The American University in Cairo Department of Architecture ARCH 4980 - 4981 : Senior Thesis Projects Š AUC Architecture 2017
TRANSFORMATIVE ARCHITECTURE FALL 2016
conTenTs The challenge approaches 01 ART AnD PHiloSoPHy 02 EnviRonmEnTAl 03 HERiTAgE 04 PHEnomEnology
05 Socio-economic 06 TECToniCS
Team
The challenge
TransformaTive archiTecTure The Theme it is architecture that is “Transformative� over time, over place, over function, or over people; it is architecture that is not stagnant. Architecture is alive, and thus it is in constant transformation: it embodies different meanings with different users; or it changes in form with changing functions. The challenge is to design for transformation; to make architecture that is not only responsive but also transformative with the manifestations of change. Depending on the selected location and site the change catalysts and agents are different and hence the selected approach for realizing the transformative dimensions of the architecture will also vary. each group shall attempt to address its identified contradictions, conflict, and challenges by adopting one of the following approaches: Art and Philosophy, environmental, Heritage, Phenomenology, Socio-economic, and Tectonics.
the challenge
inTenTions That was the brief given to the Senior Students as they embarked on their final year two-semester Thesis Project. The challenge posed to them is to use this theme and one of the proposed approaches as a springboard to develop, through an intense research process during the first semester, a theoretical stand and thesis statement that becomes the foundation for an architectural solution that they develop during the second semester.
of translation: translating the theoretical statement and stand into an architectural concept, translating the concept into a building, and in doing so clearly presenting a proposal for transformative architecture.
Students start by defining a specific problem based on their theoretical framework and emerging from the specific site they choose, which is different in every group and often for every student in the group. in-depth analysis of site and its dominating problems leads to an intervention strategy that is translated into an architectural solution with a functional and space program that addresses the identified problem. The second semester brings about the challenges
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The process … according To The parTicipanTs “What is transformative architecture? What is transformation? Why does it happen? Who does it happen to? Who does it impact? is it predict-able? Who predicts the future?”
“The process … it is probably the most important thing we’ve learned. it’s all about the process. it was amazing how we each had to go down a completely different path to materialize our dreams.”
“How can you design something that will last forever? We needed to find a formula that takes into consideration not only the present factor, but also the past and the future. We were all over the place, gazing into the past, evaluating the present and contemplating the future. We were going deeper than we ever had to before.”
“At the end, the outcome could have materialized in different manifestations. if not architecture, my design could have been an installation or a room or an awareness campaign. What i discovered is the way you listen triggers the way you respond.”
“A question i find that i am asking very often is why “concept or Site driven approach? You had to be both; does the label “transformative architecture” exist? Why is transformation not a subset of architecture anyway? otherwise you’d have gaps in your logic.” Why aren’t all architects building this way? Why neglect “To understand how something can transform, you have transformation if it is part of human nature?” to first understand what it is to the core. You have to find its essence. We were discovering architecture in its most honest form. We knew we had to create sincere architecture.” “The theoretical exploration of the topic made me more aware of the sensitivity of my surroundings. i would even go as far as saying it made me realize where i stand from these surroundings. my personal interests that make up who i am, guided me to find my approach to understand the transformation of my surroundings. maybe this is why our projects were so different because each of us poured a bit of him/herself in the project and we all became very sensitive about what we were designing. maybe that is why throughout the semester i heard statements like ‘i am losing myself’ or ‘i found myself’ or ‘i don’t feel like doing this anymore’ from people who actually acknowledged the existence of the process.”
the challenge
6 differenT approaches & sTaTemenT 01 ART AnD PHiloSoPHy Cairo & Fayoum To propagate existing potentials to already existing nodes and raise awareness through art, architecture & philosophy that trigger transformation in deteriorating centers.
02 EnviRonmEnTAl SUSTAinAbiliTy Alexandria Transformative architecture is one that is ReSiLienT to the negative forces or changes occurring around it, ADAPTiVe towards the positive and one that raises its threshold by being ReSoURceFUL.”
03 HERiTAgE ismaila Repurposing the values of heritage through a transformative discourse that guides the current trends in ismaila towards capitalizing on communal life and reviving its identity.
