Fig 2.11.2.4 Rosetta’s annual cloud covers, Data Source (weatherspark.com,2019), illustrated by (Authors, 2019)

Rosetta's clearer half of the year begins around May 22 and runs for 5.0 months, starting around October 20. The weather is bright, or partly cloudy The cloudier part of the year starts around 20 October and lasts 7.0 months, ending around 22 May.

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2.11 Environmental Analysis: 2.11.2 Climate Analysis: Precipitation: The chance of wet days in Rosetta varies throughout the year. The wetter season lasts 3.4 months, from November 22 to March 2. The drier season lasts 8.7 months, from March 2 to November 22. PRECIPITATION PERCENTAGE

Key: Percentage of Precipitation Fig 2.11.2.5 Rosetta’s Precipitation, Data Source (weatherspark.com,2019),

Water Temperature:

illustrated by Authors, (2019)

Rosetta is located near a large body of water (the Mediterranean sea) which is on an annual average at about 22.40°C. ANNUAL WATER TEMPERATURE

Key: Cold Hot

Fig 2.11.2.6 Rosetta’s Annual water temperature, Data Source (climate-data.org,2019), illustrated by Authors, (2019)

The time of year with warmer water lasts for 3.5 months, from July 2 to October 17. The time of year with cooler water lasts for 3.8 months, from December 31 to April 24. In August, the highest water temperature reached 28.00°C. Whereas in February the lowest average water temperatures are about 16.80°.

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2.11 Environmental Analysis: 2.11.2 Climate Analysis: Wind Speed and Direction: The wind experienced at any given location is highly dependent on local topography and other factors, as wind speed and direction. ANNUAL WIND SPEED

Key: Average wind speed

Fig 2.11.2.7 Rosetta’s Annual wind speed, Data Source (weatherspark.com,2019), illustrated by Authors, (2019)

The windier part of the year lasts for 4.7 months, from December 13 to May 3, with average wind speeds of more than 10.9 miles per hour. The calmer time of year lasts for 7.3 months, from May 3 to December 13. ANNUAL WIND DIRECTION

Key: West

South East

North

Fig 2.11.2.8 Rosetta’s Annual wind direction, Data Source (weatherspark.com,2019), illustrated by Authors, (2019)

The wind is most often from the north for 8.9 months, from March 13 to December 10, with a peak percentage of 76% on September 23. The wind is most often from the west for 3.1 months, from December 10 to March 13, with a peak percentage of 42% on January 1.

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2.11 Environmental Analysis: 2.11.2 Climate Analysis: Dew point and Humidity: The humidity comfort level is based on the dew point, as it determines whether perspiration will evaporate from the skin, thereby cooling the body. Lower dew points feel drier and higher dew points feel more humid.

ANNUAL DEW POINTS

Key: Min. Temp. Max. Temp.

Fig 2.11.2.9 Rosetta’s Annual Dew points, Data Source (numbeo.com, 2019), illustrated by Authors, (2019)

ANNUAL HUMIDITY PERCENTAGES

Key: Dry Min. Temp. Max. Temp. Max. Temp. Max. Temp. Max. Temp.

Fig 2.11.2.10 Rosetta’s Annual humidity percentages, Data Source (weatherspark.com,2019), illustrated by Authors, (2019)

The muggier period of the year lasts for 4.9 months, from May 27 to October 24, during which time the comfort level is muggy, oppressive, or miserable at least 25% of the time. The muggiest day of the year is August 7, with muggy conditions 99% of the time.

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2.11 Environmental Analysis: 2.11.2 Climate Analysis: Rainfall: Rosetta experiences some seasonal variation in monthly rainfall. ANNUAL RAINFALL

Key: Amount of rainfall in (mm)

Fig 2.11.2.11 Rosetta’s Annual rainfall, Data Source (climate-data.org,2019), illustrated by (Authors, 2019)

The rainy period of the year lasts for 4.5 months, from October to February. The rainless period of the year lasts for 9.1 months, from March to September. The least rain falls around July 22, with an average total accumulation of 0 mm.

Climate Analysis Conclusion from a touristic point of view: The tourism score favours clear, rainless days with perceived temperatures between 23 C° and 27 C°. Based on this score, the best times of year to visit Rosetta for general outdoor tourist activities are from late March to late June and from late September to late November, with a peak score in the first week of June. TOURISM SCORE

Key: Tourism Score Best visit Time Temperature Cloud Cover Precipitation

Fig 2.11.2.12 Rosetta’s tourism score, Data Source (weatherspark.com,2019), illustrated by Authors, (2019)

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2.12 Landmarks Map: As previously mentioned, Rosetta has a considerable historical value and is rich with monuments, specially those dating back to different old islamic eras. Figure (2.12.1) illustrates the main landmarks in Rosetta City, including mosques, houses, museum,.etc.

Fig.2.12.1 Rosetta landmarks map, Data source (General Organization for Physical Planning, 2016)

Most of Rosetta’s monuments are represented in islamic houses, reaching about 24 houses, dating back mostly to the Ottoman era. Islamic houses are mainly condensed in the Western part of the old region. The city is also famous of its mosques, such as Abou Mandour mosque, Abou Al-Azayem mosque and many others. However, Rosetta suffers from the lack of museums and exhibiting facilities, as it has only one museum, which was anciently a historical house, and this is located at the center of the city in the eastern part of the old region. Another gigantic monument is the Qaitbay Citadel.

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2.12 Landmarks Map: The following pictures show the different historical monuments of the city:

Fig.2.12.2 Arab Kulli house “Museum” (Authors, 2019)

Fig.2.12.3 Al-Urabi Mosque (Authors, 2019)

Fig.2.12.5 Abu Alazayem Mosque (Authors, 2019)

Fig.2.12.7 Al-Amasyali house (Authors, 2019).

Fig.2.12.8 Al-Abbasi mosque (Authors, 2019)

Fig.2.12.4 Ramadan House, (Authors, 2019)

Fig.2.12.6 AlMuallaq mosque (Authors, 2019)

Fig.2.12.9 Abou Mandour mosque (Authors, 2019)

Urban Studies 2.14 City Image/ Visual Analysis: 2.14.1 Skylines: The skyline of the city is diversified, due to the variety of heights between the various categories of buildings. Skyline scenes overlooking the Nile river, on the main road, is characterized by a huge diversity, due to existence of the high rise buildings, which are up to 15 floors high.

Fig.2.14.1.1 Rosetta’s skyline scene overlooking the Nile River (Authors, 2019).

2.14.2 Elevations: Rosetta is famous for its Islamic architectural style , this is shown in its houses dating back mainly to the Ottoman era, as well as the mosques and many other buildings with islamic style. Some of these were sketched and analyzed to illustrate the main features of Rosetta’s architectural style:

Fig.2.14.2.1 Rosetta’s Museum (Authors, 2019)

Fig.2.14.2.2 Mosque Elevation (Authors, 2019)

Urban Studies 2.14 City Image/ Visual Analysis: 2.14.2 Elevations:

Fig.2.14.2.3 Abou Mandour Mosque (Authors, 2019).

Key: 1

Late mamluk minaret

Pencil shaped ottoman minaret

Ottoman dome

4 5 6 7 8 9 10

Hemispherical dome Cufik decorative pattern Islimi decorative pattern Wooden ornamented door Stepped crenellation Iron grill windows Wooden grill ornamented window Mashrabiyya

Fig.2.14.2.4 Rosetta’s Church (Authors, 2019).

11 12

Late mamluk window Ottoman round window

Pointed arch

Segmented arch

15 16 17

Trilobed pointed arch portal (venetian gothic architecture) Mangor brick Recessed façade

White color façade

Portal

Fig.2.14.2.5 Al-Abbasi mosque (Authors, 2019)

Urban Studies 2.14 City Image/ Visual Analysis: 2.14.3 Street Views Analysis: Social Communication

Historical Houses

Roofs used as storages Street Vegetation

Hawkers/ Vendors Street Lighting Poor conditioned Fig.2.14.3.1 Street Views and Analysis (Authors, 2019) Streets

2.14.4 Center of the City:

Museum

Monumental Park

Small Retails

Government al Buildings

High Rise Building

Police Station

Residential

Fig.2.14.4.1 City Center Analysis (Authors, 2019)

Urban Studies 2.15 Socio-Economic Studies: The last population analysis that have been gathered for Rosetta was from 1996, and the population isiestimated by1calculating the1growth1rate which is 2.1 in this case, as shown in the charts below. 250000

220000

Male

Female 196,514

Total 200000

165000

200,642

Male Female Total

150000 100000

110000

99,454 97,060

101,545 99,097

55000

50000 0

0 Year 2005 Population

Year 2006 Population

Fig. 2.15.1: Rosetta Population in 2005, Data source: (Central Agency for Public Mobilization & Statistics, 2007), Illustrated by (Authors, 2019)

Fig. 2.15.2: Rosetta Population in 2006, Data source: (Central Agency for Public Mobilization & Statistics, 2007), Illustrated by (Authors, 2019)

Workforce Analysis:

Workforce Analysis

21% of workforce work in agriculture 29% of workforce work in industrial sector including ship industry, food industry, wood work and bricks industry - 14% work in Tourism. - 12% work in local administrative units. - 24% of workforce work in handcrafts. Illiteracy Percentage

24%

Agriculture Industry Tourism Aministration Handcrafts

21%

12% 29% 14%

Fig. 2.15.3: Rosetta workforce Analysis, Data source: (Central Agency for Public Mobilization & Statistics, 2007), Illustrated by (Authors, 2019)

Poverty Analysis

22%

25% 75%

78%

City

Rural

Fig. 2.15.4: Illiteracy Percentage, Data source: (Central Agency for Public Mobilization & Statistics, 2007), Illustrated by (Authors, 2019)

Below the poverty line Over the poverty line Fig. 2.15.5: Poverty Analysis, Data source: (Central Agency for Public Mobilization & Statistics, 2007), Illustrated by (Authors, 2019)

Urban Studies 2.16 SWOT Analysis for Rosetta City: - Rosetta’s strategic location on the Mediterranean and the Nile. - It has an abundance of Islamic Monuments, so it possesses a strong heritage potential. - It is rich with agriculture areas, and produces different crops. - It is famous for yacht production worldwide.

- Lack of sufficient sanitation impacts the historical buildings - There is no concrete plan to develop the tourism sector in the city. - Poor public awareness of the cultural heritage - 29% of the population are slum dwellers.

- Adding the city to Egypt's list of historic attractions. - Opportunities in the tourism sector for young people. - Renovation of the historical monuments - Establishing more job opportunities and stable incomes

- Constant neglect of historical territory will result in the loss of the city's distinct identity. - The lack of sanitation poses a threat to the historical buildings. - There isn’t a clear vision for the urban management sector.

Fig.4.3.6. SWOT Analysis, (google earth, 2019)

PROJECT SELECTION

Project Selection 3.1 Common Problems According to site visit and some of the interviews conducted there, it was clear that Rosetta is a special city with unique characteristics due to many things including its valuable resources, agriculture, culture and heritage, so if these resources were thought of properly, the suitable project will be found and will succeed. So the common problems are listed briefly then accordingly we reach the main problem we chose to focus on and the project suitable for it. Red Brick Industry

Palm Trees Industry

Unemployment

Ship Production

Heritage Deterioration

Immigration Fig.(3.1.1),Common Problems illustration, (Authors,2019)

3.1.1. Problem of ship Production Even though there are over 40 workshops for boat productions, only one of them has a license to operate, which highlights the lack of governmental supervision. Moreover, the expenses of getting the license is 250,000 LE, which is unreasonable and restraining to the owners, in addition, the cost of the materials used in the productions (wood, steel, …) has increased greatly, to the point where there is almost no profit for the business owners (Teresa, Ahmed & Mohamed, 2018).

Fig.(3.1.2), Ship under construction seen in Rosetta, (Authors,2019)

Project Selection 3.1.2. Unemployment Lack of jobs due to seasonal jobs like fishing, ship production and agriculture. 3.1.3. Palm Trees Industry The palm trees industry is also deteriorating, as the expenses needed to plant the tree are much higher than the profit it gains, through either the palm industry or using the palm leaves to create handcrafts and pieces of furniture. This could be traced back also to the lack of awareness of the value of their industry (Teresa, Ahmed & Mohamed, 2018).

Fig.3.1.3, Palm Trees in Rosetta, (Authors,2019)

3.1.4. Red bricks industry The red bricks industry is negatively affecting the climate and is harming the environment, as it is formed from the burning of the clay which leads to pollution problems and other environmental problems. Fig.3.1.4, Red Brick Industry seen in Rosetta, (Authors,2019)

3.1.5. Immigration In a new disaster for illegal immigration witnessed the city of Rosetta on Wednesday 21 September 2016, the sinking of an illegal immigration boat in the area of north-eastern Rashid, carrying about 400 illegal immigrants of the nationalities of Sudan, Eritrea, Somalia and Egypt. The Coastal Guards and Border Guards forces with the help of Rashid people rescued about 164 people of them 117 Egyptians, 43 of different nationalities, 4 crew of the boat, and 42 bodies have been recovered.

Fig.(3.1.5), Illegal immigration, (Youth Minister", 2019)

Project Selection 3.1.6. Sea Level Rise The rate of erosion at the cape of the Nile in the city of Rosetta has reached its peak compared to other Egyptian beaches where it erodes 60 acres annually, and the eroded areas of the same area reached 733 acres from 1987 to 2000. As a result, the Rosetta Wall was established in 1990 to protect the city with length of 5 kilometres. 1600 1700-1800 1900

Fig.3.1.6, Sea Level Rise, (Authors, 2019)

Fig.3.1.7 , Coast evolution from the 17th to the 20th century, (Belgacem, 2009)

3.1.7. Transportation Problem Traveling to Rosetta is not very easy due to the lack of public transportation to the city, as the only way for tourists to come to the city is from Alexandria and most of the time they come with the travel agencies' buses because there is only a single railway track connecting it to Alexandria and it is very poor.

Fig.3.1.8 Photo of Public Transportation in Egypt, (Google, 2019).

3.1.8. Heritage and Culture Problem Rosetta is considered the largest city containing Islamic monuments after Cairo. Rosetta varies in historical sites, including 22 historical houses, 12 mosques, the mill of Abu Shaheen, the gate of Abu Rish, the bath of Azzouz in the city of Rosetta and Qaitbay Castle in the village of Burj Rashid and the King's Palace in the village of Edfina.

Project Selection

Also, Burj Rashid is considered one of the most important historical places out there, as it contains Qaitbay castle which follows the design of Alexandrian Qaitbay castle and is the place where Rosetta stone was discovered. All of that besides the monuments that are stored because there’s no place made for their display. So this is the main problem that concerned us because Rosetta is now very neglected by the government, thus losing the title of being one of the most touristic cities in Egypt. 3.2 Problem Statement

Fig.3.1.9, Landmarks around Rosetta, (Authors, 2019)

So the main problem we decided to focus on is the heritage deterioration in Rosetta, as it has lots of monuments and one of the richest history and culture which has been gained from the ancestors of the city throughout the ages, so it already has a strong identity. But this identity was weakened by the negligence and lack of marketing which caused the culture to fade away with all its history. So our vision is ensuring the continuity of heritage by preserving culture and history and promoting tourism. Despite Rosetta’s historical and geographical value, tourism is very weak and does not contribute to the city’s economy. 3.3 Scope According to what was mentioned before, the proposed project is mainly dealing with the heritage deterioration in Rosetta and trying to save monuments and display them in a presentable way by creating “Rosetta Heritage Complex” that is going to make people explore Rosetta’s history in an interesting way through interactive spaces and galleries and then participating themselves in activities related to Rosetta. This will encourage the people of Rosetta to develop their work and give them a sense of belonging to the project.

Project Selection Main Keywords of the project: Exploration

Interaction

Experience

User Interaction The phases of the project and how the user experiences it are:

Interactive Spaces

Historical Timeline

Workshops

Communication and Entertainment

3.4 Project Objectives • Revive Rosetta’s Heritage and preserve its culture. • Raising the sense of belonging of the residents by making them participate in all the activities. • Making Rosetta a touristic city and emphasizing its tourism plan. • Making people learn by interactive methods. • Leaving the visitors with a memorable experience. • Embrace the local crafts activities and showcase it in our workshops. • Making new touristic plans attraction plans. • To enhance the social, economic, and environmental standards of the city. 3.5 Project Main Components

Historical Sector

Sunken Monuments

Narrative “Storytelling"

Conservation Labs

Auditorium

Entertainment Sector

Bazars

Fig.(3.5.1), Illustration of project main components, (Authors, 2019)

Project Selection 3.5 Project Approaches

Culture Approach: The project aims to ensure the preservation of Rosetta’s culture and heritage through the past ages, with focusing on creating different spaces that covers different activities of Rosetta. And focusing on user experience with an interactive way. Also focusing on documenting the culture heritage of the social life, traditions, products, cuisine and rich history. Touristic Approach: Our Goal is to let people know how beautiful and rich Rosetta is, after all it is the city where the famous Rosetta stone was found. In this complex, people will be able to see Rosetta from different aspects and understand its heritage and not only historically but also culturally. Social Approach:

Spreading awareness and knowledge within local residents by participating in different activities and communicating with different types of people. As tourism will raise the economy of Rosetta and will help people sell their products as well as expose the people to different cultures. 3.6 Target Groups Tourists: External and internal tourists are the main support of our project, so targeting them ensures the continuity of our heritage and save the identity of Rosetta. Which will also help in Rosetta’s economy and make it an iconic spot locally and globally. Craftsmen: Will act as the working hands of the project, running all the workshops and product making. Youth: The Youth are considered the strength of the community and by targeting them we ensure the continuity of heritage by raising their sense of belonging through realizing the quality of the heritage they have.

SITE SELECTION

Site selection 4.1. Site Selection Criteria: It was significant to set a fixed criteria as shown in (Fig.4.1.) to choose the perfect sites that could be compatible for this project and its alterable needs; so that the project and its location can influence the surrounding environment directly & indirect.

1. Residence.

2. Landmarks.

3. Views.

Criteria

4. Accessibility.

5. Flexibility.

Fig.4.1. Site selection criteria, (Authors, 2019).

The scheme of site selection criteria consists of : 1. Residence: One of our main objectives is to create a continuity of Rosetta’s heritage by providing intangible support for its people to delay its decrease over time. So that through our project locals will know their cultural heritage and it’s important, how invaluable, and touristic goal should be. For this reason it should be located in visual access to locals. 2. Landmarks: The chosen sites are mostly surrounded by attractive places that will help in magnetized people and make them more familiar to our project by making project a touristic destination. 3. Views: For a specific needs our selected project will have a good location with a good view of Nile, so the project can achieve the desired interaction between visitors and surroundings. 4. Accessibility: Since the inaccessible location will have a weak influence on number of visitors, so the project should be successfully accessible. 5. Flexibility: Most of public projects are probable have significant strain for future expansions that will have an influence on the selected sites locations.

Site selection 4.2. Sites Selection process 4.2.1. Sites location: • This fig.4.2.1. show that all sites are in strategic locations, each one has a focal point, view, and landmark . As site 1 is near Abu Mandur mosque, site 2 is next to Qaitbay Fortress and residential area, and for site 3 it is located near intersection of Nile and Mediterranean, surrounded by vacant lands. • All the three sites is located on main street, which is Albahr Alazam road, and have the view of Nile.

Site 1 Area: 14,000m2

Site 2 Area: 10,000m2

Fig.4.2.1. Sites locations, Data source (Google Earth), illustrated by (Authors, 2019).

Site 3 Area: 11,000m2 Fig.4.2.2. Selected sites, Data source (Google Earth), illustrated by (Authors, 2019).

Fig.4.2.3. Sea view, (Authors 2019).

Fig.4.2.4. Qaitbay Fortress, (Authors 2019).

Fig.4.2.5. Abu mandour Mosque, (Authors 2019).

Site selection 4.2.2. Further Analysis: • This fig.4.2.1.1. show that all sites are accessible from the same Main road, which called Albahr Alazam road. The width of main road 15m due to variety condensed of surrounding. • Each site take about to reach site from the city center. • As shown in (fig. 4.2.1.2.), city center of Rosetta of many type of commercial buildings such as Museum, police station, International hotel, hospital, ….etc. • All sites have the same positive view the overlooking the Nile, and the weak view is mostly overlooking the vacant land or residential area that cause all the high negative noises.

Site 1

Site 2

City Center

Fig.4.2.2.1. Accessibility map, Data source (Google Earth), illustrated by (Authors, 2019).

Key: Positive view

Selected Sites City Center

Noise Negative view

Main Road

Site 3 Fig.4.2.2.2. Views & Sensors map, Data source (Google Earth), illustrated by (Authors, 2019).

Site selection 4.3. Site 1 Analysis: The following figure is shown that: site one is located near the confluence of Nile river and Mediterranean sea. The site has a direct access view to the Nile, which add a strong point to the site. In addition to that site one has area of 14,000 m2 with the ability for future expansion.

Fig.4.3. Site 1 Location map, Data source (Google Earth, 2019), illustrated by (Authors, 2019).

Site one has a perfect strategic location as it is near the sink historical monuments, which will be a focal point to the project. The site is surrounded by vacant lands with a very few buildings. These buildings have max. height of three floors. However, the site suffer from the lack of services and transportations.

Fig.4.3.2. Site 1 collage photo, (Authors, 2019).

Site selection 4.3.1. Street Hierarchy Map::

Key: Main St. Secondary St.

40%

60% Fig.4.3.1.1. Site 1 Street hierarchy map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019).

Fig.4.3.1.2. Site 1 Street hierarchy Percentage (Authors, 2019).

As shown in (Fig.4.3.1.1.), there is only one main street, which called (Albahr alaazam road). Width of main street is 15m, on the other hand the secondary street is not asphalted, unknown, and only has access from main street with width of 6m.

Fig.4.3.1.3. Site 1 Street hierarchy map, Main road, (Authors, 2019).

Fig.4.3.1.4. Site 1 Street hierarchy map, Secondary road, (Authors, 2019).

Site selection 4.3.2. Land Use Map:

Key: Mixed-Use Industry Residential.

10%

40%

50% Fig.4.3.2.1. Site 1 Land use map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019).

Fig.4.3.2.2. Site 1 Land-use Percentage (Authors, 2019).

As shown in (Fig.4.3.2.1.), there is barely any buildings in this site, very few residential buildings, couple of governmental facilities, and workshops/ industries. These industries and factories could be a threat to the project. Also, the site is surrounded by vacant lands from all sides.

Fig.4.3.2.3. Site 1 Land use map, Industry workshops, (Authors, 2019).

Fig.4.3.2.4. Site 1 Land use map, Residential, (Authors, 2019).

Site selection 4.3.3. Building Condition Map:

Key: Moderate Poor cond.

20%

80% Fig.4.3.3.1. Site 1 Building condition map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019).

Fig.4.3.3.2. Site 1 Building condition Percentage (Authors, 2019).

As shown in (Fig.4.3.3.1.), there is barely any buildings in poor condition just a few with small percentage 20% located near Nile. However, most of the buildings in site one is in moderate condition and they are mixed use, residential, and industry buildings that can be renovation.

Fig.4.3.3.3. Site 1 Buildings condition map, (Authors, 2019).

Fig.4.3.3.4. Site 1 Buildings condition map, Moderate cond. (Authors, 2019).

Site selection 4.3.4. Building Heights Map:

Key: 1-3 Floors

100%

Fig.4.3.4.1. Site 1 Building height map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019).

Fig.4.3.4.2. Site 1 Building height Percentage (Authors, 2019).

As shown in (Fig.4.3.4.1.), all the buildings height of the surroundings are maximum two floors only, which is under construction buildings or mixed use. That will help project to have a good visual and remarkable sight from far.

Fig.4.3.3.3. Site 1 Buildings condition map, (Authors, 2019).

Fig.4.3.3.4. Site 1 Buildings condition map, (Authors, 2019).

Site selection 4.3.5. Solid And Void Map:

Key: Solid Void

40%

60%

Fig.4.3.5.1. Site 1 Solid & Void map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019).

Fig.4.3.5.2. Site 1 Solid & Void Percentage (Authors, 2019).

As shown in (Fig.4.3.5.1.), the entire area is almost empty also is the site, with very few buildings surrounded the site. This add a potential point to site. As a result, to this there can be future expansion to the project.

Fig.4.3.5.3. Site 1 Solid & Void map, (Authors, 2019).

Fig.4.3.5.4. Site 1 Solid & Void map, (Authors, 2019).

Site selection 4.3.6. SWOT Analysis: - Strategic Geographical location, with Nile and sea view. - Very close to the underwater lost city monuments

- Far from residence - Surrounded by industries - Insufficient transportation - Surrounded by governmental buildings

- Visual point of the intersection between the Mediterranean Sea and the River Nile - Increase of tourism rate - Flexibility of future expansion

- Illegal immigration spot - Site doesn't have enough services - Noises from industrial zone - High tides

Conclusion The site has very strong strategic location with direct view and access to the Nile, as well as being close to an attractive spot under the sea. It also has flexibility for future expansions. On the other hand, it lacks in transportation, and has limited accessibility. Moreover, it is also surrounded by some governmental buildings which could limit the project.

Fig.4.3.6. Site 1 SWOT Analysis, (google earth, 2019).

Site selection 4.4. Site 2 Analysis: The following figure is shown that: site two is located next to Qaitbay Fortress, where the ancient Rosetta stone was discovered. The site has a direct access view to the Nile, which add a strong point to the site. In addition to that site two has area of 10,000 m2. The site have on it some workshops, which can be integrated in project.

Fig.4.4.1. Site 2 Location map, Data source (Google Earth, 2019), illustrated by (Authors, 2019).

Site two is at city center with rich residential zone, max. height of it is six floors. Condition of surrounded buildings and monuments are moderate & poor, which will need restoration to avoid damages and bad views. The site has only one access through main road.

Fig.4.4.2. Site 2 collage photo, (Authors, 2019).

Site selection 4.4.1. Street Hierarchy Map:

Fig.4.4.1.1. Site 2 Street Hierarchy map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019).

As shown in (Fig.4.4.1.1.), the site is very accessible from multiple streets. The main one is called (Albahr alaazam road) with width of 15m, there is other one called (Bourg magaza road) with width of 12m. The street network there consist of secondary arterial roads, and internal or local roads with width of 6m to 8m.

45%

55%

Fig.4.4.1.2. Site 2 Street hierarchy Percentage (Authors, 2019).

Key: Secondary St.

Fig.4.4.1.3. Site 2 Street hierarchy map, Main road, (Authors, 2019).

Main St.

Fig.4.4.1.4. Site 2 Street hierarchy map, Secondary road, (Authors, 2019).

Site selection 4.4.2. Land use Map:

Fig.4.4.2.1. Site 2 Land use map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019).

As shown in (Fig.4.4.2.1.), the majority of the surrounding buildings are residential, as the site is located in the center of the city, also there is major of agricultural lands between the residential zones. There is very few historical building such as, Qaitbay fortress, with a few of mixed use, religion buildings, and schools.

30%

1 % 40%

5% 3%

20%

Fig.4.4.2.2. Site 2 Land-use Percentage (Authors, 2019).

Key: Mixed-Use

Green area

Religion

Historic.

Residential.

School.

Mixed use Fig.4.4.2.3. Site 2 Land use map, Residential buildings, (Authors, 2019).

Fig.4.4.2.4. Site 2 Land use map, commercial, (Authors, 2019).

Fig.4.4.2.5. Site 2 Land use map, commercial, (Authors, 2019).

Site selection 4.4.3. Building Condition Map:

Fig.4.4.3.1. Site 2 Buildings Condition map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019). 40%

As shown in (Fig.4.4.3.1.), most of the conditions of the residential buildings around the site are in moderate condition, that need a maintenance every now & then. On the other hand, the historical buildings are in very poor condition, which need urgent care.

10%

Key:

50%

Fig.4.4.3.2. Site 2 Buildings condition Percentage (Authors, 2019).

Good cond..

Moderate

Poor cond.. Fig.4.4.3.3. Site 2 Buildings Condition map, Moderate cond., (Authors, 2019).

Fig.4.4.3.4. Site 2 Buildings Condition map, Good cond., (Authors, 2019).

Fig.4.4.3.5. Site 2 Buildings Condition map, Poor cond., (Authors, 2019).

Site selection 4.4.4. Building Heights Map:

Fig.4.4.4.1. Site 2 Buildings Height map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019). 40%

As shown in (Fig.4.4.4.1.), the buildings height consists of 1 or 3 to 5 floors, but most of the buildings “especially across the shore” are not more than 4 floors. The regulations of buildings height across the shore may cause a constrain to the project heights. 60%

Key:

Fig.4.4.4.2. Site 2 Buildings height Percentage (Authors, 2019). 1 - 2 Floors

Fig.4.4.4.3. Site 2 Buildings Height map, (Authors, 2019).

3 - 4 Floors

Fig.4.4.4.4. Site 2 Buildings Height map, (Authors, 2019).

Site selection 4.4.5. Solid & Void Map:

Fig.4.4.5.1. Site 2 Solid & Void map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019). 40%

As shown in (Fig.4.4.5.1.), the site has a lot of buildings 60% of it is solid, for that there will be opportunity to achieve the integration between locals & project. On the other hand, 40% of surroundings are void with open spaces and agricultural lands.

60% Fig.4.4.5.2. Site 2 Solid & Void Percentage (Authors, 2019).

Key: Solid

Fig.4.4.5.3. Site 2 Solid & Void map, (Authors, 2019).

Void

Fig.4.4.5.4. Site 2 Solid & Void map, (Authors, 2019).

Site selection 4.4.6. SWOT Analysis: - Nile view directly - Besides Qaitbay castle (heritage landmark) - Very close from rich residential area - Has main accessibility from secondary arterial road - Condensed area leading to traffic - Site has illegal/informal workshops - Production waste problems - Monuments surrounding the site needs maintenance - Restoring monuments and upgrading the whole city - Due to the strategic location full of landmarks, it will attract tourists to the selected location. - Rise of sea level (into the Nile) - Huge amounts of fish farms in the Nile. - The deteriorated buildings are in risk of falling down and are also considered as a bad view.

Conclusion This location has an attraction point “Qaitbay Castle” at the center of the city, which will help the project to integrate with its context, and lead to an increase in the tourism rate. However, it has an amount of illegal workshops, which will cause high traffic in the area and that may negatively impact the project. Around the site are some deteriorated buildings, which will affect the views.

Fig.4.4.6. Site 2 SWOT Analysis, (google earth, 2019).

Site selection 4.5. Site 3 Analysis The following figure is shown that: site three is located next to Abu Mandur mosque, which is the oldest mosque and landmark in Rosetta. The site has a two direct access view to the Nile and agricultural lands, which add a strong potential to the site. In addition to that site three has area of 11,000 m2.

Fig.4.5.1. Site 3 Location map, Data source (Google Earth, 2019), illustrated by (Authors, 2019).

Site three is surrounded by a very few buildings, vacant lands, and agricultural lands. The max. height of these buildings are six floors. The site has only one access through main road. Due to lack of services, project program will consider these needs.

Fig.4.5.2. Site 3 collage photo, (Authors, 2019).

Site selection 4.5.1 Street Hierarchy Map:

Key: Main St. Secondary St.

35%

65%

Fig.4.5.1.1. Site 3 Street hierarchy map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019).

Fig.4.5.1.2. Site 3 Street hierarchy Percentage (Authors, 2019).

As shown in (Fig.4.5.1.1.), the site is accessible only from one way, which is the main road that called (Elbahr El-Aazam)with width of 15m, the site will need a wellprepared road for visitors to enter project properly. All the secondary roads are far from the site with width of 6m, this roads are located between the resident & agricultural lands.

Fig.4.5.1.3. Site 3 Street Hierarchy map, Main road, (Authors, 2019).

Fig.4.5.1.4. Site 3 Street Hierarchy map, Secondary road, (Authors, 2019).

Site selection 4.5.2. Land use Map:

Key: Mixed-Use Religion Residential. Green area. Industry.

20%

40% 3%

7% 30%

Fig.4.5.2.1. Site 3 Land-use map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019).

Fig.4.5.2.2. Site 3 Land-use Percentage (Authors, 2019).

As shown in (Fig.4.5.2.1.) the largest part that surround the site is Green area “agricultural lands”, which is located in the center, the residential buildings is on north & south the site, and some industrial building “workshops“, which is owned by local people there. On the other hand, the west side has some of mixed use, educational buildings. The site is located near a very important landmark, which is Abu Mandur mosque. The project has a lot of varieties and flexibility that could be used in design, also it has a good view to the Nile.

Fig.4.5.2.3. Site 3 Land-use map, Green area, (Authors, 2019).

Fig.4.5.2.4. Site 3 Land-use map, Religion, (Authors, 2019).

Site selection 4.5.3. Building Conditions Map:

Key: Moderate Poor cond..

30%

50%

20%

Fig.4.5.3.1. Site 3 Buildings Condition map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019).

Fig.4.5.3.2. Site 3 Buildings condition Percentage (Authors, 2019).

As shown in (Fig.4.5.3.1.), most of the condition of the buildings around site are moderate with 50 % and those are usually residential buildings that is old & need to be rebuilt. The poor condition there are 30% these buildings need to be removed or maintained and these buildings suffered from the lack of good structure. The good condition buildings there are so low and these buildings were built recently.

Fig.4.5.2.3. Site 3 Buildings Condition map, Poor cond., (Authors, 2019).

Site selection 4.5.4. Building Heights Map:

Key: 1 - 2 Floors 3 - 4 Floors

30%

70%

Fig.4.5.4.1. Site 3 Buildings Height map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019).

Fig.4.5.4.2. Site 3 Buildings height Percentage (Authors, 2019).

As shown in (Fig.4.5.4.1.), the buildings height consists of 1 or 3 to 5 floors, with mix of moderate and bad condition. So that the surroundings are not higher than 9 or 10 meters, which put some limitations in project to respect the context.

Fig.4.5.4.3. Site 3 Buildings Height map, (Authors, 2019).

Fig.4.5.4.4. Site 3 Buildings Height map, (Authors, 2019).

Site selection 4.5.5. Solid and Void Map:

Key: Solid Void 40%

60%

Fig.4.5.5.1. Site 3 Solid & Void map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019).

Fig.4.5.5.2. Site 3 Solid & Void Percentage (Authors, 2019).

As shown in (Fig.4.5.5.1.), the site has a lot of open spaces 60% of the surroundings are voids, for that there will be opportunity for project to has visual access. Only 40% of surroundings are solid and consists mostly of residential buildings with workshops, and mixed use buildings.

Fig.4.5.5.3. Site 3 Solid & Void 3Dillustrated by (Authors, 2019).

Fig.4.5.5.4. Site 3 Solid & Void 3Dillustrated by (Authors, 2019).

Site selection 4.5.6. SWOT Analysis: - Great labor force - Close to the city - Good views ( directly to the Nile and agriculture lands) - Abu Mandur Mosque landmark - Random buildings - No building codes/ regulations - Accessibility from one main street only - No street lights surrounding the site

- Flexibility in design for future expansion - Directly accessed to main road - Land is contoured and has good views

- Huge amount of fish farms - Infrastructure towers

Conclusion This site is near the center of the city, which helps the project to integrate with the surrounding environment, with good views and landmarks. Great labor force will help in impacting the project and workshops will encourage people to maintain it. In addition to that, the land is contoured which will help in creating levels in the project and maintaining visibility. However, the site suffers from lack of requirements, infrastructure and communication towers.

Fig.4.4.6. Site 3 SWOT Analysis, (google earth, 2019).

Site selection 4.6. Comparative analysis of three sites: Site 1

Site 2

Site 3

Criteria Site 1

Site 2

Site 3

Fig.4.6.1. Location of selected sites map, Data source (Google Earth, 2019), illustrated by (Authors, 2019).

Conclusion: Site 1 Site 2

Site 3

According to the previous mentioned criteria, site 1 has got the highest rank among all the sites. As it has a very strategic location with clear view to the Nile. Also, it has a directly access to the Nile. As well as being close to an ancient lost city under the sea. Using these elements would integrate the surrounding context, lead to increase the tourism rate, also has the flexibility for future expansions. In addition to that it will meet the target of increasing awareness of heritage by creating interactive spaces act as story telling.

Nile View

Touristic Approach

Sunken Monuments

Storytelling

Awareness—> Saving Heritage Fig.4.6.2. , (Authors, 2019)

DESIGN ISSUES

Design Issues 5.1 Security: General Definition: Being safe as being free from the risk besides being free from fear and anxiety . Architectural Definition: Architecture security is a unified security design that heads the necessities and potential risks concerned in a specific atmosphere. 8

7 3

2 10 1

5 6

12 Fig. 5.1.1: Security precautions,Data Source (Pinterest, 2017), illustrated by (Authors,2019)

1. Small wireless sensors 2. Security Devices 3. A metal boiler plate screws into both the frame and the wall 4. Glass boxes for protection 5. Hazards detectors 6. Rail prevent visitors from getting to close to the paintings 7. Laser motion detector 8. Saturation detector for the no. of people in any exhibition area 9. Security cameras 10. Fire detectors and water sprinkles are located in any exhibition area 11. Secured Doors and windows 12. Security guards

Types of security:

1. Passive security: The design feature prevents threats whereas remaining mostly invisible to its users like using a smart design to feature a layer of privacy. 2. Active security: The traditional ways of providing security as Electronic gates, fences, barbed wire, security cameras, Finger print ,and armed security patrols. Level of security: 1. Minimum Safety Level: This type of security mainly depends on regular fences and used in open and public spaces. Application: 1. Play Grounds. 2. Public spaces for festivals and street events. 3. Piazzas & squares.

Fig. 5.1.2: Minimum security area, Data source (Devin Gannon, 2018), Theodore Roosevelt Park, United States of America

Fig. 5.1.3: Minimum security area, Data source (Hall,2015), Cathedral square, Netherlands

Design Issues 5.1 Security: 2. Medium security level: It is used to a large extent in all buildings and areas. This kind of protection depends mainly on the circulation which identify the buildings’ entrances and exits. Application: 1. MPU and Seminar halls 2. Public Centers 3. Markets 3. Maximum security level: This system is used in buildings that owns valuable things or places that need maximum control and high privacy. This type depends on police investigation cameras, alarms and security guards. Application: 1. Museums & Exhibitions 2. Libraries 3. Airports 4. Jails

Fig. 5.1.4: Security guard in Metropolitan Museum of Art, Data source (Unmasking The Unspoken Heroes Of New York’s Art Museums And Galleries article, 2017), illustrated by (Authors,2019)

Fig. 5.1.5: Laser detectors in Kunsthistorisches Museum in Vienna, Data source(SICK Sensor Intelligence, 2013), Illustrated by (Authors, 2019)

Conclusion Our program contains museum which means we need the maximum security level of control and high privacy to protect the valuable collectibles in it, so we should use cameras, alarms, laser detectors, and security guards to achieve this level of security.

5.2 Safety: General definition: State of being protected from accidents and hazards to safe and healthy environment (WBDG Whole Building Design Guide, 2017) Architectural definition: Issues to be considered so as to reduce and prevent accidental injuries or death among users of such buildings or sites. Types of hazard 1. Physical hazard

Fig. 5.2.1: Physical Hazard illustrated by (Authors,2019)

2. Chemical hazard

Fig. 5.2.2: Chemical Hazard illustrated by (Authors,2019)

Design Issues 5.2 Safety: Requirements for safety achievement in a building: 1. Fire Protection System In The Building Planning for fire protection for a building involves a systems approach that permits a complete analysis for all the buildings’ parts by the designer as a complete fire fighting system package (WBDG Whole Building Design Guide, 2017). 2. Users’ health and safety protection Some injuries and illnesses are related to unhealthy or unsafe building design and operation. These can usually be prevented by taking into account issues such as indoor air quality, electrical safety, fall protection, ergonomics, and accident prevention.

Fig. 5.2.3: Safety Requirements illustrated by (Authors,2019)

3. Mitigation of natural hazards effects The building should properly be able to withstand the danger or effects of natural hazards that will affect health and safety of users. Fig. 5.2.4: Safety Requirements (Earthquake natural hazard And Flooding Risk) illustrated by (Authors,2019)

3. Users’ security protection Effective secure building design involves implementing countermeasures to block, detect, delay, and reply to attacks from human aggressors. It is additionally a way for mitigating measures to limit hazards and to prevent dangerous injuries and supply resiliency for the building.

Fig. 5.2.5: Safety Requirements illustrated by (Authors,2019)

Conclusion: Safety precautions should be taken into consideration while designing the building, to achieve the most safe building for users. We should take care of fire fighting system, egress management, clarity of egress paths, sufficient lighting and emergency plan requirements.

5.3 Circulation: General Definition: Movability to, from, around or within a space, especially that of flow in a closed system (Portico Space, 2016). Architectural Definition: It is the movement of users through the spaces of a building. (Ching, 2017). Circulation routes are the network that connects the outside of the building and the inside through vertical and horizontal paths ( Veronica Estremadoyro, 2008).

Design Issues 5.3 Circulation: Types Of circulation: 1. Horizontal Circulation: It includes paths, corridors, hallways, lobbies, atria, travelators, entries and exits. It is usually affected and controlled by furniture layout or other existing objects in space, such as columns trees, etc. Patterns of horizontal circulation: Linear

Axial

Central

Grid

Fig. 5.3.1: Sketches showing paths of circulation, illustrated by (Authors, 2019)

Radial

Fig. 5.3.2: Travelators, Data Source (Archdaily, 2019), illustrated by (Authors, 2019)

Spiral

Composite

Fig. 5.3.3 Horizontal Circulation emphasizing the Main Entrance, Data Source (archdaily.com, 2018), Illustrated by (Authors,2019)

2. Vertical Circulation: The movement of people from one level/ storey to another within a building. It includes stairs, lifts, ramps, ladders, and escalators.

Fig. 5.3.4: Elevators, Data Source (Archdaily, 2019), illustrated by (Authors, 2019)

Fig. 5.3.5: Escalators, Data Source (Archdaily, 2019), illustrated by (Authors, 2019)

Design Issues 5.3 Circulation: Use: - Public circulation: The most widely and easily accessible areas of the building. Visibility issues, how users move, and lucid escape paths are critical. (Portico Space, 2016). - Private circulation: Represents the more intimate locomotion within the building that require a degree of privacy. ( Portico Space, 2016). Applications: 1. Stairs are mainly used in all buildings as the main vertical circulation system. 2. Escape/Emergency stairs are used in all the buildings exceeding 10 storeys. 3. Ramps and elevators are used for handicapped, and their usage depends on the available areas. Examples of circulation: 1. Guggenheim museum in New York, USA: Ramps are the main circulation system in the museum, going in floating spiral form flowing from one level to another without breaking. The goal of using this type of circulation is to emerge up towards the light in a pilgrimage-like journey.

Fig. 5.3.6: Guggenheim Museum Circulation, Data Source (Archdaily, 2019), illustrated by (Authors, 2019)

2. MAXXI museum of arts in Rome, Italy: Stairs and Escalators were used for vertical circulation located in the center of the building to be easily accessed and Several vertical circulation elements were provided for safety issues

Fig. 5.3.7: MAXXI museum, Data Source (pinterest.com,2016) ,illustrated by (Authors, 2019)

1. Entrance Hall 2. Reception 3. Temporary Exhibition 4. Graphic Collection 5. Shop 6. Auditorium 7. Coffee bar 8. Exhibition Fig. 5.3.8: MAXXI museum, illustrated by (Authors, 2019)

Design Issues 5.3 Circulation: 3. Etihad Museum in Dubai, United Arab Emirates: Circulation is clear and achieving the main purpose of the project which is the concept of storytelling by visiting all the components of the project through clear circulation.

Fig. 5.3.9 Horizontal circulation inside Etihad Museum, Data Source (asi-ae.com,2016), Illustrated by (Authors,2019)

Fig. 5.3.10 Horizontal and vertical circulation in Etihad Museum, Data Source (tribe-vibe.net,2017)

Conclusion: Circulation in museums, exhibitions and heritage-related projects is very important, as it is the main factor affecting the exploration of the space by users and linking all the spaces together, so it should be well designed to provide the visitors with satisfying experience. Visitors generally like to keep in contact visually with familiar space. There are many other factors affecting the circulation of visitors, the most important are: 1. Landmarks: Placing an attractive object in the center of a gallery will make people walk toward or around it. 2. Inertia: People often tend to continue in the same direction unless there is a force that tends to change their way. 3. Right turn bias: When coming to a choice, people generally tend to take the turn right unless there is stronger forces or attractions.

5.4 Flexibility: General definition: The quality and ability to be modified and changed, without damaging or breaking (Cambridge Dictionary, 2019). Architectural Definition: It is the capability of a building to adapt or change its function, space layout or even structure, when external change occurs or when modification is required to evolve needs (Geoff, 2007).

Design Issues 5.4 Flexibility: The flexibility mainly represented in 4 types: 1. Adaptability: The ability to change the materials or components of a building, in response to external stimuli (Geoff, 2007).

Fig. 5.4.1: Sketches showing adaptability, illustrated by (Authors, 2019)

2. Movability: The ability of relocating and repositioning building elements to renew elsewhere mobile buildings (Geoff, 2007).

Fig. 5.4.2: Sketches showing Movability, illustrated by (Authors, 2019)

3. Transformability: The capability of adding and removing some the building’s components (Geoff, 2007).

Fig. 5.4.3: Sketches showing transformability, illustrated by (Authors, 2019)

Design Issues 5.4 Flexibility: 4. Responsiveness: The potential of the building to respond to external influences, including energy/environment interaction, and usage or occupation (Geoff, 2007).

Fig. 5.4.4: Sketches showing responsiveness, illustrated by (Authors, 2019)

Examples of Flexibility: 1. Movable Puma City/ Multiple global ports: 24 shipping containers are grouped together to create a store of 3 storeys, with area 11,000 sq., including 2 decks and a lounge area. This store is transportable and act as a global port. It is currently at The Volvo Ocean Race 2008-2009. It is transported to each location (Alicante, Boston, Stockholm) and it is congregated quickly (Archdaily, 2008).

Fig. 5.4.5 Puma global port, Data Source (Archdaily, 2019), illustrated by (Authors, 2019).

2. Flexible and adaptable urban habitat/ India: Architect achieved flexibility through space modules, that can be reconfigured, fitted as required and changed easily in future. Changes can happen without any kind of disturbances to the above and below occupants.

Fig. 5.4.6 Sketches showing adaptability and flexibility, illustrated by (Authors, 2019).

Conclusion: The project’s spaces should be adaptable to cope with the diverse capacities and to be effectively adjustable in future keeping the same quality. The more flexible the building, the increased building immortality and reduced waste. Flexibility can be found in the project in the merging of different areas as MPUs, Exhibition halls, etc. Flexibility will also be taken into consideration as if further future extension is needed. 88

Design Issues 5.5 Interaction: General definition: The success or impact of things on the observers (J Reich, 2017). Architectural Definition: A batch of behaviours of an individual or group represent based on planned or arranged zones (Usman Haque, 2011). Types of interaction: 1. Interaction between the users: It is the social interaction between two or more users, through sharing ideas, speaking and trusting each other. 2. Interaction between the users and the building: Interaction between a buildings and its users increase its value. This type of interaction results in exploring and understanding the building function by users, as well as participating in indoor and outdoor activities. 3. Interaction between the building and the surrounding context: Relation between the building and the surrounding environment should be strong, so that the building can last for longer period of time and can achieve the harmony with nature to not to be odd. Social Interaction: Orientation of two or more users in each other by actions, acts and practices. Group Interaction: The act of sharing and participating in activities under concern of training, learning and gaining experiences and skills. Types of social interaction: 1. Non-verbal communication: A type of communicating by delivering and receiving wordless messages. In architecture, this type can be represented by maps, signs and other instruction panels (lumenlearning.com,2017). 2. Social-exchange and cooperation: Cooperation between users or individuals through certain spaces, such as open spaces, plazas, entertainment spaces, etc., so they can realise their mutual interests, exchange and enhance their concepts, information and Fig. 5.5.2. Social Exchange, Fig. 5.5.1. Cooperation, cultures (lumenlearning.com,2017). illustrated by illustrated by (Authors, 2019) (Authors, 2019) 3. Competition: It is a contest between group of people within agreed rules for control over certain resources. This type needs a well defined space to take place (lumenlearning.com,2017).

Fig. 5.5.3. Competition, illustrated by (Authors, 2019)

Design Issues 5.5 Interaction: 4. Conflict: It is the struggle for power or for proving the efficiency of a certain point of view. Conflicts due to the interaction should be controlled by enhancing and providing fair and healthy methods of interaction for all the parties to get the extreme benefit result from this conflict (lumenlearning.com,2017). Examples of Interaction: Singapore Indian Heritage Center Shows the process of empowering people in design process.

Fig. 5.5.4: Conflict Diagram, illustrated by (Authors, 2019)

Fig.5.5.5 Outdoor interactions, Data Source (urbanarchhow.com, 2015), Illustrated by (Authors, 2019)

Conclusion: Interaction can be achieved in the project by applying some spaces that will help in social and groups cooperation, such as open spaces, plazas, the interactive museum, bazaar, etc. The target of the project should be the achievement of correspondence between people, surroundings and the atmospheric nature, in addition to enhancing their impact on each other in a positive and productive way.

5.6 Maintenance: General definition Actions made to conserve or keep the initial state of a resource as long as it could, or its the method of conserving one thing in its state. Architectural definition It is the state of keeping the building at its best either by utilizing it as it is or by changing it to be flexible in the face of different circumstances.

Design Issues 5.6 Maintenance: There are two main types for the maintenance: 1. Unplanned Maintenance Emergency maintenance: Technique of taking rapid actions once the problem or issue occur, it may be to prevent bigger issues from happening Corrective maintenance: Work on the structure must be done to achieve an appropriate standards for users. 2. Planned Maintenance Technique used to reduce cost of managing the power and its parts so as to reduce potentialities of major issues occurring instead of waiting for the problems to occur. Preventive Maintenance: One of the most important maintenance types, as it is the way of preventing future hazards or risks from affecting the building and make it able to last longer.

Fig. 5.6.1: Maintenance Activities Illustrated by (Authors,2019)

Conclusion: Building should have proper planned maintenance as it is the scheduled type of maintenance, so as to keep the building in its finest condition and to be adaptable with any upcoming circumstances.

5.7 Durability: General definition: The capability of a material, equipment, or machine to have a long useful life and be able to face pressure, damage and other stresses, without the need for maintenance (Oxford Dictionary, 2019). Architectural Definition: It is the capability of a building to perform and provide functionally important areas over a long period of time and to withstand pressure, environment, damage and other external factors (Celadyn, 2006). The durability of buildings is assessed as a measure of sustainability. According to Celadyn (2006), the following can be considered when discussing durability from a structural and architectural point of view : 1. Technical Length. 2. Functional of longevity. 3. Aesthetic Longevity.

Design Issues 5.7 Durability: Factors affecting building’s service life: 1. The purpose/ function of the building: Longevity of the building’s service life is mainly determined/expected according to its function. For example, Very long lifespan, up to 500 years, is desired for monumental buildings, while public buildings are expected to last for 100-200 years, whereas private buildings are not expected to last for more than 50-60 years (Celadyn, 2006). 2. Materials Characteristics: The selection of construction materials is a critical step, as it has a direct impact on the lifespan and the rate of deterioration of a building. As some materials have less confrontation power against external environmental factors, they tend to deteriorate faster (Celadyn, 2006). 3. Design, detailing and the exterior envelope of a building 4. Degree of maintenance

Fig. 5.7.1: Life Cycle cost analysis (Pinterest, 2018).

Fig. 5.7.2: Durability diagram ,(Pinterest, 2017).

Examples of Durability: Guggenheim museum, Spain: The exterior surfaces of the museum are made from 3 elements, which are: Titanium, stone and glass. Each of these is positioned based on form and functional reasons. Treated glass was used for the administrative facilities, to provide illumination for the internal spaces while protecting them against radiation and heat. Three layers of glass were applied to achieve acoustic and thermal insulation. Limestone cladding was used for the public facilities, to avoid checkerboard effect and to achieve variety in elevations materials. Fig. 5.7.3: Titanium Cladding, (Authors, 2019)

Fig. 5.7.4: Guggenheim museum, Data Source(images.adsttc.com, 2016), Illustrated by (Authors, 2019)

Design Issues 5.7 Durability: Conclusion: Durability is important in projects located on waterfront, due to the natural environmental conditions such as high humidity, acid rains, moisture, etc. Durable materials that are sun protective and water resistance should be used. Durability is also critical in heritage-related projects to achieve longevity of building’s lifespan.

5.8 Environmental Impact: General definition: The changes that affect the surrounding environment or individuals. Architectural definition: The impact of the building on the environment, and also it could be the impact of the environment on the building.

Fig. 5.8.1: The building is more like a boat from underneath recalling Bilbao port’s past industrial life The Guggenheim Museum Bilbao, (Gehry Partners, 1997)

Types of Environmental Impacts: 1. Environmental on building: It is the impact of the environment on the building shape, to adapt with the environment, so as to achieve user’s satisfaction. 2. Building on environment: The building tends to be environmentally friendly and sustainable with a good impact on the environment, as we should use sustainable materials achieving a sustainable building doing its function perfectly. Conclusion: The building should be merged with the surrounding environmental context, interact with it, deal with it as an environment friendly building .

Design Issues 5.9 Energy Efficiency: General definition: The efficient use of energy to achieve user’s needs, with no wasting of the energy Architectural definition: The ability to reduce the amount of energy used in the building, For example insulated building materials minimize the amount of heat gained by the building to minimize air-conditioning usage. Approaches leading to energy-efficient building: 1. Minimize amount of energy the building will need to operate 2. Use renewable sources of energy in operating the building 3. Use sustainable technical systems

Fig.5.9.1:Sketch showing ways of energy Efficiency, by (Authors,2019).

Conclusion: The use of sustainable techniques in the building to optimize the usage of natural energy is a must, as using solar panels for generating energy, recycling of construction waste, etc.

5.10 Mood/ Ambience: General definition: A feeling or a state of mind that a person have for temporary time. It can be positive or negative (Yalanda Williams, 20). Architectural Definition: It is the feeling and impression that a user gets when entering a space or a building with a unique atmosphere (Ardehali, 2017) Factors affecting mood: 1. Physiological factors: Colours: They have influence on the feeling and psychological mood of an individual, they can change the people’s level of energy and health. Fig.5.10.1 Colors mood, Data source (Oliver,2013).

Design Issues 5.10 Mood/ Ambience: Lights: The source of illumination can be natural or artificial. studies showed that sufficient sunlight enhances the focus of an individual, and artificial lighting can help in achieving certain moods.

Fig.5.10.2: Sketch showing how lighting affects the user, illustrated by (Authors, 2019).

Views: Positive views improve the concentration level of the user and enhance his/her health and quality of work.

Fig.5.10.3: Sketch showing how elements affect the user, illustrated by (Authors, 2019).

Ceiling heights: Different levelling of ceiling influences the space occupants, and can be applied to achieve different tasks. For example, Low ceilings can be used in detailed tasks, while higher ceilings can be used in spaces of creativity and abstract thoughts.

Fig.5.10.4: Sketch showing how ceilings affect the user, illustrated by (Authors, 2019).

2. Physical factors: Materials: There are naturally like and artificially like materials that help delivering a specific mood to the users, as well as can give the feeling of happiness, depression, etc. Fig.5.10.5: Types of materials, illustrated by (Authors, 2019).

Scale and Form: Proportions and form of the space have direct affect on the nervousness, stress, comfort and happiness levels of users. They also can be used to achieve a certain message related to the visited space.

Fig.5.10.6: Sketch showing how ceilings affect the user, illustrated by (Authors, 2019).

Design Issues 5.10 Mood/ Ambience: Examples of Mood and Ambience: Tunis Village/ Fayoum, Egypt: All factors starting from colours, shapes, styles, textures, materials reaching the smallest decorative elements were applied and oriented to reflect the identity and to highlight the unique mood of the village.

Fig.5.10.7: Tunis Village, illustrated by (Authors, 2019)

Fig.5.10.8: Tunis Village, illustrated by (Authors, 2019)

Conclusion Factors affecting the mood should be taken into consideration, to be able to reflect the desired concept, and the remarkable culture of the region and its individuals.

5.11 Image General definition: An impression that a person, a product, or a concept of place reflects to the public. Architectural definition: Vision of any project by architect or owner that describe building message & represents city culture.

Influence of geometry on image

Fig. 5.11.1: Image geometry, Data source (Authors,2019)

1. Fluid geometry Curved and organic structures are considered the modernist architecture type of buildings. It shows the concept of freedom just by looking at it.

Fig. 5.11.2: Fluid geometry appears in the elevation of Heydar Aliyev Center, (Zaha Hadid,2012)

Design Issues 5.11 Image 2. Rectangular geometry The most common type of buildings as it reflects power and stability. It identify order and system in structures. It consists mainly of regular shapes as squares, rectangles, triangles, and any form of straight lines. Fig. 5.11.3: Rectangular geometry appears in the elevation of Falling Water building, (Frank Lloyd Wright,1935)

3. Pattern geometry It is a way of enhancing the building in the most aesthetic way. This type of geometry reflects different feelings to the users according to the type of pattern used and what is the concept behind it, so it is a flexible structures that gives a certain message and boost the image of the building. Fig. 5.11.4: Pattern geometry appears in the elevation of Al Bahr Towers, (diarconsult.com,2012), illustrated by (A Authors)

4. Classic structure Type of architecture that reflects the feeling of formality and authenticity of the old. It usually gives the observer/user the impression of a historical and valuable feeling of the space

Fig. 5.11.5: Classic geometry appears in the elevation of Versailles palace, (André Le Nôtre & Louis Le Vau, 18th century)

Conclusion The buildings achieving the good image reflect the Uniqueness of the design and the architecture style. As a result, our building should be a remarkable structure to reflect ancient Rosetta's identity, revive the history of the place and bring back the long gone forgotten history of the city.

Design Issues 5.12 Legibility General definition: The quality of something to be clear enough (Oxford Dictionary, 2019). Architectural Definition: The aiding level of a designed building in producing an effective mental image of the relationships of spaces within a building, and the ease of way-finding for users. Factors of legibility 1. Layering It is a concatenation used to attain a success of the project for being usable as the desired function (Bird, 2013). The layers represent: Site, skin, structure, services, space and stuff, arranged from the outside to in with, and each layer has its period of time (Bird, 2013).

Stuff Space Plan Services Structure Skin Site

Fig. 5.12.1: Layering Data source (darkwing.uoregon.edu, 1994)

2. Orientation The movement of users is properly oriented starting from the main point “Entrance” as the beginning of the story (Koseoglu and Onder, 2011). Factors: - Sensory/ Psychological: Views, Privacy, Street activity, Noise reduction, etc. - Local Patterns: Street direction, Land use, Accessibility requirements. 3. Orientation The movement of users is properly oriented starting from the main point “Entrance” as the beginning of the story (Koseoglu and Onder, 2011). Factors: - Sensory/ Psychological: Views, Privacy, Street activity, Noise reduction, etc. - Local Patterns: Street direction, Land use, Accessibility requirements. 4. Plan recognition The clearness and easiness of a plan to be designed and used according to its function.

According to Kevin Lynch (1960): There are five main elements that make any building or urban fabric legible for people and easy to be read and found (way-finding) within an environment. Those are: Paths They are the main routes along which individuals move throughout the layout of a city, complex, Etc. Nodes They are the strategic focal points that help in the orientation of users, such as: squares, junctions, etc. 98

Design Issues 5.12 Legibility Edges They are borders and breaks in continuity, their penetrable level vary according to their function and the area they surround Landmarks They are physical objects acting as external orientation points for users, they often have special characteristics, such as: height, colour, etc. Districts They are medium-sized areas or grouped items that have common characteristics Examples of Legibility Siwa Cultural Community Center/ Egypt The project was divided into five main zones according to the type of users, to achieve clear circulation and legibility (Barakat, 2006).

Fig. 5.12.2: Zoning of Siwa centre, Data source (pinterest.com, 2017)

5.13 Comfort General definition It is the state of feeling relaxed, worry and pain free (Dictionary.cambridge.org, 2019) Architectural Definition It is the manner one feels comfortable particularly in a space physically and physiological (Saberi, Saneei & Javanbakht, 2006) Physical Comfort The state of mind expressing satisfaction with the thermal environment, because thermal comfort varies for each individual Physiological Comfort Architectural psychology is the study of the interactions and interrelationships between humans (individually and collectively) and their physical environment.

Design Issues 5.13 Comfort Thermal comfort Thermal comfort is a state of mind expressing satisfaction with the surrounding thermal environment and as a result of subjectivity, thermal comfort is different for every individual (Raish, 2006). Thermal comfort is achieved by correctly matching internal thermal conditions and projections, based on past experiences and architectural standards (Brager, 1998). Visual Comfort It is approved that creating a comfortable visual satisfaction for users is to provide natural lighting than artificial lighting to give a feeling that the natural lighting is the main source of illumination. Acoustic comfort The way in which the structure of the building or the space affects the quality of sounds spoken or musical qualities, also the building should be designed to control and absorb all kinds of sounds.

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CASE STUDIES

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6.1. Singapore Indian Heritage Center Architects URBNarc Pte Ltd Robert Greg Shand Architects

Constructed in 2013

Singapore,

Land area : 900 m² Galleries : 5000 m²

Perspective Night Shot for the Indian Heritage Center, Data Source (The plan.it, 2017), illustrated by (Authors,2019)

Case Studies

Fig.6.1.1 Night shot of the main façade showing its different colors, Data Source (The plan.it, 2017)

Introduction Singapore institute of architects won the design competition of 2011 which was then constructed for 3 years after that. Singapore's First Indian Heritage Center includes museum facilities, communities and educational areas in the smaller size. A GLOWING LANTERN OF' LITTLE INDIA': Located in "Little India," the short called for a sustainable contemporary building, covering the lively street landscape of the neighborhood and its population. It has two large galleries for the permanent collection, a special exhibition gallery and an activity room for smaller groups could be shut down or opened for the purpose of complementing the special exhibition gallery, were required.

Fig.6.1.2 Perspective Night shot, Data Source (The plan.it, 2017)

Fig.6.1.3 Perspective Day shot, Data Source (The plan.it, 2017)

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Case Studies Concept

Fig.6.1.4 The main façade showing the concept idea, Data Source (urbanarchhow.com, 2015)

Fig.6.1.5 The main façade showing the concept idea, Data Source (urbanarchhow.com, 2015), Illustrated by (Authors, 2019)

Throughout India, stepped wells serve as a community gathering place. This concept has been transformed into a modern circulation system, serving as both a reflective social space and a vertical circulation between the different levels of the museums. The Indian heritage center act as an urban metaphor for the Baoli. A node in the little India conservation district to celebrate Singapore's Indian heritage.

Fig.6.1.6 The Baoli step well reflecting the concept idea, Data Source (The plan.it, 2017), Illustrated by (Authors, 2019)

Site Challenges The triangular shaped site, in the heart of Singapore ‘’ The little India’’ conservation district. Compact and demanding site to achieve efficiency for floor space required for the galleries

Fig.6.1.7 Layout showing the compacted site, Data Source (The plan.it, 2017), Illustrated by (Authors, 2019)

Fig.6.1.8 Layout showing the compacted site, Data Source (The plan.it, 2017), Illustrated by (Authors, 2019)

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Case Studies Plan Zoning The main purpose of the project was getting the most usage of land area as it was to small and challenging. So the main galleries was divided on many floors and leaving the ground floor an open temporary exhibition for different purposes.

Fig.6.1.9 Ground floor plan of the building, Data Source (The plan.it, 2017), Illustrated by (Authors, 2019)

The second story plan shows the great open area that is used as an open Exhibition zone.

Legend Administration zones Circulation Entrance Fig.6.1.10 First Floor plan of the building, Data Source (The plan.it, 2017), Illustrated by (Authors, 2019)

Vertical circulation Galleries Wet areas Storages

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Case Studies Plan Zoning Same as the First floor, by getting up in the building the more space used as a gallery in the plan as shown in the Fourth Floor plan the most of the Plan’s area is used as an open exhibition area.

Fig.6.1.11 Fourth Floor Plan of the building, Data Source (The plan.it, 2017), Illustrated by (Authors, 2019)

One of the most sustainable techniques is used in this building, which is green roof which is used in the building’s roof.

Legend Administration zones Circulation Entrance Fig.6.1.12 Green Roof of the building, Data Source (The plan.it, 2017), Illustrated by (Authors, 2019)

Vertical circulation Galleries Wet areas Storages

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Case Studies Section Zoning The steps inside the façade allow access to the galleries and visitors to view the street. This externalized circulation reflects the traditional 5 ft. pathway typical of the conservation district. Small balconies on the façade have been designed to display changing street exhibits, opening the experience of the gallery to passers-by on the street underneath. Legend Administration zones Circulation Entrance Vertical circulation Galleries Fig.6.1.14 Cross Section in Green Roof, Data Source (urbanarchhow.com, 2015)

Fig.6.1.15 Vertical Circulation, Data Source (urbanarchhow.com, 2015)

Green Roof

Fig.6.1.13 Cross section showing main zones of building, Data Source (The plan.it, 2017), Illustrated by (Authors, 2019)

Fig.6.1.16 Galleries shot, Data Source (urbanarchhow.com, 2015)

Fig.6.1.18 Section B-B, Data Source (The plan.it, 2017)

Fig.6.1.17 Ground Floor, Data Source (urbanarchhow.com, 2015)

Fig.6.1.19 Galleries shot, Data Source (The plan.it, 2017)

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Case Studies Materials The granite entrance portal is elegantly carved with 6 m high doors of timber, references to traditional Indian architecture and the city's nature. The glazing on the main facade acts as a reflection of the adjacent colourful conservation shop houses as the building's external appearance is subdued during the daytime. The building is revived with light in the evening when the roadside colours are silent, revealing the mural's rich colours.

The used material is mostly concrete, granite, glass, steel, with teak and travertine

Fig.6.1.20 Main entrance showing material, Data Source (The plan.it, 2017)

Fig.6.1.21 Nighttime façade showing material, Data Source (The plan.it, 2017)

Fig.6.1.22 Nighttime façade showing material, Data Source (The plan.it, 2017)

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Case Studies Design Issues 1. Circulation Circulation in museums is the main factor affecting the exploration of the space by users and linking all the spaces together. A top-down circulation reflected vertically among the galleries. It starts in a room-size elevation, which leads to the top floor of groups of visitors. Because the galleries for this tight site are relatively large. While the horizontal circulation was shown throughout the galleries itself among the bazars and exhibits.

Fig.6.1.23 Vertical circulation among galleries, Data Source (urbanarchhow.com, 2015)

Fig.6.1.24 Horizontal circulation among galleries, Data Source (urbanarchhow.com, 2015), Illustrated by (Authors, 2019)

Main vertical circulation

Elevated building for shaded circulation Fig.6.1.25 Section showing different circulation, Data Source (The plan.it, 2017), Illustrated by (Authors, 2019)

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Case Studies Design Issues 2. Interaction Interaction helps in achieving the cooperation between individuals and groups such as open spaces, plazas, and interactive museum. Interaction is reflected in multiple spaces starting by the shaded activity area in the ground floor passing by the multiple galleries where each gallery have a different experience of interactive zones such bazars, screens showing the Indian heritage and outdoor gathering zones.

Fig.6.1.26 Outdoor interactions, Data Source (urbanarchhow.com, 2015), Illustrated by (Authors, 2019)

Fig.6.1.27 Indoor interactions, Data Source (urbanarchhow.com, 2015), Illustrated by (Authors, 2019)

Fig.6.1.28 Indoor interactions, Data Source (urbanarchhow.com, 2015), Illustrated by (Authors, 2019)

Fig.6.1.29 Indoor interactions, Data Source (urbanarchhow.com, 2015), Illustrated by (Authors, 2019)

Fig.6.1.30 Outdoor interactions, Data Source (urbanarchhow.com, 2015), Illustrated by (Authors, 2019)

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Case Studies Design Issues 3. Flexibility It is the capability of a building to adapt or change its function, space layout or even structure, when external change occurs or when modification is required to evolve needs. The capability of the spaces to adapt or change its function was shown in the multiple galleries as they are directly linked together and don’t contain much fixed walls which improves the flexibility in the plan.

Fig.6.1.31 Section B-B Showing flexibility among galleries, Data Source (The plan.it, 2017), Illustrated by (Authors, 2019)

Fig.6.1.32 Outdoor flexible zone, Data Source (urbanarchhow.com, 2015), Illustrated by (Authors, 2019)

Fig.6.1.33 Indoor flexible areas with exhibition zones, Data Source (urbanarchhow.com, 2015)

4. Image The image of the building was inspired from the surrounding shops and retail units giving a unique image to the city due to its compacted site inscribed within the buildings reflecting the Indian culture.

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6.2 The King Abdulaziz Centre for World Culture Norwegian Architectural firm Snøhetta

Constructed in 2017

Dhahran, Saudi Arabia

Land area : 100,000 m²

King Abdelaziz Center for world culture, Data Source (ithra.com, 2018), Illustrated by (Authors,2019)

Case Studies

Fig.6.2.1 Exterior Façade of KACWC, Data Source (ithra.com, 2018)

Introduction King Abdelaziz center for world culture is a breath-taking massive project in the heart of Dhahran in the Eastern Province. The modern luxurious cultural center is built by Snøhetta and this firm was chosen especially because it provided a design that reflected multiple layers symbolizing the geological area of Saudi Arabia. The Cultural Centre, on a regional ,national and global perspective, will coordinate various activities that support the community and will become a cultural landmark. A new initiative project by the Saudi Aramco oil company to enhance cultural development throughout the country that resulted in a building never designed or built before in such a way: 5 separate buildings, including a library and concert hall, with cultural amenities that glow in the sun like luminous “pepples stones”. The stunning, free three-dimensional forms reached up to 90 metres height coated with a steel facade.

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Case Studies Concept The design focuses on the kingdom's geological nature, using a variety of "rocks" with various sizes, symbolizing diversity. These rocks rest on each other to illustrate solidarity, demonstrating that all the different disciplines to be explored in the building are mutually dependent (saudiaramco.com, 2018). Regarding the design of this culture centre, the main approach was the chronological dimension, since the structural zoning is layered by period. The concept also extends to the materials used as; • The underground zone was influenced by the past in the underground rocks which was reflected in the museums and achieves. • The ground surface level represents the present with the performing art spaces. • The highest structure -which is rising up into the sky-; represents the future in the knowledge tower by the learning spaces and activities. Concept Development Sketches

The concept was mainly made up of 3 main rocks symbolizing the 3 main buildings in the project and they are reflecting the present, the past, and the future

Fig.6.2.2 Conceptual sketches, Data Source (saudiaramco.com, 2018), Illustrated by (Authors,2019)

Future • Learning Functions

Past • Museum • Archives

Present • Performing arts spaces

Fig.6.2.3 Conceptual sketches, Data Source (saudiaramco.com, 2018), Illustrated by (Authors,2019)

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Case Studies Site Challenges The construction of the Dhahran Culture Centre near the “Prosperity Well” the first commercial oil well discovered in the kingdom was to reflect the commitment of creating an even greater source of wealth.

Fig.6.2.4 3D Section of KACWC showing the prosperity well under the highest mass of the project -Knowledge Tower-, Data Source (ithra.com, 2018), Illustrated by (Authors,2019)

Layout Zoning Despite the existence of different masses in this project, but the layout is totally connected as if its one building with green areas or internal connections from inside each building.

Legend Great Library Library Keystone Knowledge tower Auditorium Fig.6.2.5 Zoning Layout for KACWC , Data Source (ithra.com, 2018), Illustrated by (Authors,2019)

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Case Studies Plan Zoning The floor plan show how the 5 pebbles act as one unit containing great exhibition hall, library, Multi-purpose hall for big events, Interactive spaces, and children learning zones.

1 2

3 2

6 8 1 1- Main Entrance 1 1 1 2- Cultural oasis 4 1 5 3- Great Hall 1 5 4- Small Plaza 7 1 3 5- Library 0 6- Prosperity well (The Source) 4 7- Plaza 9 8- Auditorium 9- Children Discovery Zone 10- Multimedia Theatre 11- Administration 12- Administration Oasis 13- Second Entrance 14- Keystone 15- Tower Fig.6.2.6 Floor Plan of KACWC , Data Source (pinterest.com, 2018), Illustrated by (Authors,2019)

Plan Circulation

Main Entrance

Public Nodes Private Nodes Public (Visitors) Private (Service)

Fig.6.2.7 Floor Plan of KACWC , Data Source (pinterest.com, 2018), Illustrated by (Authors,2019)

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Case Studies Elevation Analysis

Legend Great Library Library Keystone Knowledge tower Auditorium

Fig.6.2.8 Elevation Analysis Diagram, Data Source (saudiaramco.com, 2018), Illustrated by (Authors,2019)

The elevation make it clear about how the concept was achieved and how the 5 pebbles are resting on each other in a way of making them depending on each other and strengthen the connection between each pebble.

Section Zoning The section shows the inner connections between the different buildings and also shows the prosperity well which is the man inspiration for the concept beneath the Knowledge tower.

Fig.6.2.9 Library Shot, Data Source (riyadhconnect.com, 2013)

Fig.6.2.10 Library Shot, Data Source (riyadhconnect.com, 2013)

Services

Public Circulation Learning Functions Exhibition zones Knowledge Tower

Prosperity well Fig.6.2.11 Elevation Analysis Diagram, Data Source (saudiaramco.com, 2018), Illustrated by (Authors,2019)

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Case Studies Materials In order to achieve the goal of the project, Seele –a German firm that revealed the project’s façade- created a free-form building envelope using thousands of threedimensional stainless steel tubes covering a total surface area of 30,260 m² (Bhatia, 2018). The building integrated modern building techniques with traditional ones including rammed earth which incorporates clay, sand, and gravel forming the centre's walls.

CNC Bent Stainless steel tubes

Curtain wall twisted columns/double glazed

Fig.6.2.12 KACWC during construction phase, Data Source (ithra.com, 2014), Illustrated by (Authors,2019)

Fig.6.2.13 Materials’ details for the Façade of KACWC

The use of metal facade in such high temperature area created a number of problems regarding solar gain which meant that the design should consider carefully how to prevent the heat on the skin. So, a special cladding materials was used in the façade and illustrated with detailed section Fig.6.2.13. Fig.6.2.14 Conceptual sketches showing outer cladding extended view, Data Source (burohappold.com, 2008), Illustrated by (Authors,2019)

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Case Studies Design Issues 1. Circulation Circulation in museums is the main factor affecting the exploration of the space by users and linking all the spaces together. The circulation vertical and horizontal in KACWC achieved the clearance for the movement of users. As was shown in the circulation plan, there are 2 types of nodes public and private which are significantly clear and leading to the targeted places. The vertical circulation is clear in Fig. 6.2.14 and the main horizontal entrance in Fig.6.2.15

Fig.6.2.15 Vertical Circulation inside the library, Data Source (archdaily.com, 2018), illustrated by (Authors,2019)

Fig.6.2.16 Horizontal Circulation emphasizing the Main Entrance, Data Source (archdaily.com, 2018), illustrated by (Authors,2019)

2. Interaction Interaction helps in achieving the cooperation between individuals and groups such as open spaces, plazas, and interactive museum and in KACWC, most of the spaces reached the most efficient ways of interaction. Interaction was achieved by 1. Different types of open spaces and plazas 2. Interactive museum and Children discovery zones 3. Multimedia theatre

Fig.6.2.17 Interactive screens, Data Source (saudiaramco.com, 2018), Illustrated by (Authors,2019)

Fig.6.2.18 Interactive screens, Data Source (saudiaramco.com, 2018), Illustrated by (Authors,2019)

Fig.6.2.19 Multimedia Theatre, Data Source (riyadhconnect.com, 2013), illustrated by (Authors,2019)

Fig.6.2.20 Interactive screens, Data Source (riyadhconnect.com, 2013), illustrated by (Authors,2019)

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Case Studies Design Issues 3. Environmental Impact & Energy Efficiency The building should be merged with the surrounding environmental context, interact with it, deal with it as an environment friendly building and this should be reflected in the Building’s image and concept. 1. Environment on building was reflected on : The building’s concept was designing a desert icon as the building main concept was inspired from the geological nature of the desert. As the structure is made up of 5 pebble shaped forms each represents different main zone in the building and they are connected and resting on each other to reflect solidarity and dependency of the structures.

The Keystone The Knowledge Tower and is represented by the largest and tallest pebble in the project

The great Library’s walls are made of rammed earth

The Auditorium

Fig.6.2.21 KACWC Sketch showing the 5 Pebbles, Data Source (arrajol.com, 2018), Illustrated by (Authors,2019)

The Entrance which connects several zones and made up entirely from rammed earth

The Great hall of the Museum which reflects the past sector in the project

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Case Studies Design Issues 3. Environmental Impact & Energy Efficiency KACWC is one of the most eco-friendly constructions in the world, connected to the desire to protect and revive the sustainability of the planet. 50% of building's waste -wood, steel and paper- has been recycled and most of the finishes used in the wood have been obtained from the sources that are sustainable. 2. The Building on the Environment “Sustainability” was reflected on : The Used material in construction was brought directly from the surrounding environment as Snoehetta started using local materials like rammed earth which is made up from clay, sand, and gravel. There were a number of challenges for the project team owing to the complicated design of the iconic building in the tough environment of Saudi Arabia and this was solved by many sustainable techniques to resist this problem.

Fig.6.2.23 Natural lighting and steam water feature, Data Source (designboom.com, 2018)

Fig.6.2.22 Natural Lighting, Data Source (arch2o.com, 2018), Illustrated by (Authors,2019)

• Natural Lighting Inside the Building • Regulated usage of water through water efficiency fittings and installation of water meters to control the water used inside the building.

• Small reflective metal pipes, which make up the facade and resist the Saudi sun by the shield, are pre-bent for the complicated design of five steel structures. • The pipes flatten by getting near to the windows so they provide natural illumination inside the required spaces, while the ventilated air cavity between the pipes is able reduce the energy gained by this components.

Fig.6.2.24 Bent stainless steel, Data Source (burohappold.com, 2018)

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Case Studies Design Issues 4. Mood and Ambience It is the feeling and impression that a user gets when entering a space or a building with a unique atmosphere. The mood and ambience was reflected by blending natural and artificial lighting in the same space as each type give a different feeling for the user. This was reached in various spaces as the museum, the transitional zones between masses, different heights between the forms and using of different construction materials.

Fig.6.2.25 Artificial lighting inside the museum, Data Source (archdaily.com, 2018), Illustrated by (Authors,2019)

Fig.6.2.26 Natural lighting inside the building, Data Source (archdaily.com, 2018), Illustrated by (Authors,2019)

5. Image The building achieved the goal that the main concept was seeking for, which is being a cultural landmark on both a regional, national and global horizon. KACWC is now a touristic and cultural destination for people with different ages and different interests and from all-over the world.

Fig.6.2.27 The Remarkable KACWC, Data Source (saudiaramco.com, 2018), Illustrated by (Authors,2019)

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6.3 The Aga Khan Museum Architects Maki and Associates

Constructed in 2014

Toronto, Canada

Land area : 4049 m²

The Aga Khan Museum, Data Source (Otte, 2019), illustrated by (Authors,2019)

Case Studies

Fig.6.3.1 Night shot of the main façade of the Main Entrance, Data Source (img.buffalonews.com,2017)

Introduction The museum of Aga Khan displays a wide range of Islamic cultural and scientific achievements dating back to as far as ten centuries of history. This building is a temple-like house for a broad range of artifacts designed by Japanese architect Fumihiko Maki working together with the local corporate Moriyama & Teshima. It includes areas specified by the lighting conditions. Portrait paintings, miniatures, textiles, manuscripts, tiles, ceramics, medical texts, books as well as musical instruments, which portrays the history of Muslim civilizations over the last 1,000 years, are featured in this collection. The museum’s site is within a big park (designed by the landscape architect Vladimir Djurovic) that includes numerous water features and gives the city of Toronto new green area. Ismaili center nearby, a novel prayer hall designed by Charles Correa complements the museum site.

Fig.6.3.2 Day Shot of the main façade of the Main Entrance, Data Source (miro.medium.com,2017)

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Case Studies Concept

Maki, pictured the building as a configuration of a set of white folding surfaces that has a light-filled courtyard in the middle, inspired by a contemporary explanation of the Chahar bagh -the Islamic courtyard (Maki, 2018).

Fig.6.3.3 Agha Khan Museum Exterior Shot, (Maki, 2018)

The Museum design was inspired by his highness the Aga Khan, by a vision statement of “Light”. The concept of "light" was inspired by many human faiths and was called enlightenment for centuries of history. The Aga Khan had hopes that this building and the areas around it will be viewed as a celebration of light and the mysteries it holds illustrated at every moment of our lives by nature and the human soul. The main concept is especially reflected in Islamic sciences and writings. The project aim is to promote understanding and awareness within the Muslim community itself and between this community and other communities around the world (Maki, 2018).

Fig.6.3.4 Agha Khan Museum ("Fumihiko Maki & Associates | Moriyama & Teshima Architects | - Aga Khan Museum EN | The Plan", 2019)

125

Case Studies Site Challenges There was an existing building on the same site, The Ismaili Center, a religious, social and spiritual building and a prayer hall. So the main challenge was to make sure all of the pieces fit together and that the two buildings don’t contradict each other with respect to the materials, colour palette and form. Fortunately, light was the theme used in the design of the two buildings, but this theme was especially important to the Aga Khan Museum, as it was built on the concept of light celebration ("Islamic Cultural Spaces Come to Toronto | ASCE", 2019). Aga Khan Museum

Ismaili Center

1- Agha Khan Museum 2- Ismaili Centre 3- Formal Garden 4- Car Drop 5- Wynford Drive 6- Don Valley Parkway 7- Eglinton Avenue

Fig.6.3.5 Layout of Agha Khan Museum (Maki, 2018), (Authors,2019)

The museum is located at 45 degrees from true north, so it works as a big sundial, creating various shadow effects. Both buildings, sacred yet secular, are brought together through the gardens and landscape, with the aim to achieve a feeling of harmony in a park environment within the whole site ("Islamic Cultural Spaces Come to Toronto | ASCE", 2019).

126

Case Studies Plan Zoning There was an existing building on the same site, The Ismaili Center, a religious, social and spiritual building and a prayer hall. So the main challenge was to make sure all of the pieces fit together and that the two buildings don’t contradict each other with respect to the materials, colour palette and form. Fortunately, light was the theme used in the design of the two buildings, but this theme was especially important to the Aga Khan Museum, as it was built on the concept of light celebration ("Islamic Cultural Spaces Come to Toronto | ASCE", 2019).

Fig.6.3.6 Ground Floor Plan of Agha Khan Museum (Maki, 2018), (Authors,2019)

Legend Great Library Exhibition Main Circulation Classrooms Vertical Circulation

Fig.6.3.7 First Floor Plan of Agha Khan Museum (Maki, 2018), (Authors,2019)

Wet areas Courtyards Restaurant Shops Entrances

127

Case Studies Section Zoning

Fig.6.3.8 Section through Aga Khan Museum, (Maki, 2018)

Legend Restaurant Exhibition Entrances

The section shows the how the user passes through different spaces when entering the building, starting with the reception lobby then passing by the court and then entering the exhibition galleries.

Fig.6.3.9 Section through the Auditorium, (Maki, 2018)

Fig.6.3.10 Computer model of the Aga Khan Museum Auditorium, demonstrating the volume of the space. (Maki, 2018)

These two sections through the museum’s auditorium shows the shape of the roof and shows that in order to attain optimal natural acoustics in the space with the particular genre of music into consideration (Sufi), the space volume had to be remarkably increased to reach higher reverberance, and the room shape was designed to have exceptional musical clearness. The origami dome roof was constructed seamlessly with the exterior in a successful way, while being extended higher than the rest of the building. The floating, slanted, isolated roof was constructed on two levels, isolated from each other and from the building itself. The dome roof consists of pre-finished aluminium panels that have the ability to change colors in varying light conditions, from almost white to red, to black and to champagne gold- their true color ("Islamic Cultural Spaces Come to Toronto | ASCE", 2019). 128

Case Studies Materials The architects thought about using limestone at first but then found it “too creamy”. They next considered marble then again they found that it is not hard enough to use as a cladding material. Anyhow, a type of Brazilian granite, its name is "margarita white", extracted from the Amazon jungle, was the most suitable for cladding in the northern climate and delivered the desired white colour.

Fig.6.3.11 Agha Khan Museum, (Otte, 2019)

Fig.6.3.12 Agha Khan Museum, (Otte, 2019)

Fig.6.3.13 Agha Khan Museum, (Otte, 2019)

Inside the building, there’s a fully glazed court, it’s walls are made of double-layered glass imprinted with Islamic patterns that creates a three dimensional effect. 129

Case Studies Design Issues 1. Circulation Circulation in museums is the main factor affecting the exploration of the space by users and linking all the spaces together. The building is only 2 floors so it has visible and clear circulation. Vertical circulation through stairs and elevators. And the horizontal circulation through the main corridors surrounding the courtyard.

Fig.6.3.14 Vertical and Horizontal Circulation (Maki, 2018), Edited by (Authors, 2019)

2. Interaction At the center of the building, there’s a double-height courtyard. It's surrounded by four glazed walls, double-layered and imprinted with an ornamental pattern drawn from the eight-pointed star inspired from the Islamic “mashrabiya”, creating a three-dimensional effect on the smooth white interior walls animating the spaces inside as the sun moves during the day (Frearson, 2019).

Fig.6.3.15 Glazed walls in the courtyard of Agha Khan Museum, (Maki, 2018)

Fig.6.3.16 Reflection of the patterned glass from the inside of the Museum, (Maki, 2018)

130

Case Studies Design Issues 3. Mood and Ambience The building is focused on precision to the tiniest detail. As you enter the building you see that it has a very straightforward and clear language, with every element connecting to the other. This simplicity in design is not as easy as some might think, the building details is about simplicity, precision and cleanness. It is reflected with every material throughout the building, from the curtain walls to the smooth dry walls, to the metal panels, to the stone tiles in the flooring ("Islamic Cultural Spaces Come to Toronto | ASCE", 2019).

Fig.6.3.17 Exhibition Galleries inside the Museum (Norsworthy, 2019).

Fig.6.3.18 Courtyard Flooring reflecting the Islamic Concept (Norsworthy, 2019).

4. Maintenance To prevent the snow from building up in the courtyard in winter, there’s an underfloor-heating and water will escape through a star-shaped drain that gives another sign of symbolizing religion (Maki, 2018).

Fig.6.3.19 Courtyard Flooring reflecting the Islamic Concept (Norsworthy, 2019).

131

Case Studies Design Issues 5. Image The museum is positioned on a small hill that is noticeable visually at the intersection of two important, crowded artery roads north of downtown Toronto, the Don Valley Parkway and Eglinton Avenue. And a panoramic view of the city’s skyline can be enjoyed from the site. The building is located at 45 degrees from the true North in order to have a different shadow effects. But having a straight and forward vertical surface will make the shadows will be only cast on the adjacent ground, with no shadows on the building. That was how the shape of the building started to change, the lower half of the building angles inward, while the upper half angles outwards, giving the building the shape of an hourglass, which gave the desired outcome of having the building cast shadows upon itself, granting the effect of a sun dial.

The angular shape also gives a natural expression of the two level building. The building’s exterior is covered with white Brazilian granite. When somebody touches the facade, they find every angle polished and finished in a very accurate way.

Fig.6.3.20 Angles of the Museum facade (Otte, 2019), Edited by (Authors,2019)

Fig.6.3.21Angles of the Museum facade (Maki, 2018), Edited by (Authors,2019)

Fig.6.3.22 Agha Khan Museum Night Shot showing the Impressive Image of the building (Maki, 2018)

132

6.4 Palestine Museum Heneghan Peng

Constructed in 2016

Birzeit, Palestine

Land area : 40,000 m²

Palestine museum, Data Source (archdaily.com, 2017), Illustrated by (Authors, 2019)

Case Studies

Fig.6.4.1 Perspective of exterior showing the building design with terrain, Data Source (archdaily.com, 2017), Illustrated by (Authors, 2019)

Introduction The Palestine Museum's mission is to form and communicate knowledge about Palestinian history, societies and culture through the most credible and robust platform. Built in celebration of the Palestinian heritage, it is a main sponsor project of the largest NGO of Palestine and is supported by the nearby University of Birzeit with the stated aim of "promoting the culture of dialogue and tolerance. "The site is defined by green terraces made of ‘’Sanasil’’ walls, which were built by local villagers in order to adjust cultivation of terrain. The design was selected by an international competition, is based on this environment and is firmly integrated into it.

Fig.6.4.2 Agha Khan Museum Night Shot showing the Impressive Image of the building (Maki, 2018)

134

Case Studies Concept The zigzagging architecture of the museum and the hillside garden are inspired by the farming terraces surrounding it, which stress connections to the country and symbolize resistance to the military occupation of the West Bank. By merging among the landscape and the building using geometrical triangular grid based on the terrain of the site to form the different levels and landscape of the outdoor area.

Fig.6.4.3 Exterior of the building showing the agricultural terraces and zigzag paths, Data Source (archdaily.com, 2017), Illustrated by (Authors, 2019)

Fig.6.4.4 Exterior of the building showing the agricultural terraces and the triangular grid, Data Source (archdaily.com, 2017), Illustrated by (Authors, 2019)

Site Challenges A number of cascading terraces, formed by stone field walls, trace the previous farming terraces in the area. The landscape theme–from cultural to native landscape –is revealed across the terraces: the closer the building are the more cultivated and domesticated terraces and the planting changes gradually as one goes through the terraces westwards.

Fig.6.4.5 Layout showing the land terrain challenges, Data Source (archdaily.com, 2017), Illustrated by (Authors, 2019)

Fig.6.4.6 Layout showing zigzag paths, Data Source (archdaily.com, 2017), Illustrated by (Authors, 2019)

135

Case Studies Plan Zoning The ground floor, which includes the entrance hall, the museum administration, the screening room, the galleries, the cafe that opens onto the northern end of the garden with a view of the stone amphitheatre at its southern end. There is a public Education and Research Center on the lower level with classrooms, workshops and administrative areas. The center opens to a cut amphitheatre in the west. In addition, the lower ground floor has the main art collection spaces, art handling and photo archives.

Fig.6.4.7 Ground floor plan zoning, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019)

Fig.6.4.8 First floor plan zoning, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019)

136

Case Studies Section Zoning A hollow in the pre- existing topography is used for shop and a training / research center, which will lead to an outdoor amphitheatre under the south wing intended to supply additional accommodation. 0 level and first floor

Glazed Hall

Below 0 level Fig.6.4.9 Main section zoning showing different levels of plan, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019)

Elevation Zoning Palestinian limestone, locally grown in the neighbourhood of the city of Bethlem, was used as a unification for both façade and outer paving. The stems of the western facade are pinched up in two places, showing triangular shaped curtain walls with metal fins. Triangular curtain wall with metal fins

Limestone cladding on façade

Agricultural terraces Fig.6.4.10 Main elevation showing solid and glazed areas in façade, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019)

Fig.6.4.11 Main elevation showing limestone façade, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019)

Fig.6.4.12 Main elevation showing louvers metal fins, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019)

137

Case Studies Urban Analysis Landscape and environmental impact The terrace cascade tells many stories: citrus fruit brought by trade routes, a rich and varied landscape with connections between east and west. Terrace subjects include cultural landscapes, cultural and history subjects Trade and trade plants, landscapes, scrubbing, wilderness & culture: incorporation of indigenous plants into domesticated agriculture, food & natural medicine and cultural heritage.

Fig.6.4.13 Layout showing agricultural terraces, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019)

Building's Masses Shows the different masses of the building integrated with the landscape in the triangular form grid inspired from the land context. This was also revealed in the elevation masses to unify the building layout, elevation and landscape design.

Fig.6.4.14 Layout showing the masses of the building, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019)

138

Case Studies Urban Analysis Solid and Void The solid and void map shows how the surrounding of the museum was designed respecting the terrain of the land and the huge void used for landscape respecting the levelled context.

Fig.6.4.15 Layout showing solid and void surrounding the building, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019)

Context The "worked" quality of a Palestinian landscape has all its elements and a history of intervention and production, culture, environment and trade has been touched on. As in the city, its history is embedded in the terraced landscape. The Palestinian Museum's approach draws on this terraced landscape story, integrates the museum into its nearest site and draws a wider history of a diverse culture from this site. The site consists of a series of cascading terraces formed by stone walls of fields that trace the area's previous land terraces.

Fig.6.4.16 Layout showing urban context, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019)

139

Case Studies Design Issues 1. Circulation

Zigzag Entrance

Main Direct Entrance

Fig.6.4.17 Layout showing the external circulation, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019).

External circulation that shows two main axis, firstly the straight and main axis for direct entrance and secondly the other zigzag axis that allow the user experience to be enjoyable among the levelled landscape. to reach the top of the hill an access road is designed with views from across this characteristic landscape and the Mediterranean 40 kilometres to the West from the other side of the building.

Parking Entrance Fig.6.4.18 Layout showing the external circulation, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019).

2. Visibility

Fig.6.4.19 Layout showing visibility of the building due to land terrain, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019).

Due to the land terrain the building is visible by the surrounding area and can be noticed easily. As the building is inspired from the surrounding landscape creating a huge image for the hilltop, which is integrated into the landscape forming a strong, distinctive form. 140

Case Studies Design Issues 3. Interaction

Fig.6.4.20 Layout showing the interactive outdoor spaces, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019)

Fig.6.4.21 Layout showing the interactive outdoor plaza, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019)

Interaction can be shown in the huge outdoor spaces designed to explore the formed landscape that reveal the heritage of the country through out an outdoor experience on the levelled land 4. Energy Efficiency

Fig.6.4.22 Elevation showing the metal fins, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019).

The garden is intended for the delivery of typical Palestinian products from the agricultural crops on the external borders to more refined plantations close to the buildings. Rainwater is harvested for irrigation and flush systems from the terrace and amphitheater, as well as the treatment of wastewater. In addition, the metal fins and the curtain wall were Specially designed for protecting the interior against sunlight and the heat gain while maximizing natural light, which is one of a number of measures that have obtained a LEED Gold certification.

Fig.6.4.23 Agricultural lands surrounding the building, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019).

141

6.5 The Grand Egyptian Museum Heneghan Peng

Started in 2010

Cairo, Egypt

Land area : 224,000m² Floor area : 23000m²

Case Studies

Fig.6.5.1 3d shot showing the building elevation, Data Source (Egypttoursplus.com, 2018).

Introduction The Grand Museum of Egypt is the world's largest museum that will contain most of the Egyptian artifacts as it is one of Egypt's largest museums, located on the first desert plateau outside Cairo, between the major Pyramids of Giza and Cairo. The Museum will comprise a conference facilities, multimedia facilities and library as it is a cultural complex of activities devoted to Egyptology. The resolution of various activities and support services, which met the needs of visitors of public, private, tourism and academia, the museum and the conference, achieving a complicated and demanding brief. Exhibition space is 30,000 m2 and there is an auditorium for 800 persons. The visitors to the world of the Pharaohs require 4,8 million visitors per year to have a clear and smooth feeling of movement while giving them an equal quality of experience, whether old or young, capable or disabled, as they use the Great Stair. The project seeks to set up a state-of - the-art museum complex with facilities and access to a wide range of data. The complex offers a unique, educational and cultural experience for all its visitors. The design of a new museum has been challenged by architects to fulfill the huge collections and to enable visitors to' investigate ' the many routes which a modern museum can offer. In the context of displayed artifacts, an evocative thematic and cultural-sensitive approach is displayed.

143

Case Studies Concept

Fig.6.5.2 Layout showing the concept idea, Data Source (gem.gov.eg, 2018)

Fig.6.5.3 Concept showing Relation between museum and pyramids , Data Source (gem.gov.eg, 2018), Edited by (Authors 2019)

The Grand Egyptian Museum proposal starts with the creation of a new "edge" to the Plateau, forming a thin veil of textured stone structured by geometrical pattern, a gentle incline that opens and closes like pictured in the desert sand. From Cairo, a dynamic identity is built in the newly registered surface of translucent stone, yet the surface traces a new visual path toward the Pyramids from the museums. The museum wall can be understood as an architectural and an intensifying structure of (physical) and spatial (effective) folding within the face of the Plateau. Relation between museum & pyramids The museum is positioned in a space inscribed by number of visual axes from the site to the three Pyramids in a 3-dimensional framework. in plan, the structure lines of the museum are drawn along the same visual lines. in section, the entrance and its parks of the museum is constructed along the ascent to the plateau level.

Site Challenges The 50 hectares site comprises a broad range of gardens, which provide the local community and visitors with park facilities. The GEM also has an auditorium for 700 people and a smaller theater with a meeting place. The aim is to provide local activities on the west side of Cairo and also to extend the museum to not only a repository but also a learning center. Fig.6.5.4 Layout showing the site challenges, Data Source (gem.gov.eg, 2018).

144

Case Studies

Plans Zoning The Experience of Story-telling in the museum • Prehistory, Pre-dynastic, Early Dynastic, Old Kingdom and First Intermediate Period, • Middle Kingdom and Second Intermediate Period, • New Kingdom, • Third Intermediate Period, Late Period and Greco-Roman Period.

Legend Galleries Circulation Conference Hall Reservation Labs/ Storages Fig.6.5.5 Layout showing the concept idea, Data Source (gem.gov.eg, 2018).

This museum is constructed as a complex that gather different activities together in one place which contribute about Egyptology. The ancient Egyptian heritage can be explored in different perspectives. Therefore, the museum is both has cultural resources and interactive cultural artifacts On the western edge of the museum the CCEC buildings are located overlooking the Remayah house and separated by the GEM road from the house. A buffer area of trees is planted to provide privacy and security for the transportation of artifacts from external interference. The building has been lowered ten meter below the road level to improve safety, which also allows efficient techniques for the construction of a retaining wall with the whole east side of the access road and the delivery yard of the Conservation Center. In addition, Exhibition galleries, storage archeological studies and education center, library and media library, museum for children, outdoor schools and playgrounds, cultural and educational museum for special needs, workshops for adults and children on the theater and on the art and crafts; retail stores, restaurants, beverages, and recreational areas.

145

Case Studies Section Zoning Built as a complex below the 0 level by 10m² of various activities which forms a cultural environment focusing on Egyptology thus, ancient Egypt can be explored in various ways and levels by blending different navigational paths through the complex. Both cultural objects and an interactive cultural resource can be found in the museum. Therefore, this section shows the different levels of the museum where storage tunnel are built underground.