04 PHEnomEnology Aswan Unfolding the cycle of a lost civilization by breaking the chains of time and space.
05 Socio-economic new cairo Sustainability is the innovative mechanism that best provide adequate adaptation towards necessary transformation over time”
06 TECToniCS Cairo Transformative architecture is the “Regeneration of time entangled memories narrated through the interplay between the material assembly and the empowering knowledge “
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approaches 01 ART AnD PHiloSoPHy 02 EnviRonmEnTAl 03 HERiTAgE 04 PHEnomEnology 05 Socio-economic 06 TECToniCS
chapTer
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arT & philosophy
Thesis I Advisor: Dr. Zeinab Shafik Thesis ii advisor: dr. hisham gabr group members: - heba el sawy - Mariem Afifi - mostafa gaber - rola Tarazi
defining The Theme arT, philosophy & TransformaTive archiTecTure “What is Transformative architecture?” The million dollar question of Thesis i. is it transformative or transformational? Does the architecture literally transform? or does the experience in the building cause a transformation? or is it both? is this responsive architecture or transformative architecture? What’s the difference? Shouldn’t it be both? Shouldn’t all architecture itself be transformational? But what do you mean by transformation? Do you mean transformational or transform - We think you now get our point. These were the common chicken and egg questions that was a source of so much debate in thesis i. The mere extrusions of the many derivatives of the word “transformative” would be to the delight of any linguist We are sure. But we genuinely had to ask ourselves how are art, philosophy, and architecture related within the scope of transformative architecture? The task at hand was a complex one-one that we did not shy away from. We first started by analyzing the art, philosophy, and architecture as separate components. Although the concepts do not have a clear cut definition, we as a group followed these definitions which we took further in our individual approaches.
However, as we isolate these components, we realize that this isolation is a myth, and it is almost impossible to understand one of the components without breaching into the territory of another. For example, architecture without philosophy is shallow and lacks experience and without art it does not speak to the senses. The multitude and complex ways in which the three components blend into each other is complex and many. Thus, they all complement each other, and the role that they play in our lives cannot be overlooked. Hence, it is vital to create architecture that fulfills its intended purpose, and to create an experience for those that will live with the design.
Art can be described as an outlet of expression, that is influenced by culture, or influences culture. Philosophy, to ask what is philosophy in and of itself is philosophical, but we can agree that it about raising questions, as it studies the general and fundamental nature of reality, existence, knowledge, values, reason, mind, and language. Architecture could simply (just for the moment) be the design of the built environment.
But we must ask ourselves, what is the role of the being? The being which helps bring together art, philosophy, and architecture is not a static formula. The human being contributes to this change. However, to further understand this concept of change, we turned to Aristotle’s Philosophy of Change.
Chapter 01: art aND PHILOSOPHY
According to Aristotle, every change implies a subject in effectiveness by the action of some agent. The change starts with the action of agent where it provides a new perfection or actuality to the subject. Then the subject is affected by the agent. And for the subject to change it goes through the following principles: there must be something new that comes to be, something old that passes away, something that stays the same throughout, after this process the subject is changed by obtaining something new and losing what it previously had. Thus, by reflecting on all of the above, we as a group concluded that the from the perspective of the being, that it is the being with its complexity, volatility, growth that potentially causes change. Thus, from the standpoint of designing for the being, the above components should adapt with the being, and here is where we answer what is the role of transformative architecture. Referring to Aristotle’s Philosophy of change, non transformative architecture is usually restrictive, it houses the changing the subject (the being) but does not respond or transform with it. And for architecture to cope with the changes it needs to be adaptive and responsive, which makes it transformative. The transformative architecture houses the changing subject, and transforms, responds, adapts with it. Transformative architecture either contributes to positive or negative transformation. As a group we are accommodating towards a positive transformation. Accordingly, our group thesis statement is to propagate potentials of already existing nodes and raise awareness through art, transformative architecture & philosophy that trigger positive transformation.�
SUBJECT
ACTION OF AGENT PROVIDES NEW PERFECTION OR ACTUALITY
AGENT
SUBJECT o THERE MUST BE SOMETHING NEW THAT COMES TO BE. o SOMETHING OLD THAT PASSES AWAY. o SOMETHING THAT STAYS THE SAME THROUGHOUT.