Fig.6.5.6 Main section, Data Source (The grand Egyptian museum consultancy ), edited by (Authors 2019). Legend Galleries

Elevation Zoning

Conference Hall Storages/ Underground Tunnels

Fig.6.5.7 Main north elevation, Data Source (The grand Egyptian museum consultancy ), edited by (Authors 2019).

Fig.6.5.8 Main elevation, Data Source (gem.gov.eg, 2018), edited by (Authors 2019).

Fig.6.5.9 Main elevation, Data Source (gem.gov.eg, 2018), edited by (Authors 2019).

The facade surface is fractured delicately and structured by a fractal Sierpinski pattern that is basic in concept but uses its power in dimensions and simplification creating a light weight structurally efficient system. The façade forms the plateau's edge by day, with the surface fractured and geometrically structured. The Translucent Wall echoes at night the accuracy and shimmer of the glass-like polished surface of the pyramid-spreading steel veneer. 146

Case Studies Urban Analysis Solid and void Solid and void map illustrate the condensed area that surround the museum and the different skylines showing the historical and modern buildings to form a museum that merges between both.

Fig.6.5.10 Solid and void, Data Source (gem.gov.eg, 2018), Edited by (Authors 2019)

Accessibility

Accessibility map illustrate the multiple streets that surrounds the museum as huge number of circulation will exist thus allowing the museum to be the main focal point

Fig.6.5.11 Street accessibility , Data Source (gem.gov.eg, 2018), Edited by (Authors 2019)

Landscape Landscape map illustrate the design used in hard-scape and soft-scape in front of the main entrance and surrounding the museum. Also buffer zone made from trees is planted for privacy and security needed in the conservation labs. Fig.6.5.12 Landscape strips, Data Source (gem.gov.eg, 2018), Edited by (Authors 2019)

147

Case Studies Plan Zoning

Layout Approach 1. The Edge Plateau that divides the site up and down the site. 2. The main axis towards the Pyramids. 3. The approach from Cairo to Alexandria. Fig.6.5.13 Layout analysis, Data Source (gem.gov.eg, 2018).

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.

Museum building Entrance courtyard Conference center Nile valley garden Ticketing & security (A) Piazzas Rectangle bollard gate to VIP Ticketing and security (B) Nile valley sculptural garden Temple garden Temple garden terraces Temple garden restaurant

13. DSM building 14. Multistory car park 15. Pyramids restaurant 16. Pyramids (khufu) steps 17. Fire station 18. Energy center 19. Conservation center 20. Dunal park 21. Nilometer 22. Café dunes 23. Lands of Egypt garden 24. Nile cascade 25. Children garden 26. Coach park

The construction phases of the GEM project started in May 2005 based on three main Phases: 1st phase • Enabling Works 2nd phase • Conservation Center • Energy Center • Fire Station 3rd phase • Bulk Excavation • Main Building & Master plan 148

Case Studies Design Issues 1. Circulation

Fig.6.5.14 Internal huge stair showing vertical circulation, Data Source (gem.gov.eg, 2018), edited by (Authors 2019)

Fig.6.5.15 Open gallery space showing internal circulation, Data Source (Authors 2019).

The 64-meter-long Grand Staircase is built as one of the main chronological streams, which will definitely shape the museum's story line for visitors. This will extend to 24 meters in length with a width of 85 meters at the base and a 17 meters at the top. 2. Interaction

Fig.6.5.16 Internal huge stair gallery showing interaction within circulation, Data Source (gem.gov.eg, 2018), edited by (Authors 2019)

Fig.6.5.17 Interactive open space, Data Source (gem.gov.eg, 2018), edited by (Authors 2019)

The piazza is an area of meeting and sharing that starts from the external transition to the interior drawing of tourists from the forecourt entrance , even when museum / conference facilities are closed, the piazza remain an active space during both night and day. Fig.6.5.18 Interactive open space near main entrance, Data Source (gem.gov.eg, 2018), edited by (Authors 2019)

149

Case Studies Design Issues 3. Mood and Ambience

Fig.6.5.19 Artificial and natural light, Data Source (gem.gov.eg, 2018), Edited by (Authors 2019).

Light and Sculpting : voids movements From the site scale to the display case scale, light carvings of the new museum complex's spaces are defined, from open-air park system to specifically controlled artifact environment. Two Light Bands divided the site into three Bands: Lower Plateau: Roadside infrastructure area Ascent to Plateau: GEM’s cultural zone: Upper Plateau's: Dunal Park's natural area. 4. Maintenance and Security

Fig.6.5.22 Conservation labs secured, Data Source (gem.gov.eg, 2018), Edited by (Authors 2019)

Fig.6.5.20 Glazed window, Data Source (Authors 2019).

Fig.6.5.21 Open space showing sky light and natural openings, Data Source (gem.gov.eg, 2018), Edited by Authors 2019

Fig.6.5.23 Conservation labs work, Data Source (gem.gov.eg, 2018), Edited by (Authors 2019)

In order to protect the transition of artifact livings from outside the interference, a buffer area of trees is planted. In addition to the advantage that efficient techniques can be used to construct a retaining wall with the whole length , the building was lowered 10m below level of street of the east side of the access road and delivery yard of the Conservation Center. 150

Case Studies Design Issues 5. Visibility

Fig.6.5.24 Pyramids visibility, Data Source (Authors 2019)

Fig.6.5.25 Visibility from the museum to pyramids, Data Source (Authors 2019)

The museum is directly visible to the great Pyramids of Egypt. Thus, the UNESCO World Heritage Site of the Pyramids in Giza is being proposed to extend its boundaries to the museum site and to support the architectural extension through master planning. Achieving also flexibility in the main design program where it might be extended.

6. Energy efficiency

Fig.6.5.27 Multiple Slopped roof with skylight enabling sunlight to enter, Data Source (Authors 2019)

Fig.6.5.26 Visibility through huge curtain wall, Data Source (Authors 2019)

Fig.6.5.28 Multiple Slopped roof with skylight enabling sunlight to enter, Data Source (Authors 2019)

The EES includes the central air conditioning system and the environmental control system for the energy supply to the preservation center. In case of emergencies, the same station is used as an alternative station to the museum's main building. Fig.6.5.29 Façade detail, Data Source (desmena.com)

151

6.6 Etihad Museum Moriyama & Teshima Architects Peng

Dubai, United Arab Emirates

Completed 2016

25,000 m²

“This landmark heritage initiative is an important manifestation of the vision to create an important national UAE cultural and tourist landmark” (Saeed Al Nabouda, 2016)

Etihad Museum, Data Source (archdaily.com, 2017), Illustrated by (Authors,2019)

Case Studies

Fig.6.6.1 Exterior Façade of Etihad Museum, Data Source (archdaily.com, 2017)

Introduction Around the Union Historic Building, where the unification document of the country was signed in 1971, the Etihad Museum is constructed. The Union "Etihad" Museum was constructed to celebrate the signing of the United Arab Emirates document in 1971, honouring its unique culture and history. Most of museum is located under the ground containing theatres, permanent galleries, temporary galleries, event spaces, and archives. The entrance is emphasized by resting lightly on a big plaza and pool, consisting of parabolic curves which symbolizes a floating paper on which the unification agreement was written on. Seven rows of golden pillars are representing the writing act which united the 7 emirates in the unification. Etihad Museum's permanent exhibition consists of eight storytelling sections focusing on the Emirates history before and after unification and the union of the 7 Emirates into one single federation.

153

Case Studies Concept The Main concept was focusing on representing the paper and the pens by which the paper was written by. The parabolic roof which defines the main shell of the building represents the paper on which the unification document was written on. The form and the angle of the pens appearing to be in motion, with reference to the writing action the formed the 7 emirates in the unification paper was expressed by a set of 7 rows of embossed bronze columns. Concept Development 1. Masses Formation

Ink Well Union House

Paper Museum

Rotating Pens Main Structure System

Fig.6.6.2 Conceptual Sketches showing the concept, Data Source (archdaily.com, 2017), Illustrated by (Authors,2019)

2. Curve Formation 2D illustration for the used panels with different subdivisions according to the distance between the panel and the curve 1. 2.

Panels near the curve have more subdivisions Panels far from the curve have less subdivisions

• The four different panels used

Line illustrating surface subdivision Fig.6.6.3 Conceptual Sketches showing the Formation of the Shell Curvature, Data Source (archdaily.com, 2017), Illustrated by (Authors,2019)

154

Case Studies Site Challenges 1. Concept and Studies Challenges 1.1. This project involved a number of stakeholders 1.2. Different contractors ' and consultants ' nationalities result in complicated connection between them 1.3. Difficulty in the access to the historical documents needed for initializing the designing stage 2. Design challenges 2.1. Several updates and improvements to the architecture design to reflect the historical eras 2.2. Renovate and Restore the surrounding historical buildings as Etihad house and Guest house 2.3. Difficulty in design stage due to the high water flow near the project's site as it is next to the beach (Jumeirah Beach) 2.4. Regarding the storytelling concept in the museum, the design considerations focused on the availability of historical artifacts. 3. Construction challenges 3.1. Strict tight timeline (18 months) for project completion. 3.2. The deep excavation that will be digged around the Etihad house was a great concern as this house is a historical one as the total volume of excavation is 172,400 m³ . 3.3. Renovate and Restore the surrounding historical buildings.

Fig.6.6.4 Digging around Etihad House during construction, Data Source (nsccme.com, 2014)

155

Case Studies Plan Zoning The zoning in the plans was focusing on the main concept of storytelling of the history of United Arab Emirates and the history of Unification. The Etihad Museum is composed of three essential parts which are The Union Building (Zone 14 Fig. ()), the Guest House (Zone 22 Fig. ()), and the Visitor's Pavilion (Zone 1 Fig. ()). Those three parts includes temporary and permanent exhibitions, auditorium, library, timeline with interactive videos and maps to show UAE history, educational facilities, and recreational spaces. The total number of exhibition halls is 10 halls, each one designed in different way to suit the type of artifacts that will be shown inside it.

Visitors’ Pavilion Upper Level

Fig.6.6.5 Layout of Etihad Museum, Guest House, and Union House, Data Source (archdaily.com,2017), Illustrated by (Authors,2019) Legend Private/Work Public Circulation Exhibition/Education Service Connection to Grade Courtyards

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.

Private/Work Retail Elevator Lobby Amphitheatre Group/VIP Entrance Entry Hall Office Storage Service Closet Exhibition Hall Bistro Café

12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22.

Servery Washrooms Union House Meeting Room MPU Room Lounge Terrace Fire Command Room Guest House Link Operations Gallery

156

Case Studies Plan Zoning The Pavilion tourists are taken to a luxurious storytelling experience through a wide staircase and ramp whose forms are expressed in the superb and fluidity of Arabic script calligraphy. When descending, tourists enter once more the iconic circular shape of Union House by way of a newly established foundation wall paved with carved stone like a dune. This recognizable feature (Union House) is a central guiding factor in the museum's flow of circulation and offers tourists a permanent reference point as they explore the massive open exhibition and its supporting spaces.

Fig.6.6.6 Staircase leading to the underground floor, Data Source (tribe-vibe.net,2017), Illustrated by (Authors,2019)

Fig.6.6.7 Staircase leading to the underground floor, Data Source (tribe-vibe.net,2017), Illustrated by (Authors,2019)

Fig.6.6.8 Plan of Etihad Museum, Data Source (archdaily.com,2017), Illustrated by (Authors,2019)

Legend Private/Work Public Circulation Exhibition/Education Service Connection to Grade Courtyards

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16.

Permanent Exhibition Gallery Gallery Lobby Temporary Gallery Exhibition Hall Open Area AV/IT Room Electrical Room Office Storage Service Room/Closet Washrooms UPS/LV/AHU Room Multiple purpose Room Washrooms Telephone Room Utility Room Green Room

17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32.

Conference Room Classrooms Library Guest House Link Building Maintenance Room Auditorium Information Desk Prayer Room Parking AHU Room Café Collection Workroom Security Ministers Elevator Lobby Service Elevator Lobby Delivery Bay/Shipping & Receiving

157

Case Studies Section Zoning This section shows how the different components of the project –Underground Floor & First Floor plan- is connected by vertical and horizontal circulation.

Fig.6.6.9 Exhibition zone in Etihad Museum, Data Source (archdaily.com,2017), Illustrated by (Authors,2019)

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

Exhibition Hall Elevator Hall Café Constitutional Hall Amphitheatre Deliveries Service Corridors Washrooms

Fig.6.6.10 Interactive Staircase in Etihad Museum, Data Source (archdaily.com,2017), Illustrated by (Authors,2019)

Fig.6.6.11 Cross Section in Etihad Museum, Data Source (archdaily.com,2017), Illustrated by (Authors,2019)

Public Zones Exhibition/Education Service

Connection to Grade

Fig.6.6.12 Etihad Museum, Data Source (arch2o.com,2016), Illustrated by (Authors,2019)

158

Case Studies Section Zoning This section shows how the concept of connecting between old and new –Union House and the Etihad Museum- has been constructed successfully, as this section shows the underground link between the Etihad museum and the union house which leads to the wall constructed under the Historical house.

Fig.6.6.13 Info Desk in Ground Level, Data Source (tribevibe.net,2017)

1. 2. 3. 4. 5. 6.

Amphitheatre Elevator Lobby Corridor Washrooms Info Desk Union House

Fig.6.6.14 Vertical circulation inside Etihad Museum, Data Source (tribe-vibe.net,2017), Illustrated by (Authors,2019)

Fig.6.6.15 Longitudinal Section passing by the Etihad Museum and the Union House and the Underground Level, Data Source (archdaily.com,2017), Illustrated by (Authors,2019)

Fig.6.6.16 Union House, Data Source (khaleejtimes.com,2017), Illustrated by (Authors,2019)

Public Zones Exhibition/Education Service Connection to Grade

Fig.6.6.17 Amphitheatre inside Etihad Museum, Data Source (asi-ae.com,2016), Illustrated by (Authors,2019)

159

Case Studies Design Issues 1. Circulation Circulation in museums is the main factor affecting the exploration of the space by users and linking all the spaces together. Etihad Museum had made a great achievement by a new designing way for the circulation to achieve the main goal of connecting between the new pavilion – Etihad Museum- and the 2 Historical buildings –Union House & Guest House-. The New way was designing the Main floor plan underground with and interactive way of storytelling in a way to make the visitor be involved in the whole experience of the museum ending this by reaching the connections that will lead them to the historical buildings from beneath.

Fig.6.6.18 Horizontal Circulation leading to the Main Entrance, Data Source (arch2o.com,2016), Illustrated by (Authors,2019)

Fig.6.6.19 Horizontal circulation inside Etihad Museum, Data Source (asi-ae.com,2016), Illustrated by (Authors,2019)

Fig.6.6.20 Vertical circulation showing the Unique Staircase inside Etihad Museum, Data Source (arch2o.com,2016), Illustrated by (Authors,2019)

160

Case Studies Design Issues 2. Interaction Interaction helps in achieving the cooperation between individuals and groups such as open spaces, plazas, and interactive museum. In Etihad museum, the main goal was to narrate the story of the UAE unification in an interactive way. All the exhibition zones in the museum have an interactive way of telling the history of the country. Multimedia displays are spread out across the area to achieve an engaging historical and cultural hub with educational content. The most famous section is the Seven Founding Fathers’ Exhibition, which includes huge photos of each founder with and interactive screen under it telling the visitor historical information about each one and some special videos.

Fig.6.6.21 The Founders Exhibition Section and the Interactive Screens telling information about their lives’ , Data Source (etihadmuseum.dubaiculture.gov.ae,2016), Illustrated by (Authors,2019)

Fig.6.6.22 Dreams of Unity Section which takes the guests into a journey towards the past for the story of unification through music and special filming techniques, Data Source (etihadmuseum.dubaiculture.gov.ae,2016)

Fig.6.6.23 Panoramic Interactive Map showing the preunification time with different videos and audios , Data Source (etihadmuseum.dubaiculture.gov.ae,2016), Illustrated by (Authors,2019)

Fig.6.6.24 Change and Unification Section containing 7 cubes each with different Theme concept-photos and text-interact with a screen, Data Source (etihadmuseum.dubaiculture.gov.ae,2016)

Fig.6.6.25 Unifying the Emirates , Data Source (etihadmuseum.dubaiculture.gov.ae,2016), Illustrated by (Authors,2019)

Fig.6.6.26 Road of Unification interactive touch screen, Data Source (etihadmuseum.dubaiculture.gov.ae,2016), Illustrated by (Authors,2019)

161

Case Studies Design Issues 3. Mood And Ambience It is the feeling and impression that a user gets when entering a space or a building with a unique atmosphere and can be achieved by different colours and sources of lighting. The plan of the museum was based on the lack of natural light within areas which would not benefit from its exposure like the Exhibition sections that depends mainly on displaying screens. On the contrary, there was spaces that needed natural lighting as library, classrooms, administrative spaces, praying room, and cafeteria, so this was solved by the integration of two sunken courts and four skylights that are directly connected with the plaza above the underground plan. The charm of the golden fresco can not be ignored, elegantly decorated with sentences from the constitution with a silver combination and is used in many spaces of the museum like the Main Entry Hall and in The Constitution hall.

Fig.6.6.27 The Library in the museum contains more than 3,000 book in addition to collection of CDs and booklets for the history of the country, Data Source (etihadmuseum.dubaiculture.gov.ae,2016), illustrated by (Authors,2019)

Fig.6.6.28 Immense sculpture which displays the preamble of the Constitution of the United Arab Emirates and located in the right side of the main entrance, Data Source (etihadmuseum.dubaiculture.gov.ae,2016), illustrated by (Authors,2019)

Fig.6.6.29 Road to Unification hall that is unique with this golden wall that contains words that led to the Unification , Data Source (etihadmuseum.dubaiculture.gov.ae,2016), illustrated by (Authors,2019)

Fig.6.6.30 Cafeteria in the underground level and the source of natural light is one of the two courts, Data Source (etihadmuseum.dubaiculture.gov.ae,2016), illustrated by (Authors,2019)

162

Case Studies Design Issues 4. Comfort Psychological Comfort as the interactions and interrelationships between humans (individually and collectively) and their physical environment is suitable ( due to the appropriate ratio of natural lighting, the connection of the outdoor and the indoor, the light colours and the open spaces). The scale and human ratio is suitable to leave a strong impression with the visitors, without being too intimidating and this was achieved successfully in the Etihad Museum by respecting the human ratio and making a comfortable space meeting the building’s goal.

Fig.6.6.31 The use of light colours-White Marble- and use of natural lighting, Data Source (archdaily.com,2017), illustrated by (Authors,2019)

Fig.6.6.32 Human scale with respect to the building in one of the two sunken courts, Data Source (archdaily.com,2017), illustrated by (Authors,2019)

5. Image Recognizable for its unique form of paper, which symbolizes the Constitution's parchment book and the 7 rows of golden columns which refers to the pens in action of writing, the Building has reached its goal of being UAE’s cultural landmark and is one of a kind building with this design style.

Fig.6.6.33 The Remarkable Etihad Museum in a catchy Night shot, Data Source (saudiaramco.com, 2018), Illustrated by (Authors,2019)

163

DESIGN REQUIRMENTS

164

Design Requirements 7. DESIGN REQUIREMNET 7.1 MAIN COMPONENTS: Historical Sector Cultural Sector Entertainment Retail/Commercial Diving for sunken monuments gallery

PROCESS OF EXPLORING AND LEARNING ABOUT ROSETTA

Historical Timeline and info.

Learning by Interactive spaces.

Workshops Communication and and entertainment Training

7.2 PROGRAM :

Main Zones

Sub Zones

• • •

Administrati • on • • • •

Main Lobby Waiting Area Offices: Secreta ry Manage r IT Archive HR Cafeteria Toilets Ticket Office Security Booth Storage

TOTAL

No. of Spaces

Capacity (no. of Persons)

Area Per User(m 2)

Area (m2)

1 1

200 100

0.5 0.9

100 90

2 1 1 2 1 1 2 1 1 1

2 1 2 2 2

6.7 25 -

2x 14 25 15 15 15 30 2x 30 30 15 25

1.2

Description

Administration that manages the building and how it operates.

450 1.2

total: 540m2

Circulation Factor

165

Design Requirements • • • • •

Historical Sector

• • • •

Main Lobby Exhibition Display Galley Interactive Space Restoration Labs Control Room Storage Toilets Gathering Area

1 3 1 3

50 25 50 25

2 2 2 1

3.5 2.5 2.5 12

6x 60 1.5 -

TOTAL

2 2 4

25 -

Commercial TOTAL / Retail Circulation Factor

• • • • • • Cultural Sector

• • • •

Main Lobby Exhibition Interactive Space Workshops for training Outdoor Theatre Control Room Cafeteria Gathering Space Toilets Gift Shops

1.2

total: 2470m2

1.5 -

2x 37.5 2x 30 4x 30 255

1.2

total: 306m2

1 1 3

50 25 25

0.5 2.5 12

25 62.5 3x 300

4x 100

100

2.5

250

1 1

30 100

2 3

6 -

1.5 -

2x 12 3x 20

TOTAL Circulation Factor

2x 50 2x 25 2x 30 100 2,060

Circulation Factor

• Gallery • Gift Shops • Bazars

175 3x 62.5 125 3x 300

1900 1.2

Background Information about Rosetta, How it evolved through history and the events happened in it. Also showing some monuments and virtual reality Interactive spaces.

Selling the products that are done in the workshops and souvenirs for Rosetta.

Showing background information about the social life of the people of Rosetta and their works and crafts in an interactive way, to catch their attention and stay in their memory.

total: 2282m2

166

Design Requirements • Gathering Area • Children Zone (IndoorOutdoor) • Recreational Area • Restaurant • Cafeteria • Walkway on the shore • Observation Tower Entertainm • Toilets ent Sector • Marina (With Water Activities) • Finger Piers • Pontoon • Lockers room

1 1

100 25

100 300

1.2

1 1 1

50 30 -

1.5 1.5 -

75 45 -

2 1

1.5 -

2x 25 -

30 660

TOTAL Circulation Factor

Diving Center

• Lobby • Storage • Changing Rooms • Shower Cabinets

total: 792m2

1 3 6

15 1

0.5 0.9

7.5 3x 20 6x 0.9

0.5

6x 0.5 76

Circulation Factor

Theatre

1.2

TOTAL

• • • •

Theatre Control Room Library MPU

Area for people to relax and enjoy different activities.

1 1 1 2

200 150 100

1.2

total: 92m2

2.5 1.2 1.2

500 50 180 2x 120

TOTAL Circulation Factor

TOTAL BUILT UP AREA

970 1.2

total: 1165m2

A diving center for the users to get equipped to go and dive at the monuments under the Mediterranean sea.

Showing the culture and heritage of old Rosetta.

7650m2 167

Design Requirements 7.2 DESIGN STANDARDS HISTORICAL SECTOR + COMMERCIAL/RETAIL ADMINISTRATION ENTERTAINMENT SECTOR

CULTURE SECTOR

THEATRE

DIVING CENTER

SERVICES

1. OFFICES room division

‘home-base’

3.90

5.50

wall shelves

8.25

2.75

80/210

70/140 b

2.30

wardrobe

1875 1875 1875 1875 1875 1875 1875 1875 1875 1875 1875 1875 1875 1875 1875 1875

Low cabinets Wall shelves

1. DIVISION OF SPACE:

Low cabinets

Fig. 7.2.1: division of space using modular desks. (Neufert,n.d) (Authors,2019)

Fig. 7.2.2: individual office within a combined office . (Neufert,n.d) (Authors,2019)

2. FLOOR AREA REQUIREMENT:

• The average workstation floor area 12-15m2, minimum floor area requirement for office : separate offices, minimum 8-10m2 (according to the grid module); open-plan offices, minimum 12-15 m2. • work room, min. 8.00 m2, free circulation space, min 1.5m2 per employee, but min. 1 m wide; surrounding volume of air, min. 12 m3 work while seated, min 15 m3 work while not seated. • The following floor-to-ceiling heights are recommended for floor areas of: up to 50m2 :2.50 m , over 50:m2 2.75 m , over 100 m2: 3.00 m, over 250 and up to 2000 m2: 3.25m. • office employee 4.50 m2, secretary 6.70 m2, departmental manager 9.30 m2, director 13.40 m2, assistant vice president 18.50 m2, vice president 28.00 m2 • The average depth of office space is 4.50-6.00m.

Fig. 7.2.3: normal/maximum dimensions of single/group office (Neufert,n.d) (Authors,2019)

Single/group office

normal

maximum

Depth of office Dist. Between windows Dist. Between columns Main corridor width Side corridor width Height of office

3.75-7.50 m 1.0-3.25 m 1.75-7.50 m 1.75-2.50 m 1.5-2.0 m 2.5-4.0 m

9.25 m 6.0 m 11.0 m 3.25 m 2.5 m 5.0 m

3.60-4.20

4.80 4.40

16.00 m2

12.50 m2

Design, technical planning

Administration ,commercial

Fig. 7.2.4: example of ideal workstations (Neufert,n.d) (Authors,2019)

pin boards, bookshelves

4.40

15.00 m2

5.00

16.00 m2

2.40-2.70

4.80

3 x 1.50 = 4.50 pin boards, bookshelves, suspended files

wardrobe

Fig. 7.2.5: layout of a small room in a combined office (Neufert,n.d) (Authors,2019)

4 x 1.20 = 4.80

Fig. 7.2.6: minimum dimensions for two-person office (Neufert,n.d) (Authors,2019)

168

Design Requirements HISTORICAL SECTOR + COMMERCIAL/RETAIL

ADMINISTRATION

ENTERTAINMENT SECTOR

CULTURE SECTOR

THEATRE

DIVING CENTER

SERVICES

3. FURNITURE: • desk measuring 140cm x 70cm x 74cm. The requirements include adjustable workstation height, protection against vibrations, a sound-absorbent surface and footrests with ergonomically correct height. 1.56

133 m2

1.05

Fig. 7.2.7: office desks (Neufert,n.d) (Authors,2019)

6 30-6

42-56

45-70

0.98 m2

1.22 m2

41 68

1.40

Fig. 7.2.9: tables (Neufert,n.d) (Authors,2019)

Fig. 7.2.8: computer desk (Neufert,n.d) (Authors,2019)

• Chairs should be adjustable, with castors and upholstered seats and backs. 40

1.25

40-5

Fig. 7.2.10: swivel chair types (Neufert,n.d) (Authors,2019)

62 8 32.5 32.5

2.30

2.27

33.3

Fig. 7.2.11: cabinets (Neufert,n.d) (Authors,2019)

Fig. 7.2.12: filing cabinets (Neufert,n.d) (Authors,2019)

• Counters for transactions with a person standing on the other side are generally long and should be 62cm wide and approx. 90cm high ,If a counter is only 30cm wide, its height should be approx. 100cm. 4. ARCHIVE SPACE:

120

195

• Space should also be available for archives. As cabinet widths increase, the aisle between cabinets should also get wider.

51 51

85 0.6

7 -1.3

L x W (filing equipment) = space for furniture + ½ L x W + 0.5 = aisle space Total requirement = space for furniture + aisle space

Fig. 7.2.13: cabinets systems (Neufert,n.d) (Authors,2019)

Fig. 7.2.14: total requirement area (Neufert,n.d) (Authors,2019)

furniture B

furniture

0.65 0.65

0.4

Aisle space

Aisle space furniture

1.15

furniture

Aisle space

1.65

Fig. 7.2.15: circulation/furniture areas for various filing systems (Neufert,n.d) (Authors,2019)

furniture

0.4 0.9 0.4

130

• The diagram In shows the relationship between furniture floor area and aisle space required for a vertical filing system using large archival shelves (Velox system) or a flat filing system.

furniture

169

Design Requirements HISTORICAL SECTOR + COMMERCIAL/RETAIL

ADMINISTRATION

ENTERTAINMENT SECTOR

DIVING CENTER

CULTURE SECTOR

THEATRE

SERVICES

• The floor area needed for a vertical filing system is 5.2 m2, and the aisle space should be 4.6 m2 (100:90). For flat filing systems, the floor area is 3.2 m2 and the aisle space 3.6m2 (90:100, ratio reversed). • The filing room should be centrally located, and the best window grid module is between 2.25m and 2.50m. Since a clear height of only 2.10m is required, three storeys of filing could be fined into a space which would only take two storeys in normal offices. • Narrow shelves with hanging files and a writing surface can provide a functional connection between workstations. 355 (644)

Fig. 7.2.16: continuous tables with trolley and section (Neufert,n.d) (Authors,2019)

675 60 95

0.81

1.05 (810,610)

• Movable filing systems give substantial space saving (100-120%) by eliminating intermediate passages. 5. COMPUTERS WORKSTATIONS: • A: Type 1 workstation, Adjustable-height table 60-78cm; Adjustable-height chair. 42-54cm. • B: Types 2 and 3 workstations, Fixed-height table 72cm, Adjustable-height chair 42-50cm, Adjustable footrest 0-15cm. • Enough leg clearance should be provided. min 120 min 560-650: better 590-690 720

65(69)

62(66)

55(59) 12(20)

200 450 600

90 °

58 (70)

10 .3 ca

90 °

60(70) 45

Fig. 7.2.17: correct ergonomic position with fixed height table (Neufert,n.d) (Authors,2019)

Fig. 7.2.18: leg space (Neufert,n.d) (Authors,2019)

• In work areas, all items of equipment close to the user (on the desk top, etc.) should have a 20-25% reflection factor. permissible field of vision permissible field of vision

Preferred reach

Both hands

right hand

Preferred reach

° 30°

60 °

30° °

permissible field of vision

0˚

seated

left hand

Permissible reach

700 600 500 400 300 200 100 0 100 200 300 400 500 600 700

Fig. 7.2.19: vertical and horizotal field of vision (Neufert,n.d) (Authors,2019)

Fig. 7.2.20: preferred and permitted area of reach (Neufert,n.d) (Authors,2019)

170

Design Requirements ADMINISTRATION

HISTORICAL SECTOR + COMMERCIAL/RETAIL

ENTERTAINMENT SECTOR

THEATRE

DIVING CENTER

CULTURE SECTOR SERVICES

• Illumination should be between 300 and 500Lx, and glare from lights must be limited. • Matt surfaces in the room should have the recommended reflection factors (ceiling approx. 70%, walls approx. 50%, movable partitions approx. 20-50%). It is necessary to install blinds to control daylight at visual display workstations. • Follow local recommendations for environmental control and noise protection. The increased use of heat-generating electronic equipment in offices tends to result in the need for additional cooling to maintain a comfortable temperature. 2. MUSEUM AND ART GALLERIES • There are institutions such as heritage centers. Exploratorium and some cultural institutes which are types of museums. •

To show works of art and objects of cultural and scientific interest, the institution should provide protection against damage, theft, damp, aridity, sunlight and dust, and show the works in the best light (in both senses of the term). This is normally achieved by dividing the collection into (a) objects for study. and (b) objects for display.

• Exhibits should be displayed in a way which allows the public to view them without effort. reception filing research

lecture theatre

spotlights

restoration store curator gallery

Check-in, entrance Fig. 7.2.21: circulation diagram (Neufert,n.d) (Authors,2019)

Fig. 7.2.23: typical crosssection for museum of natural history (Neufert,n.d) (Authors,2019)

Fig. 7.2.24: gallery passage, lit from one side , lower part with indirect lighting (Neufert,n.d) (Authors,2019)

This calls for a variety of carefully selected, spacious arrangements, in rooms of a suitable shape and, especially in museums, in an interesting and logical sequence. guide rail

steel mesh

1.5

guide rail

>40<

9.0

•

Fig. 7.2.22: install lighting so that angles of incidence correspond with natural light (Neufert,n.d) (Authors,2019)

A Fig. 7.2.25: painting store with sliding steel mesh frames available for study (Neufert,n.d) (Authors,2019)

Fig. 7.2.26: exhibition room with folding screens allow variety of room arrangements (Neufert,n.d) (Authors,2019)

171

Design Requirements HISTORICAL SECTOR + COMMERCIAL/RETAIL

ADMINISTRATION

ENTERTAINMENT SECTOR

CULTURE SECTOR

THEATRE

DIVING CENTER

SERVICES

• As far as possible, each group of pictures in an art gallery should have a separate room and each picture a wall to itself, which means small rooms. • The normal human angle of vision starts 27° up from eye level. • For a standing viewer, this means that well-lit pictures should be hung 10m away with the top not more than 4.90m above eye level and the bottom about 70cm below. ribbed glass frosted glass north

screen north

south

10.0 Fig. 7.2.27: well-lit exhibition hall based on Boston experiment (Neufert,n.d) (Authors,2019)

1.65

5.6

5.6 7.0

heating

10.0

Fig. 7.2.28: ideal uniform lighting from both sides (Neufert,n.d) (Authors,2019)

• The best hanging position for smaller pictures is with the point of emphasis (the level of the horizon in the picture) at eye level.

Fig. 7.2.29: field of vision: height/size and distance (Neufert,n.d) (Authors,2019)

150 130 110 90

100

21˚ 6˚

125 100

40 50 70

6˚

200

27 ˚

21˚

70 E˚

50 50 50 50 H = E.tg 27 ˚

27 ˚

1.60

150

27 ˚ 6˚

25˚ 16.5˚ 6˚ 6˚ 35 35 35 65

175

50 10

6˚

200

6˚

E/H = tg x 6˚/0.1 + 27 ˚ /0.5 + 33 ˚ /0.6 + 42 ˚ /.75 200 150 100 50

100

• It is necessary to allow 3-5m2 hanging surface per picture, 6-10m2 ground surface per sculpture, and 1 m2 cabinet space per 400 coins. • Calculations for museum and art gallery lighting are highly theoretical; the quality of light is decisive. Recently there has been a steady increase in the use of artificial lighting instead of daylight, which constantly changes even if north light is used. • According to experiments carried out in Boston, a favorable viewing space is between 30° and 60° up, measured from a point in the middle of the floor.

60˚

3.0 Fig. 7.2.30: exhibition room with side lighting (Neufert,n.d) (Authors,2019)

45˚ 30˚

9.75 8.30 6.30

4.87

• This means a sill height of 2.13 m for pictures and a viewing range of 3.00-3.65m for sculpture.

9.75

172

Design Requirements HISTORICAL SECTOR + COMMERCIAL/RETAIL

ADMINISTRATION

ENTERTAINMENT SECTOR

CULTURE SECTOR

THEATRE

DIVING CENTER

SERVICES

• In art galleries there is generally no continuous circular route, just separate wings. Both museums and art galleries need side rooms for packing, dispatch, administration, a slide section, conservation workshops and lecture theatres. Disused castles, palaces and monasteries are usually suitable for housing museums. • Spaces must be available for permanent and temporary exhibitions, libraries, media rooms and lecture theatres. • There should also be places for relaxation and refreshments, as well as space for transport, storage, conservation, workshops and administration. • Technological innovations are having a big effect not only on museum function, but also on the design of exhibits.

3. LABORATORIES • Laboratories differ according to type of use and discipline. • According to use: Laboratories for teaching and practical's, comprising many workstations, usually with simple basic equipment. escape balcony

escape balcony

24 seats

Fig. 7.2.31: lab for teaching and practical's (Neufert,n.d) (Authors,2019)

benches

extractors extractors wet extractor (scrubber)

extractor

Bench with built in dry cupboards

deep Bench With racks

aisle

work table

desks

benches

window bench

desks

benches

window bench

benches

cupboards

8.40

3.60 801.60 80

Fig. 7.2.32: laboratory equipment's (Neufert,n.d) (Authors,2019)

Walk in service duct

Fig. 7.2.33: arrangement of wallk-in ducts (Neufert,n.d) (Authors,2019)

• Research labs are usually in smaller spaces with special equipment and additional rooms for activities such as weighing and measuring, centrifuges and autoclaves, washing up, climatized and cold storage rooms with constant temperature, photographic rooms/dark rooms, etc. writing area

3.60

1.40

1.65-1.90 80 6.00

1.25

Fig. 7.2.34: minimum passage width between workstations (Neufert,n.d) (Authors,2019)

lab

80 1.60 80

lab

corridor

Fig. 7.2.35: research lab (Neufert,n.d) (Authors,2019)

173

Design Requirements ADMINISTRATION

HISTORICAL SECTOR + COMMERCIAL/RETAIL

ENTERTAINMENT SECTOR

CULTURE SECTOR

THEATRE

DIVING CENTER

SERVICES

• Normal measurements for standard workbench made of steel tubing : 120cm width for practical's, several times this for a research lab, 80cm depth of work surface including energy conduit. The conduit carries all the supply systems; benches and low cupboard are placed in front of it.

72-75

energy conduct + adjoining workbench

Fig. 7.2.36: research lab workbench (Neufert,n.d) (Authors,2019)

20 60

1.20

• Benches and fume cupboards of wood are usually part of a modular system, width of elements 120 cm, fume cupboards 120 and 180cm.

Fig. 7.2.37: digestors (fume cupboards) (Neufert,n.d) (Authors,2019)

measuring and weighting

lab

Fig. 7.2.38: placement of measuring and weighting rooms (Neufert,n.d) (Authors,2019)

lab

measuring and weighting

lab

measuring and weighting

lab

7.50 (3.00)

3.75 (4.00)

3.75

6.25

1.80

1.20

• Measuring and weighting rooms places in front of labs.

lab

7.50 (8.00)

• Rooms with natural or artificial light and ventilation, with high or low servicing, allow the creation of zones of differing use and technical qualities, for this reason laboratory buildings often have large internal areas (with two corridors).

Wash-up

lab

office

radiography 5 3

Fig. 7.2.39: part of plan of cancer research centre in Heidelberg showing zones and internal area (Neufert,n.d) (Authors,2019)

6 6

174

Design Requirements HISTORICAL SECTOR + COMMERCIAL/RETAIL

ADMINISTRATION

ENTERTAINMENT SECTOR

CULTURE SECTOR

THEATRE

DIVING CENTER

SERVICES

Fig. 7.2.40: production sequence (Neufert,n.d) (Authors,2019)

Edge gluing Marking and cutting Storing finished boards

assembly

Marking and cutting sorting dressing Thickness planning Rebating, profiling Cutting to size Laminating veneers veneering Laminating edges

Delivery of materials (timber, boards, beading)

1. WOODWORKING:

Storage, delivery

Storing logs and cut timber

Surface treating, lacquering

4. WORKSHOPS

Mortising, slotting, dovetailing Dowelling, rebating, profiling smoothing

• Grid for structure and fittings: For adaptability of use, a reinforced concrete frame structure, pre-cast or poured in-situ, is preferable. The main structural grid is a multiple of the typical planning grid of 120 x 120cm (decimal system). A convenient structural grid for a large proportion of rooms without columns is: 7.20 7.20m, 7.20 x 8.40m, 8.40 x 8.40m. Storey height normally 4m, clear room height up to 3.0m.

• Generally the change in plan form long sheds to more compact developments improves economy the site is more efficiently used; routes are shorter in mixed production; service ducts are shorter. machine room

Rooms and work areas 1 timber store 2 board store 3 finished product store 7.0 5.0 4 finished furniture store 5 timber cut to size section 6 boards cut to size 7 machine room-parts production 7.0 5.0 8 gluing- veneering roofing 9 production-assembly 10 surface treatment 11 staining, bleaching firewood 12 spraying, casting/rolling 13 drying, finishing CCS 14 final assembly/dispatch 15 boiler room woodstore

bench room

section WB MS

Sp 12

11 10

13 SE

SBB

4 SB

CCS PD

VP 8

7 ED

BS CS CPS

RS SIB

PS BM

Shaving discharge 1 15

14 5

6 FS

Cr T=200 kg 2

Operations/equipment FS frame saw MS CS circular saw SBB CPS panel saw SB CCS cross-cut saw SE BS band saw ED PS surface planing PT thickness planer BM bench miling RS recessing/shaping PD pin drill SIB slot boring machine

Fig. 7.2.41: example company and section (Neufert,n.d) (Authors,2019)

14.0

14.0 drying room

SBB machine room BM

shavings heating SE

mountings setting broad-belt sander belt sander edge sander edging machine Cr crane Sp spraying WB work bench VP vener press GS glue spreader`

SIB WB WB

bench room

showroom office

Fig. 7.2.42: example company and section (Neufert,n.d) (Authors,2019)

• multistory buildings are not appropriate for production areas. Predominant building types have stool frames with reinforced concrete and metal or timber cladding. Walls and roofs of large manufacturing units should have good heat and sound insulation. Windows of insulating glass are mostly fixed. natural lighting from above iS possible : a smaller proportion of window area at required by regulations should serve for ventilation and view.

175

Design Requirements HISTORICAL SECTOR + COMMERCIAL/RETAIL

ADMINISTRATION

ENTERTAINMENT SECTOR

CULTURE SECTOR

THEATRE

DIVING CENTER

SERVICES

• Space requirements (for examples shown): an average of 70-80 m2 per employee (without open storerooms) An extractor system is required in virtually all cases to tensest wood chippings , sawdust and wheel dust, both for the sake Of regulations on health and safety at work and on economic grounds. The arrangement of machines is determined according to the sequences of Operations. Rubber bonding to metal mountings can reduce high levels of machine nose. • In small companies with up to ten employees, general production flow can be in a line or L-shaped. In medium-sized companies with more than ten employees, a U-shaped or circular (or square) arrangement gives a better flow. In the latter case functions are combined: gate, load and unload, ramp, supervision, checking, goods in, dispatch. • Work sequence: timber store, cutting area, drying room, machine room, bench workshop, surface treatment, store, packing. Machine room and bench workshop is divided by a wall with doors. Office and foreman's room are glazed, with view of workshop. Workshop floor: wood, wood-block or composition flooring. All workstations should face the light. Continuous strip windows, high sills (1.00-1.35m). 2. ROOMS AND AREAS: • Stores: for rough timber, boards, veneers, glass, plastics. auxiliary materials and fittings; temporary stores; stores for finished and partially finished products. Timber stone

Machine room CM SIB DM PD CPS M SB

Bench room

Gluing stand

PS ES CCS

Auxiliary store

Veneer room

CM SIB DM PD CPS PT PS ES CCS M SB BS

chain mortiser slot boring dovetailing/mortising pin drill circular panel saw thickness planer surface planning edging circular saw cross-cut machine milling machine belt sander band saw

Basic equipment CPS panel circular saw PC combination planer BM bench miling Process/materials flow BS band saw SB belt sanding : transport extraction GF gluing stands Surplus System : processing WB work bench wood and : buffer/intermediate store baggage

Wood store

CPS

BM PC

BS WB

12.00

Board store

Surface treatment Mountings Finishing store room

Finished product store

veneer store

22.50

Fig. 7.2.43: relationships between spaces and circulation (Neufert,n.d) (Authors,2019)

Fig. 7.2.44: workshop with work sequence (Neufert,n.d) (Authors,2019)

3. WORKSHOPS: • For drying wood, and cutting timber, boards, veneers. Machine shops for parts, processing timber, boards, gluing and veneering, production and assembly, bench work, bonding, surface treatment, final assembly and dispatch. Metal working facilities are often also required. 176

Design Requirements HISTORICAL SECTOR + COMMERCIAL/RETAIL

ADMINISTRATION

ENTERTAINMENT SECTOR

CULTURE SECTOR

THEATRE

DIVING CENTER

SERVICES

• Administration and management works office (foreman) , technical office, commercial offices, management and secretarial offices, meeting room, sales room . • Social and ancillary rooms should have wood-block or composition flooring. (not concrete). • Storage areas should be dust free. • Machines should be set up to maids sequence of work All workstations should face the light. Window area should be approximately 1/8 of floor space. • Recent advances in automation technology in production, storage and distribution will need to be considered particularly for larger businesses. Basic equipment CPS panel circular saw PC combination planer BM bench miling extraction BS band saw Surplus System SB belt sanding wood and GF gluing stands baggage WB work bench CS PS

Surface treatment

9 10 9 11

0.80

1.10

12 WB FC WB

1.10

1.20

0.70

1-4 lathes 5 stave lathe 6 auto lathe 7 round bar machine 8 spraying stand 9 storage bench 10 varnish dipping apparatus 11 varnish drying cupboard 12 polishing drum

4 5

2 6

PC Office and showroom

1.10

Fig. 7.2.45: types and dimensions of trolleys used for manual handling in a workshop environment (Neufert,n.d) (Authors,2019)

1.10

: transport : processing : buffer/intermediate store

15.0

wood store

Process/materials flow

CCS

SIB CS BS

SB MM D

Ground floor

18.00

Fig. 7.2.46: example of a wood turner shop (Neufert,n.d) (Authors,2019)

Fig. 7.2.44: sketch of workshop with work sequence (Neufert,n.d) (Authors,2019)

5. RESTAURANT

1. SPACE REQUIREMENT: • To be able to eat comfortably and provide enough clearance between adjacent diners, one person requires a table area of around 60cm wide by 40cm deep with additional 20cm of space in the center for dishes and tureens , an overall width of 80-85cm is suitable for a dining table. Round tables, or tables with six or eight sides, with a diameter of 90-120 cm are ideal. >85

1.25

1.40

1.873

65 65

2.50

3.75

1.70

1.40

1.25

110

Fig. 7.2.47: tables/seating plans (Neufert,n.d) (Authors,2019)

177

Design Requirements HISTORICAL SECTOR + COMMERCIAL/RETAIL

ADMINISTRATION

ENTERTAINMENT SECTOR

CULTURE SECTOR

THEATRE

DIVING CENTER

SERVICES

• The minimum spaces for thoroughfares, or between a table and a wall. 75

110 6O-70

10 15

32 3

100-110

30-40

5.8

Fig. 7.2.48: space requirement for server and diner (Neufert,n.d) (Authors,2019)

2. ARRANGEMENT:

Adjoining rooms

• The kitchen, storerooms, delivery points, toilets and other service areas should be grouped around the dining room, although toilets can be on another floor. bar

Empties room

waiters

Delivery stairs

Dining room

Entrance

Fig. 7.2.49: functional layout for a small restaurant (Neufert,n.d) (Authors,2019)

Kitchen Cold store

2.425

1.35 45

85 1.75

85 45

Structural columns

•

50 85 1.75

1.80 90

85 1.75

2.20

45 85 45

Fig. 7.2.50: parallel table arrangement (Neufert,n.d) (Authors,2019)

1.35 45

85 50 1.75

• Structural columns in a dining room are best in the middle of a group of tables or at the corner of a table.

85 1.75

1.35 45

85 1.75

1.80 90

85 1.75

The ceiling height of a dining room should relate to the floor area: < 50 m2,2.50 m; >50m2, 2.75m; >100m2, >3.00m; above or below galleries.

Fig. 7.2.51 : floor area requirement (Neufert,n.d) (Authors,2019)

type

Chair occupanc y per meal

Kitchen area required (m2/cover)

Dining area required (m2/seat )

Exclusive restaurant Restaurant with high seat turnover Normal restaurant Inn/ guesthouse

1 2-3

0.7 0.5-0.6

1.8-2.0 1.4-1.6

1.5 1

0.4-0.5 0.3-0.4

1.6-1.8 1.6-1.8

178

Design Requirements ADMINISTRATION

HISTORICAL SECTOR + COMMERCIAL/RETAIL

ENTERTAINMENT SECTOR

CULTURE SECTOR

THEATRE

DIVING CENTER

SERVICES

• Guidelines for toilet requirements in inns or restaurants. Urinal Customer Toilets places Men women bowls

Fig. 7.2.52: toilet facilities (Neufert,n.d) (Authors,2019)

50 50-200 200-400 400

Urinals (m)

1 1 2 2 2 2 3 3 3 4 6 4 - determine in individual case

• Minimum width of escape routes is 1. m per 150 people . General walkways :1.10 m with clearance height > 2.10 m. Dining floor area

walkway width

Fig. 7.2.53: walkway widths (Neufert,n.d) (Authors,2019)

3. TYPES:

up to 100 up to 250 m2 up to 500 m2 up to 1000 m2 Over 1000 m2

≥ 1.10 m ≥ 1.30 m ≥ 1.65 m ≥ 1.80 m ≥ 2.10 m

• Traditional restaurants should ideally have space for a display table and flambé work, tables should be arranged with generous spacing and seating.

entrance

decorative screen

banquettes

waiter stations

Fig. 7.2.54: traditional restaurant: 110 seats (Neufert,n.d) (Authors,2019)

Head waiters desk

banquettes

Food display with refrigerated section

service

• Specialty restaurants the space requirements vary widely. Display cooking, a grill, a dance floor and special decorative effects and a separate bar might need to be included within the restaurant. •

Ethnic restaurants are generally considered to specialize in non-European food. Depending on the market, traditional foods and methods of preparation may be modified to suit Western tastes, Character is often expressed in the design of the premises and rituals of food presentation and service.

4. KITCHENS: • Snack-bar layouts for up to 60 seats .In between mealtimes, coffee, cakes and sandwiches can be served. The kitchen mainly makes use of ready-made items, and daily deliveries mean that stores do not need to be particularly large.

dining room G1

1 3

Fig. 7.2.55: snack-bar (Neufert,n.d) (Authors,2019)

6 7

1 Meals and drinks server 2 Dishwasher 3 Crockery returns 4 Drinks, bar with mixer 5 Oven for small pastry items 6 Rotisserie 7 Cooker rings 7a Water boiler and steam machine 8 Pot and pan washer 11 stores/offices 19 staff toilets G1 bar counter G3 customer toilets

179

Design Requirements HISTORICAL SECTOR + COMMERCIAL/RETAIL

ADMINISTRATION

ENTERTAINMENT SECTOR

CULTURE SECTOR

THEATRE

DIVING CENTER

SERVICES

• A café restaurant, capacity for about 150 seat. Usually a town-centre business located in a busy area. A café serve specializes in hot and cold patisserie and snacks. They serve mainly pre-made meals, and therefore need little storage 1 waiter walkway space. 1a service counter and cash tills 19

15 8 4a 7

•

restaurant 3 1

63 5

Fig. 7.2.56: café restaurant (Neufert,n.d) (Authors,2019)

2 dishwasher 3 drinks bar with mixer, toaster etc. 4 pastry preparation 4a pastry oven 5 sandwich preparation 6 reheating equipment 7 cooker rings 8 pot and pan washer 11 empties 15 linen store 17 deliveries and store 19 staff toilets and cloakman G1 toilets G2 telephone cubicle

tearoom

G1 G2 G1 2

terrace

A restaurant kitchen in a large hotel May have to feed 800-1000 people. Serve for one or more large restaurants with adjoining rooms, and sometimes supplies external locations or businesses. The waiters' walkway may be in the center, with special serving counters in the garden, or possibly of the bowling alley type with direct access to adjoining rooms. The kitchen is arranged in a cellular system, with large appliance blocks. 1a

2 5

10 10 5

5 6

Fig. 7.2.57: restaurant kitchen in large hotel (Neufert,n.d) (Authors,2019)

1 6 7 4 67

1 Waiter walkway 1a Garden service counter 2 Dish-washing area 3 Drinks counter 3a Drinks cellar 4 Pastry counter 5 Cold dishes 6 Hot dishes and sauces 6/7 Table with hot store 8 Pot and pan washer 9 Vegetable preparation 10 Meat preparation 11a Deliveries S Service accessories and tills

1 6/7

7 4

11a Cold store

11a

• vegetable and meat preparation spatial arrangement and components. veg. store

cold meat store

dry store mngr’s office

veg. preparation

mngr’s office

veg. preparation

Refuse store

Refuse store preparation

Hot dishes

Pot washer

Spatial arrangement 1 dishwasher 2 peelings catcher 3 cleaning table 4 storage surface 5 rinser 6 work surface/cupboard below 7 cutting board(800x 400 mm) 8 universal machine 9 hand basin

Pot washer

Spatial arrangement 8

1 worktable 2 general cutter 3 freezer cabinet 4 cutting board (800x400 mm) 5 table scales 6 stirring/beating machine 7 hand basin 8 storage surface

4 7

Fig. 7.2.58:vegetable and meat preparation (Neufert,n.d) (Authors,2019)

• In the ‘Gastronorm system’ , the dimensions of containers, tables, shelves, equipment and crockery, as well as built-in units, are all based on a 530mm x 325mm module.

180

Design Requirements HISTORICAL SECTOR + COMMERCIAL/RETAIL

ADMINISTRATION

ENTERTAINMENT SECTOR

DIVING CENTER

CULTURE SECTOR

THEATRE

SERVICES

• The function and organization of the restaurant kitchen is summarized.The capacity of the kitchen is primarily dependent on the number of customer seats. customer expectations (type, extent and quality of the meals offered*, and the proportion of raw materials which have to be freshly prepared (as opposed to ready-prepared food), as well as the frequency of customer changes over the whole day or at busy periods (consumer frequency).

Good receipt s and inspect

Staple commod ities store

Empties and waste storage

Transport from waste

Crockery, linen & cleaning stocks

Drinks store

Dry goods store

Meat store

Vegetable store

empties

Cold room store Preparation rooms kitchen

rinsing

servery

Supplies store Veg. prep.

transport to

disposal store

Pot/pan washer

Meat prep.

preparation

Pot washer

Hot

Cold patisserie

Drinks Service

Meal and drinks servery / waiters' walkway

Crockery washing

drinks

patisserie

Cold meals

Hot meals

preparation

Dirty crockery returns

Fig. 7.2.59: restaurant kitchen- organisation (Neufert,n.d) (Authors,2019)

servery

dishwasher

Dining room Goods flow Waste return flow Container circuit Crockery circuit

Fig. 7.2.60: restaurant kitchen- function (Neufert,n.d) (Authors,2019)

• Bistros, snack-bars, small cafés, or specialty restaurants with 40-60 seats are classified as small operations. • Small to medium units with 70-100 seats, on the other hand, require carefully zoned and fully fitted kitchen systems.

181

Design Requirements ADMINISTRATION

HISTORICAL SECTOR + COMMERCIAL/RETAIL

ENTERTAINMENT SECTOR

DIVING CENTER

CULTURE SECTOR

THEATRE

SERVICES

• Large restaurants (motorway service stations, fast restaurants, large hotel operations) often achieve considerably higher place numbers, frequently with integrated meal bar or self-service areas. • The percentage of the whole floor area required for each section and the detailed requirements for special purposes, can be calculated in relation to small, medium and large kitchens.

restaurant size/ seats

Small (up to 100)

Medium (up to 250)

Large (>250)

goods receipts empties waste/refuse office-stores manager

0.06-0.08 0.05-0.07 0.04-0.06 -

0.05-0.07 0.05-0.07 0.04-0.06 -

0.04-0.06 0.04-0.06 0.03-0.05 0.02-0.03

supplies/waste disposal

0.15-0.21

0.14-0.20

0.13-0.20

Pre-cooling room Cold meat store Dairy products store Cold vegetable/fruit store Deep-freeze room Other cold stores

Cupboards/ storage Surfaces Cupboards/ storage surfaces

0.03-0.04 0.05-0.06 0.03-0.04 0.04-0.05

0.02-0.04 0.03-0.05 0.02-0.03 0.03-0.05 0.03-0.04

0.03-0.04

0.02-0.03

Chilled goods storage

0.04-0.31

0.21-0.26

0.16-0.21

Dry goods/food store Vegetable store Daily supplies

0.13-0.15 0.08-0.10 0.04-0.06

0.12-0.14 0.06-0.08 0.03-0.04

0.10-0.12 0.04-0.06 0.02-0.03

Ambient storage

0.25-0.31

0.21-0.26

0.16-0.21

Vegetable preparation Meat preparation Hot meals Cold meals Patisserie Container washing Office- kitchen manager

0.08-0.10 0.06-0.09 0.26-0.33 0.13-0.15 0.05-0.08 0.03-0.05

0.05-0.08 0.04-0.07 0.19-0.24 0.09-0.12 0.07-0.10 0.04-0.06 0.02-0.03

0.04-0.06 0.03-0.05 0.15-0.21 0.07-0.11 0.06-0.09 0.03-0.05 0.02-0.03

Kitchen area

0.60-0.80

0.50-0.70

0.40-0.60

Dishwasher

0.10-0.12

0.09-0.11

0.08-0.10

Servey/waiter equipment

0.06-0.08

0.08-0.10

0.10-0.15

Staff washing facilities and WC

0.40-0.50

0.30-0.40

0.28-0.30

= in total

1.60-2.10

1.50-2.00

1.30-1.80

Fig. 7.2.61: kitchen areas- space requirement (m^2 /seat) (Neufert,n.d) (Authors,2019)

• Large restaurants (motorway service stations, fast restaurants, large hotel operations) often achieve considerably higher place numbers, frequently with integrated meal bar or self-service areas.

182

Design Requirements HISTORICAL SECTOR + COMMERCIAL/RETAIL

ADMINISTRATION

ENTERTAINMENT SECTOR

CULTURE SECTOR

THEATRE

DIVING CENTER

SERVICES

• The percentage of the whole floor area required for each section and the detailed requirements for special purposes, can be calculated in relation to small, medium and large kitchens. area

Proportion in %

Goods deliveries, including inspection and waste storage

Storage in deep freeze, cold and dry rooms

Dally store Vegetable and salad preparation kitchen Cold meals, desserts Cake shop

2 8 8

Meat preparation Cooking area Washing area Walkaways Staff rooms and office

2 8 10 17 15

100

Fig. 7.2.62: basis for dimensions and space requirements (Neufert,n.d) (Authors,2019)

lift

empties

dry goods store daily store

cold room meat prep.

Pot washer

waste

deliveries

office

vegetable

Veg. prep

Hot dishes

potato prep cold dishes

Servery, waiter’s walkway

dishwasher

Buffet

Staff changing room washroom toilets restroom cake shop Coffee room

bar servey

Fig. 7.2.63: kitchen area-classification relationships (Neufert,n.d) (Authors,2019)

183

Design Requirements ADMINISTRATION

HISTORICAL SECTOR + COMMERCIAL/RETAIL

ENTERTAINMENT SECTOR

CULTURE SECTOR

THEATRE

DIVING CENTER

SERVICES

• Aisle widths in storage, preparation and production areas are different according to whether they are purely traffic routes, or if they also lead to service areas. Working aisle widths should be 0.90-1.20m, local traffic routes with (occasional) additional usage 1.50-1.80m and main traffic routes (transport and two-way through traffic) 2.10-3.30m. Aisle widths of 1.00-1.50m should be enough for small to medium-sized restaurant kitchen areas. • More than 100-200 meals or with more than 30 m2 of space available, In even larger kitchens, over 50m2, finishing groups can be arranged as double blocks. Storage space and working surfaces should be conveniently placed between the units at the end of blocks. 7

6 1 4

2 3

9 1 cooker 2 deep fat fryer 3 griddle 4 water boiler 5 work surface

3 8 10 6 cooker 7 double-deck oven 8 convectomat 9 hand basin 10 storage area

Fig. 7.2.65: kitchen for restaurant with 60-100 seats (Neufert,n.d) (Authors,2019)

Cooking: cooker, boiler, work surface, eight-ring hob, two ovens, bain-marie, hot cupboard frying: griddle, work surface, twin deep fat fryer, frying pan , hot air oven with table

2. Production in line

Fig. 7.2.67: kitchen for 150Fig. 7.2.66: kitchen for 200 meals restaurant with 60-100 (Neufert,n.d) (Authors,2019) seats (Neufert,n.d) (Authors,2019) block group

block group

Fig. 7.2.64: basic organization of kitchen (Neufert,n.d) (Authors,2019)

1. Production in block

block group

servery cooking

apportioning Cold meals

frying cooking

frying

cooking

aisle

Fig. 7.2.68 :function and organization of kitchen (Neufert,n.d) (Authors,2019)

• In the 'cold kitchen', the layout should be logically planned in parallel with the hot kitchen and convenient for the (common) servery and bread area where main fittings for a cold kitchen are a day refrigerator under/over the cold table, diverse cutting machines (bread, meats and cheese), mixing machine, scales. cutting boards, salad table with a lower cold cabinet, toaster or salamander, microwave, and sufficient working and storage surfaces. standby Prep’n dressing

6 1 2 3

Fig. 7.2.69: organization of cold meal kitchen (Neufert,n.d) (Authors,2019)

4 5

standby

prepara ion

dressing

1 work surface 2 slicer 3 freezer 4 table scales 5 cutting board (800x 400 mm) 6 stirrer/mixer 7 storage surface 8 and basin

6 1

8 4

2 5 7

184

Design Requirements ADMINISTRATION

HISTORICAL SECTOR + COMMERCIAL/RETAIL

ENTERTAINMENT SECTOR

CULTURE SECTOR

THEATRE

DIVING CENTER

SERVICES

• It is important to separate pot washers and dishwashers with waiter service; crockery is returned via the servery in the waiter's own area. 1: returns, sorting table; 2: sink; 3: WA clearance; 4:pre-wash 5:dishwasher; 6:discharge table; 7: crockery area

6 7

3 1 2

Fig. 7.2.70: dishwashing area (Neufert,n.d) (Authors,2019)

• There should be one or two rinsing sinks with draining surfaces, storage surfaces and shelves for pot washers. • Provide side storage and working surfaces for returns, and sorting, soaking and locating surfaces for crockery. Sink. Mixer taps with spray hose and swiveling nozzle; waste food cleared through hole in work surface into bin below; splash proof wall

Crockery trolley

Fig. 7.2.71: functions and elements of the washing area (Neufert,n.d) (Authors,2019)

dirty crockery

• About 10-15% of the kitchen area should be reserved for offices and staff rooms. Kitchen staff must be provided with changing rooms, a washroom and toilets. If more than ten staff are employed, rest and break rooms are required. Changing and social rooms should be close to the kitchen to avoid the staff having to cross unheated rooms or corridors (there is an increased risk of draughts in hot workplaces). More than 6m2 should be provided for the changing room, with four to six air changes per hour as well as visual screening. Provide a well-ventilated, lockable cupboard for each worker. In large kitchens there may be cupboards for street and working clothes. Other guideline values for toilet systems are 5-6m2 per WC seat and wash basin unit, and about 5.5m2 per wash basin and shower unit, for five or more male or female workers. • Large kitchens must be equipped with a mechanical ventilation system. Waste air must be extracted at each cooking point, with extraction pipes to the outside via a ducting system. Fresh air must be drawn in, i.e. recirculated air is not permitted. 6. PLAYGROUNDS • Requirements of play areas: traffic safety, no pollution, adequate sunshine, ground water level not too high. • Play areas should be focal points within residential areas and should be connected to residential and other areas by simple networks of paths. • Guidelines for planning playgrounds table:

age group

Area (m2 )

0-6 6-12 12-18

0.6 0.5 0.9

Distance from home (m) (minutes) 110-230 350-450 700-1000

2 5 15

185

Design Requirements HISTORICAL SECTOR + COMMERCIAL/RETAIL

ADMINISTRATION

ENTERTAINMENT SECTOR

CULTURE SECTOR

THEATRE

DIVING CENTER

SERVICES

• A basis for calculating the size of all public playgrounds can often be found in planning regulations. • For example, 5 m2 play area per housing unit, minimum size of playground 40 m2. Open spaces for play must be enclosed by a barrier at least 1 m high (dense hedge, fences, etc.) to protect them from roads, parked cars, railway lines, deep water, precipices and other sources of danger.

5.00 40

3.40-5.50 3.00

5.50

3.80

4.50

1.10

3.20

1.2

1.85

5.70

2.55

1.2

3.00

Fig. 7.2.72: playground furniture (Neufert,n.d) (Authors,2019) 2.50

.00 x6

1.10 19

3.00-

0 3.0

2.25

2.50

4.0 0

1.80

•

D/W/H 7.30/3.80/3.40

7. SAILING 1. YACHTS AND MARINAS:

mooring posts

Fig. 7.2.73: Between jetty and mooring posts (Neufert,n.d) (Authors,2019)

jetty/pontoon

1.00 1.00

1.26

500

4.00

b > 300

> 1000

> 300 b

40005000

> 300

jetty/pontoon

boat length

jetty/pontoon

> 500418.35

• Mooring spaces for sailing and motorboats , allocate 4-5 sailing boats or 6 motorboats per hectare of water area. 20 2.00

150 b 500

> 600 b 150 4400 500 -5500

Fig. 7.2.74: Jetty and finger piers (Neufert,n.d) (Authors,2019)

Fig. 7.2.75: submerged caissons of prefabricated reinforced concrete units filled with sand (Neufert,n.d) (Authors,2019)

Fig. 7.2.76: berth in the Mediterranean (Neufert,n.d) (Authors,2019)

ballasted keel 5.1 - 10.25

2.0 -3.1 m

Fig. 7.2.77: keel cruiser (Neufert,n.d) (Authors,2019)

centreboard 4.0-6.2 m

1.0-1.25

0.8-1.5 m

mast height 9.0-15.7 m

mast height 6.70 m

• The depth of water in harbors and marinas depends on the types of boats to be accommodated, dinghies and yachts require a depth of 1250 mm whereas fixed-keel boats need 4000-5000 mm. Constant water levels are obviously preferable for the safety of boats.

1.95-2.0 m

Fig. 7.2.78: dinghy (Neufert,n.d) (Authors,2019)

186

Design Requirements HISTORICAL SECTOR + COMMERCIAL/RETAIL

ADMINISTRATION

ENTERTAINMENT SECTOR

CULTURE SECTOR

THEATRE

DIVING CENTER

SERVICES

• The construction of breakwaters, sea defenses and landing stages, and the means of transport and storage for boats, have a fundamental influence on the type of use that can be made of the harbor or marina in different climatic conditions. • As protection from waves ,breakwaters (also called moles) also prevent the harbor from filling up with silt carried by the sea currents. Height H (m) harbor side

sea/lake side

Fig. 7.2.79: mole or dam section (Neufert,n.d) (Authors,2019)

500

1.5H

Base width S (m)

1 2 3 4 5 6

4.0 7.50 11.0 14.50 18.0 21.50

• Stone breakwaters are built from natural stone boulders, precast concrete units and sheet-pile walls which are commonly used. These are made from framed steel sections and have a life expectancy of 20-30 years. 2. HARBOR/MARINAS: • Harbor entrance position and breakwater design which protect interior of harbor from waves is determined by direction of prevailing wind and waves. • Entrances and exits must be at least equal in width to the length of the mooring spaces for the sailing boats, or one and a half times the maximum boat length thus the harbor should have a turning area, with a diameter of 3560m, behind the entrance.

river

land land

a 3a

Built into the sea

Fig. 7.2.80: harbor built into the sea and in a bay (Neufert,n.d) (Authors,2019)

breakwater

Built into the sea

land

Fig. 7.2.81: harbor with a canal to the sea (Neufert,n.d) (Authors,2019)

Fig. 7.2.82: harbor access by river (Neufert,n.d) (Authors,2019)

Wharf area Berth dimensions Motor yacht 14.0 x 5.0 m Motor cruiser 11.0 x 4.0 m Cabin cruiser 9.50 x 3.50 m Cruiser 8.0 x 3.20 m Powerboat 6.50 x 3.60 m

Boat halls

Fig. 7.2.83: example of a motorboat harbor (Neufert,n.d) (Authors,2019)

1 harbour entrance 2 dinghy ramp 3 boats 4 new harbor 5 old harbor 6 jetties 7 WC 8 hotel and restaurant 9 shopping centre 10 kiosk 11 wharf 12 winter storage for boats 13 traveling hoist

11 13

Fig. 7.2.84: example of a yacht harbor (Neufert,n.d) (Authors,2019)

187

Design Requirements ADMINISTRATION

HISTORICAL SECTOR + COMMERCIAL/RETAIL

ENTERTAINMENT SECTOR

CULTURE SECTOR

THEATRE

DIVING CENTER

SERVICES

8. CHANGING ROOMS AND LOCKERS • Changing rooms are amenities used by staff to change from outdoor clothing into work clothes and store their belongings. They should be between the entrance to the work and the working areas and be easily accessible. Changing rooms with a floor area of up to 30 m2 must have a clear height of at least 2.30 m2 and at least 2.50m if the floor area exceeds 30 m2. The basic floor area of a changing room should be at least 6m2. When changing rooms are not required provision should be made for hanging clothes and a locker provided for each employee. 50

30 30

32.5

2.5

32.53

Fig. 7.2.85: two-level row of lockers (Neufert,n.d) (Authors,2019)

1.95

1.80

1.70

Fig. 7.2.87: large WC facilities (Neufert,n.d) (Authors,2019)

Fig. 7.2.86: narrow locker (Neufert,n.d) (Authors,2019)

• It is best to place rows of cupboards and shelving at right angles to the windows. • Changing space requirements per employee: ideal working figure 0.50 m2 ,with locker and wash basin 0.50-0.60 m2 ,with locker but without wash basin 0.30-0.40 m2.

1.00

< 4.00

1.0

counter

• Guidelines for widths of circulation routes: for companies with 20 people or less, routes should be between 0.875 and 1.00 m wide; for up to 100 people, min. 1.10m and usually 1.20m; for up to 250 people, min. 1.65m and usually 1.80m; for up to 400 people, min. 2.20m and usually 2.40 m. 90 >0.03 m2 Per hook

Fig. 7.2.88: minimum dimensions for changing facilities with pull-out and benches (Neufert,n.d) (Authors,2019)

Fig. 7.2.89: supervised cloakroom, single rows of hooks (Neufert,n.d) (Authors,2019)

• For open cloakrooms the following minimum distances between hooks or coat hangers must be adhered to: for street clothing, hooks 20cm apart, coat hangers 10cm; for dry work clothing, hooks 10cm apart, coat hangers 6cm; for wet work clothing, hooks 30cm apart, coat hangers 20cm.

rows of hooks

1.30

Fig. 7.2.90: changing facilities with simple rows of hooks (Neufert,n.d) (Authors,2019)

50 50

Circulation route

Fig. 7.2.91: self-service facilities with simple rows of hooks (Neufert,n.d) (Authors,2019)

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9. LAUNDRIES • The following figures may be used to estimate the amount of washing arising per week in kg of dry laundry: • Guest-houses: approx. 8 kg/bed. • Restaurants: approx. 1.5-3.0 kg/seat. • The proportion of ironing is about 75% for hotels, guest-houses and restaurants. • Required washing capacity = Amount of washing per week /Washing days per week x number of washes per day. 410

Coin slot machine

Extracted air

socket

1000

300 295

250

300

1490

850

215

680

700 1100

150

1350

1000

595

1075

600

1085

390

Fig. 7.2.92: laundry washing, roller iron ,automatic drier machines elevation and side view with dimension (Neufert,n.d) (Authors,2019)

4 1 3

1 + 2 washers 3 + 4 dryers 5 ironing 7 + 8 sorting 8 pressing 9 + 10 ironing, bench 11 repairs 12 + 13 storage - 3+4

Fig. 7.2.93: laundry of average size (Neufert,n.d) (Authors,2019)

10 seating

K 1

washing 2 coin-operated slot machine (K) 10 K

1.20

washing 1

5 ironing

tubs/trolley 10 2 K

3.85

10 10

drying K 3

K 3

1.10

1 + 2 washers 3 dryers 4 ironing 5+6 sorting 7+8 pressing 9 place aside 10 storage – 2

4.00

Fig. 7.2.94: self-service laundry (Neufert,n.d) (Authors,2019)

10. THEATERS 1. AUDITORIUM:

• Seating capacity: the maximum capacity of an auditorium depends on the format selected, and on aural and visual limitations set by the type of production. Other factors include levels. sightlines, acoustics, circulation and seating density, as well as size and shape of platform/stage. • Size of auditorium: An area of at least 0.5 m2 per spectator is to be used for sitting spectators. > 45

0 >5

> 50

> 90

Fig. 7.2.95: all seats apart from boxes must have fixed, selfoperating folding seats with the above minimum dimensions (Neufert,n.d) (Authors,2019)

> 45

Fig. 7.2.96: offset folding seats provide elbow space (Neufert,n.d) (Authors,2019)

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• Length of rows: A maximum of 16 seats per aisle, 25 seats per aisle is permissible if one side exit door of 1 m width is provided per 3-4 rows. • Exits, escape routes:1m wide per 150 people (min. width 0.8m). door 1.0

> 0.8 1 m per 150 persons aisle

1.0

aisle

16 seats 25 seats 16 seats 25 seats aisle 1.0

Fig. 7.2.97: row width: 16 seats (Neufert,n.d) (Authors,2019)

3-4 rows

aisle

Fig. 7.2.98: row width: 25 seats + necessary door (Neufert,n.d) (Authors,2019)

• Volume of room: This is obtained based on acoustic requirements (reverberation) as follows: playhouses approx. 4-5m3/spectator; opera approx. 6-8m3/spectator of air volume. • The proportions of auditorium: obtained from the spectator's psychological perception and good view angle from all seats. • Good view without head movement, but slight eye movement 30°. •

Good view with slight head movement and slight eye movement 60°.

• Maximum perception angle without head movement 110°. •

With full head and shoulder movement, a perception field of 360° . 1.last row

2.middle row

30˚

3.First row

60˚

110˚

O-line (proscenium line) proscenium width at 24m = 13m at 32m= 10m

width of apron stage

Fig. 7.2.99: proportions of the traditional auditorium (view) (Neufert,n.d) (Authors,2019)

24(32)m auditorium

stage

• Proportions of the classical auditorium: Maximum distance of last row from the proscenium line (start of stage): for playhouse - 24m, for opera - 32m. •

Width of auditorium: spectators sitting to one side should be able to see the stage clearly. The comfortable proportions and often good acoustics of the classical theatres are based on special rules of proportion. A

4 CA = CB = radius of the semicircle AB CE = CD = 2CA E = mid-point of the arc BE D = mid-point of the arc AD

CA = 4R AB = tangents

3 2 1

R=1

Fig. 7.2.100: design of the contours of the auditorium in the grand theatre in Bordeaux (Neufert,n.d) (Authors,2019)

Fig. 7.2.101: design of the curve of the auditorium in the teatro alla scala in milan (Neufert,n.d) (Authors,2019)

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• Example: 99 seats x 0.6 m2 needs a stage area of 60 m2 (2/3) + 30m2 (1/3) i.e. 90-100 m2. A room proportion of 1:1.6 is the best option for multiple use. • Elevation of seating is obtained from the lines of vision valid for all seats in the auditorium (stalls as well as circles) when spectators sit in 'gaps', only every second row requires full sight elevation (12cm).

O line, Proscenium line

Lines of sight, a1 a2, O point a5,

fifth row gradient

Feeling of integration ( mutual perception)

1.10

Superelevation 12 cm

Forestage height Max. 1.1 m Min. 0.60-.90 m

eye level when sitting 1.10 – 1.50 m

apron stage 4-6 m

0.9

1.5

0.9

Super-elevation of line of sight; every 2nd row, 12 cm; gradient may not exceed 10˚; if above this, steps

Fig. 7.2.102: super elevation of seating (gradient) (Neufert,n.d) (Authors,2019)

Fig. 7.2.103: contact relationships between public and stage and among one another (Neufert,n.d) (Authors,2019) O-line

Logarithmic gradient

A B

middle seats

Modification into broken straights

side seats 1

Fig. 7.2.104: gradient curve and its modification (Neufert,n.d) (Authors,2019)

fifth row

Fig. 7.2.105: the offsetting of seats in a row is achieved by different seat width (0.5-0.53-0.56) (Neufert,n.d) (Authors,2019)

right eye 70˚ 110˚

proscenium width = 1.6 m

Fig. 7.2.106: perceptive field and proportions of proscenium arch (Neufert,n.d) (Authors,2019)

Circle 2 stalls

playing depth (stage)

Fig. 7.2.107: circle theatre and view of stage (Neufert,n.d) (Authors,2019)

Proscenium height

left eye

proscenium height = 1.0 m

overall perception width 3d visual field for both eyes

min.2m

• Complete vertical section through auditorium : The aim of determining proscenium height is to reflect sound from the stage or apron to be equally distributed throughout the auditorium, with ratio in a stall's theatre of proscenium height to width should be 1:6 as shown in the golden section then determining the apron height, the banking of the stalls and the volume of the auditorium; the lines of the ceiling are obtained from the acoustic requirements. In the case of circles, it should be ensured that the full depth of the stage can be seen, even from the upper seats. This might require an increase in proscenium height.

actor

orchestra

Air volume, Theatre 4-5 m3, Opera 6-8 m3 Per spectator

Fig. 7.2.108: ceiling shape and sound reflection (Neufert,n.d) (Authors,2019)

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• The proportions of experimental auditorium: Neutral or open theatre auditoriums permit different arrangements of spectator seating and stage areas is achieved in two ways: (A) mobile staging and mobile spectator stands with a fixed auditorium floor: is technically more complicated and more expensive and used only in larger auditoriums for at least 150-450+ people. (B) movable floor consisting of lifting platforms is suitable for smaller theatres and unused rooms which normally have insufficient subspace. 2. STAGES: STAGE FORMS : There are three stage forms: • Full stage: stage area more than 100m2 .Stage ceiling more than 1 m above top of proscenium arch and an iron safety curtain which separates the stage from the auditorium in the event of an emergency. • Small stage: Area no more than 100m2, no stage extension (secondary stages), stage ceiling not more than 1 m above top of proscenium. Small stages do not require an iron safety curtain.

• Set areas: Raised acting areas in rooms without ceiling projection. The peculiarity with set areas is in the regulations with respect to curtains and scenery. They affect the operation, not the planning, of set areas. General public

entrance (stage)

Plug-in railings on the sides not in view of the public (with conventional scenery)

Scissor-type platforms with wooden covers; heights-adjustable; platforms of different heights with plug-on legs

Fig. 7.2.110: set area (Neufert,n.d) (Authors,2019)

Fig. 7.2.109: set area (plan view) (Neufert,n.d) (Authors,2019)

Backstage storage

30 ˚

proscenium width

backstage

min 2.0 Substage area machinery

backdrops

Orchestra pit

Ramp 0.6-1m

First spectator

gallery

soffits

Smoke vent

Roller floor

Catwalk Stage portal Apron stage

Rear walkway min 1.5 m

Point height

1.5

Hoists (25m per hoist)

Stage portal (movable)

In front of Stage/orches tra pit 90-120 m2, 1.25 m2 Per musician

Max. circular height

Final back-drop

Fig. 7.2.111: cross-sectional proportions of a traditional stage (side view) (Neufert,n.d) (Authors,2019)

1 + 2 two opposite emergency doors min 1 m per 100 m2 of stage area

2 x PB

O-line

PW Proscenium width

Stage curtain cloth/veil Apron stage hoists

O-line

Main curtain First spectator

Smoke vent

• Stage proportions : Principle design of traditional full stage are developed from the lines of vision from the auditorium. The stage area is the playing area plus walkways (around the back of the stage) and working areas. Mobile set areas are formed from height-adjustable platforms or lifting podia. Variable shapes are achieved by splitting the area into individual elements. Basic dimensions 1 m x 2m.

4-6 m, walkway 2.0 m lot which approx. 0.50m are hoist shafts side hangers.

Fig. 7.2.112: proportions of a traditional stage (plan view) (Neufert,n.d) (Authors,2019)

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THE CLASSICAL STAGE SYSTEMS: • the main stage; scene-changing was done using minimum space and with astonishing speed with sliding scenery. A small backstage was used to provide space for deep stage perspectives. store

audience

Set stage

Rear stage

store

Fig. 7.2.113: scene-changing technology, classical stage system of the 18th and 19th centuries (Neufert,n.d) (Authors,2019)

• The modern stage has 3D stage structures (sets). Scene-changes require secondary stages to which the sets can be transported with flat stage trolleys. Apart from the removal of sets, there are additional scene-changing techniques. Horizontal movement: trolley

Slow Change 18901930/50

Lifting/lowering /turning podia turntable

turning: rotating stage

hoisting equipment

3 section side theatre: stage 1 side stages, audience 1 rear stage

Removal : hoisting Equipment(bar/point)

turntable Lifting/ towering podia

rear stage

Tilting podia

opera: 2 side stages, 1 rear stage

section Fig. 7.2.114: plan view (Neufert,n.d) (Authors,2019)

• The small three-section theatre only has one side stage and one rear stage.

14 9 10

13 12 14 4

rear stage

8 1

3 5

10 9 12

2 1 removable floor structure and panels 2 side-stage trolleys with compensating podia 3 rear-stage trolleys with turntable, tilting 4 manual orchestra covers 5 portable lifting unit 6 set transport/lifting stage

7 stage manager’s lift 8 stairs 9 proscenium tower, fixed 10 proscenium frame, movable 11 Steel safety curtain 12 border curtain, side stage 13 border curtain, rear stage 14 divisible main curtain

Fig. 7.2.115: typical typcal three-section theatre (section) (Neufert,n.d) (Authors,2019)

Fig. 7.2.116: typical three-section theatre stage area (plan view) (Neufert,n.d) (Authors,2019)

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3. SECONDARY AREAS: • Personnel rooms: These are needed for artistic personnel, directors, and administration, personnel rooms are built on one side, opposite the technical side, and on several floors. 3.0

3.0

Fig. 7.2.117: soloists changing rooms; min (3.8-5 m^2/person) (Neufert,n.d) (Authors,2019)

3.0

Fig. 7.2.118: soloists changing rooms; min (5 m^2/person) (Neufert,n.d) (Authors,2019)

3.0

Fig. 7.2.119: choir changing rooms; min (2.75 m^2/person) (Neufert,n.d) (Authors,2019)

3.0

Fig. 7.2.120: changing and tuning room for members of orchestra min (2 m^2/person) (Neufert,n.d) (Authors,2019)

• Rehearsal Rooms: To reduce the load on the main stage, every theatre must have at least one rehearsal stage. Dimensions of the rehearsal room should be as per the main stage. rehearsal stage for traditional theatre, Orchestra rehearsal rooms, choir rehearsal rooms. walkway

max playing area

1.0 > 1.0

> 1.0 1.0

walkway

Max. playing depth

walkway

Ca. 3.0

1.0

Forestage/orchestra pit Production space, Storage area Above; lightning/sound Recording studio

Fig. 7.2.121: typical large rehearsal (plan view) (Neufert,n.d) (Authors,2019)

Ca. 1.4 m2/singer, minimum 50m2 Ca. 7 m3/singer

Fig. 7.2.122: typical choir rehearsal room (plan view) (Neufert,n.d) (Authors,2019)

Ca. 2.0-2.4 m2/musician Ca. 8-10.0 m3/musician

Fig. 7.2.123: typical large rehearsal stage (plan view) (Neufert,n.d) (Authors,2019)

• Public areas: Self-contained emergency stairs, separate for each level. the foyers are subdivided with an area of foyer 0.8-2.0 m2/spectator and 0.60.8m2/spectator. Theatre performances must be considered during planning: room height, wall, ceiling and floor configuration. • Cloakrooms: Minimum: 4m per 100 visitors, often have lockers: 1 locker per 4 visitors. The foyer is also the waiting and queuing area. WCs are installed with respect to the foyer in the normal ratio (i.e. 1 WC/100 people: 1/3 men, 2/3 women): there must be at least one men's and one ladies' toilet. The entrance hall (lobby) contains the day and evening ticket offices. which should be opposite each other. • External access and emergency routes: depend on the location: - prestigious location in an urban square - location in a park or on a main street - as part of a large building.

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11. LIBRARIES • The number of bookshelves depends on the type of organization, accessibility for users, type of shelving (fixed or mobile), the system of subject ordering in use and its method of installation, the separation of different formats and the structural grid of the building. area Structural grid Fig. 7.2.124: example nxcentredistances between shelf unit line centre-lines; common grid distance and volumes per shelf (Neufert,n.d) (Authors,2019)

7.2x7.2 m

7.5x7.5 m

7.8x7.8 m

8.4x8.4 m

6x1.20 5x1.44 4x1.80

6x1.25 5x1.50 4x1.87

6x1.30 5x1.56 4x1.95

6x1.20 5x1.40 4x1.68

V per shelf

stacks

25-30

Open-access shelving

20-25

Enquiry area and reading room

• Circulation routes should be >1.2m wide, and clear spaces between shelves at least 1.3-1.4m wide (or in accordance with local regulations). 6.00

block of shelf units aisle between shelving

adjacent aisle

shelving

Shelf unit height

Double –sided shelving (length x depth x height) aisle

shelf (length x depth x height)

Centre-line distance

Structural grid

Single-sided shelving

Fig. 7.2.125: drawing to explain terms used in calculating floor area for shelving (Neufert,n.d) (Authors,2019)

75 60 75 60 60 75 60 75 60 75 1.35 1.35 601.35 1.35 1.35 8.10

adjacent aisle

Fig. 7.2.126: floor area for open-access bookshelves 8.7x6 m per block of shelf units (Neufert,n.d) (Authors,2019)

• Avoid crossings and overlapping of routes for users, staff and book transport. Access to reading rooms can be through control gates equipped with book security equipment and, if possible, only one entrance and exit. For functional reasons, the control gates should be near the lending desk/central information desk. • Avoid direct sunlight, since UV and heat radiation destroy paper and bindings. Reinforced concrete and steel-frame buildings with a structural grid of >7.20m x 7.20m have been found to be suitable owing to the flexibility they allow in fining out. Room heights should be 3.00m. The area required for a simple reading/workplace is 2.5m2; for a PC or individual workplace is 4.0m2. 1.70

1.00

150 1.40

table

135

1.90

95 1.00

1.00

F 1 2.5 m2

centre-line distance

Fig. 7.2.127: floor area for an individual workstations (Neufert,n.d) (Authors,2019)

Fig. 7.2.128: minimum distances between tables (Neufert,n.d) (Authors,2019)

Fig. 7.2.129: minimum free space in reading area (Neufert,n.d) (Authors,2019)

Fig. 7.2.130: when books are moved between seated and standing users (Neufert,n.d) (Authors,2019)

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• The archive store is best situated in the basement because of the high floor loads and the more even climate. • Facilities inside the controlled area should include reading room information, bibliographies, on-line catalogue terminals, the issue and return of books which can only be used in the reading room, copying equipment (in separate rooms), open-access bookshelves, workspaces and, if necessary, the openaccess book stacks. • Facilities outside the controlled area should include cloakrooms or briefcase and coat lockers, toilets, a cafeteria, a newspaper reading area, an exhibition room, lecture and conference rooms (possibly for use outside library opening hours), an information desk (central enquiries), card and microfiche indexes, on-line catalogue terminals, book return and a collection area for ordered/reserved books. Building design should be based on climate, and internal environmental control should be based on the building. • Stacks should be kept at 17-22°C in summer and 17°C in winter, with 50-60% relative humidity and six to seven air changes per hour. •

There should be 300 m2 of usable floor area for every 10000 units of media in the collection, The objective is to have a minimum of two media unit per occupant. miscellaneous events area

entrance area

reading/ workstations

group rooms

Issue desk children admin. area

adults

browsing

display area

Fig. 7.2.131: functional diagram of medium-sized library (Neufert,n.d) (Authors,2019)

• Ideally, the design should include large, open, extendible multipurpose areas, which are roughly square, and organized horizontally rather than vertically, and an inviting entrance. Areas for adult users can have five or six shelf levels (maximum reach 1.80m); in the children's area there should be four shelf levels with a reach height of around 1.20m. 2.25

highest shelf

standing users

highest shelf

1.80

< 1.80 1.35

< 1.70

1.20

< 1.50

1.30

1.50

2.30 normal width

narrowest aisle

3.00

•

circulation route

Fig. 7.2.132: minimum distances (Neufert,n.d) (Authors,2019)

Fig. 7.2.133: height of five-shelf unit (Neufert,n.d) (Authors,2019)

Fig. 7.2.134: bookshelf for schoolchildren (Neufert,n.d) (Authors,2019)

Fig. 7.2.135: height of fourshelf for small children (Neufert,n.d) (Authors,2019)

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SERVICES 1.70

1.00 150 shelf units

1.90

135

Fig. 7.2.136: individual study booths (Neufert,n.d) (Authors,2019)

Fig. 7.2.137: minimum free space in reading area (Neufert,n.d) (Authors,2019)

Fig. 7.2.138: when books are moved between seated and standing users (Neufert,n.d) (Authors,2019)

• Shelf aisles should not be more than 3m long and can also be used to produce niches and exhibition stands. Book transport should be with book trolleys 920mm x 990 mm x 500mm (0x H x W). The goods elevator should be at the service entrance, and larger libraries should also have book conveyors.

• Floor loadings in public libraries should not exceed 5.0kN/m2, in archive storage and similar open access areas with closely spaced stacks they should be 7.5 kN/m2 maximum, and with compact storage (mobile shelving) 12.5 or 15.0 kN/m2. 12. TOILETS • Toilets should be approximately 100m from each workstation; 75m in the case of work at conveyor belts. In large companies it is useful to divide them into smaller units (e.g. on each floor next to the stairs on the landing). A lobby is not required if there is only one WC per toilet facility. If ventilation is through windows on one side only, an area of 1700cm2 is required, or possibly 1000cm2 if space is restricted. Area served ≤ 100m

WCs

shop floor

unit ≤ 250 men WC ≤ 160 women

100

Changing rooms

Fig. 7.2.139: area served (Neufert,n.d) (Authors,2019)

Fig. 7.2.140: arrangements of WCs (Neufert,n.d) (Authors,2019)

150

60 45

• Should have one wash basin per five WCs minimum and the means for drying hands. The minimum room height for toilets with four or fewer WCs can be 150 125 2.20 m. 150 165 220

115

Fig. 7.2.141: bathroom with doors opening inward (Neufert,n.d) (Authors,2019)

Fig. 7.2.142: bathroom with urinal bowls and doors opening inward (Neufert,n.d) (Authors,2019)

Fig. 7.2.143: dual row WCs with doors opening inward (Neufert,n.d) (Authors,2019)

200

Fig. 7.2.144: dual row urinal bowls (Neufert,n.d) (Authors,2019)

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Design Requirements HISTORICAL SECTOR + COMMERCIAL/RETAIL

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DIVING CENTER

urinals

troughs (m)

hand basins

additional flus toilets

additional urinals

number of employees

flush toilets

additional flus toilets

Waste bins

sink

0.6

1.2

1.8

2.4

100

3.0

130

3.6

160

4.2

100

190

4.8

120

220

5.4

140

250

6.0

160

hand basins

flush toilets

Women

number of employees

Men

SERVICES

Fig. 7.2.145: large WC facilities (Neufert,n.d) (Authors,2019)

• Install washing facility for disabled people, according to regulations, recommendations and types of activities. 13. BUILDING FOR DISABLED PEOPLE

70-75 60

20 46-51

89-102

• An environment for disabled people needs to be designed to accommodate wheelchairs and allow enough space for moving around. All switches, handles, window fittings, telephone points, paper roll or towel holders, lift controls, etc. must be within reach of an outstretched arm.

65-70

107

25-30

R=44

R=83 138

Fig. 7.2.146: standard wheelchair ( side view, front view (and folded) , plan view and turning circle) (Neufert,n.d) (Authors,2019)

• The optimal working height must be adapted to suit each disabled person, within the range 750-900 mm, so it is desirable to have a simple adjustment mechanism. A functionally efficient and well-designed living space is of great importance to people with disabilities. To turn through 180° a wheelchair user requires 1500-1700 mm. 200 a 180 b 160 140 120 100 80 60 40 20 0 100 80604020 0 2040 6080100

200 a b 180 160 140 120 100 80 60 40 20 0 100 80604020 0 20 406080100

149-157 80 122

200 b 180 a 160 140 120 100 80 60 40 20 0 100 80604020 0 2040 6080100

Fig. 7.2.147: standard disabled wheelchair (plan view, side elevation , rear elevation, and minimum turning circle) (Neufert,n.d) (Authors,2019)

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• Example door and corridor widths are given. Access paths to the building should be 1.20-2.00 m wide and be as short as possible.

Fig. 7.2.149: door access with two door (Neufert,n.d) (Authors,2019)

> 9050

> 90 78 > 1.50

Fig. 7.2.148: door access with one door (Neufert,n.d) (Authors,2019)

> 1.50

> 90 50

• Ramps should ideally be straight, with a maximum incline of 5-7%, and should be no longer than 6m, the ramp width between the handrails should be 1.20m. < 6%

Fig. 7.2.150: ramp (Neufert,n.d) (Authors,2019)

1.50

Wheel buffer

30 85

1.20 > 1.50

Wheel buffer

Incline 6%

1.50

• Corridors should be at least 1.30 m (preferably 2.00m) wide; clear opening of doors, 0.95m; height of light switches and electrical sockets, 1.00-1.05 m (use switches and control devices which have large buttons or surfaces). >1.50

>90 >1.20

Fig. 7.2.151: movement area in front of hinged doors (Neufert,n.d) (Authors,2019)

Fig. 7.2.152: movement area in front of sliding doors (Neufert,n.d) (Authors,2019)

>50

>1.20

>50

>1.20

>1.50

>50

1.90

>1.90

>1.50

• Entrances should not have a threshold or steps and revolving doors are not permitted.

• Bathroom/WC doors must open outwards. • The minimum width for a landing is 1500 mm, and landings of over 15m in length should include a circulation area (1800 x 1800 mm).

Fig. 7.2.153: lift car dimensions and movement area in front of the lift door (Neufert,n.d) (Authors,2019)

> 1.50

> 1.10

>1.50 >90

• All levels and facilities inside and outside a building must be accessible without negotiating steps; if necessary, include a lift.

>1.40

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SUSTAINABILITY

Sustainability 8.1. Sustainability in General: There was so many arguments about the definition of sustainability through time. In 1987, a report was released called “Our Common Future” by the prime of the UN, he defined that sustainable development is: “Development that meets the needs of the current generation without consuming the ability of the next generations to meet their own needs.” (Emas, 2015).

8.1.1. Sustainability in Architecture: In 2017 the Build Abroad stat that the philosophy of sustainable architecture is: ensuring that the current actions and effects of buildings do not have any negative value or result in the future generations by using design methods, materials, energy, and development spaces that should be presented and complied with the principles of social, economic and ecological sustainability.

Fig.8.1.1. Environmental sustainability, Data source (Hightechaccelerator, 2018) illustrated by (Auther,2019).

8.1.2. Description of UN: In 2011, the United Nations stat that there will be 17 goals to achieve the missions until 2030, so that there will be more vision for a sustainable world. In this 64th conference of the UN Egypt took a part in it considering of being a sustainable country. Therefore, our project will heed some of this goals to be achieve.

8.1.3. The main Categories of Sustainability: SOCIAL “ Transitioning social outcomes”.

Environment “ improving our environmental footprint”. Economic “ catalyzing economic sustainability”. Fig.8.1.3.1, Sustainable Development, Data source (Sustainability development principles), Illustrated by (Authors, 2019).

201

Sustainability 8.2. Social Sustainability: Society's ability to improve methods and structures that not only achieve the needs of its current generation, but also supports and take part in saving and maintaining the ability of future generations to have a healthy community. • Social sustainability always have combination between physical realistic design and social design that obtain the citizen engagement, social enjoyment and open space for citizen (Woodcraft et al., 2012). • In 2011, a report of how to design a social sustainability stated that “ designing framework, creating effective societies. (Woodcraft et al., 2012). • As shown in (fig.8.2.1.) he four main elements that were discovered in the previous report integrate to lead to a social sustainability by using new buildings and effective communities.

Amenities & Social infrastructure support services in place early in life of now community – emphasis on social spaces & community workers Social & Cultural Life Shared spaces, collective activities and social architecture to foster local networks, belonging and community identity

Connection to local and regional economy

Voice & Influence Governance structures to represent future residents and engage new ones in shaping decision-making

Green building, environmental innovation, incentives for proenvironmental behavior

Space to grow Flexible planning; housing, infrastructure and services that can adapt overtime; meanwhile use of public buildings and space

Fig.8.2.1. Framework for social sustainability, Data source (Woodcraft et al., 2012), illustrated by (Authors, 2019).

8.2.1. Social Sustainability in Architecture: social sustainability in architecture is: achieving the need of communities by preparing an environment that support them. The confirmation of physical design state along with combination of citizens with used spaces will complete each other to support cultural and social life.

202

Sustainability 8.2.1. Social Sustainability in Architecture: The following figure show that creating a sustainable community based on personal and communal levels, which represent in different aspects like psychological and physical comfort, etc. so that community can be in a good mental and physical side.

Fig.8.2.1.1. Concept of social sustainability, Data source (Hall Pete, 2011), illustrated by (Authors, 2019).

So the stakeholders that lead to a socially accepted society: 1. Integration between the utilizes spaces and residents. 2. Features of green buildings and spaces. 3. Communion of communities. 4. Affordable of business and employment. The Categories that can be a part of creating social sustainability : 1. Local government. 2. Community. • All architects, planners, governments, and developers is considering that social sustainability is a project that should be achieved by taking to consideration the engaged of design process, engaged with whom, to meet what, and contribution of community. (Palich & Edmonds, 2013)

203

Sustainability 8.2.2. Social Sustainability Approach in Our Project: Creating a utilize spaces, zones, and designs along with a considerable cultural facilities, will lead to an interaction places, these places could be located in small vacant lands or spaces in buildings, all this will help in achieving social sustainability. The main approaches will be: • Creating Buffering zones: By the analysis and the observation of Rosetta’s city data we concluded that the people don't have any buffering zones. The proposed project will provide this buffering zones for the people of Rosetta enhancing the productivity and the quality of the products. • Inclusive environment: An inclusive setting is one in which members feel respected and connected. Both members help to shape the group's goals and accomplish the group's objectives. The project aims to create an inclusive environment for the people of Rosetta. • Provide employment: For the local people to participate in the workshop and bazars that will be provided in project that will help in saving the heritage and increasing awareness. • Sustainable consumption: Develop and implement mechanisms to track the impacts of sustainable tourism on sustainable development which create jobs and promote local culture and products. So this will be indicated in number of sustainable tourism policies and plans with agreed monitoring and assessment instruments.

Fig.8.2.2.1. Buffering zone, Data source (Hall Pete, 2011), illustrated by (Authors, 2019).

Fig.8.2.2.2. Concept of social sustainability, Data source (Hall Pete, 2011), illustrated by (Authors, 2019).

Fig.8.2.2.3. Concept of social sustainability, Data source (Hall Pete, 2011), illustrated by (Authors, 2019).

Fig.8.2.2.4. Public space, Data source (SERGIO GMEZ, 2016), illustrated by (Authors, 2019).

204

Sustainability 8.2.3. Social Sustainability Case Study:

Fig.8.2.3.1. Elevation of community housing, Data source (Archdaily, 2007), illustrated by (Authors, 2019).