CHANGED SUBJECT
OBTAINS SOMETHING NEW & LOSES WHAT IT PREVIOUSLY HAD.
only after we were able to really dissect both the theme and the topic were we able to reach our group thesis statement, which is: to propagate potentials of already existing nodes and raise awareness through art, transformative architecture and philosophy that trigger positive transformation. Thus, our group approach was to find sites with different potentials, and to utilize an agent that will use art philosophy and transformative architecture as the tools to propagate positive transformation. And to our great delight, towards the end of thesis i, we realized a trend among all groups, that the themes started to seep into each other. Transformative architecture cannot be thought of in isolation. Thus, the true nature of transformative architecture cannot be contained to stand alone categories, and to stay true to topic, meant that all different themes would have to so mellifluously blend.
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ANTHRO-TECTURE: The mounTains of mansheyaT nasser mAnSHeYAT nASSeR, cAiRo
To unleash and understand the fluidity of the complex actor network of the Zabaleen community in mansheyat nasser, in order to design for the area, by conducting a multidisciplinary architectural and anthropological process.
By: Heba el-Sawy
discovering a process
The journey of the inbetween was a challenging one. it was one that made me face the difficult questions of being, and made me wonder whether it was possible to be an anthro-tect (anthropologist + architect) in the city of cairo - this city with all of its multiple, and complex layers. i started my journey in mansheyat nasser, and i could not help but feel very upset. Why was there such an othering of the Zabaleen? Why was any form of intervention based on hegemonic discourses such as “development” and “empowerment”, which pertain to corrupt social constructs? on this endeavor, this exploration of the in-between, i did not know that both this process and i would unravel, and how personal it would all become. i found that it required me to reflect on the elements of being in this complex actor network that is usually side-lined in our everyday. This expedition required me to look deeper, to find the extraordinary in the ordinary, and to find the poetry in the everyday. The path involved exploring the in-between of architecture and anthropology, and little did i know that i would be finding myself in this project. i discovered a process that involved being aware, listening, painting, and unraveling. i ended up discovering a process based on a sensitivity towards the signs and symbols and their agency in our daily lives. The First Painting: This was actually the beginning of a discovery of a method, that involved analyzing with paint and see what my hands were drawn towards.
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Painting Study of the Forces of Site
THE ConCEPT oF FlUiDiTy The concept of fluidity speaks of the poetry of our lives, that our lives are not just a culmination of coincidences, nor can our being be locked up and secured by unnatural social constructs that have corrupt roots. in unlocking our fluidity, we are superseding these modes of control, for we can then no longer be contained into boxes. We realize that we are dynamic and cannot be contained. Fluidity is a form of resistance. Fluidity unleashes your full potential.
Chapter 01: art aND PHILOSOPHY
Plan of proposed design
How To EmERgE FRom THE moUnTAinS How does one emerge from the man-made and natural mountain, that so beautifully blend into one another? How does one design responsibly in an area that is all about improvisation and beoming? How does one take their concept and manifest it into a physicallity? The answer is that you emerge by going through a process. You emergy by listening to the forces that are evident in the complex setting that you are seeking. By listening. By being open to the poetry of it all. You emerge by pushing the limits of what you think is possible, you undergo a process, and allow both it and yourself to unravel.
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Detailed Section of a home, and the gaps that are designed to facilitate growth
THE HoUSE HoUSES THE UnivERSE The search for centers that the universes’ of these lifeworlds revolve around. These centers are not static, in fact they revolve around the ordinary, the ordinary could be a slipper, or a bed. The design faciliates for such centers by creating gaps of incompleteness, by not fully extending the boundaries of the homes, but rather to leave space to grow and become.