Poljane Community Housing – Maribor, Slovenia: Because the Poljane Community Housing project in Maribor lies next to a busy intersection, the award-winning Bevy Perović architects of Slovensky Studio have encountered spatial restrictions during their design.

Fig.8.2.3.2. Open space for activity, Data source (Archdaily, 2007), illustrated by (Authors, 2019).

The limited outside area led the company, either inside the buildings or above them as the roof gardens, to build big community spaces.

Fig.8.2.3.3. Shading techniques, Data source (Archdaily, 2007), illustrated by (Authors, 2019).

The designers also were able to add distinctive orange balconies to the otherwise rather plain walls and add color and character. Completed in 2007, there are 130 separate apartments in the four-building complex on the outskirts of the city. Fig.8.2.3.4. Concept of social sustainability, Data source (Archdaily, 2007), illustrated by (Authors, 2019).

205

Sustainability 8.3. Environmental Sustainability: Environmental sustainability can have a clear indefinitely by saving the rate of renewable resource harvest, pollution creation, and nonrenewable resource consumption so the environmental sustainability will become strong. • Making sure that consuming the natural resources with a reasonable rate, will help in reaching a sustainable environment and ensure current and next generation have what they need, these resources may be energy fuels, soil, water, wind, …etc. • The general sustainability should not be conflict with balance of economic and social.

8.3.1. Environmental Sustainability in Architecture: There is always an integration between the buildings and surrounding environment, through the past time it was always negative effect. So that in nowadays, the architecture act as a guide to reduce these negative effects from materials, energy, development of spaces, and save use of eco-system. • Socially sustainable architecture is achieved by ensuring the comfortable, healthy, safe, and secure environment with easy accessibility that carried out users needs.

Fig.8.3.1.1 Green building approaches, Data source (Hightechaccelerator, 2018), illustrated by (Authors, 2019).

206

Sustainability

• Aspects of Environmental sustainability: Controlling the environment without any mechanical intervention that what called Passive Cooling system, which consist of: 1. Natural ventilation. 2. Wind towers. 3. Courtyard. 4. Shading. 5. Earth in tunnels. 6. Aperture of cooling.

Fig.8.3.1.2 Aspects of Environmental sustainability, Data source (Hall Pete, 2011), illustrated by (Authors, 2019).

• The main categories that reduce buildings effect on environment:

1. Management of wastes and recycling materials. 2. Energy efficiency. 3. Management of fresh water. 4. Air quality conversation. 5. Adaptation and mitigation of climate change.

Fig.8.3.1.2. Concept of social sustainability, Data source (Hall Pete, 2011), illustrated by (Authors, 2019).

207

Sustainability 8.3.2. Environmental Sustainability Approach in Our Project: The idea of sustainable environmental conditions is to make the buildings and surrounding environment look as good and integrated as we can for the comfort, health, performance of current and future generations. According to a definition, human activities can only be carried out or maintained indefinitely with environmental sustainability, without any damaging effect on natural resources or nature.

The main approaches will be: • Green Roofing: Implementation of green roofs to the buildings improve the project’s environmental envelope, and to sustain better climate condition for the occupants of the buildings. • Vernacular Techniques: Use the vernacular architecture techniques to maintain indoor quality, help n reducing the effect of high temperature inside the buildings specially in hot arid climate countries like Rosetta. In addition to that not negatively affected surroundings, all this is achieved by using for example CEB blocks, or Rammed Earth. • Affordable & Clean Energy: Indicated Energy efficiency investment as a share of GDP and foreign Direct Investments as a financial transfer to sustainable development services for infrastructure and technology, by using solar panels, and green roofs.

Fig.8.3.2.2. Rammed Earth building, Data source (arch.ttu.eg, n.d ), illustrated by (Authors, 2019).

Fig.8.3.2.1. Green Roofing, Data source (arch.ttu.eg, n.d ), illustrated by (Authors, 2019).

Fig.8.3.2.3. CBE Earth construction, Data source (arch.ttu.eg, n.d ), illustrated by (Authors, 2019).

208

Sustainability 8.3.3. Environmental Sustainability Case Study:

Fig.8.3.3.1. Elevation Centre For Sustainable Landscapes, Data source (Archdaily, 2011), illustrated by (Authors, 2019).

Phipps’ Centre For Sustainable Landscapes, Pittsburgh, USA: The Americans are also forerunners in building green buildings, so it is not surprising that they took the lead in building the Phipps ' Centre, CSL in Pittsburgh. Fig.8.3.3.2. Green roofing, Data source (Archdaily, 2011), illustrated by (Authors, 2019).

The system uses various energy sources such as solar, wind and geothermal energy. It is also recognized that the CSL building operates on net zero water which means wastewater is reused during the harvesting of rainwater, so that it no longer depends on the water of the region. Fig.8.3.3.3. Landscape combination with building, Data source (Archdaily, 2011), illustrated by (Authors, 2019).

This functions for all CSL operations, including plumbing, as they go smoothly. In Phipp's CSL there is also a green roof where visitors are able to walk through the rooftop garden, with its paths full of lush and leafy plants.

Fig.8.3.3.4. Landscape, Data source (Archdaily, 2011), illustrated by (Authors, 2019).

209

Sustainability 8.4. Economic Sustainability: In general economic sustainability means the ability in maintaining a high rate of economic product without any limitations. In addition to that have zero impact on the community in its cultural, social, and environment aspects. • Sustainable economy also mean that community is in a stable balance of consuming the natural and non-natural resource without any negative impact on current and next generations. • Another way to achieve economic sustainability is to take in mind the regional factors, social needs, and environmental values.

8.4.1. Economic Sustainability in Architecture: The intervention of architecture in the economy has made it so much efficient in several way such as, low in price, and low construction cost, as well as, it inclusive all the needs of development and growth, so that it become environmentally sound. In addition to that it reduce the poverty line by building shared profitability for the population along with the consideration of future needs.

Fig.8.4.1.1. Economic Sustainability in landscape and architecture , Data source (UN studio, nd), illustrated by (Authors, 2019).

• Applications of Architecture in Economic Sustainability: In 1999, Adam the environmental activist stat that the living principles for design, economic sustainability is attentive with actions and problems that has impact on people and their needs. In 1999, Adam the environmental activist stat that the living principles for design, economic sustainability is attentive with actions and problems that has impact on people and their needs. 210

Sustainability 8.4.2. Economic Sustainability Approach in Our Project: The advantages of economic in green buildings include lower risk, greater lifespan of construction, enhanced capacity to attract new workers, decreased grievance handling burden, lower design time and cost as a result of public approval and environmental support, and increased asset value. So that, the project will enhance using of local handcraft to increase the profit and their income. Also, using the developed techniques to save and decrease the consuming of resources. The main approaches will be: • New opportunities: The proposed project is intended to help create new markets and opportunities for the local people in Rosetta, so that they can increase their daily income, as well as, helping in raising awareness of cultural with the handcraft products. • Using Solar Panels: Installation of solar panels to sustain the building need of power. enhancing the building on the economic level and to reduce the running cost of the building. • Good Jobs & Economic Growth: Development and implement of sustainable tourism policies, which create jobs and promote local culture and products, so this will lead to indicate the average proportion of GDP and the growth rate, tourism that lead to GDP.

Fig.8.4.2.1. Using solar panels, Data source (Archdaily. com, 2011), illustrated by (Authors, 2019).

Fig.8.4.2.2. Using Opportunities, Data source (Dezzen. com, 2011), illustrated by (Authors, 2019).

Fig.8.4.2.3. Concept of social sustainability, Data source (Hall Pete, 2011), illustrated by (Authors, 2019).

Fig.8.4.2.4. Using Solar panels, illustrated by (Authors, 2019).

211

Sustainability 8.4.3. Economic Sustainability Case Study:

Fig.8.4.3.1. Elevation of Bullitt center, Data source (Archdaily, 2017), illustrated by (Authors, 2019).

The Bullitt Centre: • The world's greenest corporate building. It

used around 32 kWh per sq, located in the district of Seattle's Capitol Hill. In its first full operational year, meter. Even among the greenest buildings in the world, the Bullitt Centre produces more electricity from solar rooftops than it consumes in the kilowatt-heures a year.

Fig.8.4.3.2. Concept of social sustainability, Data source (Hall Pete, 2011), illustrated by (Authors, 2019).

• The Bullitt Center has been planned for a

life span of 250 years. The Bullitt Center generated almost 30 times more power from the solar panels on its roof in 2016 than it used for all needs. This makes it one of the world's largest "net positive" energy structures. • The energy generated on the roof of the

building consists of a large range of Solar Panels (composed of 575 panels) and energy retention measures, which cut the energy consumption of the building to about 15 percent of a typical office building of similar size. • Although it is linked to the electricity grid and sometimes absorbs more power than it consumes (particularly in rainy winters in Seattle), it also creates adequate excess energy to offset such losses, resulting in a positive annual net energy.

Fig. 8.4.3.3 Concept of social sustainability, Data source (Hall Pete, 2011), illustrated by (Authors, 2019).

Fig. 8.4.3.4. Concept of social sustainability, Data source (Hall Pete, 2011), illustrated by (Authors, 2019).

212

Sustainability 8.5. Green Buildings: There is a lot of issues and types that can define the Green Buildings in general. These buildings works to minimize the negative impacts on environment and community, It can be defined as one of which uses less water, optimizes electricity, conserves natural resources, generates less waste and provides occupants with healthier spaces..

Green Buildings Example: • The Green Building: The challenge in this project was to gain experience by studying the surroundings of the project through relation between spatial and programmatic reasonable. The project achieve sustainability features and design that lead to creation of natural addiction. Green Construction is the first LEED.

Fig.8.5.1.1. The Green Building, Data source (Archdaily, 2011), illustrated by (Authors, 2019).

Fig.8.5.1.2. The Green Building, Data source (Archdaily, 2018), illustrated by (Authors, 2019).

8.6. Sustainable Buildings: According to UN Environmental Protection Agency, the meaning of sustainability is meeting the balance of consuming the resource, so that current and next generation have there needs.

Sustainable Buildings Example: • One Angel Square: The building was designed to consume 50% of energy and 80% of reduction of carbon. So this led to 30%. The CO- stated that the own farm land is supplied with power by pure oil fed combined heat and power system. There is other systems that include LEED in it lighting, recycling waste, ….etc.

Fig.8.6.1.1. One Angel Square, Data source (Archdaily, 2018), illustrated by (Authors, 2019).

213

Sustainability 8.7. LEED: leadership Energy and Environmental Design (LEED) is one of the world's most popular green building certification programs, released by the U.S. Green Building Council (USGBC) and its ecology certification program under LEED, energy efficiency and indoor funding Environmental quality, selection of resources, sustainable development of sites and water conservation will increase efforts to improve the environment and efficiency in five main areas of human health.

2.2 million + LEED certified square feet each day with over 90,000 LEED projects.

Flexible LEED works everywhere for all types of buildings. LEED is available in 165 states. .

Sustainable LEED buildings are sustainable in terms of energy, water, waste management and human health services.

Value LEED buildings retain residents, reduce the cost and increase the productivity and recruitment of workers

Fig.8.7.1. LEED credit categories, Data source (LEED certification guide, 2011), illustrated by (Authors, 2019).

8.7.1. LEED Rating System: There is four levels for LEED rating system starting from highest which is Platinum, to the lowest rating, which is Certified.

Fig.8.7.1.1. LEED Rating system, Data source (LEED certification guide, 2011), illustrated by (Authors, 2019).

Score

Category

1: sustainable site.

2: Energy efficiency.

3: Water efficiency.

4: Materials & Resource.

5: Indoor environment quality.

6: Innovation & added value.

7: Regional Priority .

Fig.8.7.1.2. Table showing LEED categories weight by (Authors, 2019).

214

Sustainability 8.8. GPRS: GPRS by EGBC work began in the Green Pyramid Rating System (GPRS) early in 2008. The first draft was ready for public review in 2010 but was postponed due to political instability by the Egyptian Parliament in April 2011. The system is considering designers, manufacturers, developers that will help making decisions related to the environmental impacts.

8.8.1. GPRS Rating System: There is three levels for GPRS rating system starting from highest which is Green pyramid, to the lowest rating, which is Certified certification in accordance with the Egyptian GPRS: - Green Pyramid: 80 credits & above.

- Golden Pyramid: 60-79 credits.

- Silver Pyramid: 50-59 credits.

- GPRS certified: 40-49 credits.

Any project has less than 40 credits will be “Uncertified”.

8.8.2. GPRS Category Weightings: Category Weighting

Green Pyramid Category

15%

1: sustainable site, accessibility, ecology.

25%

2: Energy efficiency.

30%

3: Water efficiency.

10%

4: Materials & Resources.

10%

5: Indoor environment quality.

10%

6: Waste management.

Bonus

7: Innovation & added value. Fig.8.8.2.1. Table showing GPRS categories weight by (Authors, 2019).

215

INDIVIDUAL WORK

9.1

AHMED JAMAL

217

Individual Work 9.1.1 Ahmad Gamal

Mission

Rosetta city is one of the oldest cities in the world. The city witnessed a lot of different eras through its history. Each era had its influence on the city leaving an unknown and untold storeys and secrets. But thanks to the heritages and the historical monuments these eras left behind ; now we can explore this history and understand more about this city and its history. But due to the neglecting of Rosetta it became a forgotten city. But this project is aiming to make this city great again and make it an important city as it was.

Fig 9.1.1.1 Rosetta city, data source (egypttailormade.net,2017)

Objectives The vision is Making this city as great as it was through the ages. So it can attract the people from all over the world. And that will help the city to rise and grow in other fields too. The project objective is to help the people to know the city better and make it interesting adventure to come and visit the city. Also, the project is aiming to rase the awareness of the local citizens about the importance of the city and its history. And finally enhance the city’s economy by enhancing the tourism.

Fig 9.1.1.2 Qaitbay, data source (egypttailormade.net,2017)

218

Ahmad Gamal 9.1.1 concept I Statement: Rosetta city is one of the oldest cities in the world. The city witnessed a lot of different eras through its history. Each era had its influence on the city leaving an unknown and un told storeys and secrets. But thanks to the heritages and the historical monuments these eras left behind ; now we can explore this history and under stand more about this city and its history. But due to the neglecting of Rosetta it became a forgotten city. But this project is aiming to make this city great again and make it an important city as it was.

Fig 9.1.1.3 ships industry, data source (masrawy.com,2020)

Inspiration: As the project is aiming to be a landmark for the city; it should represent something from the city. And the thing is the craft of building ships. As in dubai, Burj Al Arab. One of the main craft in the history of UAE is extracting Pearl out of the sea using the wooden ships.

Fig 9.1.1.4 Burj Al Arab, data source (arageek.com,2019).

219

Ahmad Gamal 9.1.1 concept I Technological Studies: • Using of Double-glazed windows. the point of using multiple glazing is that the two parallel glasses, including aire zone, make a better barrier against outside conditions than single windows. now a days Doubleglazed windows designed so there is simply dead air space in the gap between the panels, and it is common for windows to be made so that the space between the glass panels is filled up with a gas, like argon. That helps to increase the resistance of the window to energy transfer.

Fig 9.1.1.5 Double-glazed window cross section, data source (lancashiredoubleglazing.co.uk,2019).

• Using shell as shading elements in the project. It’s covered with a flexible solar panels. It’s a sustainable solution to use solar panels that helps the environment by reducing the CO2.

Fig 9.1.1.7 shell form, data source (eventmarqueetent.quality.chinacsw.com,2020).

Fig 9.1.1.6 flexible solar sell, (zwiebelfam.nl,2019).

220

Ahmad Gamal 9.1.2 concept II Statement: Rosetta city is a city fall of green areas. Farming is most common craft in this city. Spicily palm trees. The city is known for “ the city of the million palm trees”. So planting palm trees is something unique about this city. Therefore this concept is impaired from this craft; farming. To try to connect between the project and the city with something that users can feel and see.

Fig 9.1.2.1 Rosetta city’s farms. (Authors, 2019)

Inspiration: One of Rosetta city names is “the city of million palm trees”. This is known for Palm planting. Agriculture is the main craft in Rosetta city. More than a half of the population is working in the agriculture. There for this concept was inspired from shape of the palm leaf. And hwo this shape can influence in designing the project’s plan.

Fig 9.1.2.2 Rosetta city’s farms. (Authors, 2019)

221

Ahmad Gamal 9.1.2 concept II Technological Studies: • Using of green walls. A green wall is vertical built structure is intentionally covered by vegetation. This green wall is a great sustainable solution. It purify the air and reduces the ambient temperature.

Fig 9.1.2.3 green wall, data source (Verde ProfiloVerde Profilo,2020).

Fig 9.1.2.4 green wall, data source (nbs.net,2020).

• One of the sustainable solution is using the local materials in the building process. One of the local materials in Rosetta city is the Palms. When the palm get old the citizens cut it and use it in a deferent ways. Some People use it to build a small houses. This material can be used in this project too. Designing a shading devices made of palm leafs and palm trunk. Helping to shade the project and recycle the waste.

Fig 9.1.2.5 green wall, data source (Verde ProfiloVerde Profilo,2020).

Fig 9.1.2.6 shading elemnt made of leafs, data source (kinanaonline.com).

Fig 9.1.2.7 palm leafs as shading element, data source (kinanaonline.com).

222

Ahmad Gamal 9.1.3 concept III Statement: One of the important eras that Rosetta city had witnessed is the Ancient Egyptian era. The most important thing this city is known for is “Rosetta Stone”. This stone helped us to understand the language of the ancient Egyptian which helped us understand this era much more. Therefor this concept is inspred from the ancient Egyptians as this stone was like the key of life to this era and help us to understand it. This project will bring back the life to rosetta city.

Fig 9.1.3.1 Rosetta stone, data source (britannica.com,2020).

Inspiration: The project is aiming to bring back the life to the city. And make it an important city as it was. Back in the time, Ancient Egyptians used this sample to represent the word “life”. The spaces of the project will be arranged to create an open space shaped as the key of life. Fig 9.1.3.2 key of life, data source (fanpop.co,2020).

223

Ahmad Gamal 9.1.3 concept III Technological Studies:

• Using of the Pavegen tiles in the walkways and inside the spaces such as: the museum .The Pavegen technology is a multifunctional custom flooring system. Pavegen’s tiles are electro-magnetic. As people step on the tiles, their weight causes electric-magnetic induction generators to vertically displace, which results in a rotatory motion that generates off-grid electricity. Additionally, each tile is equipped with a wireless API that transmits real-time movement data analytics, whilst directly producing power when and where it is needed. Pavegen is also able to connect to a range of mobile devices and building management systems

Fig 9.1.3.3 The Pavegen , data source (pavegen.com,2019).

Fig 9.1.3.4 The Pavegen , data source (pavegen.com).

• the different depths of the space's creation and difference in the air pressure. That helps the air to flow fast. Creating a solution to ventilate all the project’s spaces.

224

9.2 ALAA MOHAMED TAHER

Individual Work 9.2 ALAA MOHAMED TAHER MOHAMED Mission Rosetta (the city of million palm trees ) is a place that have big opportunity to become one of the most touristic countries in Egypt, its Strategic location are near the Nile junction (The West Bank of the Rosetta branch) with the Mediterranean Sea , that once made it one of the main delta exits. It has large heritage culture that contain Islamic monuments, rich culture, architecture identity and historical value But unfortunately Rosetta face problems mainly caused by economy like ship production , palm Trees Industry, unemployment, transportation and heritage deterioration. To seek the touristic approach, This mission can be achieved by designing a building where user interaction process of exploring Rosetta’s heritage in our Complex can be made by History Narrating, Interactive spaces, Workshops, Communication and Entertainment. Aiming to ensure awareness to save heritage of Rosetta to preserve Rosetta’s culture, tourists will be able to see Rosetta from different aspects, community will participate in the activities, moreover; create social, environmental and economy sustainability for Rosetta people . Touristic Approach

Historical timeline

Awareness

Communication

Saving Heritage and Entertainment

Interactive Spaces

workshops

Objectives • Designing an iconic heritage complex in Rosetta that seeks international model to world • Raise awareness to Rosetta • Provide and welcoming and engaging environment for tourists to interact and explore • Increase national economy • Communication through exhibition that will be held for their craft • Culture will be identified through building experience • Adding new values to community through their training and guidance

226

Alaa Mohamed Taher 9.2.1 THE NEW MERGE Statement: • From historical background of Rosetta and Analysing the Ottoman Era (16-17th Century) architecture features. The concept is a merge Inspired from the heritage of Rosetta (the city of million palm tree), by using palm tree to be transferred to greatness of present, and from the Rosetta historical buildings(2nd number after Cairo in Islamic monuments in Egypt), by using mashrabiya ,mangor brick (patterns) and recessing's in the façade to nowadays technology, for symbolizing Rosetta visual analogy and to create a sustainable merge of existing buildings and new-build, where each activity housed in a specific form. • Act as Rosetta city branding to aware and attract more tourists to enhance its economy and save Rosetta heritage EXISTING BUILDINGS

Islamic Monuments

NEW BUILD

City of million Palms

Inspiration:

Fig. 9.2.1.1 Musée Yves Saint Laurent Marrakech, (archdaily.com,2017)

Fig. 9.2.1.2 Krushi Bhawan in Bhubaneshwar , (architectandinteriorsindia.com, 2019)

Fig. 9.2.1.3 Naturalis Biodiversity Center in Leiden, (visuall.net,2019)

Fig. 9.2.1.4 Western Australian Museum building, (cladglobal.com, 2016)

227

Alaa Mohamed Taher 9.2.1 THE NEW MERGE Illustration: Inspired from ottoman monuments in Rosetta (mashrabiya ,mangor brick (patterns) and recessing's in the façade )

Inspired from palm tree one of the heritage of Rosetta, known as the city of million palm tree

Fig. 9.2.1.5 perspective showing the merge of existing building and new build, (sketch by author,2019)

Inspired from the view of the million palm tree in Rosetta main entrance

Fig. 9.2.1.6 palm trees in Rosetta main entrance (Authors,2019)

Fig. 9.2.1.7 entrance perspective, (sketch by author,2019)

228

Alaa Mohamed Taher 9.2.1 THE NEW MERGE Technological Studies: Low-tech materials parametric brick facade • The use of parametric brick facade would emphasize the concept of symbolizing Rosetta visual analogy in contemporary architecture and new building typologies. • work with typical local brickwork, but to use it in a completely new way that can be used both across rural areas and in the more built-up cities, Brick is familiar to local people but here it has been upgraded in terms of aesthetics and construction technique and the use of local and locally produced materials that offers :the lowest possible carbon footprint, social and local awareness in the architectural approach, provides a fresh look to traditional Rosetta heritage, easily applicable in any project, to be built with a reasonable budget through on-site constructions. • Cover the building in a grid of openings using brick, that allow both light and air to penetrate the building and act as a filter to keep bright sunshine, dust and noise out of the main living spaces.

Fig. 9.2.1.10 House of Sieves / Francisco Cadau in argentina, Axonometric analysis, , (Archdaily, 2003)

Fig. 9.2.1.8 Transparent digital façade installed in Times Square, (Archdaily,2017)

Fig. 9.2.1.9 Apartment building Cloaked in Bricks by Admun Design & Construction Studio, (yellowtrace.com.au)

Fig. 9.2.1.11 Brick House / Ventura Virzi arquitectos in argentina, Axonometric analysis, (Archdaily, 2011)

229

Alaa Mohamed Taher 9.2.2 SENSES DISCOVERING ROSETTA HISTORY Statement: •

•

The concept inspired from historical background of Rosetta, where the story of the discovery of hieroglyphic from Rosetta stone opened knowledge of pharaonic heritage, The buildings pentagon shape were inspired from the 5 points of the Rosetta stone that is split in half and linked with ramp bridges to resemble an open book of hieroglyphics knowledge, where each activity housed in a specific building.To honour the heritage of Rosetta , the stones writings were added to the design in the buildings ceiling and reflected on ground due to sunlight for people to observe while walking. By Using complex main design issues circulation, also inspired from history of Rosetta, where the path of circulation represent the duration of era and size will vary due to this duration, the longest era the tallest, and the openness and closeness due to dark and enlighten of eras. This will make people feel the Rosetta history durations while walking. Illustration:

Rosetta pentagon Shape

Nodes for potential courtyard, open spaces and existing building

Delaunay triangular to create Voronoi diagram

Path shapes

Pentagon Compact building Split in half with courtyards that resemble the open book

As for circulation Creating path inspired from historical events duration

Each activity housed in a specific building with possible further growth

Fig. 9.2.2.1 concept illustration (sketch by author,2019)

Bridges

To Nile and Mediterranean sea intersection view Courtyard to circulate Wind through building from northwest

courtyard

Rosetta writings in ceiling (perforated shell structure)

Perforated shell structure to provide shade from unwanted sunlight

Fig. 9.2.2.2 environmental studies (sketch by author,2019)

Fig. 9.2.2.3 perspective showing concept (sketch by author,2019)

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Alaa Mohamed Taher 9.2.2 SENSES DISCOVERING ROSETTA HISTORY Inspiration:

Fig. 9.2.2.4 Jewish Museum, Berlin , (Archdaily,2010)

Fig. 9.2.2.5 Bibliotheca Alexandrina In Egypt, (Archdaily,2015)

Fig. 9.2.2.6 Cathedral Fold | Axis Mundi In France, (arch2o.com,2011)

Technological Studies: Perforated shell structure ceiling • Using perforated shell structure to play with the light and provide shade from unwanted sunlight as in this concept the ceiling will be designed with pattern that is in the Rosetta stone writings (hieroglyphic, demotic and Greek) that will reflect these writings in the ground for the tourists to see and feel the light of the discovery of Rosetta stone while walking and how these writings opened hieroglyphics knowledge to the world • These eight layers will be penetrated by rays of light causing appearing and disappearing creating light, shadow, reflection and calmness that is cinematic as the sun’s path progresses throughout the day

Fig. 9.2.2.7 Dome in Louvre Abu Dhabi, (Archdaily,2017)

Fig. 9.2.2.8 sun rays penetration from the Dome layers in Louvre Abu Dhabi pattern, (Archdaily,2017)

Fig. 9.2.2.9 Dome in Louvre Abu Dhabi, (Archdaily,2017), (edited by Author,2018).

Fig. 9.2.2.10 Dome in Louvre Abu Dhabi, (Archdaily,2017)

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Alaa Mohamed Taher 9.2.3 THE FLYING SEASHELL Statement: • Inspiring the concept while doing the site analysis where the Nile river and Mediterranean sea intersect in The West Bank of the Rosetta branch, where I found these shells that were very aesthetically pleasant that I never saw before. Using the shell in repetitive architecture sequence directed towards the sea (the only view in site) so at the point the tourist enters the building, they can see the Nile but not clearly until they reach at the end of the building where nearest and biggest view to the miracle of the intersection of the Nile and the sea. • Merging the shells with reflective digital glass facade in ground floor to create illusional effect that these shells are flying at morning to play with people curiosity and attract them to the place where they will find the heritage museum that will provide the tourist most information about Rosetta heritage ,culture history and sunken monuments. Illustration:

Nile and Mediterranean sea intersection Reflective Mirror view illusion

Wind cross ventilation

Fig. 9.2.3.1 seashell founded in Rosetta shore (Authors,2019)

Nile and Mediterranean sea view

shell structure prevent shade from unwanted sunlight

Fig. 9.2.3.2 site analysis (sketch by author,2019)

Fig. 9.2.3.3 perspective showing the end of the building viewing the nile and sea intersection, (sketch by author,2019)

Fig. 9.2.3.4 perspective showing the illusion of the flying shell , (sketch by author,2019)

Upcoming wind causing cross ventilation Fig. 9.2.3.5 side elevation, (sketch by author,2019)

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Alaa Mohamed Taher 9.2.3 THE FLYING SEASHELL Inspiration:

Fig. 9.2.3.6 Busan’s Opera House In Busan , (evolo.us, 2011)

Fig. 9.2.3.7 Sydney Opera House in Australia, (Archdaily,2010)

Fig. 9.2.3.8 Guggenheim Museum / Frank Lloyd Wright, (Archdaily,2010)

Technological Studies: Illusion reflective digital mirror facade • In morning The second floor will appears levitated, thanks to the mirrored lower level as a form of camouflage to increase the tourists sense of sea. The building merges into its natural surroundings with a facade made of reflective glass this type of façade works on the interaction between the inside and outside. • At night the digital façade will raise awareness to passers-by about Rosetta by using lights and sometimes words to let people know about its heritage. • Mechanisms is Sending Bluetooth the data design required to Responsive Facade designed software, where the colours and lights will appear in the façade installed units with the final design

Fig. 9.2.3.12 LED Façade Detail, (eiznerdesign.com, 2012)

Fig. 1 9.2.3.9 LED Façade design shown, (eiznerdesign.com, 2012)

Fig. 9.2.3.10 mirror reflecting ocean (saysaysayinc.com,2014)

Fig. 9.2.3.11 Transparent digital façade installed in Times Square, (bdcnetwork.com, 2011)

Fig. 9.2.3.13 LED Façade Detail, (eiznerdesign.com, 2012)

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9.3 ALSHAIMAA OSAMA AHMED

Individual Work 9.3. Alshaimaa Osama Ahmed: “ Culture itself is neither education nor law-making: It is Atmosphere and a Heritage” - H.L. Menken Mission Rosetta is one of the cities that have a lots of monument, these historical monument reflected the islamic heritage in cultural, social, and natural resources. So that Rosetta is called the second islamic city. The potential of all these features make very strong focal point to the site of Rosetta on the scale of worldwide. But after all the neglected through the time pass these heritage (cultural, social, natural) began to disappear and these monument became deteriorated, which become the major issue in Rosetta. Wherefore, the project aim to revive the heritage of Rosetta and focus on community needs and raise the awareness of the locals. Along with this it should respect and consider the surrounding environment: through the architectural design to be in harmony and achieve sustainability goals with adding modern technologies. As well as creating a touristic destination in Rosetta to encourage tourism by applying interactive spaces, and marketing to integrate the traditional aspects.

Objectives

Fig.9.3.1. Collage show all sides of Rosetta, by (Authors, 2019).

Revive deterioration of heritage monuments in Rosetta. Create a touristic destination to attract and increase tourism. Development of community and increase awareness. Creating an integrated design that reflect identity & culture of Rosetta. Adding sustainability techniques to ensure preservation of environment and building. 235

Alshaimaa Osama 9.3.1. Journey to Rosetta:: Statement: • Main circulation will act as story teller to define Rosetta and its strategic location, so the main idea came from the second urban pattern “Irregular”, which located in a very dense area at the city center. the shape of the land lot help to form the project masses.as well as, connection of main spaces of the project will ensure visual continuity and provide flexibility, journey, and experience. It will be provided with stairs and ramps to leveling that will be interactive. So that, the target groups and the requirement needs will be defined and achieved the project well.

Fig.9.3.1.2. Show Green Zones, by (Authors, 2019).

Each mass represent a certain era and has a different ways in interactive the first way is through the circulation in main and sub axes, and the second is sharing and interactive spaces inside masses. Also in each level of the building project main circulation will has the ability to be accessible to green roofs and some main functions as shown in section and 3Ds.

Fig.9.3.1.3Section showing Green zones & Main Spaces, by (Authors, 2019).

Fig.9.3.1.1. Phases of creating Circulation, by (Authors, 2019).

Key Words: Circulation Interactive Urban Journey Green Roofs Dynamic 236

Alshaimaa Osama 9.3.1. Journey to Rosetta: Inspiration:

Fig.9.3.1.4. Circulation interactive, (Archdaily. Com, 2013).

Fig.9.3.1.5. Maritime Museum, (Archdaily. com, 2011), illustrated by (Authors, 2019).

Fig.9.3.1.6. Meydan Shopping Center, (Archdaily. com, 2007)

Fig.9.3.1.7. National Museum in South Korea, (Archdaily. Com, 2007).

Fig.9.3.1.8. Apartment, (Archdaily. com, 2009)

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Alshaimaa Osama 9.3.1. Journey to Rosetta:: Technological Studies: • Interactive walls: Hundreds of LED lights and innovative digital technology are used by an immersive wall to keep children and adults interested in exclusive interactive experiences for hours. The lights contain sensors and the wall is designed to react to contact by producing light, allowing children to play with the effects these walls produce. These walls can be used in centers of physical therapy and rehabilitation as it makes pair therapies and transmits vibrant and demanding exercises. The element has just been integrated successfully into treatment systems like physical therapy, word-related therapy, and speech therapy.

Fig.9.3.1.9. Interactive walls Types & Ways, Illustrated by (Authors, 2019).

• Green Roof System: Cause the main objective of our project is to revive the heritage, which include the agriculture, so that the green roof is used. Two main reasons of using it first, the roof gardens must lower the building's temperature. Second, it will be used as a buffering zones to share experiences either with locals or tourists. Therefore, in order to protect the building from the effects of the roof gardens, it should have multiple layers.

Fig.9.3.1.11. Installation of Green Roofs, illustrated by (Authors, 2019).

Fig.9.3.1.10. Green Roofs & Terraces, illustrated by (Authors, 2019).

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Alshaimaa Osama 9.3.2. Breakers Morphology:: Statement: The concept inspired from the form of waver breaker that surround the site. By using the out line of both site that takes square shape and the out line of down looking of connected waver breakers. In the first phase the shape will be broken to take irregular form, by extension the edges and double the skin to protect main building environmentally. The next phase is to triangulation and transgression of eaves, and finally achieve the suited shape and volume of the building that reflect the Morphology of the breakers and ensure attraction of tourists.

Fig.9.3.2.1. Wave Breakers, by (Authors, 2019).

Fig.9.3.2.2. Phases of Morphology, by (Authors, 2019).

Inspiration:

Fig.9.3.2.3. Built Environment Museum, (Archdaily. Com), Illustrated by (Authors, 2019).

Key Words: Waves Breakers Morphology Dynamic Double Skin 239

Alshaimaa Osama 9.3.2. Breakers Morphology:: Technological Studies: • Movable Walls: The idea of movable partitions could be used in more than one space in order to create non-static framing, either inward or outward. They would be used as internal partitions, and the technique would also be extended to external frames and walls. So that it will achieve part of the interactive that will represent the heritage of Rosetta.

Fig.9.3.2.4. Movable Walls, Illustrated by (Authors, 2019).

• Hologram: The hologram is a photographic image capable of capturing the light field, rather than the image created by the lens, and used to view a captured three-dimensional image without special glasses. It is also unintelligible when viewed under diffused light and the hologram is a technology that allows for a light field. It can respond by showing the value of Rosetta and its key feature to communicate and connect with the visitor. Fig.9.3.2.5. An Interactive Hologram, Illustrated by (Authors, 2019).

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Alshaimaa Osama 9.3.3. Urban Pattern : Statement: Rosetta has passed through many different islamic eras, by taking its characteristics and adding it to the plan, the “form” will appear. Also taking in consideration urban pattern of the center city is “Orthogonal pattern” by adding it to site, and creating solid area that inspired from context form of the city. The first map intent to show the urban pattern of Rosetta:

Orthogonal Pattern

Stage 1: Choosing the orthogonal pattern from the urban pattern of Rosetta as it looks like straight line but it is not. The areas will be divided so it can be in well orientation by ensuring function of the spaces after that adding it in the site. Stage 2: Then adding the lines of this urban pattern on the site to start creating solid and void that will lead to certain open spaces and enclose spaces. Stage 3: After the insurance of solid and void the next stage will be adding the circulation to the site between spaces and courts by using the correct circulation the entrances and exits will be identified . Stage 4: The reflection of the islamic characteristics that will represent the islamic eras is “COURT & OPEN SPACES” these characteristics will act as buffering zones that will be a way of interactive between tourists and locals , also will increase awareness of heritage in community and attract tourists.

Fig.9.3.3.1. Stages of the formation by (Authors, 2019). Fig.9.3.3.2. Final form applied with courts by (Authors, 2019).

Key Words: Urban Heritage Islamic Courts Landscape Buffering zones 241

Alshaimaa Osama 9.3.3. Urban Pattern: Inspiration:

Fig.9.3.3.3. Kuwait Islamic Center, (Behance.com, 2014).

Fig.9.3.3.4. Islamic Exhibition in Chain, (Phaidon, 2014), illustrated by (Authors, 2019).

Fig.9.3.3.5. Public space, (SERGIO GMEZ, 2016), illustrated by (Authors, 2019).

Fig.9.3.3.6. Buffering zone, Data source (Hall Pete, 2011), illustrated by (Authors, 2019).

Technological Studies: • Double Skin structure: Double skin façade structures consisting of two layers, typically glass, in which air passes through the intermediate cavity This void acts as a protection against extreme temperatures, winds and sound, enhancing the building's thermal efficiency at temperatures both high and low.

Fig.9.3.3.7. Dynamic Skin structure, (Archdaily. Com), illustrated by (Authors, 2019).

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9.4 ASHRAQAT KHALED

Individual Work 9.4 Ashraqat Khaled: “ As an architect you design for the Present with an awareness of the Past for a Future which is essentially unknown ” - Norman Foster

Mission Egypt has always been a major icon in the middle east and the whole world known for its historical background, events and monuments. As the definition of heritage and culture can varies from a topic to another, people with no heritage background are as similar as a tree with no roots. However, when it comes to architecture the power and the function of the building speaks silently defining the story needed to be observed. Consequently, reflecting the identity of the place on the building in order to visualize its heritage. Rosetta, the second city after Cairo to retain Islamic monuments has witnessed significant era’s that added to its cultural and historical value throughout the ages. However, nowadays all these historical monuments are neglected and needs to be preserved again. Therefore, reviving its culture. Leading to different aspects that need to be achieved thus, to be able to follow the sequent of this process both the community and touristic have to be involved in one project.

Rosetta Heritage Complex, a place that gather among heritage culture and knowledge about Rosetta’s historical background. This project will act as a catalyst not only in Rosetta but also in Egypt and the Middle East as it will target touristic groups from different ages to enhance the people’s knowledge on Rosetta, as it turned out to be a rich city full of stories, events, monuments and traditions that differ uniquely from any other city. Objectives • By having a heritage complex in Rosetta as a main catalyst in the city, touristic approach will be the main direct objective needed to be achieved as the project will be full of galleries, activities, narrative story telling space, sunken monuments center and bazars that will target huge number of visitors. • Aiming to enhance indirectly both the labor workforce and economy in Rosetta as people participating in this project will have the opportunity to enhance their knowledge on the city they live in, create handmade crafts from what they are known for “ palm trees’’ for the bazars and preserve their own traditions. • Raising the city’s economy as being part of a sustainable process where a catalyst will attract tourism leading to economy enhancement that will later on affect the city positively where more enhancement could be achieved. • Reviving and preserving Rosetta’s neglected historical Islamic buildings in a resilient way in order not to be forgotten again to gain back its true cultural identity.

Cultural approach

Touristic approach

Community approach

Economy approach

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Ashraqat Khaled 9.4.1 Staggered, Stacked yet scattered Statement: Following the Islamic traditions the first concept is inspired from various designs of Mashrabiya found in most of the Islamic buildings in Rosetta. Linking it with the traditional craft of palm leaf due to its similar pattern that reflect the place’s heritage. Concluding staggered, stacked yet scattered. Where it is staggered in the façade, stacked in pattern and scattered in the plan masses

Fig.9.4.1.1 Stacked various pattern, (Authors, 2019).

Fig.9.4.1.2 Palm leaf pattern, (Authors, 2019).

Fig.9.4.1.3 Staggered Masses in elevation showing activities, (Authors, 2019).

Fig.9.4.1.4 Scattered masses in plan, (Authors, 2019).

Fig.9.4.1.5 Masses in elevation showing stacked pattern, (Authors, 2019).

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Ashraqat Khaled 9.4.1 Staggered, Stacked yet scattered Inspiration: Different forms of Mashrabiyas showing the manipulation of light formed from it inside the space

Fig.9.4.1.6 stacked Mashrabiyas showing its various designs in WTC in Abu Dhabi , (archdaily.com,2014), illustrated by (Authors 2019)

Fig.9.4.1.7 Louvre shell in Abu Dhabi showing light manipulation, (archdaily.com, 2016), illustrated by (Authors 2019)

Fig.9.4.1.8 stacked Mashrabiyas showing multiple pattern, (archdaily.com,2014), illustrated by (Authors 2019)

Fig.9.4.1.9 Mashrabiya’s openings showing natural light, (archdaily.com,2014), illustrated by (Authors 2019)

Fig.9.4.1.10 Collage of Rosetta’s Islamic buildings inspiration, (Rosetta’s statistic center ), illustrated by (Authors 2019)

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Ashraqat Khaled 9.4.1 Staggered, Stacked yet scattered Technological Studies: Use of modern Mashraiyas’ as kinetic façade Digitally controlled sunshades kinetic façade & roofs against solar gain. Used to control amount of light entering the building and can be managed to control the ventilation inspired from the Mashrabiya’s function idea. Also using the solar activated façade material

Fig.9.4.1.12 Kinetic facade, (archdaily, 2018), illustrated by (Authors, 2019)

Fig.9.4.1.11 Kinetic façade unit, (Authors, 2019).

Use of SAF solar activated façade material • A cladding system that convert the building to a highly performance envelope. • Its save lots of energy as it act as an insulation material when actually it just has the ability to absorb and retain the sun energy

Fig.9.4.1.15 SAF material detail, (Authors, 2019).

Fig.9.4.1.13 Kinetic facade, (archdaily, 2017), illustrated by (Authors, 2019)

Fig.9.4.1.14 Various Mashrabiya design , (pinterest.com, 2018), illustrated by (Authors, 2019)

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Ashraqat Khaled 9.4.2 Gateway through Heritage Statement: Rosetta stone encrypted 3 different languages for different cultures. Thus, merging among history, knowledge and culture has to have a huge gate that link between past, present and future. The Gateway through heritage

Fig.9.4.2.1 Rosetta stone analysis, Data Source (Authors, 2019).

Past Looking to old Rosetta

Present Preserving the existing Rosetta’s Monuments

Future A start of New Rosetta

The Islamic pointed arch inspired from Abu EL Reesh Gate in multiple loops that gives the depth of a gate where the user will feel that he is going to enter a place full of experience. The framed arch is accessible as an observatory tower where the user can visualize the old Rosetta meeting the Modern Rosetta through the gate Frame Arch is accessible

Grid form plan type • Order • Simple shape of squares ‘ Islamic shape’ • Urban fabric • Form the looped arch in elevation ( gate like shape)

Fig.9.4.2.2 Arched inspired from Abo El Reesh gate, Data Source (Authors, 2019).

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Ashraqat Khaled 9.4.2 Gateway through Heritage Inspiration: Using the arch element from the Abo El Reesh gate in Rosetta and mixing it with a gate like shape.

Fig.9.4.2.3 Dubai frame act as huge tower, (dubaichronicle.com, 2017)

Fig.9.4.2.4 Arched shell structure, (archdaily.com, 2012)

Fig.9.4.2.5 Collage showing Abo El Reesh gate, (Rosetta’s statistic center ), illustrated by (Authors, 2019)

Fig.9.4.2.6 Pharaonic gate, (Pinterest, 2017 )

Technological Studies: Green wall & Green roof - It is used for heat reduction in the space. - Air purification resulting in reduction of CO2 and improvement of air quality. - Aesthetically pleasing inside any space as it provide a visual impact and will give the feeling of the outside Rosetta where greens surrounds each and every inch of the city. - Help in building protection as it reduce UV damage of any surface and protect the building from any external temperature, wind, weather , etc.. Aluminum bar - Absorb heat and act as natural insulation. for wall unit attachment wall

Green wall unit Fig.9.4.2.8Green roof technique of WTC in Abu Dhabi, (Archdaily.com, 2014). Channels for excess water collection pavement Fig.9.4.2.7 Green wall technique in Galleria40 in Egypt, (Authors,2019)

Fig.9.4.2.9Green wall technique in galleries, (Archdaily.com, 2014).

Fig.9.4.2.10 Green wall section detail, (Authors, 2019).

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Ashraqat Khaled 9.4.3 Geological Formation cells Statement:

Inspired from the geological formation of the land from the Nile. Reflecting the main vein of the Nile with several masses attached to it to fill the void created from the Nile on the land. Therefore, using multiple cells and attach them together to form the main shell structure of the building making sure that the link among the cells contain a water purification system that can be used for the whole building. Thus, linking between main veins of the city: - Heritage - Resources - culture

Fig.9.4.3.3 Rosetta’s Nile coastline, (googlemaps,2019).

Fig.9.4.3.1 Shell structure sketch showing concept idea, (Authors, 2019).

• • •

Shell structure system Veins among cell used as water purification system Elevated from the ground

Fig.9.4.3.2 Shell structure sketch showing masses idea, (Authors, 2019).

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Ashraqat Khaled 9.4.3 Geological Formation cells Inspiration: Inspired from irregular unit cells forming a shell structure.

Fig.9.4.3.4 Shell structure 3d, (evolo.us), illustrated by (Authors, 2019)

Fig.9.4.3.5 Shell structure formed from irregular cells, (evolo.us), illustrated by (Authors, 2019)

Technological Studies:

Kinetic tiles, water purifying system and elevated for resilience. While exploring the historical events in the complex a Pavegen floor tiles are designed to save and generate energy from movement steps created by the power harnessed from foot steps generating huge amount of energy that can be used in other systems such as artificial lighting, sound system and other electrical systems . Also using water purifying system for the museum within the façade cells, Mashrabiyas pattern and the main frame. In addition, part of the building is elevated to be resilient as it is built on the coastline and suffer from the risk of high water level. Grey water To sewer

Foot path Public space

Kinetic energy

Usable stored electricity

To reuse To sewer

Fig.9.4.3.6 Water reuse, (Authors, 2019).

Fig.9.4.3.7 Pavegen tiles, Data Source (harvard.co.uk, 2016), illustrated by (Authors, 2019)

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9.5 AYA ISMAIEL GHOBASHI

Individual Work 9.5 Aya Ismaiel Ghobashi: “ A people without the knowledge of their past history, origin and culture is like a tree without roots.” - Marcus Garvey Mission The target and mission is to save Rosetta’s Heritage and try to make it closer to being an international touristic city with its existing potentials in cultural, historical and social resources, as it already has a distinctive background but lacks good use of it. So the main aim is to revive the heritage in Rosetta through designing a project that will leave the visitors with full experience of the significance of this city throughout the ages. Also raising awareness of the heritage resources and its significance for the resident.

Fig. 9.5.1

Objectives Reassure the strengths of Rosetta and try to make it a focal point in Egypt.

Document, preserve and ensure the continuity of Rosetta’s heritage. Leaving the visitors with a whole experience of Rosetta. Raising awareness about the importance of the history of the city and how to preserve it. Helping the economy by bringing in local products in the projects’ bazars. Involving the local residents in giving workshops on the local crafts. Social interaction between the residents and different cultures. Make an adaptive building with the environment that has responsive design. 253

Aya Ismaiel Ghobashi 9.5.1 The “Barzakh" Statement: The Concept is inspired from the “Barzakh" which is an Arabic word mentioned in Quran which means the adjacency of sea water and fresh water without their waters being mixed. Which is the same phenomenon in Rosetta at the tip as the nile meets the mediterranean sea.

Fig. 9.5.1.2: Section showing the massing (Authors, 2019)

Fig. 9.5.1.1 Barzakh (google.com, 2019)

Fig. 9.5.1.3: Conceptual Plan (Authors, 2019)

This will be represented in the project with a main axe/functional wall separating between the masses of the project as one side will have dense, compacted forms representing sea water molecules and then the masses will start to expand fading into the nile, framing it along the way representing the fresh water molecules being less dense.

Fig. 9.5.1.4: (Authors, 2019)

Fig. 9.5.1.5: Difference in water molecules (Authors, 2019)

The main idea of this concept is to translate the concept of the “barzakh" both metaphorically and literally having two different sides of the project but at the same time similar in content and use -like salted water and fresh water, both are water but slightly differ. Also, there’s a perk of the site location as it is on the nile shore and we can make use of that picturesque view and use it in the design by framing it through the masses and landscape elements.

Fig. 9.5.1.6: Framing the view (pinterest.com, 2019)

Keywords: Barzakh Nile Transition Wall Solid and void Water Molecules 254

Aya Ismaiel Ghobashi 9.5.1 The “Barzakh" Inspiration:

Fig. 9.5.1.7: Plan shows the dense volumes part of the concept (Arch2O.com, 2019)

Fig. 9.5.1.9: Museo Internacional del Barroco (Arch2O.com, 2019)

Fig. 9.5.1.11 (“Museo Internacional del Barroco | Toyo Ito & Associates - Arch2O.com", 2019)

Fig. 9.5.1.8: 3d Showing how the volumes will then scatter Ljubljana’s Cultural Center (Beta Architecture", 2019)

Fig. 9.5.1.10: elevations Showing how the volumes will fade away Ljubljana’s Cultural Center (Beta Architecture", 2019)

Fig. 9.5.1.12: Ljubljana’s Cultural Center (Beta Architecture", 2019)

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Aya Ismaiel Ghobashi 9.5.1 The “Barzakh" Technological Studies: ETFE Skin:

Ethylene Tetrafluoroethylene (ETFE) countless advantages1explain why it quickly gained a fuss as an alternative1material for glass. This material is remarkably1capable1of regulating environmental1conditions and its flexible skin is effective in natural disasters. In addition, it is recyclable,1durable and1capable of achieving incredible levels1of transparency. Also its non adhesive surface has a self1cleaning effect so that the dirt can’t adhere1on the surface and can easily be washed1away by rainwater (Geleff, 2019).

Fig. 9.5.1.13: ETFE skin facade (pinterest, 2019)

Fig. 9.5.1.14: ETFE fixation detail in facade illustrated by (Authors, 2019)

Fig. 9.5.1.15: ETFE facade (Pinterest, 2019)

Properties of ETFE: • Glass replacement (good lighting1better than glass by 25%) • Has excellent1light transmission1capability • Lightweight1and easy to install • Excellent Resistance to extremes of temperatures i.e. Durable • Self-cleaning1property • Eco-friendly, can be recycled and converted into useful industrial products. • Extremely fire1resistant. • Has Elongation property

Fig. 9.5.1.16: ETFE skin facade ruminating at night (pinterest, 2019)

The interior of the building is lit up during the day and the cell membranes become luminous at night.

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Aya Ismaiel Ghobashi 9.5.2 Emerging from Water:

Ship Abstraction

Statement: This concept links one of Rosetta’s main activities “Ship Production”with the project. By abstracting the shape of the ship and reaching some architectural elements, we create a couple of forms that may have a sloped terrace representing the deck and the tower will act as an observation tower or a vertical museum. The building will give the sense of something coming out of the water, creating visual connectivity with the sea.

Fig. 9.5.2.1: Ship abstraction (Authors, 2019)

Fig. 9.5.2.2: Proposals for project (Authors, 2019)

Inspiration:

Fig. 9.5.2.3: Museo Internacional del Barroco (Arch2O.com, 2019)

Fig. 9.5.2.4: NEMO Science Museum (NEMO Science Museum, 2019)

Fig. 9.5.2.5: Museo Internacional del Barroco (Arch2O.com, 2019)

Fig. 9.5.2.6: (Arch2o, 2019)

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Aya Ismaiel Ghobashi 9.5.2 Emerging from Water: Technological Studies: Pavegen Floor Tiles: This Pavegen1floor1tiles is a technology used in the flooring that uses the pedestrian1kinetic energy and transfer it into electrical energy. And as the people step on the1surface the generators below the tiles sense the weight and start to rotate, generating1power by electro-magnetic induction. The generators then produce about 3 joules1per1footstep or about 5 watts of continuous power while there is someone walking. The energy1produced can1be either stored in batteries or used to power local1applications like sensors or lighting.

Fig. 9.5.2.7: Pavegen floor tiles (pinterest, 2019)

Fig. 9.5.2.8: Pavegen flooring (pinterest, 2019)

Materials: -The surface at the top of the tile is1made1from stainless steel1and recycled rubber. -The base1is made from 80% recycled1materials also with1concrete. -The size1of the1single tile is 600*450*87 (L*W*H) mm.

Fig. 9.5.2.9: Diagram of Pavegen (pinterest, 2019)

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Aya Ismaiel Ghobashi 9.5.3 Natural vs Contemporary: Statement: In this concept, I will use a grid inspired from local crafts and use it to create the masses with natural materials, contrasted with contemporary or modern style making the project to blend with nature harmoniously and making a statement at the same time. The use of natural materials will reflect the old Rosetta through the ages. The masses in plan will be separated by a main spine inspired from the nile and its branching.

Fig. 9.5.3.1: Furniture made from palm trees (Authors, 2019)

Fig. 9.5.3.2: Conceptual sketch of facade (Authors, 2019)

Fig. 9.5.3.4: Main spine representing the Nile (Authors, 2019) Fig. 9.5.3.3: Conceptual sketch masses (Authors, 2019)

Inspiration:

Fig. 9.5.3.5: Facade inspiration (pinterest.com, 2019)

Fig. 9.5.3.6: Facade inspiration (archdaily.com, 2019)

Fig. 9.5.3.7: Main spine inspiration (Pinterest.com, 2019)

Keywords: Natural materials Crafts Contrast Nile Branching 259

Aya Ismaiel Ghobashi 9.5.3 Natural vs Contemporary: Technological Studies: Light transmitting concrete It is a type of concrete that is transparent, it has a1translucent material created by1mixing concrete with numerous optical1fibers that have the same quality as aggregates alongside1stones and crushed glass. A matrix is formed1by the optical fibers between the1main two concrete blocks surfaces, directing and connecting the light between1both faces. The outcome is a semi-transparent1wall that allows soft light in but at the same keeps the privacy for the space.

Fig. 9.5.3.8: Translucent concrete (dornob.com, 2019)

Fig. 9.5.3.9: Translucent concrete (pinterest.com, 2019)

Fig. 9.5.3.10: Translucent concrete (Kim, 2019)

Interactive Walls Use of Interactive1walls in the galleries to make the user1interact with the displays in different1surroundings not just static1displays. The massive wall is considered a big touchscreen that people can1interact with in a direct way, or it can have LED lights changing behind1the screen that is programmed to create1shapes and portray words. Benefits of using this technology: -Makes the project more fun and give a new physical touch with motion sensing. -It is user-friendly for1any age and background1as it uses the motion sensing1technique so the user doesn’t have to learn1anything to be able to use it. Fig. 9.5.3.11: Interactive wall (Google, 2019)

260

9.6 JOMANA EZZAT

Individual Work

9.6 Jomana Ezzat “ Architecture should speak for its time and place, but yearn for timelessness” - Frank Gehry

Mission Capturing the users attention will have a great influence on the building, as it will promote the interaction of the society and stakeholders with the project and its marketing of the Deteriorated city of Islamic Monuments and hand skills. This will increase tourism of the city and will enhance the society. Exploration of Different cultures will create the Interaction between Settlements and job Opportunities. That leads to the uplifting of economy of the City which will balances income and stable prices and dynamics economy growth.

Objectives

Fig 9.6.1 Rosetta Islamic Monuments, ( Author, 2019)

Culture Revive the forgotten culture and Islamic heritage, as well as the traditional crafts of the city

Awareness Increase people’s awareness of the important heritage and deteriorated monuments

Environmental Promotion of environmentally friendly products and business in sales activities

Tourism The interaction of various cultures enhances the social environment

Economy Improvement of the city’s economy through tourism and the product of the crafts workshops Fig 9.6.2 Objectives, ( Author, 2019)

262

Jomana Ezzat

9.6.1 Palm Canopy Inspiration:

Fig 9.6.1.1 Palm tree, ( Author, 2019)

Fig 9.6.1.2 Palm tree, ( google photos)

Fig 9.6.1.3 Palm tree, ( google photos)

Statement:

Fig 9.6.1.4 Concept generation, (Author, 2019)

The nature of Life creates moments that makes people feel marvelous specially Rosetta heritage image of the Million palm tree vision. The structure of the palm tree created image of merging the whole project mood with using the trunk and branch of the palm tree to make the people and see the beauty of nature that is the land mark of Rosetta .

Fig 9.6.1.5 Concept generation, (Author, 2019)

Fig 9.6.1.6 Palm tree, ( google photos)

Fig 9.6.1.7 Palm tree, ( Author, 2019)

263

Jomana Ezzat

9.6.1 Palm Canopy Technological Studies: Use of green walls and vertical garden & a canopy , trunk skin like structure with an ETFE material that act as glass

ETFE facade

Perimeter Edging Drip Irrigation header Wall Plywood backer

Sheet Waterproofing Air hanger Waterproof backer Layer of fibrous Growth Media Front layer o fibrous Growth media Pluming and electrical Cabinets

Fig 9.6.1.8 Vertical greenery system For energy efferent, ( Author, 2019)

Fig 9.6.1.9 Wet basin to collet water for recirculation, ( walcom.com)

Core head Canopy skin

Trunk

LED light

Vertical Gardens

Fig 9.6.1.9 Canopy skin and trunk, ( archello, 2019)

It consists of prefabricated units that are then separately connected to a central concrete center. The outer and Inner layers are divided to 8 panels that are circular sectors overlapping creating structure with high level of support.

Fig 9.6.1.10 canopy and skin trunk environmental analysis, ( archello, 2019)

264

Jomana Ezzat

9.6.2 The soaring shell Inspiration:

Statement:

Fig 9.6.2.1 Dove inspirations, ( author, 2019)

Fig 9.6.2.2 Concept illustrations, ( author, 2019)

Most traditional old houses in Rosetta have dove tower. The Abstraction of the idea is from the Histological bone structure of the dove. Each sector of the building form includes a technological system, like The Solar Photovoltaic Louvers in the South Orientation to prevent the heat. Hydro Collective System for humidity and rain water store it recycles hydro-energy and form of the flexible formwork . complex is surrounded by a water curtain fountain from the two sides, that The would reflect the intersection of the Nile and the sea. The waterfall would come alive with brilliant color provided by LED lights.

Fig 9.6.2.3 shell layout inspiration, ( dezeen.com)

Fig 9.6.2.4 Concept illustrations, ( author, 2019)

Fig 9.6.2.5 neon water fall, (everdaychina.com)

265

Jomana Ezzat 9.6.2 The soaring shell Technological Studies: Photo Voltaic Louver and hydro-collective system The site location and orientation are both representative of two points of energy collection. The South Face Solar Photo Voltaic Louver was designed for a dual use, as the secondary energy source collected in the system of the roofing system, natural thermal, sunlight and support area. A hydro-collective system with moisture and rain water collectors recycles hydro energy to provide the waiting guests with a refrigeration system

Fig 9.6.2.7 The flexible formwork Prefabrication, (evolo.com)

Fig 9.6.2.9 Solar Photovoltaic Louvers (evolo.com)

Fig 9.6.2.8 Wire mesh (evolo.com)

Fig 9.6.2.10 Hydro Collective System (evolo.com)

Fig 9.6.2.6 The flexible formwork Prefabrication (citytech.com)

Enclose Transform Opened Chamfered Transformed hexa ation to d Lattice hexa Hexa lattice hexa lattice lattice Lattice Fig 9.6.2.11 Lattice transformation (sevvalasenatelli.com) 9.6.2.12 the flexible formwork (archdaily.com)

9.6.2.13 neon LED lights(everydaychina.com) Fig 9.6.2.14 Lattice inspiration (sevvalasena telli.com)

9.6.2.12 the flexible formwork (archdaily.com) 266

Jomana Ezzat

9.6.3 Living Game Inspiration:

9.6.3.1 Concept inspiration (Pinterest.com)

Statement:

9.6.3.2 Concept illustrations (Author, 2019)

9.6.3.3 Concept illustrations (Author, 2019)

The aim is to create touristic attraction spot that will hold and annual Festival to explore the lost heritage of Rosetta and the lost stone. The vision of Rosetta . stone is creating mystery temple for people to interact with the building through interlocking dynamic facades and vertical maze

9.6.3.4 Concept inspiration (dezeen.com)

9.6.3.5 Form Generation (dezeen.com)

9.6.3.6 Concept Illustrations (Author, 2019)

267

Jomana Ezzat

9.6.3 Living Game: Technological Studies: Dynamic façade and wind turbines Today's buildings motionless state does not reflect real lives of individuals, where everything changes continuously. Thus, use of dynamic facades that rotate in multiple angles controlling the natural light gain as it is environmental responsive. In addition to the use of wind turbines, similar technique that work on gaining energy from the air movement that surrounds the building and save it for the building where it can be used later internally.

Fig 9.6.3.7 Dynamic Movement of the sun direction (citytech.com)

Fig 9.6.3.8 Dynamic Movement with the wind turbines energy production (Evolo.com)

Fixed Angle 10^

Fig 9.6.3.9 Rotating panels creating a dynamic building (citytech.com)

Various Angle 20^

Solar Tracking

Shading Day light and view

Solar heat gains and day lighting Fixed Angle 45^

Reflecting to the sky

Axis Soft actuator

Fig 9.6.3.10 environmental responsive Façade (arch2go.com)

Fig 9.6.3.11 environmental responsive Façade (archdaily.com)

268

9.7 MARAM AHMED ENANY

Individual Work 9.7 Maram Ahmed Enany “We have been the benefactors of our cultural heritage and the victims of our cultural narrowness” - Stanley Krippner

Mission Heritage is considered to be one of the most treasured assets to a city, as it reveals its main cultural identity, unites people to their history and strengthen their ideologies. The mission of this project is restoring and renovating Rosetta’s architectural and cultural identity as the majestic icon, that has witnessed many historical events and outlived invasions and wars, from Pharonic kingdoms to ottoman rulers. In addition to utilizing its strategic location between the River Nile and the Mediterranean sea, as well as the numerous monuments and the city’s culture, to create a touristic attraction spot, that will restore Rosetta’s importance as well as involve the community in saving their city’s heritage.

Fig 9.7.1 Rosetta landmarks and historical monuments, data source ( google earth)

Objectives Saving Rosetta’s Architectural and cultural Heritage by creating “Rosetta Heritage Complex, that will restore the historical significance of the city. Fig 9.7.2 Abu Al Reesh Gate, data source ( google earth)

Raising awareness of the importance of heritage, and increasing the community involvement by integrating their oriental handcrafts into the project.

Fig 9.7.3 Rosetta Oriental Handcrafts, (Authors, 2019)

Improving Tourism rate, and bringing back Rosetta to the time where it was a world attraction site, by creating a touristic hub, which would benefit the economy greatly. Fig 9.7.4 Rosetta Intersection Between The Sea And Nile, (Authors, 2019)

270

Maram Ahmed Enany 9.7.1 Reclaiming the city: Statement: This concept is based on the prioritizing the city, and using it as the main inspiration for the design. Inspired by Rosetta’s urban fabric, the Ottoman facades, Rosetta’s skyline, and urban height pattern, creating height hierarchy from the center of the project to its sides, maintaining the visual axis to the city and the view. By analyzing the city’s urban factors, it is found that the urban fabric is condensed, with an irregular grid dominating the city, getting more condensed towards the Nile. The urban height pattern analysis shows that the majority of the buildings on the Nile coast are short, with the taller and larger buildings behind them, creating a visual axis and height hierarchy.

Fig 9.7.1.1 Visual Axis, (Author, 2019)

Fig 9.7.1.2 Rosetta Layout (Authors, 2019)

Fig 9.7.1.3 Rosetta Urban Fabric (Author, 2019)

Fig 9.7.1.4 Rosetta Skyline (Author, 2019)

Fig 9.7.1.5 Rosetta Urban Height Pattern Analysis (Author, 2019)

Fig 9.7.1.6 Concept Illustrations, (Author, 2019)

The buildings are extracted from the urban fabric, following the condensed grid and the urban height pattern, which will achieve the height hierarchy, creating visual axis for the view of the sea. 271

Maram Ahmed Enany 9.7.1 Reclaiming the city: Inspiration: By studying the ottoman Islamic facades in the city center, it is noted that the common features are: Use of Mashrabeyas, small openings, use of different colored bricks, and receding and protruding masses.

Fig 9.7.1.7 Rosetta Historical Facades (Google Earth)

Technological Studies:

Vernacular Architecture Techniques: Rammed Earth .The construction of Rammed Earth is the process of ramming a mixture of aggreg ates such as gravel, sand, silt and clay into a wallforming formwork. The formwork is removed when the Earth is dry to reveal solid monolithic walls. "Rammed earth is not like any other structure.It's artistic and it helps you to use locally sourced materials to be really innovative with your wall designs.“Joelle Eyeson

Fig 9.7.1.8 Rammed earth construction and facades(azuremagazine.com)

.Using simple but effective ways to make the building in harmony with its surrounding nature and context, such as the use of wind catchers, courtyards and greeneries.

Fig 9.7.1.9 courtyards examples (Archdaily.com)

272

Maram Ahmed Enany 9.7.2 Rosetta Stone: a Treasure in the sand : Statement: Rosetta stone is one of the most important discoveries of our time, as it led to the connection of civilizations, unlocking ancient secrets and finally understanding ancient languages. This concept is based on the durability pf stone, how it withstands the test of time resisting any deterioration, symbolizing strength and saving heritage for years The morphology of rocks is analyzed and reflected in the form of the building, which resembles rocks stacked together emerging from the ground. The building would give a unique and unforgettable image, signifying resistance and strength. the project would be on contoured land, with its vertical circulation is sloped upwards for easy accessibility

Fig 9.7.2.1 3D Concept, (Author, 2019 )

Galleries

entrance

restaurant Fig 9.7.2.3 circulation concept, (Author, 2019 )

Fig 9.7.2.5 concept inspiration, (pinterest, edited by author)

Fig 9.7.2.6 concept inspiration, (pinterest, edited by author)

Fig 9.7.2.2 concept illustration, (Author, 2019 )

Fig 9.7.2.6 concept inspiration, (pinterest, edited by author)

Inspiration:

Fig 9.7.2.7 concept generation, (Author, 2019)

Fig 9.7.2.9 concept inspiration, (archdaily, edited by author)

Fig 9.7.2.10 concept inspiration, (pinterest, edited by author)

Fig 9.7.2.8 concept inspiration, (archdaily)

Fig 9.7.2.11 Rosetta stone and hieroglyphics, (google photos)

273

Maram Ahmed Enany 9.7.2 Rosetta Stone: a Treasure in the sand : Technological Studies:

Wire Mesh Façade: Modern glass design needs efficient sunlight protection. Architectural mesh blends a lot of practical advantages with sun protection and excellent design. The choice of weave and fabric wires as well as the form of mesh with varying optics and light effects create different mesh geometries. Fig 9.7.2.12 Wire Mesh Close-up, (Archello.com)

Shading and thermal comfort : Metal mesh is well suited for outdoor sun protection due to its semitransparent structure. Woven wire mesh provides shade and decreases summer temperature while keeping warm and reducing winter heating costs. Fig 9.7.2.13 3D mesh panels, (Archdaily.com) Daylight and views Given efficient lighting, within visual clarity is provided by sun protection made of wire mesh. Architectural wire mesh appears highly transparent from the inside due to the frontal viewing angle and lighting situation during the day–even depending on the mesh range. The semi-transparency gives the building an abundance of natural light,

Fig 9.7.2.14 3D mesh panels, (Archdaily.com)

Fig 9.7.2.15 wire mesh panel, (walcom.com)

Fig 9.7.2.16 wire mesh panel, (walcom.com)

Fixed or removable: With a sunlight incident angle of 60 ° and a double glazing window, most of the used architectural mesh types already effect a reduction of solar energy input between 40% and 70%. Fig 9.7.2.17 wire mesh and sunlight, (archello.com) Excellent shading views: With a 60 ° angle of sunlight and a double glazing panel, most of the architectural mesh types used already minimize solar energy production between 40 and 70%.

274

Maram Ahmed Enany 9.7.3 Cultural Gateway: Statement: This concept aims to brings back Rosetta to the time when it was the most iconic spot on the Mediterranean, with its cultural identity that used to attract tourists from all over Europe to come and visit. Using Rosetta’s strategic location, this concept uses the form, materials, orientation and contours in site to create a gateway to the Mediterranean. Fig 9.7.3.1 , Bridge, deck, small harbour (Author, 2019)

Fig 9.7.3.2 Panoramic view to the sea, (Author, 2019)

Fig 9.7.3.3 Dynamic form with, visual continuity to the sea, (Author, 2019)

Getting inspiration from elements like:, integrating circulation with the water around the site, using wooden materials and dynamic building form to reflect the idea of Rosetta as a vessel of heritage and culture, and using massive approaches to create inviting and intriguing entrances. Moreover, using the water front view to create an open panoramic view to the sea, to further emphasize the idea of Rosetta as a gateway to the Mediterranean. Inspiration:

Fig 9.7.3.4 Rosetta strategic location on the Nile and Sea (Google earth)

Fig 9.7.3.8 Massive inviting approach (Google Photos)

Fig 9.7.3.5 Dynamic form (Google photos)

Fig 9.7.3.9 Rosetta Natural Contour (Author, 2019)

Fig 9.7.3.6 Integrating the Fig 9.7.3.7 Story telling through materials circulation with water (Google photos) (Google Photos)

Fig 9.7.3.10 Water front view (Authors, 2019)

275

Maram Ahmed Enany 9.7.3 Cultural Gateway: Technological Studies:

Hyper Curved Shell Structure A hyper is a two way curved surface, that can be constructed as a shell or a twisted lattice. Usually, the edges of a hyperbolic surface are covered by steep hollow beams that accumulate and pass roof weights to the foundation. The structure strength comes from the hyperbolic shape which distributes the load to the footing, no need for columns. It is also resistant to earth quakes and fires.

Fig 9.7.3.11 , shell skeleton (Author, 2019)

Fig 9.7.3.12 , shell structure (Citytech.com)

The actual structure consists of triangular wooden modules that can be quickly assembled on site; all these components are created by a CNC milling machine. Without the need for special locator equipment and highly skilled operators, the complex shell geometry could be designed quickly and precisely. A series of hyper-curved shells can be easily created using a flat structural feature. Typically they are used to build thin “shell" roofs. It can then be formed using covered wood or steel sections or using concrete. The use of hyper curved shells as a thin structure is light and efficient. The form is used to minimize materials.

The curvature in the shape reduces its compressive tendency to buckle and can achieve exceptional rigidity. They experience no bending by being forced in two directions and are able to withstand unequal loading, whether dead or live.

Fig 9.7.3.15 , inspiration of constructed shell structure (evolo.com)

Fig 9.7.3.13 , shell elements (sevvalasenatelli.com)

Fig 9.7.3.14, Installation of shell panels (Citytech.com)

Fig 9.7.3.16 , shell structure elements (Evolo.com)

276

9.8 MARWA ALASWADI

Individual Work 9.8 Marwa Alaswadi: “ The Heritage of the Past is the Seed that brings forth the Harvest of the Future”” - Wendell Phillips. Mission Seeking to help in retrieving the touristic value of Rosetta city, as it is rich of Heritage and has a considerable history, that had been degraded due to the negligence and misuse. This mission will be done through creating a project that will work as a catalyst to attract international and national tourists and will help in making Rosetta a touristic destination once again. Moreover, the three concepts ensure the edification of users about the heritage of Rosetta city by having them experience a joyful journey by the means of storytelling of the city's history, starting from its earliest eras, represented in the sunken monuments and the lost undersea city, reaching the modern eras.

Fig. 9.8.1 Collage showing some of Rosetta’s Heritage, (Authors, 2019).

Objectives Rosetta’s Heritage Complex aims to: Enhance the visibility of the city as a touristic destination.

Increase awareness locally and Globally about Rosetta’s historical value. Ensure social interaction and communication through interactive spaces, galleries and museum. Provide the users with knowledge concerning Rosetta’s heritage and the sunken monuments via storytelling, integrating Past and Future. Engagement of community in the process -workshops and other activities- to raise their sense of belonging. The touristic activities of the project will provide job opportunities for the locals, especially the skilled ones, hence raising their income.

278

Marwa Alaswadi 9.8.1 Rosetta between Past & Future: Statement Rosetta city has experienced and passed through a lot of historical eras as was mentioned previously in the historical timeline, each era has influenced the city in some way, leaving its marks on the city’s heritage, architectural style, monuments,..etc. The idea is to take the users in an experience to get to know all the historical events that rosetta has gone through, this will be done by the hierarchy of masses serving the storytelling concept. The further down you go, the further back in time and the deeper your knowledge. Figure (9.8.3.1) shows the sequence of the exhibiting masses starting from the modern eras back to the sunken monuments undersea “Diving Center”.

Fig. 9.8.1.1 Hierarchy of masses, (Author, 2019).

Since our selected site is overlooking the Nile, the main axis will help in respecting the view. The main axis will be a sweeping staircase visually connecting Nile view with the accessible roofs of the masses, in order to increase the interactive spaces and get benefit of the whole built up area.

Fig. 9.8.1.2 Sweeping staircase connecting the roof of masses , (Author, 2019).

Fig. 9.8.1.3 Sketches showing sweeping staircase with hierarchy of masses, (Author, 2019).

Fig. 9.8.1.4 Sweeping staircase with hierarchy of masses, (Author, 2019).

Further, the site is located far from the center of the city, so the layout “Horizontal arrangement” of masses will be inspired from the urban pattern of the city and the compacted spacing between its buildings, to help mimicking the fabric of the city, and making the users feel integrated and not isolated. Keywords:

Hierarchy

Storytelling

Experience

Interaction

Continuity 279

Marwa Alaswadi 9.8.1 Rosetta between Past & Future: Inspiration

Fig. 9.8.1.6 Gallery of Statue of Liberty, United States, (archdaily.com, 2019), illustrated by (Authors,2019)

Fig. 9.8.1.7 Gallery of Ziya Imren, (archdaily.com, 2019), illustrated by (Authors, 2019)

Fig. 9.8.1.8 Interactive accessible roofs,Gallery of Ziya Imren, Istanbul, (archdaily.com, 2019), illustrated by (Authors,2019)

Fig. 9.8.1.9 Section in Gallery of Ziya Imren, Istanbul, (archdaily.com , 2019), illustrated by (Authors,2019)

Fig. 9.8.1.10 Ostim Eco-Park, Turkish, (bustler.com, 2019), illustrated by (Authors,2019)

280

Marwa Alaswadi 9.8.1 Rosetta between Past & Future: Technological Studies Interactive Facades: Interactive materials will help reflecting the concept of the interaction and the on the exterior of the building. Translucent facades will be used to maximize and control the natural light that enters the building. It will also emphasize the idea of continuity and the image of the building, specially at night time, since the interior lights will be transferred to the outside through the translucent facades. This will be achieved by using Light glazing panels that will help to protect the exterior facade from weather, humidity, erosion,..etc. These panels are made of Polycarbonate microcells of which a certain colour and brightness can be chosen (Archdaily, 2019). These help in preventing the harmful UV rays from entering to the inside, reduce energy by reducing thermal conduction and using natural light to illuminate and heat the Fig. 9.8.1.11 A building with translucent panels at night, interiors of the buildings. Other advantages (archdaily.com, 2019), illustrated by (Authors,2019) of these materials are: I. Air and Water Tightness: They provide perfect balance between solar and thermal dynamics, this is due to the snap-lock connections of the glazing panels. The connections do not allow the water and air to penetrate into the building. II. Durability: They withstand the effect of unwanted elements.

Fig. 9.8.1.12 A building with coloured translucent panels, (archdaily.com, 2019), illustrated by (Authors,2019)

III. Natural Ventilation: Some types include air gap, so allow natural ventilation and protect the building from weather. IV. Maximum Transparency: They result in clean and continuous elevations serving the continuity and fluidity concept. V. Dynamic Facades: These surfaces can be programmed with advertisements serving the owner of the building, due to the “Lantern building” effect at night time (Archdaily, 2019).

Fig. 9.8.1.13 Interior look of the translucent facades, (archdaily.com, 2019), illustrated by (Authors,2019)

Fig. 9.8.1.14 Top and Bottom Details of the glazing panels, (archdaily.com, 2019), illustrated by (Authors,2019)

281

Marwa Alaswadi 9.8.2 The Twist: Statement Conveyancing the users from one historical era to another, to have them living the experience as if it was real, and as if they were contemporary to this era of Rosetta city's history. To achieve so, “Twisted Transitional Zones” are made to transfer users between the different eras and spaces. These zones will help the users to travel through time. Interior design will help emphazising the concept by using architectural features of each era in its exhibiting space, to inline with the spirit of its history. Further, landscape elements will have the same idea of twisted zones in the exterior exhibition spaces. The Simple twists done between the main masses will help lifting the users from the lower to the upper masses achieving their hierarchy towards Nile view. The torsions between masses create passageways underneath to ensure public activity continues in outdoor areas. Spatial fluidity will be studied carefully to ensure that the visit inside is dynamic as the outer shape indicates

Fig.9.8.2.3 Plan sketch showing the twist concept, (Authors, 2019)

Fig.9.8.2.1 Sketch showing the twist concept, (Authors, 2019)

Fig.9.8.2.2 Section sketch showing the twist concept, (Authors, 2019)

Fig.9.8.2.4 sketches showing the interior of the twist concept, (Authors, 2019)

Inspiration

Fig.9.8.2.5 The kistefos museum, Norway, Data Source (Archdaily.com, 2019), illustrated by (Authors, 2019)

Fig.9.8.2.6 Mexican Art Pavillon, Mexico, Data Source(archdaily.com, 2019), illustrated by (Authors, 2019)

Keywords:

Twists

Transition

Dynamic

Fig.9.8.2.7 Outdoor Space, Data Source (flicker.com, 2019)

Interaction

Levelling 282

Marwa Alaswadi 9.8.2 The Twist: Technological Studies The Twisted Geometry: 1. The geometry of the twisted zones is made of Aluminium brushed stainless steel beams twisted 90ْ degrees, along with glazing panels that are insulated with UV films, forming the structural facade of the zones.

Fig.9.8.2.8 Diagram of Aluminium brushed twisted steel structure, ( arch20.com, 2019),(Authors, 2019)

2. Electrical Solar Shading: Tohcontrol the directhand indirecthlighting flow, solar shadinghwashinvolved in the framing structural system, toheither make the spacehbrighter orhcompletely dark. 3. Double Curved Facade: Composed of a 40cm wide straighthpanels of aluminium, organized as a stackhof books, shifted so slightly in ahfanning motion, resulting in the spiralhshaped structure.

Fig.9.8.2.9 Details of the twisted Structural System, ( arch20.com, 2019),(Authors, 2019)

4. Interior Twisted Spaces: Firhslatshthat is 8cm, paintedhwith thehwanted colour, for thehwalls, flooring andhceilinghcladding. 5. Full Height Glass Walls: Offering PanoramichViews, curvinghupwards to formhahstrip ofhskylight (archdaily.com, 2019).

Fig.9.8.2.10 Fanning motion of aluminium panels, ( arch20.com, 2019),(Authors, 2019)

Fig.9.8.2.11 Construction Process of twisted aluminium structure, ( arch20.com, 2019), (Authors, 2019)

283

Marwa Alaswadi 9.8.3 In Pursuit of Interaction: Statement Since the selected site is directly overlooking the Nile River, the view is respected along with the prevailing wind direction. There will be two main axes, the first is inspired from the flow of people heading from the main street aligning the Nile River, forming the main entrances and exits, serving the view visuality, and it's on which the main masses will be distributed. While the second axis, is inspired from the wind direction, to maximize the penetration of wind within the masses of the project. The intersection of these two main axes will form the central plaza around which the masses are gathered. To maximize the Visual and Social Interaction among the users the roofs of the masses are sloped towards the plaza, leading to the Accessible Roofs maximizing the site are and the no. of users in addition to providing more Fig.9.8.3.1 Sketches showing the main interactive spaces. Also, The various heights of axes of concept 3, (Authors, 2019) buildings are intersected with each other and with the plaza.

Fig.9.8.3.2 Section showing relations between roofs of masses, (Authors, 2019)

Fig.9.8.3.3 Section sketch showing the relation btw masses and the plaza, (Authors, 2019)

Further, indoor plazas, green terraces and open places to allow the visual continuity between users, even when existing in different spaces. Inspiration

Fig.9.8.3.4 Section Sketch showing terraces, (Authors, 2019)

Fig.9.8.3.5 Plan sketch showing the twist concept, (Authors, 2019)

Fig.9.8.3.6 Music Center, Tokyo, (Aasarchitecture, 2019), illustrated by (Authors, 2019)

Fig.9.8.3.7 Sanya Lake Park, Tokyo, (Aasarchitecture, 2019)

Keywords:

Interaction

Fluidity

Continuity

Intersections

Marwa Alaswadi 9.8.3 In Pursuit of Interaction: Technological Studies

Interactive and 3D displays:

Interactive and 3D displays: Seeking to maximize the interaction level of the different exhibiting spaces and galleries by using modern display technologies that pursuit to integrate the users and involve them in the process: I. Audiovisualhkinetichinstallationh"Deep Web”: DeephWeb is an installationhusing 12hhigh precision lasershand a matrix of 175 moving balloons to create a dramatichthree dimensionalhsculpture of lines and dotshfloating in space above the audience. Thesehlightings are moveable haccording to the usershflow, they will help in reflecting the storytelling concepthin the interiors and making themhmore kinetic and flexible (whitevoid.com,2019).

Fig.9.8.3.8 Deep Web Lighting in Interiors creating a specific mood, (WhiteVoid.com,2019), (Authors, 2019)

II. A Holographic 3D display: It is a displayhthathuseshcoherent light, such as that createdhby laser, to create ahthree-dimensionalhimage in space. Truehholographic displays create images thathconformhto the 6 depth cues byhwhich we recognizeh3D views in the realhworld (i.e, Objects fartherhaway appear smaller), (whatis.techtarget.com,2019).

Fig.9.8.3.9 Holographic 3D display in exhibitions , (whatis.techtarget.com,2019), (Authors, 2019)

III. Transparent Concrete: Ithis a concretehbased buildinghmaterialhwith light-transmissive propertieshdue tohembeddedhlighthoptical elements — usuallyhopticalhfibres. Light is conductedhthrough the stonehfrom one end to the other. Therefore, the fibreshhave to go throughhthe wholehobject.hThis results in a certain lighthpattern on the otherhsurface, dependinghon the fibrehstructure. Shadows cast onto one side appear ashsilhouettes through thehmaterial (theconstructor.org,2019).

Fig.9.8.3.9 Translucent concrete material in interior spaces, (icazar.com ,2019), (Authors, 2019)

285

9.9 MOHAMED ALAA SAMI

Individual Work Mohamed Alaa Sami “To provide meaningful architecture is not to parody history but to articulate it” - Daniel Libeskind

Mission The main mission of the following concepts is to merge the contemporary Rosetta and to resurrect the old Rosetta, by using the iconic symbology the ancient Egypt had in their methodology. the pharaonic era was very rich in their cultural heritage and the very unique shapes and forms , that had a great meanings. this concept proposals aiming to reuse these things in our daily life .

Objectives These proposals going to be achieved by taking the concepts from the heart of the pharaonic methodology specifically the sympology part.

Making the complex distinctive from the surrounding area. Using the features of the pharaonic architecture while integrating with the contemporary architecture. Making the building sustainable and efficient for the users. Providing new user experience different from the ordinary museums in egypt. providing a handicap friendly museum

287

Mohamed Alaa Seba: Statement: The second concept will be Seba which is the stars were called “the followers of Osiris”. The pattern of the stars will cover the building like the goddess of night.to prevent the direct sun rays from entering the building causing high heat gain and over exposure distracting the users from the shown heritage , this method will provide illumination without direct sunlight , and mimic the sun rays passing through the palm trees in the famous one million palm tree heritage complex. the figure of seba itself will be used with different positioning and transparency to form the shell to achieve the goals previously mentioned.

Inspiration:

288

Mohamed Alaa Seba: Technological Studies: • The main idea here is to make use of the sun light to enhance the sustainability of the project minimizing the use of artificial lighting , blending with the place itself in everything mimicking the sun rays passing through the mesh of the stars “Seba” like the sun in the palm trees field giving an authentic and environmental perspective to the project. reusing the idea that was used in the Egyptian temples with the forests of the columns and the effect of the illumination of the clear story windows this was made in most of the temples to mimic mother nature itself . This will be achieved by making a structure of steel to maintain the weight of the shell itself the fabricate the shell with the intersections and the variety in transparency of it to fix it on the steel chase.

289

Mohamed Alaa Precious secret : Statement: The pharaonic civilization throughout the history always believed that they have a secret to their greatness they represented it in all form of art and even they had a thing called beit al hayah which they made to prepare the knights to carry on protecting the secret. the idea of this concept is to blend with the surrounding context to represent that this complex reflects the true identity and the heritage of the city and the people of the city itself, to mimic the idea of the sacred secret of the pharaonic civilization in a building that will absolutely blend in with the surrounding environment to hide this secret using reflective facades.

Inspiration:

290

Mohamed Alaa Precious secret : Technological Studies: • The main idea of mimicking the preciousness of the preservation of the sacred secret explained in the concept statement can all be used to create a more efficient and sustainable project by making all the wall double walls outside is mirror to reflect the heat and also help the building to blend in the surrounding environment stating that its from the people and represents the people “ the heritage is not only artifacts or monuments its part of each and every one of us” and making the circulation of air to cool down the building envelope all the time, also for the electricity we can install in the gap between the double walls the anti solar panels which is panels works just like the idea of the regular ons where it uses the heat difference between the sun rays and the earth to generate electricity the darkness panels generates the power with the same concept but inverted it produce the electricity from the heat difference of the cool environment of the air circulation gab and the facade it self to help reducing the building energy consumption. also the broken panels on the facade will be used where it faces the city itself to distort the heat and reduce the heat gain increasing caused by the mirrored facades .

291

Mohamed Alaa Scarab: Statement:

This concept we will use the great symbol scarab which represents the sun, recreation of life it self and the resurrection of the great Legends of the distance past are talking from their graves to give us their wisdom and great transformation in the current statues , the main idea of the building is to show these ideas to the users of the heritage complex.

Inspiration:

292

Mohamed Alaa Scarab: Technological Studies: • The main technologies used in this concept is the double facadeing system where the first layer from outside to inside is an eco friendly shell made of the compression applied to the waste to remake a module that will format the shell itself with repetition of it just like the modular origami. and the inside layer of the facade will be covered in a pattern and the layered glass shown in the figure to maintain the sunlight to be diffused to minimize the heat gain of the building , reducing waste and energy consumption.

293

9.10 MONA HASSAN SAKR

Individual Work 9.10 Mona Hassan Sakr: “Our rich and varied cultural heritage has a profound power to help build our nation” Nelson Mandela Mission The Heritage of the city is the only way to identify and recognize the importance of the Historical artifacts and monuments that should be maintained as long as it can be for the upcoming generations to have the chance to know and see what they missed before. The construction of a building that reflects the history of the city is aiming to empower the visitors to link themselves and their feelings to the past by offering historical Interactive displays and activities that will make it easier for all people to understand and be involved in their present and future through their past. Rosetta Heritage complex's mission is to bring the public into a dynamic interaction with the building that focus on the different historical eras of Rosetta, preservation labs, learning zones, interactive zones, diving center for the journey to the Sunken monuments in Edku and research zones reflecting the long gone history of Rosetta city.

Fig.9.10.1 Collage showing Heritage of Rosetta, (Authors, 2019)

Objectives Cultural Approach: Ensure raising awareness among people of Rosetta about the importance of the city’s Heritage. Touristic Approach: Work on encouraging tourism in the city through different interactive ways to bring the city back to life. Reaching the Sunken Monuments by having a diving center to offer the opportunity of seeing the forgotten underwater city. Interactive Communication between the users through the Museum’s zones Narrative section for achieving the main goal of the story-telling to be involved in the whole experience. 295

Mona Hassan Sakr 9.10.1 City Under The Roof: Statement: Can you imagine how exciting it is to discover a historical Egyptian Drowned town that was 1200 years forgotten under the sea, and find out that many of its treasures have been in a very good condition after so many decades. This city is between Rosetta and Edku and was discovered by the French archaeologist Franck Goddio in 2000 and the work took 13 years to reach this discovery.

Fig.9.10.1.1 A Stele with hundred nighty meter height was discovered in the historical drown city in Edku , (franckgoddio.org, 2013)

So, the idea was inspired from this drowned historical city between Edku and Rosetta -Thonis Heracleion- forming all the main buildings to be scattered but unified under one structural shell to act like a small city gathered under the same roof. The shell will act as the surface of the sea and the shattered buildings under it will be the artifacts that was found under the water. The concept of being scattered is to give the feeling of the city with streets connecting the buildings with each other but all under one surface–The Shell. Concept Development

Fig.9.10.1.2 Conceptual Sketches showing the development of the concept, Data Source (Authors, 2019)

296

Mona Hassan Sakr 9.10.1 City Under The Roof: Inspiration

Fig.9.10.1.3 The inspiration for the shell that will act as a roof that will gather all buildings under it, (archdaily.com, 2017), Edited by (Authors, 2019)

Fig.9.10.1.4 The inspiration for the scattered buildings to reflect the feeling of city under roof ,(archdaily.com, 2017), Edited by (Authors, 2019)

Fig.9.10.1.5 The inspiration for the shell that will act as a roof that will gather all buildings under it ,(archdaily.com, 2017), Edited by (Authors, 2019)

Fig.9.10.1.6 Plan showing how the buildings will be scattered and connected by passages under one roof to act as a city floating above the water surface as The Idea OF Floating is Always Charming, Data Source (archdaily.com, 2017), Edited by (Authors, 2019)

Keywords

Unity X Diversity

Drowned City

One Roof 297

Mona Hassan Sakr 9.10.1 City Under The Roof: Technological Studies Ultra High-Performance Fibre-Reinforced Concrete Over recent decades, there has been a significant increase in developing compression strength, ductility enhancement, and improve the workability in the composition of the concrete. This resulted in the improvement of regular concrete to the High performance Fibre Reinforced Concrete. Ultra High-Performance Fibre-Reinforced Concrete mainly consists of cement, water, fine aggregates, super elastic plasticizer, and metallic or polymer fibers. Such components contribute to form a concrete that is more efficient, with high bearing capacity, more durable and more resilient compared to standard concrete.

The addition of fibers increases the tensile strength considerably, which results in high deformation level (above 1%) with new age-plastic process and improvement in tensile ability (multi-cracking) leading to the ability of making irregular shapes and shells with high level of complexity. It is used mainly in prefabricated components as to decrease the percentage of any errors. This will be the main material to be used in this concept to construct the shell that will cover the whole project-The City Under the Roof.

Fig.9.10.1.7 Museum of Civilizations of Europe and the Mediterranean, (azureazure, 2014), Edited by (Authors, 2019)

Fig.9.10.1.8 Louvre Abu Dhabi, (archdaily.com,2017), Edited by (Authors, 2019)

298

Mona Hassan Sakr 9.10.2 Spicing up The Ruins: Statement: It is the way of generating a simple and effective design by blending the sense of local material and traditions of the city to produce the feeling of being in old town of Rosetta. Rosetta city is famous for palm trees vegetation as its called The City Of The Million Palm Trees. But once the palm tree reaches a certain age it stops to produce dates and starts being useless. In this concept, I’ll use palm trees as the main structure system besides the Karshif as the main building’s material. The main circulation will be inspired from the old town’s streets and defined by palm trees.

Conceptual sketch Showing the Circulation emphasized by palm trees forests in the open spaces of the project leading to the buildings Fig.9.10.2.1 Conceptual Sketch, Illustrated by (Authors, 2019) Fig.9.10.2.2 Conceptual Sketch showing the structure system with palm trees , Data Source (archdaily.com, 2017), Edited by (Authors, 2019)

Inspiration

Fig.9.10.2.3 Using Palm tree trunk as a ceiling support and using the palm wood in the ceiling material, (dezeen.com, 2009), Edited by (Authors, 2019)

Fig.9.10.2.5 Blending Local and Modern Materials ,(dezeen.com, 2009), Edited by (Authors, 2019)

Keywords

Old Town

Fig.9.10.2.4 Interior shot showing the usage of Palm wood in the decoration of ceiling, (taziry.com, 2017), Edited by (Authors, 2019)

Fig.9.10.2.6 A Library used -Karshif- in construction and using palm wood in shading ,(taziry.com, 2017), Edited by (Authors, 2019)

Tradition

Reuse

Local Materials 299

Mona Hassan Sakr 9.10.2 Spicing up The Ruins : Technological Studies Karshif building material (Compressed Earth Blocks) It is a traditional building material made up of local components as mud, salt, and sand. Karshif acts as an environmentally friendly material as it totally comes from the surrounding environment. As a thermal insulator, Karshif keeps the temperature moderate and satisfying in both hot and cold weathers (Farouk, 2013). Structure System 1. Foundation: CEB Foundation 2. Walls: Karshif participles covering all the building’s surface and including the supporting columns 3. Ceiling: Made up of wood of palm trees for beams and roofs, also using of palm leaves in roof shading in outdoors and in courts inside the building Fig.9.10.2.7 Diagram showing the sustainable approach 4. Floors: Made up of natural local stones for the construction phase, Illustrated by (Authors, 2019)

Fig.9.10.2.8 Section in the roof using CEB and palm trunk beams with the use of mud mortar instead of concrete, Illustrated by (Authors, 2019)

Fig.9.10.2.9 longitudinal section showing the Karshif wall and palm tree wooden beam along with wooden wall, Illustrated by (Authors, 2019)

Fig.9.10.2.10 CEB Foundation with a concrete base with stabilizer for the moisture insulation, Illustrated by (Authors, 2019)

Fig.9.10.2.12 Roof from palm Leaves for roof, Illustrated by (Authors, 2019)

Fig.9.10.2.11 CEB Foundation with CEB base with stabilizer for the moisture insulation, Illustrated by (Authors, 2019)

Fig.9.10.2.13 Stone Foundation iwith stone icolumn isupporting ceiling made of palm tree itrunks and icovered with iplated ipalm ileaves toped with mud, Illustrated by (Authors,2019)

300

Mona Hassan Sakr 9.10.3 The Past Through Future: Statement: The manner of how Mamelukes translated Islamic beliefs into tangible architectural elements in a modern way.

Language reflection on mamluk’s Architectural Element In the Islamic beliefs, The God as is the only source of endless power and energy, and The God is the source of all creations. So, one of the most important reflection of Mamelukes in architecture is the Eight Dome of the mausoleum ( most important area) supporters holding the dome (Signifier), The Eight supporters symbolizing the eight holders of the throne (Signified). Fig.9.10.3.1 Conceptual Sketch showing the Signified Dome , Data Source (archdaily.com, 2017), Edited by (Authors, 2019)

Reflection on the Design Exploring the History of Rosetta in the way of Hunting The Treasure by reaching the last gallery “Number 8” finding the last era that Rosetta faced which is the Ottoman era and ending the journey with an observatory to see the final stage that Rosetta reached.

Fig.9.10.3.2 Conceptual Sketch showing Experience, Illustrated by (Authors, 2019)

Fig.9.10.3.3 Conceptual Section showing the way of story telling through the 8 buildings that will reflect the 8 eras that Rosetta passed by through ages, Illustrated by (Authors, 2019)

Keywords

Old X New

Mamelukes Beliefs

Abstraction 301

Mona Hassan Sakr 9.10.3 The Past Through Future: Design: There will be one-way line of circulation throughout the whole project connecting the buildings and passing through them, where story telling takes place. The axis inside the building is identified by different massing or colouring. Audio and graphics are used to tell the story of the era of the building, surrounded by artifacts from the time being told. Each building will be designed as a scene from the era being told. The interiors will be entirely made of wire mesh so it feels like a figment of our own imagination of the time. Artifacts and historical findings will be displayed on wireframe stands to conclude the story with real-life proofs.

Inspiration The wire mesh that will be formed in a unique way in each building to reflect the history of each era in an interactive way as if you were living the experience in the time of existing

Technological Studies

Fig.9.10.3.4 3D Wire Mesh , Data Source (Pinterest.com, 2017), Edited by (Authors, 2019)

As the museum is mainly an open plan, so this dividers are important for the interior of the concept to divide the spaces inside the museum and to achieve the concept of reflecting the feeling of the era inside the building. Detailed Mesh Sections

Fig.9.10.3.5 The idividers are made of iwire icoiled ifabric woven iwith idifferent thickness’s, iwhich imakes a iflexible iand a icustomizable idesign, (archdaily.com, 2018)

Fig.9.10.3.6 Wire Mesh Material , Data Source (Pinterest.com, 2018)

302

Bibliography 10.1 List of Figures

Table of figures 01 Historical Background • • • • • • • • • • • • • • • • • • • • • • • •

Fig 1.1 city location, data source (google maps), illustrated by (authors,2019). Fig 1.2 city location, data source (google maps), illustrated by (authors,2019). Fig 1.3.1 Tall Abu Mandur, data source (http://www.frame.es). Fig 1.3.2 hieroglyphic inscriptions on bricks, data source (googlemaps.com) Fig 1.3.3 the Khabur Canal, data source (http://factsanddetails.com/). Fig 1.3.4 Mamluk trading in Rosetta, data source (googlephotos.com) Fig 1.3.5 Qayitbay fortress, data source (Aufnahme Von Van Berchem) Fig 1.3.6 City of Rosetta, ottoman empire. data source (britishmuseum.org) Fig 1.3.7 Rosetta stone, data source (The British Museum). Fig 1.3.8 Rasheed battle, data source (alwan.elwatannews.com). Fig 1.3.9 British forces in Egypt, data source (mutualart.com). Fig 1.3.10 Muhammed Ali victory, data source (wikiwand.com). Fig 1.3.11 Al-Mahmdiyyah canal , data source (Google photos). Fig 1.4. Rosetta’s Historical Timeline, data source (authors, 2019). Fig 1.5.1. data source (google earth) Fig 1.5.2. data source (google earth) Fig 1.5.3. data source (Authors, 2019) Fig 1.5.4. data source (Authors, 2019) Fig 1.5.5. data source (google earth) Fig 1.5.6. data source (Authors, 2019) Fig 1.5.7. data source (Authors, 2019) Fig 1.5.8. data source (google earth) Fig. 1.6 Rosetta historical buildings being misused. (Ouafa Belgacem, 2006) Fig. 1.7 Rosetta coastal line Map. (Ouafa Belgacem, 2009), (Illustrated by authors, 2019)

02 Urban Analysis • Fig.2.1.1 .Maps showing Rosetta City location and its links with the surroundings, Data Source (El-Raey, Fouda and Gal, 1999), illustrated by (Authors,2019). • Fig.2.1.2 Map showing context of Rosetta city and its links with other cities, Data Source (Google maps, 2019), illustrated by (Authors,2019). • Fig.2.2.1 .Maps showing the urban extension of Rosetta City, Data Source (ElRaey, Fouda and Gal, 1999), illustrated by (Authors,2019). • Fig.2.2.2 Maps gathering all the phases of the city's urban extension, (Authors,2019). • Fig.2.2.3 The Urban structure of Rosetta city “Main 6 Regions”, Data Source (General Organization for Physical Planning, 1990-2010), illustrated by (Authors, 2019). • Fig.2.2.4 The Urban structure of Rosetta city “Heights”, Data Source (General Organization for Physical Planning, 1990-2010), illustrated by (Authors, 2019). • Fig.2.2.5 The Urban structure of Rosetta city “Services”, Data Source (General Organization for Physical Planning, 1990-2010), illustrated by (Authors, 2019). • Fig.2.2.6 Abu Al-Rish gate, (Authors, 2019( • Fig.2.2.8 Slums area, (Authors, 2019). • Fig.2.2.9 Abu Mandour mosque, (Authors, 2019) • Fig.2.3.1 Rosetta’s Urban Fabric Map, Data Source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019). 304

Table of figures 02 Urban Analysis • Fig.2.3.2 Diversity of Urban Patterns (Authors, 2019). • Fig.2.4.1 Rosetta Road Hierarchy map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019). • Fig.2.4.2 Rosetta Road Hierarchy Percentage, (Author, 2019). • Fig.2.4.3 Al-Bahr Al-Aazam Road, Data Source (Google Earth), illustrated by (Authors, 2019). • Fig.2.4.4 Bad conditioned alley, (Authors, 2019). • Fig.2.4.5 Secondary Road, Data Source (Google Earth), illustrated by (Authors, 2019). • Fig.2.4.6 Collector Street, Data source (Google Earth), illustrated by (Authors, 2019). • Fig.2.5.1 Trucks and cars in the main roads, Data Source (Google Earth), illustrated by (Authors, 2019). • Fig.2.5.2 Walkable Alleys, illustrated by (Authors, 2019). • Fig.2.5.3 Cars and small trucks in narrow streets, (Authors, 2019). • Fig.2.5.4 Walkable Alleys, (Authors, 2019) • Fig.2.6.1 Rosetta Solid and Void map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019). • Fig.2.6.2 Rosetta Solid and Void percentage, (Author, 2019( • Fig.2.7.1 Rosetta Land-Use map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019). • Fig.2.7.2 Rosetta Land-Use area percentage, (Author, 2019). • Fig.2.7.3 A residential building (Authors, 2019). • Fig.2.7.4 A mixed-use building (Authors, 2019). • Fig.2.7.5 A commercial building (Hotel), (Authors, 2019). • Fig.2.7.6 Rosetta's museum (Authors, 2019). • Fig.2.7.7 Abou Mandour mosque (Authors, 2019). • Fig.2.7.8 Girl’s High School (Authors, 2019) • Fig.2.7.9 Rosetta’s General Hospital (Authors, 2019). • Fig.2.7.10 A mixed-use building (Authors, 2019). • Fig.2.8.1 Rosetta Building Heights map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019). • Fig.2.8.2 Rosetta building Heights percentage, (Author, 2019). • Fig.2.8.3 Two-Three storey mixed-use building (Authors, 2019). • Fig.2.8.4 Four storey educational building (Authors, 2019). • Fig.2.8.5 Four storey educational building (Authors, 2019). • Fig.2.8.6 Different building heights overlooking the Nile (Authors, 2019). • Fig.2.8.7 6+ storey high commercial buildings (Authors, 2019). • Fig.2.8.8 Different buildings heights overlooking the Nile (Authors, 2019). • Fig.2.8.9 6+ storey high mixed buildings (Authors, 2019). • Fig.2.9.1 Rosetta Building conditions map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019). • Fig.2.9.2 Rosetta building conditions percentage, (Author, 2019). • Fig.2.9.3 A Bad condition commercial building (Authors, 2019). • Fig.2.9.4 A Bad condition mixed use building (Authors, 2019). • Fig.2.9.5 A Bad condition mixed use building (Authors, 2019). • Fig.2.9.6 Rosetta’s hospital moderate condition (Authors, 2019). • Fig.2.9.7 Moderate & Bad cond. buildings (Authors, 2019). • Fig.2.9.8 Moderate condition buildings (Authors, 2019). 305

Table of figures 02 Urban Analysis • • • • • • • • • • • • • • •

• • • • • • • •

Fig.2.9.9 Bank Misr good condition building (Authors, 2019). Fig.2.9.10 A good conditionhistorical house (Authors, 2019). Fig.2.9.11 A bad cond. mixed use building (Authors, 2019). Fig.2.10.1 Rosetta buildings construction map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019). Fig.2.10.2 Rosetta building constructions percentage, (Author, 2019). Fig.2.11.1.1 Rosetta vegetation map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019Fig.2.11.1.2 Rosetta vegetation to urban percentage, (Author, 2019). Fig.2.11.1.3 Rosetta surrounding vegetation, (Author, 2019). Fig 2.11.2.1 Rosetta’s min. and max. temp, Data Source (climate-data.org,2019), illustrated by Authors, (2019Fig 2.11.2.2 Rosetta’s hourly weather/temp, Data Source (weatherspark.com,2019), illustrated by (Authors, 2019). Fig 2.11.2.3 Rosetta’s annual daylight hours, Data Source (weatherspark.com,2019), illustrated by Authors, (2019). Fig 2.11.2.4 Rosetta’s annual cloud covers, Data Source (weatherspark.com,2019), illustrated by (Authors, 2019). Fig 2.11.2.5 Rosetta’s Precipitation, Data Source (weatherspark.com,2019), illustrated by Authors, (2019). Fig 2.11.2.6 Rosetta’s Annual water temperature, Data Source (climatedata.org,2019), illustrated by Authors, (2019). Fig 2.11.2.7 Rosetta’s Annual wind speed, Data Source (weatherspark.com,2019), illustrated by Authors, (2019). Fig 2.11.2.8 Rosetta’s Annual wind direction, Data Source (weatherspark.com,2019), illustrated by Authors, (2019). Fig 2.11.2.9 Rosetta’s Annual Dew points, Data Source (numbeo.com, 2019), illustrated by Authors, (2019). Fig 2.11.2.10 Rosetta’s Annual humidity percentages, Data Source (weatherspark.com,2019), illustrated by Authors, (2019). Fig 2.11.2.11 Rosetta’s Annual rainfall, Data Source (climate-data.org,2019), illustrated by Authors, (2019). Fig 2.11.2.12 Rosetta’s tourism score, Data Source (weatherspark.com,2019), illustrated by Authors, (2019). Fig.2.12.1 Rosetta landmarks map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019). Fig.2.12.2 Arab Kulli house “Museum” (Authors, 2019). Fig.2.12.3 Al-Urabi Mosque (Authors, 2019). Fig.2.12.4 Ramadan House, (Authors, 2019). Fig.2.12.5 Qaitbay Castle (Authors, 2019).

03 Project Selection

• • • • • •

Fig.(3.1.1),Common Problems illustration, (Authors,2019) Fig.(3.1.2), Ship under construction seen in Rosetta, (Authors,2019) Fig.(3.1.3), Palm Trees in Rosetta, (Authors,2019) Fig.(3.1.4), Red Brick Industry seen in Rosetta,(Authors,2019) Fig.(3.1.5), Illegal immigration, (Youth Minister", 2019) Fig.(3.1.6), Sea Level Rise,(Authors, 2019) 306

Table of figures 03 Project Selection • • • •

Fig.(3.1.7), Coast evolution from the 17th to the 20th century, (Belgacem, 2009) Fig.(3.1.8) Photo of Public Transportation in Egypt, (Google, 2019) Fig.(3.1.9), Landmarks around Rosetta,(Authors, 2019) Fig.(3.5.1), Illustration of project main components, (Authors, 2019)

04 Site selection • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Fig.4.1. Site selection criteria, (Authors, 2019). Fig.4.2.1. Sites locations, Data source (Google Earth), illustrated by (Authors, 2019). Fig.4.2.2. Selected sites, Data source (Google Earth), illustrated by (Authors, 2019). Fig.4.2.3. Sea view, (Authors 2019). Fig.4.2.4. Qaitbay Fortress, (Authors 2019). Fig.4.2.5. Abu mandour Mosque, (Authors 2019). Fig.4.2.2.1. Accessibility map, Data source (Google Earth), illustrated by (Authors, 2019). Fig.4.2.2.2. Views & Sensors map, Data source (Google Earth), illustrated by(Authors,2019). Fig.4.3. Site 1 Location map, Data source (Google Earth, 2019),illustrated by(Authors,2019). Fig.4.3.2. Site 1 collage photo, (Authors, 2019). Fig.4.3.1.1. Site 1 Street hierarchy map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019). Fig.4.3.1.2. Site 1 Street hierarchy Percentage (Authors, 2019). Fig.4.3.1.3. Site 1 Street hierarchy map, Main road, (Authors, 2019). Fig.4.3.1.4. Site 1 Street hierarchy map, Secondary road, (Authors, 2019). Fig.4.3.2.1. Site 1 Land use map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019). Fig.4.3.2.2. Site 1 Land-use Percentage (Authors, 2019). Fig.4.3.2.3. Site 1 Land use map, Industry workshops, (Authors, 2019). Fig.4.3.2.4. Site 1 Land use map, Residential, (Authors, 2019). Fig.4.3.3.1. Site 1 Building condition map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019). Fig.4.3.3.2. Site 1 Building condition Percentage (Authors, 2019). Fig.4.3.3.3. Site 1 Buildings condition map, (Authors, 2019). Fig.4.3.3.4. Site 1 Buildings condition map, Moderate cond. (Authors, 2019). Fig.4.3.4.1. Site 1 Building height map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019). Fig.4.3.4.2. Site 1 Building height Percentage (Authors, 2019). Fig.4.3.4.3. Site 1 Buildings condition map, (Authors, 2019). Fig.4.3.4.4. Site 1 Buildings condition map, (Authors, 2019). Fig.4.3.5.1. Site 1 Solid & Void map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019). Fig.4.3.5.2. Site 1 Solid & Void Percentage (Authors, 2019). Fig.4.3.5.3. Site 1 Solid & Void map, (Authors, 2019). Fig.4.3.5.4. Site 1 Solid & Void map, (Authors, 2019). 307

Table of figures 04 Site selection • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

•

Fig.4.3.6. Site 1 SWOT Analysis, (google earth, 2019). Fig.4.4.1. Site 2 Location map, Data source (Google Earth, 2019), illustrated by (Authors, 2019). Fig.4.4.2. Site 2 collage photo, (Authors, 2019). Fig.4.4.1.1. Site 2 Street Hierarchy map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019). Fig.4.4.1.2. Site 2 Street hierarchy Percentage (Authors, 2019). Fig.4.4.1.3. Site 2 Street hierarchy map, Main road, (Authors, 2019). Fig.4.4.1.4. Site 2 Street hierarchy map, Secondary road, (Authors, 2019). Fig.4.4.2.1. Site 2 Land use map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019). Fig.4.4.2.2. Site 2 Land-use Percentage (Authors, 2019). Fig.4.4.2.3. Site 2 Land use map, Residential buildings, (Authors, 2019). Fig.4.4.2.4. Site 2 Land use map, commercial, (Authors, 2019). Fig.4.4.2.5. Site 2 Land use map, commercial, (Authors, 2019). Fig.4.4.3.1. Site 2 Buildings Condition map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019). Fig.4.4.3.2. Site 2 Buildings condition Percentage (Authors, 2019). Fig.4.4.3.3. Site 2 Buildings Condition map, Moderate cond., (Authors, 2019). Fig.4.4.3.4. Site 2 Buildings Condition map, Good cond., (Authors, 2019). Fig.4.4.3.5. Site 2 Buildings Condition map, Poor cond., (Authors, 2019). Fig.4.4.4.1. Site 2 Buildings Height map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019). Fig.4.4.4.2. Site 2 Buildings height Percentage (Authors, 2019). Fig.4.4.4.3. Site 2 Buildings Height map, (Authors, 2019). Fig.4.4.4.4. Site 2 Buildings Height map, (Authors, 2019). Fig.4.4.5.1. Site 2 Solid & Void map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019). Fig.4.4.5.2. Site 2 Solid & Void Percentage (Authors, 2019). Fig.4.4.5.3. Site 2 Solid & Void map, (Authors, 2019). Fig.4.4.5.4. Site 2 Solid & Void map, (Authors, 2019). Fig.4.4.6. Site 2 SWOT Analysis, (google earth, 2019 Fig.4.5.1. Site 3 Location map, Data source (Google Earth, 2019), illustrated by (Authors, 2019). Fig.4.5.2. Site 3 collage photo, (Authors, 2019). Fig.4.5.1.1. Site 3 Street hierarchy map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019). Fig.4.5.1.2. Site 3 Street hierarchy Percentage (Authors, 2019). Fig.4.5.1.3. Site 3 Street Hierarchy map, Main road, (Authors, 2019). Fig.4.5.1.4. Site 3 Street Hierarchy map, Secondary road, (Authors, 2019). Fig.4.5.2.1. Site 3 Land-use map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019). Fig.4.5.2.2. Site 3 Land-use Percentage (Authors, 2019). Fig.4.5.2.3. Site 3 Land-use map, Green area, (Authors, 2019). Fig.4.5.2.3. Site 3 Land-use map, Green area, (Authors, 2019). Fig.4.5.2.4. Site 3 Land-use map, Religion, (Authors, 2019). Fig.4.5.3.1. Site 3 Buildings Condition map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019). Fig.4.5.3.2. Site 3 Buildings condition Percentage (Authors, 2019). 308

Table of figures 04 Site selection • • • • • • • • • • • • •

Fig.4.5.3.3. Site 3 Buildings Condition map, Poor cond., (Authors, 2019). Fig.4.5.3.4. Site 3 Buildings Condition map, Poor cond., (Authors, 2019). Fig.4.5.4.1. Site 3 Buildings Height map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019). Fig.4.5.4.2. Site 3 Buildings height Percentage (Authors, 2019). Fig.4.5.4.3. Site 3 Buildings Height map, (Authors, 2019). Fig.4.5.4.4. Site 3 Buildings Height map, (Authors, 2019). Fig.4.5.5.1. Site 3 Solid & Void map, Data source (General Organization for Physical Planning, 2016), illustrated by (Authors, 2019). Fig.4.5.5.2. Site 3 Solid & Void Percentage (Authors, 2019). Fig.4.5.5.3. Site 3 Solid & Void 3Dillustrated by (Authors, 2019). Fig.4.5.5.4. Site 3 Solid & Void 3Dillustrated by (Authors, 2019). Fig.4.4.6. Site 3 SWOT Analysis, (google earth, 2019). Fig.4.6.1. Location of selected sites map, Data source (Google Earth, 2019), illustrated by (Authors, 2019). Fig.4.6.2. , (Authors, 2019).

05 Design issues • Fig. 5.1.1: Security precautions, Data Source (Pinterest, 2017), illustrated by (Authors,2019) • Fig. 5.1.2: Minimum security area, Data source (Devin Gannon, 2018), Theodore Roosevelt Park, United States of America • Fig. 5.1.3: Minimum security area, Data source (Hall,2015), Cathedral square, Netherlands • Fig. 5.1.4: Security guard in Metropolitan Museum of Art, Data source (Unmasking The Unspoken Heroes Of New York’s Art Museums And Galleries article, 2017), illustrated by (Authors,2019). • Fig. 5.1.5: Laser detectors in Kunsthistorisches Museum in Vienna, Data source(SICK Sensor Intelligence, 2013), Illustrated by (Authors, 2019) • Fig. 5.2.1: Physical Hazard illustrated by (Authors,2019). • Fig. 5.2.2: Chemical Hazard illustrated by (Authors,2019). • Fig. 5.2.3: Safety Requirements illustrated by (Authors,2019). • Fig. 5.2.4: Safety Requirements (Earthquake natural hazard And Flooding Risk) illustrated by (Authors,2019). • Fig. 5.2.5: Safety Requirements illustrated by (Authors,2019). • Fig. 5.3.1: Sketches showing paths of circulation, illustrated by (Authors, 2019) • Fig. 5.3.2: Travelators, Data Source (Archdaily, 2019), illustrated by (Authors, 2019) • Fig. 5.3.3 Horizontal Circulation emphasizing the Main Entrance, Data Source (archdaily.com, 2018), Illustrated by (Authors,2019) • Fig. 5.3.4: Elevators, Data Source (Archdaily, 2019), illustrated by (Authors, 2019) • Fig. 5.3.5: Escalators, Data Source (Archdaily, 2019), illustrated by (Authors, 2019) • Fig. 5.3.6: Guggenheim Museum Circulation, Data Source (Archdaily, 2019), illustrated by (Authors, 2019) • Fig. 5.3.7: MAXXI museum, Data Source (pinterest.com,2016) ,illustrated by (Authors, 2019) 309

Table of figures 05 Design issues • Fig. 5.3.8: MAXXI museum, illustrated by (Authors, 2019) • Fig. 5.3.9 Horizontal circulation inside Etihad Museum, Data Source (asiae.com,2016), Illustrated by (Authors,2019) • Fig. 5.3.10 Horizontal and vertical circulation in Etihad Museum, Data Source (tribe-vibe.net,2017) • Fig. 5.4.1: Sketches showing adaptability, illustrated by (Authors, 2019) • Fig. 5.4.2: Sketches showing Movability, illustrated by (Authors, 2019) • Fig. 5.4.3: Sketches showing transformability, illustrated by (Authors, 2019) • Fig. 5.4.4: Sketches showing responsiveness, illustrated by (Authors, 2019) • Fig. 5.4.5 Puma global port, Data Source (Archdaily, 2019), illustrated by (Authors, 2019). • Fig. 5.4.6 Sketches showing adaptability and flexibility, illustrated by (Authors, 2019). • Fig. 5.5.1. Cooperation, illustrated by (Authors, 2019) • Fig. 5.5.2. Social Exchange, illustrated by (Authors, 2019) • Fig. 5.5.3. Competition, illustrated by (Authors, 2019) • Fig. 5.5.4: Conflict Diagram, illustrated by (Authors, 2019) • Fig.5.5.5 Outdoor interactions, Data Source (urbanarchhow.com, 2015), Illustrated by (Authors, 2019) • Fig. 5.6.1: Maintenance Activities Illustrated by (Authors,2019) • Fig. 5.7.1: Life Cycle cost analysis (Pinterest, 2018) • Fig. 5.7.2: Durability diagram ,(Pinterest, 2017) • Fig. 5.7.3: Titanium Cladding, (Authors, 2019) • Fig. 5.7.4: Guggenheim museum, Data Source(images.adsttc.com, 2016), Illustrated by (Authors, 2019) • Fig. 5.8.1: The building is more like a boat from underneath recalling Bilbao port’s past industrial life The Guggenheim Museum Bilbao, (Gehry Partners, 1997) • Fig.5.9.1:Sketch showing ways of energy Efficiency, by (Authors,2019). • Fig.5.10.1 Colors mood, Data source (Oliver,2013). • Fig.5.10.2: Sketch showing how lighting affects the user, illustrated by (Authors, 2019). • Fig.5.10.3: Sketch showing how elements affect the user, illustrated by (Authors, 2019). • Fig.5.10.4: Sketch showing how ceilings affect the user, illustrated by (Authors, 2019). • Fig.5.10.5: Types of materials, illustrated by (Authors, 2019). • Fig.5.10.6: Sketch showing how ceilings affect the user, illustrated by (Authors, 2019). • Fig.5.10.7: Tunis Village, illustrated by (Authors, 2019) • Fig.5.10.8: Tunis Village, illustrated by (Authors, 2019) • Fig. 5.11.1: Image geometry, Data source (Authors,2019) • Fig. 5.11.2: Fluid geometry appears in the elevation of Heydar Aliyev Center, (Zaha Hadid,2012) • Fig. 5.11.3: Rectangular geometry appears in the elevation of Falling Water building, (Frank Lloyd Wright,1935) • Fig. 5.11.4: Pattern geometry appears in the elevation of Al Bahr Towers, (diarconsult.com,2012), illustrated by (A Authors) • Fig. 5.11.5: Classic geometry appears in the elevation of Versailles palace, (André Le Nôtre & Louis Le Vau, 18th century) 310

Table of figures 05 Design issues • Fig. 5.12.1: Layering Data source (darkwing.uoregon.edu, 1994) • Fig. 5.12.2: Zoning of Siwa center, Data source (pinterest.com, 2017) 06 Case Study • 6.1. Singapore Indian Heritage Centre • Fig.6.1.1 Night shot of the main façade showing its different colors, Data Source (The plan.it, 2017) • Fig.6.1.2 Perspective Night shot, Data Source (The plan.it, 2017) • Fig.6.1.3 Perspective Day shot, Data Source (The plan.it, 2017) • Fig.6.1.4 The main façade showing the concept idea, Data Source (urbanarchhow.com, 2015) • Fig.6.1.5 The main façade showing the concept idea, Data Source (urbanarchhow.com, 2015), Illustrated by (Authors, 2019) • Fig.6.1.6 The Baoli step well reflecting the concept idea, Data Source (The plan.it, 2017), Illustrated by (Authors, 2019) • Fig.6.1.7 Layout showing the compacted site, Data Source (The plan.it, 2017), Illustrated by (Authors, 2019) • Fig.6.1.8 Layout showing the compacted site, Data Source (The plan.it, 2017), Illustrated by (Authors, 2019) • Fig.6.1.9 Ground floor plan of the building, Data Source (The plan.it, 2017), Illustrated by (Authors, 2019) • Fig.6.1.10 First Floor plan of the building, Data Source (The plan.it, 2017), Illustrated by (Authors, 2019) • Fig.6.1.11 Fourth Floor Plan of the building, Data Source (The plan.it, 2017), Illustrated by (Authors, 2019) • Fig.6.1.12 Green Roof of the building, Data Source (The plan.it, 2017), Illustrated by (Authors, 2019) • Fig.6.1.13 Cross section showing main zones of building, Data Source (The plan.it, 2017), Illustrated by (Authors, 2019) • Fig.6.1.14 Cross Section in Green Roof, Data Source (urbanarchhow.com, 2015) • Fig.6.1.15 Vertical Circulation, Data Source (urbanarchhow.com, 2015) • Fig.6.1.16 Galleries shot, Data Source (urbanarchhow.com, 2015) • Fig.6.1.17 Ground Floor, Data Source (urbanarchhow.com, 2015) • Fig.6.1.18 Section B-B, Data Source (The plan.it, 2017) • Fig.6.1.19 Galleries shot, Data Source (The plan.it, 2017) • Fig.6.1.20 Main entrance showing material, Data Source (The plan.it, 2017) • Fig.6.1.21 Nighttime façade showing material, Data Source (The plan.it, 2017) • Fig.6.1.22 Nighttime façade showing material, Data Source (The plan.it, 2017) • Fig.6.1.23 Vertical circulation among galleries, Data Source (urbanarchhow.com, 2015) • Fig.6.1.24 Horizontal circulation among galleries, Data Source (urbanarchhow.com, 2015), Illustrated by (Authors, 2019) • Fig.6.1.25 Section showing different circulation, Data Source (The plan.it, 2017), Illustrated by (Authors, 2019) • Fig.6.1.26 Outdoor interactions • Data Source (urbanarchhow.com, 2015), Illustrated by (Authors, 2019) 311

Table of figures 06 Case Study • Fig.6.1.27 Indoor interactions, Data Source (urbanarchhow.com, 2015), Illustrated by (Authors, 2019) • Fig.6.1.28 Indoor interactions, Data Source (urbanarchhow.com, 2015), Illustrated by (Authors, 2019) • Fig.6.1.29 Indoor interactions, Data Source (urbanarchhow.com, 2015), Illustrated by (Authors, 2019) • Fig.6.1.30 Outdoor interactions, Data Source (urbanarchhow.com, 2015), Illustrated by (Authors, 2019) Fig.6.1.31 Section B-B Showing flexibility among galleries, Data Source (The plan.it, 2017), Illustrated by (Authors, 2019) • Fig.6.1.32 Outdoor flexible zone, Data Source (urbanarchhow.com, 2015), Illustrated by (Authors, 2019) • Fig.6.1.33 Indoor flexible areas with exhibition zones, Data Source (urbanarchhow.com, 2015) 6.2 The King Abdulaziz Centre for World Culture

• Fig.6.2.1 Exterior Façade of KACWC, Data Source (ithra.com, 2018) • Fig.6.2.2 Conceptual sketches, Data Source (saudiaramco.com, 2018), Illustrated by (Authors,2019) • Fig.6.2.3 Conceptual sketches, Data Source (saudiaramco.com, 2018), Illustrated by (Authors,2019) • Fig.6.2.4 3D Section of KACWC showing the prosperity well under the highest mass of the project -Knowledge Tower-, Data Source (ithra.com, 2018), Illustrated by (Authors,2019) • Fig.6.2.5 Zoning Layout for KACWC , Data Source (ithra.com, 2018), Illustrated by (Authors,2019) • Fig.6.2.6 Floor Plan of KACWC , Data Source (pinterest.com, 2018), Illustrated by (Authors,2019) • Fig.6.2.7 Floor Plan of KACWC , Data Source (pinterest.com, 2018), Illustrated by (Authors,2019) • Fig.6.2.8 Elevation Analysis Diagram, Data Source (saudiaramco.com, 2018), Illustrated by (Authors,2019) • Fig.6.2.9 Library Shot, Data Source (riyadhconnect.com, 2013) • Fig.6.2.10 Library Shot, Data Source (riyadhconnect.com, 2013) • Fig.6.2.11 Elevation Analysis Diagram, Data Source (saudiaramco.com, 2018), Illustrated by (Authors,2019) • Fig.6.2.12 KACWC during construction phase, Data Source (ithra.com, 2014), Illustrated by (Authors,2019) • Fig.6.2.13 Materials’ details for the Façade of KACWC • Fig.6.2.14 Conceptual sketches showing outer cladding extended view, Data Source (burohappold.com, 2008), Illustrated by (Authors,2019) • Fig.6.2.15 Vertical Circulation inside the library, Data Source (archdaily.com, 2018), illustrated by (Authors,2019) • Fig.6.2.16 Horizontal Circulation emphasizing the Main Entrance, Data Source (archdaily.com, 2018), illustrated by (Authors,2019) • Fig.6.2.17 Interactive screens, Data Source (saudiaramco.com, 2018), Illustrated by (Authors,2019) 312

Table of figures 06 Case Study • Fig.6.2.18 Interactive screens, Data Source (saudiaramco.com, 2018), Illustrated by (Authors,2019) • Fig.6.2.19 Multimedia Theatre, Data Source (riyadhconnect.com, 2013), illustrated by (Authors,2019) • Fig.6.2.20 Interactive screens, Data Source (riyadhconnect.com, 2013), illustrated by (Authors,2019) • Fig.6.2.21 KACWC Sketch showing the 5 Pebbles, Data Source (arrajol.com, 2018), Illustrated by (Authors,2019) • Fig.6.2.22 Natural Lighting, Data Source (arch2o.com, 2018), Illustrated by (Authors,2019) • Fig.6.2.23 Natural lighting and steam water feature, Data Source (designboom.com, 2018) • Fig.6.2.24 Bent stainless steel, Data Source (burohappold.com, 2018) • Fig.6.2.25 Artificial lighting inside the museum, Data Source (archdaily.com, 2018), Illustrated by (Authors,2019) • Fig.6.2.26 Natural lighting inside the building, Data Source (archdaily.com, 2018), Illustrated by (Authors,2019) • Fig.6.2.27 The Remarkable KACWC, Data Source (saudiaramco.com, 2018), Illustrated by (Authors,2019) 6.3 The Aga Khan Museum • Fig.6.3.1 Night shot of the main façade of the Main Entrance, Data Source (img.buffalonews.com,2017) • Fig.6.3.2 Day Shot of the main façade of the Main Entrance, Data Source (miro.medium.com,2017) • Fig.6.3.3 Agha Khan Museum Exterior Shot, (Maki, 2018) • Fig.6.3.4 Agha Khan Museum • ("Fumihiko Maki & Associates | Moriyama & Teshima Architects | - Aga Khan Museum EN | The Plan", 2019 • Fig.6.3.5 Layout of Agha Khan Museum (Maki, 2018), (Authors,2019) • Fig.6.3.6 Ground Floor Plan of Agha Khan Museum (Maki, 2018), (Authors,2019) • Fig.6.3.7 First Floor Plan of Agha Khan Museum (Maki, 2018), (Authors,2019) • Fig.6.3.8 Section through Aga Khan Museum, (Maki, 2018) • Fig.6.3.9 Section through the Auditorium, (Maki, 2018) • Fig.6.3.10 Computer model of the Aga Khan Museum Auditorium, demonstrating the volume of the space. (Maki, 2018) • Fig.6.3.11 Agha Khan Museum, (Otte, 2019) • Fig.6.3.12 Agha Khan Museum, (Otte, 2019) • Fig.6.3.13 Agha Khan Museum, (Otte, 2019) • Fig.6.3.14 Vertical and Horizontal Circulation (Maki, 2018), Edited by (Authors, 2019) • Fig.6.3.15 Glazed walls in the courtyard of Agha Khan Museum, (Maki, 2018) • Fig.6.3.16 Reflection of the patterned glass from the inside of the Museum, (Maki, 2018) • Fig.6.3.17 Exhibition Galleries inside the Museum (Norsworthy, 2019). • Fig.6.3.18 Courtyard Flooring reflecting the Islamic Concept (Norsworthy, 2019). • Fig.6.3.19 Courtyard Flooring reflecting the Islamic Concept (Norsworthy, 2019). • Fig.6.3.20 Angles of the Museum façade (Otte, 2019), Edited by (Authors,2019) 313

Table of figures 06 Case Study • Fig.6.3.21Angles of the Museum facade(Maki, 2018), Edited by (Authors,2019) • Fig.6.3.22 Agha Khan Museum Night Shot showing the Impressive Image of the building (Maki, 2018) 6.4 Palestine Museum • 6.4.1 Perspective of exterior showing the building design with terrain, Data Source (archdaily.com, 2017), Illustrated by (Authors, 2019) • Fig.6.4.2 Agha Khan Museum Night Shot showing the Impressive Image of the building (Maki, 2018) • Fig.6.4.3 Exterior of the building showing the agricultural terraces and zigzag paths, Data Source (archdaily.com, 2017), Illustrated by (Authors, 2019) • Fig.6.4.4 Exterior of the building showing the agricultural terraces and the triangular grid, Data Source (archdaily.com, 2017), Illustrated by (Authors, 2019) • Fig.6.4.5 Layout showing the land terrain challenges, Data Source (archdaily.com, 2017), Illustrated by (Authors, 2019) • Fig.6.4.6 Layout showing zigzag paths, Data Source (archdaily.com, 2017), Illustrated by (Authors, 2019) • Fig.6.4.7 Ground floor plan zoning, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019) • Fig.6.4.8 First floor plan zoning, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019) • Fig.6.4.9 Main section zoning showing different levels of plan, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019) • Fig.6.4.10 Main elevation showing solid and glazed areas in façade, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019) • Fig.6.4.11 Main elevation showing limestone façade, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019) • Fig.6.4.12 Main elevation showing louvers metal fins, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019) • Fig.6.4.13 Layout showing agricultural terraces, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019) • Fig.6.4.14 Layout showing the masses of the building, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019) • Fig.6.4.15 Layout showing solid and void surrounding the building, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019) • Fig.6.4.16 Layout showing urban context, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019)

314

Table of figures 06 Case Study • Fig.6.4.16 Layout showing urban context, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019) • Fig.6.4.15 Layout showing solid and void surrounding the building, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019) • Fig.6.4.16 Layout showing urban context, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019) • Fig.6.4.17 Layout showing the external circulation, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019). • Fig.6.4.18 Layout showing the external circulation, Data Source (.net, 2018), Illustrated by (Authourbannextrs, 2019). • Fig.6.4.19 Layout showing visibility of the building due to land terrain, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019). 6.4 Palestine Museum • Fig.6.4.20 Layout showing the interactive outdoor spaces, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019) • Fig.6.4.21 Layout showing the interactive outdoor plaza, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019) • Fig.6.4.22 Elevation showing the metal fins, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019). • Fig.6.4.23 Agricultural lands surrounding the building, Data Source (urbannext.net, 2018), Illustrated by (Authors, 2019). 6.5 The Grand Egyptian Museum • Fig.6.5.1 3d shot showing the building elevation, Data Source (Egypttoursplus.com, 2018). • Fig.6.5.2 Layout showing the concept idea, Data Source (gem.gov.eg, 2018) • Fig.6.5.3 Concept showing Relation between museum and pyramids , Data Source (gem.gov.eg, 2018), Edited by (Authors 2019) • Fig.6.5.4 Layout showing the site challenges, Data Source (gem.gov.eg, 2018). • Fig.6.5.5 Layout showing the concept idea, Data Source (gem.gov.eg, 2018). • Fig.6.5.6 Main section, Data Source (The grand Egyptian museum consultancy ), edited by (Authors 2019). • Fig.6.5.7 Main north elevation, Data Source (The grand Egyptian museum consultancy ), edited by (Authors 2019). • Fig.6.5.8 Main elevation, Data Source (gem.gov.eg, 2018), edited by (Authors 2019). • Fig.6.5.9 Main elevation, Data Source (gem.gov.eg, 2018), edited by (Authors 2019). • Fig.6.5.10 Solid and void, Data Source (gem.gov.eg, 2018), Edited by (Authors 2019) • Fig.6.5.11 Street accessibility , Data Source (gem.gov.eg, 2018), Edited by (Authors 2019) • Fig.6.5.12 Landscape strips, Data Source (gem.gov.eg, 2018), Edited by (Authors 2019) • Fig.6.5.13 Layout analysis, Data Source (gem.gov.eg, 2018). 315

Table of figures 06 Case Study • Fig.6.5.14 Layout analysis, Data Source (gem.gov.eg, 2018). • Fig.6.5.15 Open gallery space showing internal circulation, Data Source (Authors 2019). • Fig.6.5.16 Internal huge stair gallery showing interaction within circulation, Data Source (gem.gov.eg, 2018), edited by (Authors 2019) • Fig.6.5.17 Interactive open space, Data Source (gem.gov.eg, 2018), edited by (Authors 2019) • Fig.6.5.18 Interactive open space near main entrance, Data Source (gem.gov.eg, 2018), edited by (Authors 2019) • Fig.6.5.19 Artificial and natural light, Data Source (gem.gov.eg, 2018), Edited by (Authors 2019). 6.4 Palestine Museum • Fig.6.5.20 Glazed window, Data Source (Authors 2019). • Fig.6.5.21 Open space showing sky light and natural openings, Data Source (gem.gov.eg, 2018), Edited by Authors 2019 • Fig.6.5.22 Conservation labs secured, Data Source (gem.gov.eg, 2018), Edited by (Authors 2019) • Fig.6.5.23 Conservation labs work, Data Source (gem.gov.eg, 2018), Edited by (Authors 2019) 6. Etihad Museum • Fig.6.6.1 Exterior Façade of Etihad Museum, Data Source (archdaily.com, 2017) • Fig.6.6.2 Conceptual Sketches showing the concept, Data Source (archdaily.com, 2017), Illustrated by (Authors,2019) • Fig.6.6.4 Digging around Etihad House during construction, Data Source (nsccme.com, 2014) • Fig.6.6.5 Layout of Etihad Museum, Guest House, and Union House, Data Source (archdaily.com,2017), Illustrated by (Authors,2019) • Fig.6.6.6 Staircase leading to the underground floor, Data Source (tribevibe.net,2017), Illustrated by (Authors,2019) • Fig.6.6.7 Staircase leading to the underground floor, Data Source (tribevibe.net,2017), Illustrated by (Authors,2019) • Fig.6.6.8 Plan of Etihad Museum, Data Source (archdaily.com,2017), Illustrated by (Authors,2019) • Fig.6.6.9 Exhibition zone in Etihad Museum, Data Source (archdaily.com,2017), Illustrated by (Authors,2019) • Fig.6.6.10 Interactive Staircase in Etihad Museum, Data Source (archdaily.com,2017), Illustrated by (Authors,2019) • Fig.6.6.11 Cross Section in Etihad Museum, Data Source (archdaily.com,2017), Illustrated by (Authors,2019) • Fig.6.6.12 Etihad Museum, Data Source (arch2o.com,2016), Illustrated by (Authors,2019) • Fig.6.6.13 Info Desk in Ground Level, Data Source (tribe-vibe.net,2017) • Fig.6.6.15 Longitudinal Section passing by the Etihad Museum and the Union House and the Underground Level, Data Source (archdaily.com,2017), Illustrated by (Authors,2019) 316

Table of figures 06 Case Study • Fig.6.6.16 Union House, Data Source (khaleejtimes.com,2017), Illustrated by (Authors,2019) • Fig.6.6.17 Amphitheatre inside Etihad Museum, Data Source (asi-ae.com,2016), Illustrated by (Authors,2019) • Fig.6.6.18 Horizontal Circulation leading to the Main Entrance, Data Source (arch2o.com,2016), Illustrated by (Authors,2019) • Fig.6.6.19 Horizontal circulation inside Etihad Museum, Data Source (asiae.com,2016), Illustrated by (Authors,2019) • Fig.6.6.20 Vertical circulation showing the Unique Staircase inside Etihad Museum, Data Source (arch2o.com,2016), Illustrated by (Authors,2019) • Fig.6.6.21 The Founders Exhibition Section and the Interactive Screens telling information about their lives’ , Data Source (etihadmuseum.dubaiculture.gov.ae,2016), Illustrated by (Authors,2019) • Fig.6.6.22 Dreams of Unity Section which takes the guests into a journey towards the past for the story of unification through music and special filming techniques, Data Source (etihadmuseum.dubaiculture.gov.ae,2016) • Fig.6.6.23 Panoramic Interactive Map showing the pre-unification time with different videos and audios , Data Source (etihadmuseum.dubaiculture.gov.ae,2016), Illustrated by (Authors,2019) • Fig.6.6.24 Change and Unification Section containing 7 cubes each with different Theme concept-photos and text-interact with a screen, Data Source (etihadmuseum.dubaiculture.gov.ae,2016) • Fig.6.6.25 Unifying the Emirates , Data Source (etihadmuseum.dubaiculture.gov.ae,2016), Illustrated by (Authors,2019) • Fig.6.6.26 Road of Unification interactive touch screen, Data Source (etihadmuseum.dubaiculture.gov.ae,2016), Illustrated by (Authors,2019) • Fig.6.6.27 The Library in the museum contains more than 3,000 book in addition to collection of CDs and booklets for the history of the country, Data Source (etihadmuseum.dubaiculture.gov.ae,2016), illustrated by (Authors,2019) • Fig.6.6.28 Immense sculpture which displays the preamble of the Constitution of the United Arab Emirates and located in the right side of the main entrance, Data Source (etihadmuseum.dubaiculture.gov.ae,2016), illustrated by (Authors,2019) • Fig.6.6.29 Road to Unification hall that is unique with this golden wall that contains words that led to the Unification , Data Source (etihadmuseum.dubaiculture.gov.ae,2016), illustrated by (Authors,2019) • Fig.6.6.30 Cafeteria in the underground level and the source of natural light is one of the two courts, Data Source (etihadmuseum.dubaiculture.gov.ae,2016), illustrated by (Authors,2019) • Fig.6.6.31 The use of light colours-White Marble- and use of natural lighting, Data Source (archdaily.com,2017), illustrated by (Authors,2019) • Fig.6.6.32 Human scale with respect to the building in one of the two sunken courts, Data Source (archdaily.com,2017), illustrated by (Authors,2019) • Fig.6.6.33 The Remarkable Etihad Museum in a catchy Night shot, Data Source (saudiaramco.com, 2018), Illustrated by (Authors,2019)

317

Table of figures 06 Case Study • Fig.6.6.21 The Founders Exhibition Section and the Interactive Screens telling information about their lives’ , Data Source (etihadmuseum.dubaiculture.gov.ae,2016), Illustrated by (Authors,2019) • Fig.6.6.22 Dreams of Unity Section which takes the guests into a journey towards the past for the story of unification through music and special filming techniques, Data Source (etihadmuseum.dubaiculture.gov.ae,2016) • Fig.6.6.23 Panoramic Interactive Map showing the pre-unification time with different videos and audios , Data Source (etihadmuseum.dubaiculture.gov.ae,2016), Illustrated by (Authors,2019) • Fig.6.6.24 Change and Unification Section containing 7 cubes each with different Theme concept-photos and text-interact with a screen, Data Source (etihadmuseum.dubaiculture.gov.ae,2016) • Fig.6.6.25 Unifying the Emirates , Data Source (etihadmuseum.dubaiculture.gov.ae,2016), Illustrated by (Authors,2019) • Fig.6.6.26 Road of Unification interactive touch screen, Data Source (etihadmuseum.dubaiculture.gov.ae,2016), Illustrated by (Authors,2019) • Fig.6.6.27 The Library in the museum contains more than 3,000 book in addition to collection of CDs and booklets for the history of the country, Data Source (etihadmuseum.dubaiculture.gov.ae,2016), illustrated by (Authors,2019) • Fig.6.6.28 Immense sculpture which displays the preamble of the Constitution of the United Arab Emirates and located in the right side of the main entrance, Data Source (etihadmuseum.dubaiculture.gov.ae,2016), illustrated by (Authors,2019) • Fig.6.6.29 Road to Unification hall that is unique with this golden wall that contains words that led to the Unification , Data Source (etihadmuseum.dubaiculture.gov.ae,2016), illustrated by (Authors,2019) • Fig.6.6.30 Cafeteria in the underground level and the source of natural light is one of the two courts, Data Source (etihadmuseum.dubaiculture.gov.ae,2016), illustrated by (Authors,2019) • Fig.6.6.31 The use of light colours-White Marble- and use of natural lighting, Data Source (archdaily.com,2017), illustrated by (Authors,2019) • Fig.6.6.32 Human scale with respect to the building in one of the two sunken courts, Data Source (archdaily.com,2017), illustrated by (Authors,2019) • Fig.6.6.33 The Remarkable Etihad Museum in a catchy Night shot, Data Source (saudiaramco.com, 2018), Illustrated by (Authors,2019) 07 Design Requirements • Fig. 7.2.1: division of space using modular desks.(Neufert,n.d) (Authors,2019) • Fig. 7.2.2: individual office within a combined office .(Neufert,n.d) (Authors,2019) • Fig. 7.2.3: normal/maximum dimensions of single/group office (Neufert,n.d) (Authors,2019) • Fig. 7.2.4: example of ideal workstations (Neufert,n.d) (Authors,2019) • Fig. 7.2.5: layout of a small room in a combined office(Neufert,n.d) (Authors,2019) • Fig. 7.2.6: minimum dimensions for two-person office (Neufert,n.d) (Authors,2019) • Fig. 7.2.7: office desks (Neufert,n.d) (Authors,2019) • Fig. 7.2.8: computer desk (Neufert,n.d) (Authors,2019) 318

Table of figures 07 Design Requirements • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Fig. 7.2.9: tables (Neufert,n.d) (Authors,2019) Fig. 7.2.10: swivel chair types (Neufert,n.d) (Authors,2019) Fig. 7.2.11: cabinets (Neufert,n.d) (Authors,2019) Fig. 7.2.12: filing cabinets (Neufert,n.d) (Authors,2019) Fig. 7.2.13: cabinets systems (Neufert,n.d) (Authors,2019) Fig. 7.2.14: total requirement area (Neufert,n.d) (Authors,2019) Fig. 7.2.15: circulation/furniture areas for various filing systems (Neufert,n.d) (Authors,2019) Fig. 7.2.16: continuous tables with trolley and section (Neufert,n.d) (Authors,2019) Fig. 7.2.17: continuous tables with trolley and section (Neufert , n.d) (Authors,2019) Fig. 7.2.18: leg space (Neufert,n.d) (Authors,2019) Fig. 7.2.19: vertical and horizontal field of vision (Neufert , n.d) (Authors,2019) Fig. 7.2.20: preferred and permitted area of reach (Neufert , n.d) (Authors,2019) Fig. 7.2.21: circulation diagram (Neufert,n.d) (Authors,2019) Fig. 7.2.22: install lighting so that angles of incidence correspond with natural light(Neufert,n.d) (Authors,2019) Fig. 7.2.23: typical cross-section for museum of natural history (Neufert,n.d) (Authors,2019) Fig. 7.2.24: gallery passage, lit from one side , lower part with indirect lighting (Neufert,n.d) (Authors,2019) Fig. 7.2.25: painting store with sliding steel mesh frames available for study(Neufert,n.d) (Authors,2019) Fig. 7.2.26: exhibition room with folding screens allow variety of room arrangements (Neufert,n.d) (Authors,2019) Fig. 7.2.27: exhibition room with folding screens allow variety of room arrangements (Neufert,n.d) (Authors,2019) Fig. 7.2.28: ideal uniform lighting from both sides (Neufert,n.d) (Authors,2019) Fig. 7.2.29: field of vision: height/size and distance (Neufert,n.d) (Authors,2019) Fig. 7.2.30: field of vision: height/size and distance (Neufert,n.d) (Authors,2019) Fig. 7.2.31: lab for teaching and practical's (Neufert,n.d) (Authors,2019) Fig. 7.2.32: laboratory equipment's (Neufert,n.d) (Authors,2019) Fig. 7.2.33: arrangement of wallk-in ducts (Neufert,n.d) (Authors,2019) Fig. 7.2.34: minimum passage width between workstations (Neufert,n.d) (Authors,2019) Fig. 7.2.35: research lab (Neufert,n.d) (Authors,2019) Fig. 7.2.36: research lab workbench (Neufert,n.d) (Authors,2019) Fig. 7.2.37: digestors (fume cupboards) (Neufert,n.d) (Authors,2019) Fig. 7.2.38: placement of measuring and weighting rooms (Neufert,n.d) (Authors,2019) Fig. 7.2.39: part of plan of cancer research centre in Heidelberg showing zones and internal area (Neufert,n.d) (Authors,2019) Fig. 7.2.40: production sequence (Neufert,n.d) (Authors,2019) Fig. 7.2.41: example company and section (Neufert,n.d) (Authors,2019) Fig. 7.2.42: example company and section (Neufert,n.d) (Authors,2019) Fig. 7.2.43: relationships between spaces and circulation (Neufert,n.d) (Authors,2019)

• 319

Table of figures 07 Design Requirements • Fig. 7.2.44: workshop with work sequenc (Neufert,n.d) (Authors,2019) • Fig. 7.2.45: sketch of workshop with work sequence (Neufert,n.d) (Authors,2019) • Fig. 7.2.46: example of a wood turner shop (Neufert,n.d) (Authors,2019) • Fig. 7.2.47: tables/seating plans (Neufert,n.d) (Authors,2019) • Fig. 7.2.48: space requirement for server and diner (Neufert,n.d) (Authors,2019) • Fig. 7.2.49: functional layout for a small restaurant (Neufert,n.d) (Authors,2019) • Fig. 7.2.50: parallel table arrangement (Neufert,n.d) (Authors,2019) • Fig. 7.2.51 : floor area requirement (Neufert,n.d) (Authors,2019) • Fig. 7.2.52: toilet facilities (Neufert,n.d) (Authors,2019) • Fig. 7.2.53: walkway widths (Neufert,n.d) (Authors,2019) • Fig. 7.2.54: traditional restaurant: 110 seats (Neufert,n.d) (Authors,2019) • Fig. 7.2.55: snack-bar (Neufert,n.d) (Authors,2019) Fig. 7.2.56: café restaurant (Neufert,n.d) (Authors,2019) • Fig. 7.2.56: café restaurant (Neufert,n.d) (Authors,2019) • Fig. 7.2.57: restaurant kitchen in large hotel (Neufert,n.d) (Authors,2019) • Fig. 7.2.58:vegetable and meat preparation (Neufert,n.d) (Authors,2019) • Fig. 7.2.59: restaurant kitchen- organisation (Neufert,n.d) (Authors,2019) • Fig. 7.2.60: restaurant kitchen- function (Neufert,n.d) (Authors,2019) • Fig. 7.2.61: kitchen areas- space requirement (m^2 /seat) (Neufert,n.d) (Authors,2019) • Fig. 7.2.62: basis for dimensions and space requirements (Neufert,n.d) (Authors,2019) • Fig. 7.2.63: kitchen area-classification relationships (Neufert,n.d) (Authors,2019) • Fig. 7.2.64: basic organization of kitchen (Neufert,n.d) (Authors,2019) • Fig. 7.2.65: kitchen for restaurant with 60-100 seats (Neufert,n.d) (Authors,2019) • Fig. 7.2.66: kitchen for restaurant with 60-100 seats (Neufert,n.d) (Authors,2019) • Fig. 7.2.67: kitchen for 150-200 meals (Neufert,n.d) (Authors,2019) • Fig. 7.2.68 :function and organization of kitchen (Neufert,n.d) (Authors,2019) • Fig. 7.2.69: organization of cold meal kitchen (Neufert,n.d) (Authors,2019) • Fig. 7.2.70: dishwashing area (Neufert,n.d) (Authors,2019) • Fig. 7.2.71: functions and elements of the washing area (Neufert,n.d) (Authors,2019) • Fig. 7.2.72: playground furniture (Neufert,n.d) (Authors,2019) • Fig. 7.2.73: Between jetty and mooring posts (Neufert,n.d) (Authors,2019) • Fig. 7.2.74: Jetty and finger piers (Neufert,n.d) (Authors,2019) • Fig. 7.2.75: submerged caissons of prefabricated reinforced concrete units filled with sand (Neufert,n.d) (Authors,2019) • Fig. 7.2.76: berth in the Mediterranean (Neufert,n.d) (Authors,2019) • Fig. 7.2.77: keel cruiser (Neufert,n.d) (Authors,2019) • Fig. 7.2.78: dinghy (Neufert,n.d) (Authors,2019) • Fig. 7.2.79: mole or dam section (Neufert,n.d) (Authors,2019) • Fig. 7.2.80: harbor built into the sea and in a bay (Neufert,n.d) (Authors,2019) • Fig. 7.2.81: harbor with a canal to the sea (Neufert,n.d) (Authors,2019) • Fig. 7.2.82: harbor access by river (Neufert,n.d) (Authors,2019) • Fig. 7.2.83: example of a motorboat harbor (Neufert,n.d) (Authors,2019) • Fig. 7.2.84: example of a yacht harbor (Neufert,n.d) (Authors,2019) • Fig. 7.2.85: two-level row of lockers (Neufert,n.d) (Authors,2019) • Fig. 7.2.86: narrow locker (Neufert,n.d) (Authors,2019) 320

Table of figures 07 Design Requirements • Fig. 7.2.87: large WC facilities (Neufert,n.d) (Authors,2019) • Fig. 7.2.88: minimum dimensions for changing facilities with pull-out and benches (Neufert,n.d) (Authors,2019) • Fig. 7.2.89: supervised cloakroom, single rows of hooks (Neufert,n.d) (Authors,2019) • Fig. 7.2.90: changing facilities with simple rows of hooks (Neufert,n.d) (Authors,2019) • Fig. 7.2.91: self-service facilities with simple rows of hooks (Neufert,n.d) (Authors,2019) • Fig. 7.2.92: laundry washing, roller iron ,automatic drier machines elevation and side view with dimension (Neufert,n.d) (Authors,2019) • Fig. 7.2.93: laundry of average size (Neufert,n.d) (Authors,2019) • Fig. 7.2.94: self-service laundry (Neufert,n.d) (Authors,2019) • Fig. 7.2.95: all seats apart from boxes must have fixed, self-operating folding seats with the above minimum dimensions (Neufert,n.d) (Authors,2019) • Fig. 7.2.96: offset folding seats provide elbow space (Neufert,n.d) (Authors,2019) • Fig. 7.2.97: row width: 16 seats (Neufert,n.d) (Authors,2019) • Fig. 7.2.98: row width: 25 seats + necessary door (Neufert,n.d) (Authors,2019) • Fig. 7.2.99: proportions of the traditional auditorium (view) (Neufert,n.d) (Authors,2019) • Fig. 7.2.100: design of the contours of the auditorium in the grand theatre in Bordeaux (Neufert,n.d) (Authors,2019) • Fig. 7.2.101: design of the curve of the auditorium in the teatro alla scala in milan (Neufert,n.d) (Authors,2019) • Fig. 7.2.102: super elevation of seating (gradient)(Neufert,n.d) (Authors,2019) • Fig. 7.2.103: contact relationships between public and stage and among one another (Neufert,n.d) (Authors,2019) • Fig. 7.2.104: gradient curve and its modification (Neufert,n.d) (Authors,2019) • Fig. 7.2.105: the offsetting of seats in a row is achieved by different seat width (0.5-0.53-0.56) (Neufert,n.d) (Authors,2019) • Fig. 7.2.106: perceptive field and proportions of proscenium arch (Neufert,n.d) (Authors,2019) • Fig. 7.2.107: circle theatre and view of stage(Neufert,n.d) (Authors,2019) • Fig. 7.2.108: ceiling shape and sound reflection (Neufert,n.d) (Authors,2019) • Fig. 7.2.109: set area (plan view) (Neufert,n.d) (Authors,2019) • Fig. 7.2.110: set area (Neufert,n.d) (Authors,2019) • Fig. 7.2.111: cross-sectional proportions of a traditional stage (side view) (Neufert,n.d) (Authors,2019) • Fig. 7.2.112: proportions of a traditional stage (plan view) (Neufert,n.d) (Authors,2019) • Fig. 7.2.113: scene-changing technology, classical stage system of the 18th and 19th centuries (Neufert,n.d) (Authors,2019) • Fig. 7.2.114: plan view (Neufert,n.d) (Authors,2019) • Fig. 7.2.115: typical typcal three-section theatre (section)(Neufert,n.d) (Authors,2019) • Fig. 7.2.116: typical three-section theatre stage area (plan view) (Neufert,n.d) (Authors,2019) • Fig. 7.2.117: soloists changing rooms; min (3.8-5 m^2/person) 321

Table of figures 07 Design Requirements • Fig. 7.2.118: soloists changing rooms; min (5 m^2/person) (Neufert,n.d) (Authors,2019) • Fig. 7.2.119: choir changing rooms; min (2.75 m^2/person) (Neufert,n.d) (Authors,2019) • Fig. 7.2.120: choir changing rooms; min (2.75 m^2/person) (Neufert,n.d) (Authors,2019) • Fig. 7.2.121: typical large rehearsal (plan view) (Neufert,n.d) (Authors,2019) • Fig. 7.2.122: typical choir rehearsal room (plan view) (Neufert,n.d) (Authors,2019) • Fig. 7.2.123: typical large rehearsal stage (plan view) (Neufert,n.d) (Authors,2019) • Fig. 7.2.124: example distances between shelf unit centre-lines; common grid and volumes per shelf (Neufert,n.d) (Authors,2019) • Fig. 7.2.125: drawing to explain terms used in calculating floor area for shelving (Neufert,n.d) (Authors,2019) • Fig. 7.2.126: floor area for open-access bookshelves 8.7x6 m per block of shelf units (Neufert,n.d) (Authors,2019) • Fig. 7.2.127: floor area for an individual workstations (Neufert,n.d) (Authors,2019) • Fig. 7.2.128: minimum distances between tables (Neufert,n.d) (Authors,2019) • Fig. 7.2.129: minimum free space in reading area (Neufert,n.d) (Authors,2019) • Fig. 7.2.130: when books are moved between seated and standing users (Neufert,n.d) (Authors,2019) Fig. 7.2.131: functional diagram of medium-sized library (Neufert,n.d) (Authors,2019) • Fig. 7.2.131: functional diagram of medium-sized library (Neufert,n.d) (Authors,2019) • Fig. 7.2.132: minimum distances (Neufert,n.d) (Authors,2019) • Fig. 7.2.133: height of five-shelf unit (Neufert,n.d) (Authors,2019) • Fig. 7.2.134: bookshelf for schoolchildren (Neufert,n.d) (Authors,2019) • Fig. 7.2.135: height of fourshelf for small children (Neufert,n.d) (Authors,2019) • Fig. 7.2.136: individual study booths (Neufert,n.d) (Authors,2019) • Fig. 7.2.137: minimum free space in reading area (Neufert,n.d) (Authors,2019) • Fig. 7.2.138: when books are moved between seated and standing users (Neufert,n.d) (Authors,2019) • Fig. 7.2.139: area served (Neufert,n.d) (Authors,2019) • Fig. 7.2.140: arrangements of WCs (Neufert,n.d) (Authors,2019) • Fig. 7.2.141: bathroom with doors opening inward (Neufert,n.d) (Authors,2019) • Fig. 7.2.142: bathroom with urinal bowls and doors opening inward (Neufert,n.d) (Authors,2019) • Fig. 7.2.143: dual row WCs with doors opening inward (Neufert,n.d) (Authors,2019) • Fig. 7.2.144: dual row urinal bowls (Neufert,n.d) (Authors,2019) • Fig. 7.2.145: large WC facilities (Neufert,n.d) (Authors,2019) • Fig. 7.2.146: standard wheelchair ( side view, front view (and folded) , plan view and turning circle) (Neufert,n.d) (Authors,2019) • Fig. 7.2.147: standard disabled wheelchair (plan view, side elevation , rear elevation, and minimum turning circle) (Neufert,n.d) (Authors,2019) • Fig. 7.2.148: door access with one door (Neufert,n.d) (Authors,2019) • Fig. 7.2.149: door access with two door (Neufert,n.d) (Authors,2019) • Fig. 7.2.150: ramp (Neufert,n.d) (Authors,2019) • Fig. 7.2.151: ramp (Neufert,n.d) (Authors,2019) 322

Table of figures 07 Design Requirements • Fig. 7.2.144: dual row urinal bowls (Neufert,n.d) (Authors,2019) • Fig. 7.2.145: large WC facilities (Neufert,n.d) (Authors,2019) • Fig. 7.2.146: standard wheelchair ( side view, front view (and folded) , plan view and turning circle) (Neufert,n.d) (Authors,2019) • Fig. 7.2.147: standard disabled wheelchair (plan view, side elevation , rear elevation, and minimum turning circle) (Neufert,n.d) (Authors,2019) • Fig. 7.2.148: door access with one door (Neufert,n.d) (Authors,2019) • Fig. 7.2.149: door access with two door (Neufert,n.d) (Authors,2019) • Fig. 7.2.150: ramp (Neufert,n.d) (Authors,2019) • Fig. 7.2.151: ramp (Neufert,n.d) (Authors,2019) • Fig. 7.2.152: movement area in front of sliding doors (Neufert,n.d) (Authors,2019) • Fig. 7.2.153: lift car dimensions and movement area in front of the lift door (Neufert,n.d) (Authors,2019) 08 Sustainability

• Fig.8.1.1. Environmental sustainability, Data source (Hightechaccelerator, 2018) illustrated by (Auther,2019). • Fig.8.1.3.1, Sustainable Development, Data source (Sustainability development principles), Illustrated by (Authors, 2019). • Fig.8.2.1. Framework for social sustainability, Data source (Woodcraft et al., 2012), illustrated by (Authors, 2019). • Fig.8.2.1.1. Concept of social sustainability, Data source (Hall Pete, 2011), illustrated by (Authors, 2019). • Fig.8.2.2.1. Buffering zone, Data source (Hall Pete, 2011), illustrated by (Authors, 2019). • Fig.8.2.2.2. Concept of social sustainability, Data source (Hall Pete, 2011), illustrated by (Authors, 2019). • Fig.8.2.2.3. Concept of social sustainability, Data source (Hall Pete, 2011), illustrated by (Authors, 2019). • Fig.8.2.2.4. Public space, Data source (SERGIO GMEZ, 2016), illustrated by (Authors, 2019). • Fig.8.2.3.1. Elevation of community housing, Data source (Archdaily, 2007), illustrated by (Authors, 2019). • Fig.8.2.3.2. Open space for activity, Data source (Archdaily, 2007), illustrated by (Authors, 2019). • Fig.8.2.3.3. Shading techniques, Data source (Archdaily, 2007), illustrated by (Authors, 2019). • Fig.8.2.3.4. Concept of social sustainability, Data source (Archdaily, 2007), illustrated by (Authors, 2019). • Fig.8.3.1.1 Green building approaches, Data source (Hightechaccelerator, 2018), illustrated by (Authors, 2019). • Fig.8.3.1.2. Aspects of Environmental sustainability, Data source (Hall Pete, 2011), illustrated by (Authors, 2019). • Fig.8.3.1.3. Concept of social sustainability, Data source (Hall Pete, 2011), illustrated by (Authors, 2019). • Fig.8.3.2.1. Green Roofing, Data source (arch.ttu.eg, n.d ), illustrated by (Authors, 2019). 323

Table of figures 08 Sustainability • Fig.8.3.2.2. Rammed Earth building, Data source (arch.ttu.eg, n.d ), illustrated by (Authors, 2019). • Fig.8.3.2.3. CBE Earth construction, Data source (arch.ttu.eg, n.d ), illustrated by (Authors, 2019). • Fig.8.3.3.1. Elevation Centre For Sustainable Landscapes, Data source (Archdaily, 2011), illustrated by (Authors, 2019). • Fig.8.3.3.2. Green roofing, Data source (Archdaily, 2011), illustrated by (Authors, 2019). • Fig.8.3.3.3. Landscape combination with building, Data source (Archdaily, 2011), illustrated by (Authors, 2019). • Fig.8.3.3.4. Landscape, Data source (Archdaily, 2011), illustrated by (Authors, 2019). • Fig.8.4.1.1. Economic Sustainability in landscape and architecture , Data source (UN studio, nd), illustrated by (Authors, 2019). • Fig.8.4.2.1. Using solar panels, Data source (Archdaily. com, 2011), illustrated by (Authors, 2019). • Fig.8.4.2.3. Concept of social sustainability, Data source (Hall Pete, 2011), illustrated by (Authors, 2019). • Fig.8.4.2.2. Using Opportunities, Data source (Dezzen. com, 2011), illustrated by (Authors, 2019). • Fig.8.4.2.4. Using Solar panels, illustrated by (Authors, 2019). • Fig.8.4.3.1. Elevation of Bullitt center, Data source (Archdaily, 2017), illustrated by (Authors, 2019). • Fig.8.4.3.2. Concept of social sustainability, Data source (Hall Pete, 2011), illustrated by (Authors, 2019). • Fig. 8.4.3.3. Concept of social sustainability, Data source (Hall Pete, 2011), illustrated by (Authors, 2019). • Fig. 8.4.3.4. Concept of social sustainability, Data source (Hall Pete, 2011), illustrated by (Authors, 2019). • Fig.8.5.1.1. The Green Building, Data source (Archdaily, 2011), illustrated by (Authors, 2019). • Fig.8.5.1.2. The Green Building, Data source (Archdaily, 2018), illustrated by (Authors, 2019). • Fig.8.6.1.1. One Angel Square, Data source (Archdaily, 2018), illustrated by (Authors, 2019). • Fig.8.7.1. LEED credit categories, Data source (LEED certification guide, 2011), illustrated by (Authors, 2019). • Fig.8.7.1.1. LEED Rating system, Data source (LEED certification guide, 2011), illustrated by (Authors, 2019). • Fig.8.7.1.2. Table showing LEED categories weight by (Authors, 2019). • Fig.8.8.2.1. Table showing GPRS categories weight by (Authors, 2019).

324

Table of figures 09 Individual work Ahmed jamal • Fig 9.1.1.1 Rosetta city, data source (egypttailormade.net,2017) • Fig 9.1.1.2 Qaitbay, data source (egypttailormade.net,2017) • Fig 9.1.1.3 ships industry, data source (masrawy.com,2020) • Fig 9.1.1.4 Burj Al Arab, data source (arageek.com,2019). • Fig 9.1.1.5 Double-glazed window cross section, data source (lancashiredoubleglazing.co.uk,2019). • Fig 9.1.1.7 shell form, data source (eventmarqueetent.quality.chinacsw.com,2020). • Fig 9.1.1.6 flexible solar sell, (zwiebelfam.nl,2019). • Fig 9.1.2.1 Rosetta city’s farms. (Authors, 2019) • Fig 9.1.2.2 Rosetta city’s farms. (Authors, 2019) • Fig 9.1.2.3 green wall, data source (Verde ProfiloVerde Profilo,2020). • Fig 9.1.2.4 green wall, data source (nbs.net,2020). • Fig 9.1.2.5 green wall, data source (Verde ProfiloVerde Profilo,2020). • Fig 9.1.2.6 shading elemnt made of leafs, data source (kinanaonline.com). • Fig 9.1.2.7 palm leafs as shading element, data source (kinanaonline.com). • Fig 9.1.3.1 Rosetta stone, data source (britannica.com,2020). • Fig 9.1.3.2 key of life, data source (fanpop.co,2020). • Fig 9.1.3.3 The Pavegen , data source (pavegen.com,2019). • Fig 9.1.3.4 The Pavegen , data source (pavegen.com). Alaa Mohamed taher • Fig. 9.2.1.1 Musée Yves Saint Laurent Marrakech, (archdaily.com,2017) • Fig. 9.2.1.2 Krushi Bhawan in Bhubaneshwar • , (architectandinteriorsindia.com, 2019) • Fig. 9.2.1.3 Naturalis Biodiversity Center in Leiden, (visuall.net,2019) • Fig. 9.2.1.4 Western Australian Museum building, (cladglobal.com, 2016) • Fig. 9.2.1.5 perspective showing the merge of existing building and new build, (sketch by author,2019) • Fig. 9.2.1.6 palm trees in Rosetta main entrance (Authors,2019) • Fig. 9.2.1.7 entrance perspective, (sketch by author,2019) • Fig. 9.2.1.8 Transparent digital façade installed in Times Square, (Archdaily,2017) • Fig. 9.2.1.9 Apartment building Cloaked in Bricks by Admun Design & Construction Studio, (yellowtrace.com.au) • Fig. 9.2.1.10 House of Sieves / Francisco Cadau • in argentina, Axonometric analysis, , (Archdaily, 2003) • Fig. 9.2.1.11 Brick House / Ventura Virzi arquitectos in argentina, Axonometric analysis, (Archdaily, 2011) • Fig. 9.2.2.1 concept illustration (sketch by author,2019) • Fig. 9.2.2.2 environmental studies (sketch by author,2019) • Fig. 9.2.2.3 perspective showing concept (sketch by author,2019) • Fig. 9.2.2.4 Jewish Museum, Berlin • , (Archdaily,2010) • Fig. 9.2.2.5 Bibliotheca Alexandrina • In Egypt, (Archdaily,2015) • Fig. 9.2.2.6 Cathedral Fold | Axis Mundi • In France, (arch2o.com,2011) • Fig. 9.2.2.7 Dome in Louvre Abu Dhabi, (Archdaily,2017) 325

Table of figures 09 Individual work • Fig. 9.2.2.8 sun rays penetration from the Dome layers in Louvre Abu Dhabi pattern, (Archdaily,2017) • Fig. 9.2.2.9 Dome in Louvre Abu Dhabi, (Archdaily,2017), (edited by Author,2018). • Fig. 9.2.2.10 Dome in Louvre Abu Dhabi, (Archdaily,2017) • Fig. 9.2.3.1 seashell founded in Rosetta shore (Authors,2019) • Fig. 9.2.3.2 site analysis (sketch by author,2019) • Fig. 9.2.3.3 perspective showing the end of the building viewing the nile and sea intersection, (sketch by author,2019) • Fig. 9.2.3.4 perspective showing the illusion of the flying shell , (sketch by author,2019) • Fig. 9.2.3.5 side elevation, (sketch by author,2019) • Fig. 9.2.3.6 Busan’s Opera House • In Busan , (evolo.us, 2011) • Fig. 9.2.3.7 Sydney Opera House in Australia, (Archdaily,2010) • Fig. 9.2.3.8 Guggenheim Museum / Frank Lloyd Wright, (Archdaily,2010) • Fig. 1 9.2.3.9 LED Façade design shown, (eiznerdesign.com, 2012) • Fig. 9.2.3.10 mirror reflecting ocean (saysaysayinc.com,2014) • Fig. 9.2.3.11 Transparent digital façade installed in Times Square, (bdcnetwork.com, 2011) • Fig. 9.2.3.12 LED Façade Detail, (eiznerdesign.com, 2012) • Fig. 9.2.3.13 LED Façade Detail, (eiznerdesign.com, 2012) Alshaimaa Osama Ahmed • Fig.9.3.1. Collage show all sides of Rosetta, by (Authors, 2019). • Fig.9.3.1.1. Phases of creating Circulation, by (Authors, 2019). • Fig.9.3.1.2. Show Green Zones, by (Authors, 2019). • Fig.9.3.1.3Section showing Green zones & Main Spaces, by (Authors, 2019). • Fig.9.3.1.4. Circulation interactive, (Archdaily. Com, 2013). • Fig.9.3.1.5. Maritime Museum, (Archdaily. com, 2011), illustrated by (Authors, 2019). • Fig.9.3.1.6. Meydan Shopping Center, (Archdaily. com, 2007) • Fig.9.3.1.7. National Museum in South Korea, (Archdaily. Com, 2007). • Fig.9.3.1.8. Apartment, (Archdaily. com, 2009) • Fig.9.3.1.9. Interactive walls Types & Ways, Illustrated by (Authors, 2019). • Fig.9.3.1.10. Green Roofs & Terraces, illustrated by (Authors, 2019). • Fig.9.3.1.11. Installation of Green Roofs, illustrated by (Authors, 2019). • Fig.9.3.2.1. Wave Breakers, by (Authors, 2019). • Fig.9.3.2.2. Phases of Morphology, by (Authors, 2019). • Fig.9.3.2.3. Built Environment Museum, (Archdaily. Com), Illustrated by (Authors, 2019). • Fig.9.3.2.4. Movable Walls, Illustrated by (Authors, 2019). • Fig.9.3.2.5. An Interactive Hologram, Illustrated by (Authors, 2019). • Fig.9.3.3.1. Stages of the formation by (Authors, 2019). • Fig.9.3.3.2. Final form applied with courts by (Authors, 2019). • Fig.9.3.3.3. Kuwait Islamic Center, (Behance.com, 2014). • Fig.9.3.3.4. Islamic Exhibition in Chain, (Phaidon, 2014), illustrated by (Authors, 2019). • Fig.9.3.3.5. Public space, (SERGIO GMEZ, 2016), illustrated by (Authors, 2019). • Fig.9.3.3.6. Buffering zone, Data source (Hall Pete, 2011), illustrated by (Authors, 2019). 326

Table of figures 09 Individual work • Fig.9.3.3.7. Dynamic Skin structure, (Archdaily. Com), illustrated by (Authors, 2019). Ashraqat Khaled • Fig.9.4.1.1 Stacked various pattern, (Authors, 2019). • Fig.9.4.1.2 Palm leaf pattern, (Authors, 2019). • Fig.9.4.1.3 Staggered Masses in elevation showing activities, (Authors, 2019). • Fig.9.4.1.4 Scattered masses in plan, (Authors, 2019). • Fig.9.4.1.5 Masses in elevation showing stacked pattern, (Authors, 2019). • Fig.9.4.1.6 stacked Mashrabiyas showing its various designs in WTC in Abu Dhabi , (archdaily.com,2014), illustrated by (Authors 2019) • Fig.9.4.1.7 Louvre shell in Abu Dhabi showing light manipulation, (archdaily.com, 2016), illustrated by (Authors 2019) • Fig.9.4.1.8 stacked Mashrabiyas showing multiple pattern, (archdaily.com,2014), illustrated by (Authors 2019) • Fig.9.4.1.9 Mashrabiya’s openings showing natural light, (archdaily.com,2014), illustrated by (Authors 2019) • Fig.9.4.1.10 Collage of Rosetta’s Islamic buildings inspiration, (Rosetta’s statistic center ), illustrated by (Authors 2019) • Fig.9.4.1.11 Kinetic façade unit, (Authors, 2019). • Fig.9.4.1.12 Kinetic facade, (archdaily, 2018), illustrated by (Authors, 2019) • Fig.9.4.1.13 Kinetic facade, (archdaily, 2017), illustrated by (Authors, 2019) • Fig.9.4.1.14 Various Mashrabiya design , (pinterest.com, 2018), illustrated by (Authors, 2019) • Fig.9.4.1.15 SAF material detail, (Authors, 2019). • Fig.9.4.2.1 Rosetta stone analysis, Data Source (Authors, 2019). • Fig.9.4.2.2 Arched inspired from Abo El Reesh gate, Data Source (Authors, 2019). • Fig.9.4.2.3 Dubai frame act as huge tower, (dubaichronicle.com, 2017) • Fig.9.4.2.4 Arched shell structure, (archdaily.com, 2012) • Fig.9.4.2.5 Collage showing Abo El Reesh gate, (Rosetta’s statistic center ), illustrated by (Authors, 2019) • Fig.9.4.2.6 Pharaonic gate, (Pinterest, 2017 ) • Fig.9.4.2.7 Green wall technique in Galleria40 in Egypt, (Authors,2019) • Fig.9.4.2.8Green roof technique of WTC in Abu Dhabi, (Archdaily.com, 2014). • Fig.9.4.2.9Green wall technique in galleries, (Archdaily.com, 2014). • Fig.9.4.2.10 Green wall section detail, (Authors, 2019). • Fig.9.4.3.1 Shell structure sketch showing concept idea, (Authors, 2019). • Fig.9.4.3.2 Shell structure sketch showing masses idea, (Authors, 2019). • Fig.9.4.3.3 Rosetta’s Nile coastline, (googlemaps,2019). • Fig.9.4.3.4 Shell structure 3d, (evolo.us), illustrated by (Authors, 2019) • Fig.9.4.3.5 Shell structure formed from irregular cells, (evolo.us), illustrated by (Authors, 2019) • Fig.9.4.3.6 Water reuse, (Authors, 2019). • Fig.9.4.3.7 Pavegen tiles, Data Source (harvard.co.uk, 2016), illustrated by (Authors, 2019) Aya Ismaiel Ghobashi • Fig. 9.5.1 Collage showing Rosetta’s heritage, (Authors,2019) • Fig. 9.5.1.1 Barzakh, (google.com, 2019) 327

Table of figures 09 Individual work • • • • • • • • • • • •

• • • • • • • • • • • • • • • • • • • • • • • • • •

Fig. 9.5.1.2: Section showing the massing (Authors, 2019) Fig. 9.5.1.3: Conceptual Plan (Authors, 2019) Fig. 9.5.1.4: (Authors, 2019) Fig. 9.5.1.5: Difference in water molecules (Authors, 2019) Fig. 9.5.1.6: Framing the view (pinterest.com, 2019) Fig. 9.5.1.7: Plan shows the dense volumes part of the concept (Arch2O.com, 2019) Fig. 9.5.1.8: 3d Showing how the volumes will then scatter Ljubljana’s Cultural Center (Beta Architecture", 2019) Fig. 9.5.1.9: Museo Internacional del Barroco (Arch2O.com, 2019) Fig. 9.5.1.10: elevations Showing how the volumes will fade away Ljubljana’s Cultural Center (Beta Architecture", 2019) Fig. 9.5.1.11 (“Museo Internacional del Barroco | Toyo Ito & Associates Arch2O.com", 2019) Fig. 9.5.1.12: Ljubljana’s Cultural Center (Beta Architecture", 2019) Fig. 9.5.1.13: ETFE skin facade (pinterest, 2019) Fig. 9.5.1.14: ETFE fixation detail in facade illustrated by (Authors, 2019) Fig. 9.5.1.15: ETFE façade (Pinterest, 2019) Fig. 9.5.1.16: ETFE skin facade ruminating at night (pinterest, 2019) Fig. 9.5.2.1: Ship abstraction (Authors, 2019) Fig. 9.5.2.2: Proposals for project (Authors, 2019) Fig. 9.5.2.3: Museo Internacional del Barroco (Arch2O.com, 2019) Fig. 9.5.2.4: NEMO Science Museum (NEMO Science Museum, 2019) Fig. 9.5.2.5: Museo Internacional del Barroco (Arch2O.com, 2019) Fig. 9.5.2.6: (Arch2o, 2019) Fig. 9.5.2.7: Pavegen floor tiles (pinterest, 2019) Fig. 9.5.2.8: Pavegen flooring (pinterest, 2019) Fig. 9.5.2.9: Diagram of Pavegen (pinterest, 2019) Fig. 9.5.3.1: Furniture made from palm trees (Authors, 2019) Fig. 9.5.3.2: Conceptual sketch of facade (Authors, 2019) Fig. 9.5.3.3: Conceptual sketch masses (Authors, 2019) Fig. 9.5.3.4: Main spine representing the Nile (Authors, 2019) Fig. 9.5.3.5: Facade inspiration (pinterest.com, 2019) Fig. 9.5.3.6: Facade inspiration (archdaily.com, 2019) Fig. 9.5.3.7: Main spine inspiration (Pinterest.com, 2019) Fig. 9.5.3.8: Translucent concrete (dornob.com, 2019) Fig. 9.5.3.9: Translucent concrete (pinterest.com, 2019) Fig. 9.5.3.10: Translucent concrete (Kim, 2019) Fig. 9.5.3.11: Interactive wall (Google, 2019)

Jomana Ezzat • Fig 9.6.1 Rosetta Islamic Monuments, ( Author, 2019) • Fig 9.6.2 Objectives, ( Author, 2019) • Fig 9.6.1.1 Palm tree, ( Author, 2019) • Fig 9.6.1.2 Palm tree, ( google photos) • Fig 9.6.1.3 Palm tree, ( google photos) • Fig 9.6.1.4 Concept generation, (Author, 2019) • Fig 9.6.1.5 Concept generation, (Author, 2019)

328

Table of figures 09 Individual work Fig 9.6.1.6 Palm tree, ( google photos) Fig 9.6.1.7 Palm tree, ( Author, 2019) Fig 9.6.1.9 Canopy skin and trunk, ( archello, 2019) canopy and skin trunk environmental analysis, ( archello, 2019) Fig 9.6.2.1 Dove inspirations, ( author, 2019) Fig 9.6.2.2 Concept illustrations, ( author, 2019) Fig 9.6.2.3 shell layout inspiration, ( dezeen.com) Fig 9.6.2.4 Concept illustrations, ( author, 2019) Fig 9.6.2.5 neon waterfall, (everdaychina.com) Fig 9.6.2.6 The flexible formwork Prefabrication (citytech.com) Fig 9.6.2.7 The flexible formwork Prefabrication, (evolo.com) Fig 9.6.2.8 Wire mesh (evolo.com) Fig 9.6.2.9 Solar Photovoltaic Louvers (evolo.com) Fig 9.6.2.10 Hydro Collective System (evolo.com) Fig 9.6.2.11 Lattice transformation (sevvalasenatelli.com) 9.6.2.12 the flexible formwork (archdaily.com) 9.6.2.13 neon LED lights(everydaychina.com) Fig 9.6.2.14 Lattice inspiration (sevvalasenatelli.com) 9.6.3.1 Concept inspiration (Pinterest.com) 9.6.3.2 Concept illustrations (Author, 2019) 9.6.3.3 Concept illustrations (Author, 2019) 9.6.3.4 Concept inspiration (dezeen.com) 9.6.3.5 Form Generation (dezeen.com) 9.6.3.6 Concept Illustrations (Author, 2019) Fig 9.6.3.7 Dynamic Movement of the sun direction (citytech.com) Fig 9.6.3.8 Dynamic Movement with the wind turbines energy production (Evolo.com) • Fig 9.6.3.9 Rotating panels creating a dynamic building (citytech.com) • Fig 9.6.3.10 environmental responsive Façade (arch2go.com) • Fig 9.6.3.11 environmental responsive Façade (archdaily.com) • • • • • • • • • • • • • • • • • • • • • • • • • •

Maram Ahmed Enany • Fig 9.7.1 Rosetta landmarks and historical monuments, data source ( google earth) • Fig 9.7.2 Abu Al Reesh Gate, data source ( google earth) • Fig 9.7.3 Rosetta Oriental Handcrafts, (Authors, 2019) • Fig 9.7.4 Rosetta Intersection Between The Sea And Nile, (Authors, 2019) • Fig 9.7.1.1 Visual Axis, (Author, 2019) • Fig 9.7.1.2 Rosetta Layout (Authors, 2019) • Fig 9.7.1.3 Rosetta Urban Fabric (Author, 2019) • Fig 9.7.1.4 Rosetta Skyline (Author, 2019) • Fig 9.7.1.5 Rosetta Urban Height Pattern Analysis (Author, 2019) • Fig 9.7.1.6 Concept Illustrations, (Author, 2019) • Fig 9.7.1.7 Rosetta Historical Facades (Google Earth) • Fig 9.7.1.8 Rammed earth construction and facades(azuremagazine.com) • Fig 9.7.1.9 courtyards examples (Archdaily.com) • Fig 9.7.2.1 3D Concept, (Author, 2019 ) • Fig 9.7.2.2 concept illustration, (Author, 2019 ) • Fig 9.7.2.3 circulation concept, (Author, 2019 ) • Fig 9.7.2.4 concept inspiration, (pinterest, edited by author) 329

Table of figures 09 Individual work • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Fig 9.7.2.5 concept inspiration, (pinterest, edited by author) Fig 9.7.2.6 concept inspiration, (pinterest, edited by author) Fig 9.7.2.7 concept generation, (Author, 2019) Fig 9.7.2.8 concept inspiration, (archdaily) Fig 9.7.2.9 concept inspiration, (archdaily, edited by author) Fig 9.7.2.10 concept inspiration, (pinterest, edited by author) Fig 9.7.2.11 Rosetta stone and hieroglyphics, (google photos) Fig 9.7.2.12 Wire Mesh Close-up, (Archello.com) Fig 9.7.2.13 3D mesh panels, (Archdaily.com) Fig 9.7.2.14 3D mesh panels, (Archdaily.com) Fig 9.7.2.15 wire mesh panel, (walcom.com) Fig 9.7.2.16 wire mesh panel, (walcom.com) Fig 9.7.2.17 wire mesh and sunlight, (archello.com) Fig 9.7.3.1 , Bridge, deck, small harbour (Author, 2019) Fig 9.7.3.2 Panoramic view to the sea, (Author, 2019) Fig 9.7.3.3 Dynamic form with, visual continuity to the sea, (Author, 2019) Fig 9.7.3.4 Rosetta strategic location on the Nile and Sea (Google earth) Fig 9.7.3.5 Dynamic form (Google photos) Fig 9.7.3.6 Integrating the circulation with water (Google Photos) Fig 9.7.3.7 Story telling through materials (Google photos) Fig 9.7.3.8 Massive inviting approach (Google Photos) Fig 9.7.3.9 Rosetta Natural Contour (Author, 2019) Fig 9.7.3.10 Waterfront view (Authors, 2019) Fig 9.7.3.11 , shell skeleton (Author, 2019) Fig 9.7.3.12 , shell structure (Citytech.com) Fig 9.7.3.13 , shell elements (sevvalasenatelli.com) Fig 9.7.3.14, Installation of shell panels (Citytech.com) Fig 9.7.3.15 , inspiration of constructed shell structure (evolo.com) Fig 9.7.3.16 , shell structure elements (Evolo.com)

Marwa Alaswadi • Fig. 9.8.1 Collage showing some of Rosetta’s Heritage, (Authors, 2019). • Fig. 9.8.1.1 Hierarchy of masses, (Author, 2019). • Fig. 9.8.1.2 Sweeping staircase connecting the roof of masses , (Author, 2019). • Fig. 9.8.1.3 Sketches showing sweeping staircase with hierarchy of masses, (Author, 2019). • Fig. 9.8.1.4 Sweeping staircase with hierarchy of masses, (Author, 2019). • Fig. 9.8.1.5 Sketch showing Proposed layout of concept 1, (Author, 2019). • Fig. 9.8.1.6 Gallery of Statue of Liberty, United States, (archdaily.com, 2019), illustrated by (Authors,2019) • Fig. 9.8.1.7 Gallery of Ziya Imren, (archdaily.com, 2019), illustrated by (Authors, 2019) • Fig. 9.8.1.8 Interactive accessible roofs,Gallery of Ziya Imren, Istanbul, (archdaily.com, 2019), illustrated by (Authors,2019) • Fig. 9.8.1.9 Section in Gallery of Ziya Imren, Istanbul, (archdaily.com, 2019), illustrated by (Authors,2019) • Fig. 9.8.1.10 Ostim Eco-Park, Turkish, (bustler.com, 2019), illustrated by (Authors,2019) • Fig. 9.8.1.11 A building with translucent panels at night, (archdaily.com, 2019), illustrated by (Authors,2019) 330

Table of figures 09 Individual work • Fig. 9.8.1.12 A building with coloured translucent panels, (archdaily.com, 2019), illustrated by (Authors,2019) • Fig. 9.8.1.13 Interior look of the translucent facades, (archdaily.com, 2019), illustrated by (Authors,2019) • Fig. 9.8.1.14 Top and Bottom Details of the glazing panels, (archdaily.com, 2019), illustrated by (Authors,2019) • Fig.9.8.2.1 Sketch showing the twist concept, (Authors, 2019) • Fig.9.8.2.2 Section sketch showing the twist concept, (Authors, 2019) • Fig.9.8.2.3 Plan sketch showing the twist concept, (Authors, 2019) • Fig.9.8.2.4 sketches showing the interior of the twist concept, (Authors, 2019) • Fig.9.8.2.5 The kistefos museum, Norway, Data Source (Archdaily.com, 2019), illustrated by (Authors, 2019) • Fig.9.8.2.6 Mexican Art Pavilion, Mexico, Data Source(archdaily.com, 2019), illustrated by (Authors, 2019) • Fig.9.8.2.7 Outdoor Space, Data Source (flicker.com, 2019) • Fig.9.8.2.8 Diagram of Aluminium brushed twisted steel structure, ( arch20.com, 2019),(Authors, 2019) • Fig.9.8.2.9 Details of the twisted Structural System, ( arch20.com, 2019),(Authors, 2019) • Fig.9.8.2.10 Fanning motion of aluminium panels, ( arch20.com, 2019),(Authors, 2019) • Fig.9.8.2.11 Construction Process of twisted aluminium structure, ( arch20.com, 2019), (Authors, 2019) • Fig.9.8.3.1 Sketches showing the main axes of concept 3, (Authors, 2019) • Fig.9.8.3.2 Section showing relations between roofs of masses, (Authors, 2019) • Fig.9.8.3.3 Section sketch showing the relation btw masses and the plaza, (Authors, 2019) • Fig.9.8.3.4 Section Sketch showing terraces, (Authors, 2019) • Fig.9.8.3.5 Plan sketch showing the twist concept, (Authors, 2019) • Fig.9.8.3.6 Music Center, Tokyo, (Aasarchitecture, 2019), illustrated by (Authors, 2019) • Fig.9.8.3.7 Sanya Lake Park, Tokyo, (Aasarchitecture, 2019) • Fig.9.8.3.8 Deep Web Lighting in Interiors creating a specific mood, (WhiteVoid.com,2019), (Authors, 2019) • Fig.9.8.3.9 Holographic 3D display in exhibitions , (whatis.techtarget.com,2019), (Authors, 2019) • Fig.9.8.3.10 Translucent concrete material in interior spaces, (icazar.com, 2019), (Authors, 2019) Mona Hassan Sakr • Fig.9.10.1 Collage showing Heritage of Rosetta, (Authors, 2019) • Fig.9.10.1.1 A Stele with hundred nighty meter height was discovered in the historical drown city in Edku , (franckgoddio.org, 2013) • Fig.9.10.1.2 Conceptual Sketches showing the development of the concept, Data Source (Authors, 2019) • Fig.9.10.1.3 The inspiration for the shell that will act as a roof that will gather all buildings under it, (archdaily.com, 2017), Edited by (Authors, 2019) • Fig.9.10.1.4 The inspiration for the scattered buildings to reflect the feeling of city under roof ,(archdaily.com, 2017), Edited by (Authors, 2019) 331

Table of figures 09 Individual work • Fig.9.10.1.5 The inspiration for the shell that will act as a roof that will gather all buildings under it ,(archdaily.com, 2017), Edited by (Authors, 2019) • Fig.9.10.1.6 Plan showing how the buildings will be scattered and connected by passages under one roof to act as a city floating above the water surface as The Idea OF Floating is Always Charming, Data Source (archdaily.com, 2017), Edited by (Authors, 2019) • Fig.9.10.1.7 Museum of Civilizations of Europe and the Mediterranean, (azureazure, 2014), Edited by (Authors, 2019Fig.9.10.1.8 Louvre Abu Dhabi, (archdaily.com,2017), Edited by (Authors, 2019) • Fig.9.10.2.1 Conceptual Sketch, Illustrated by (Authors, 2019) • Fig.9.10.2.2 Conceptual Sketch showing the structure system with palm trees , Data Source (archdaily.com, 2017), Edited by (Authors, 2019) • Fig.9.10.2.3 Using Palm tree trunk as a ceiling support and using the palm wood in the ceiling material, (dezeen.com, 2009), Edited by (Authors, 2019) • Fig.9.10.2.4 Interior shot showing the usage of Palm wood in the decoration of ceiling, (taziry.com, 2017), Edited by • (Authors, 2019) • Fig.9.10.2.5 Blending Local and Modern Materials ,(dezeen.com, 2009), Edited by (Authors, 2019) • Fig.9.10.2.6 A Library used -Karshif- in construction and using palm wood in shading ,(taziry.com, 2017), Edited by (Authors, 2019) • Fig.9.10.2.7 Diagram showing the sustainable approach for the construction phase, Illustrated by (Authors, 2019) • Fig.9.10.2.8 Section in the roof using CEB and palm trunk beams with the use of mud mortar instead of concrete, Illustrated by (Authors, 2019) • Fig.9.10.2.9 longitudinal section showing the Karshif wall and palm tree wooden beam along with wooden wall, Illustrated by (Authors, 2019) • Fig.9.10.2.10 CEB Foundation with a concrete base with stabilizer for the moisture insulation, Illustrated by (Authors, 2019) • Fig.9.10.2.11 CEB Foundation with CEB base with stabilizer for the moisture insulation, Illustrated by (Authors, 2019) • Fig.9.10.2.12 Roof from palm Leaves for roof, Illustrated by (Authors, 2019) • Fig.9.10.2.13 Stone Foundation iwith stone icolumn isupporting ceiling made of palm tree itrunks and icovered with iplated ipalm ileaves toped with mud, Illustrated by (Authors,2019) • Fig.9.10.3.1 Conceptual Sketch showing the Signified Dome , Data Source (archdaily.com, 2017), Edited by (Authors, 2019) • Fig.9.10.3.2 Conceptual Sketch showing Experience, Illustrated by (Authors, 2019) • Fig.9.10.3.3 Conceptual Section showing the way of story telling through the 8 buildings that will reflect the 8 eras that Rosetta passed by through ages, Illustrated by (Authors, 2019) • Fig.9.10.3.4 3D Wire Mesh , Data Source (Pinterest.com, 2017), Edited by (Authors, 2019) • Fig.9.10.3.6 Wire Mesh Material , Data Source (Pinterest.com, 2018)

332

Bibliography 10.2 List of References

List of References 00 ABSTRACT 01 HISTORICAL BACKGROUND • • 02

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• Anon. (2020). Retrieved 8 January 2020, from http://www.cpasegypt.com/pdf/NahedElIbiary/Ph.D/01-.pdf • Average Weather in Rosetta, Egypt, Year Round - Weather Spark. (2020). Retrieved 8 January 2020, from https://weatherspark.com/y/96438/AverageWeather-in-Rosetta-Egypt-Year-Round • Belgacem, O. (2009). Rosetta a little guide to the city. Retrieved 8 January 2020, from • Climate in Rosetta. (2020). Retrieved 8 January 2020, from https://www.numbeo.com/climate/in/Rosetta-Egypt Retrieved 8 January .(2020( .‫ بوابة أبو الريش األثرية برشيد تحدت الزمن والغزاة‬.. ‫ أولياء‬٣ ‫• في حراسة‬ 2020, from https://www.masrawy.com/news/news_regions/details/2019/11/1/1662895/%D9 %81%D9%8A-%D8%AD%D8%B1%D8%A7%D8%B3%D8%A9-%D9%A3-% • d.o.o., Y. (2020). Idku, Egypt - Detailed climate information and monthly weather forecast | Weather Atlas. Retrieved 8 January 2020, from https://www.weather-atlas.com/en/egypt/idku-climate • “Strengthening Development, Planning and Management in Greater Cairo” project signature ceremony. (2020). Retrieved 8 January 2020, from http://www.eg.undp.org/content/egypt/en/home/presscenter/pressreleases/ 2016/june/_strengthening-development--planning-and-management-ingreater-c.html 03 Project Selection • Teresa, C., Ahmed, R., & Mohamed, K. (2018). THE CHALLENGES OF SUSTAINABLE HISTORICAL CENTERS: THE CASE OF ROSETTE. Retrieved 5 November 2019, from http://www.cpasegypt.com/pdf/Mohamed_A_M_Khalil/Research's/Eng/002THE%20CHALLENGES% 20OF%20SUSTAINABLE%20HISTORICAL%20CENTERS.pdf

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List of References 04 Site Selection • Anon. (2020). Retrieved 8 January 2020, from http://www.cpasegypt.com/pdf/NahedElIbiary/Ph.D/01-.pdf • “Strengthening Development, Planning and Management in Greater Cairo” project signature ceremony. (2020). Retrieved 8 January 2020, from http://www.eg.undp.org/content/egypt/en/home/presscenter/pressreleases/ 2016/june/_strengthening-development--planning-and-management-ingreater-c.html

05 Design Issues • COMFORT | meaning in the Cambridge English Dictionary. (2020). Retrieved 8 January 2020, from https://dictionary.cambridge.org/dictionary/english/comfort • Lane, J., & profile, V. (2020). Art Museum Security. Retrieved 8 January 2020, from http://art-now-and-then.blogspot.com/2016/09/artmuseum-security.html • Semantic Scholar | AI-Powered Research Tool. (2020). Retrieved 8 January 2020, from https://www.semanticscholar.org/ • Semantic Scholar | AI-Powered Research Tool. (2020). Retrieved 8 January 2020, from https://www.semanticscholar.org/ • Why fingerprints scanners in flagship smartphones are insecure and what you can do about it. (2020). Retrieved 8 January 2020, from https://www.kaspersky.com/blog/fingerprints-sensorssecurity/10951/ • (2020). Retrieved 8 January 2020, from http://pvthin.org/wpcontent/uploads/2016/05/Product-Life-Cycle.jpg • (2020). Retrieved 8 January 2020, from https://i.pinimg.com/originals/f3/00/18/f3001887c939e9e736dcc0a2448 cf62b.jpg • (2020). Retrieved 8 January 2020, from https://images.adsttc.com/media/images/5b56/57d9/f197/ccb9/4800/ 0012/newsletter/200801_OS_N1515.jpg?1532385197 335 • (2020). Retrieved 8 January 2020, from https://images.adsttc.com/media/images/5b56/5695/f197/cc57/6a00/ 0023/newsletter/-_Featured_Image.jpg?1532384879 • Al Bahr Towers | Diar Consult. (2020). Retrieved 8 January 2020, from http://diarconsult.com/al-bahr-towers/ • (2020). Retrieved 8 January 2020, from https://static.dezeen.com/uploads/2017/06/fallingwater-frank-lloydwright-pennsylvania-1935-150th-birthday_dezeen_sq-a.jpg 335

List of References • (2020). Retrieved 8 January 2020, from https://i1.wp.com/www.civilquery.com/wp-content/uploads/2019/05/What-isMaintenance-and-Repairs-of-Building.png?fit=500%2C500&ssl=1 • (2020). Retrieved 8 January 2020, from https://www.skyscraper.org/Pics/fav_seagram.jpg • (2020). Retrieved 8 January 2020, from https://static.dezeen.com/uploads/2017/06/fallingwater-frank-lloyd-wright 06 Case Studies Singapore Indian Heritage Center: • Aasarchitecture.com. (2020). Indian Heritage Centre in Singapore by Robert Greg Shand Architects + URBNarc – aasarchitecture. [online] Available at: https://aasarchitecture.com/2015/06/indian-heritage-centre-in-singapore-byrobert-greg-shand-architects.html/ [Accessed 8 Jan. 2020]. • Archello. (2020). Indian Heritage Centre | Greg Shand Architects | Archello. [online] Available at: https://archello.com/project/indian-heritage-centre [Accessed 8 Jan. 2020]. • Theplan.it. (2020). URBNarc Pte Ltd - Indian Heritage Centre, Singapore | The Plan. [online] Available at: https://www.theplan.it/eng/award-2017-culture/indian-heritagecentre-singapore-1 [Accessed 8 Jan. 2020]. • Urbanarchnow.com. (2020). Singapore Indian Heritage Centre. [online] Available at: http://www.urbanarchnow.com/2015/12/indian-heritage-centre.html [Accessed 8 Jan. 2020].

The King Abdul-Aziz Centre for World Culture: • Arch2O.com. (2020). King Abdulaziz Center for World Culture | Snøhetta - Arch2O.com. [online] Available at: https://www.arch2o.com/king-abdulaziz-center-for-worldculture-sn%C3%B8hetta/ [Accessed 8 Jan. 2020]. • Burohappold.com. (2020). [online] Available at: https://www.burohappold.com/wp-content/uploads/2016/10/kacwc-facadesketch.jpg [Accessed 8 Jan. 2020]. • Saudiaramco.com. (2020). The King Abdulaziz Center for World Culture. [online] Available at: https://www.saudiaramco.com/en/making-a-difference/people336 and-community/ithra# [Accessed 8 Jan. 2020]. • Seele.com. (2020). [online] Available at: https://seele.com/fileadmin/user_upload/images/01_References/KingAbdulaziz-Center-for-World-Culture/KACWC_c_ReneMueller__1_.jpg [Accessed 8 Jan. 2020]. • Snohetta.com. (2020). King Abdulaziz Centre for World Culture (Ithra). [online] Available at: https://snohetta.com/projects/39-king-abdulaziz-centre-for-world-cultureithra [Accessed 8 Jan. 2020]. 336

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337 Palestine Museum: • Palestinian Museum | Aga Khan Development Network. (2020). Retrieved 8 January 2020, from https://www.akdn.org/architecture/project/palestinianmuseum • The Palestinian Museum / heneghan peng architects. (2020). Retrieved 8 January 2020, from https://www.archdaily.com/871986/the-palestinianmuseum-heneghan-and-peng-architects?ad_medium=gallery

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