Chapter 01: art aND PHILOSOPHY
Painting Study of Detailed Section - Study of illustrating the concept
Painting Study of a Lifeworld - An image from a site visit source of inspiration for the project and how the house houses the universe
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masterplan Section
Painting Study of a Street-world
Chapter 01: art aND PHILOSOPHY
Perspective Blow-Up
Painting Study of Facade Peculiars
THE bEComing How to design for a place that is based in improvisation, and becoming? You do so designing around their non-static centers of their infinite lifeworlds. There must be room for spaces to grow, and become. The improvisations and the peculiars that appear in building these homes are not random, but are a manifestation of their unique lifeworlds. The incompleteness in the design fosters the making and this becoming. However, it then became evident that the role of the architect here is not to dictate with a proposal of design, but to collaborate with the community and grow with them. The responsible role of the architect here is to learn from the community, and to collaborate with the community that builds for themselves. Perspective Blow-up Painting Study
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Al-FUSTAT CENTER FOR CREATIvE arT & Technology AL-FUSTAT, oLD cAiRo, eGYPT A center designed to revitalize the creative scene in Al-Fustat through introducing technology as catalyst of change that guarantees continual interaction, transformation & adaptation of art, architecture & user experience.
By: mariem Afifi
defining The Theme arT, philosophy & TransformaTive archiTecTure in al-fusTaT
i started my journey by analyzing the theme, and the following quote stated in the course outline was my main driving force. “it is architecture that is “Transformative” over time, over place, over function, or over people; it is architecture that is not stagnant. Architecture is alive, and thus it is in constant transformation: it embodies different meanings with different users; or it changes in form with changing functions.” i began to search for a site that has art, philosophy, and architecture is “Transformative”, over time, over function, or over people; a site full of art and architecture that is not stagnant. Al-Fustat, a city known as one of egypt’s main cultural hubs, and as the capital of arts and crafts in egypt, was my chosen site. As seen in the Time-line and in figure below, AlFustat, has experienced a lot of governmental, artistic, and architectural transformation. At each dramatic change the city was able to reflect, express, adapt, connect and transform [R.e.A.c.T] to the change. Until the ottoman era, the city was a true vital cultural hub. The constant [R.e.A.c.T] created a multilayered cultural hub.
641-750ad
ABBASID 750-950 ad
FATIMID 950-1168 ad
AYYUBID 1168-1341ad
OTTOMAN
CURRENT
1341-1805ad
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PRoblEm DEFiniTion After analyzing the current state of Al-Fustat, and analyzing the main art & cultural facilities in Al-Fustat. it is clear that Al-fustat became stagnant. it is no longer the city that kept transforming and being up-to date with local and worldwide changes. Lately, a “traditional and old” identity is forced upon it. This traditional and old identity is the use of vernacular architecture that has nothing to do with the type of art or the function, and the focus on traditional methods and art. nevertheless, a spark of hope lies in AlFakharenin village is considered by many users as the most successful cultural and art facility because art, philosophy, architecture, user, and time [R.e.A.c.T] to change, and it offers both modern and traditional art. in addition, the relation between the process of producing art & the user was not separated like in Al-Fustat market. Accordingly, the identified problem in Al-Fustat is that the current agent used is a stagnant agent, which is the traditional approaches only. A stagnant agent cannot transform and continuously vitalize the area. Accordingly, the agent needed to vitalize Al-fustat is a “contemporary & transformative agent”, which is modern techniques & technology.
BABYLON FORTRESS
AMR IBN AL ‘AS MOSQUE
ART, ART, PHILOSOPHY & PHILOSOPHY & ARCHITECTURE ARCHITECTURE REFLECTED REFLECTED THE ERA THE ERA
MUGMA’ AL ADIAN
ART, PHILOSOPHY & ARCHITECTURE REFLECTED THE ERA
STAGNANT CURRENT
ART, PHILOSOPHY & ARCHITECTURE NOT REFLECTING THE ERA
CURRENT REFLECT EXPRESS ADAPT CONNECT TRANSFORM
ART, PHILOSOPHY & ARCHITECTURE WILL REFLECT THE ERA
CONTEMPORARY & TRANSFORMATIVE AGENT
Chapter 01: art aND PHILOSOPHY
The points represent the columns of the structural system. A physical study model shows different scenarios that can be achieved just by moving the column vertically with a hydraulic system.
The multidisciplinary platform presents performing and visual arts programs, supports research projects for artists working with science and engineering labs, and sponsors symposium, classes, workshops, design studios, lectures. The program is divided into four main zones: education, production, exhibition and entertaining zones,
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PRojECT DESCRiPTion Al-Fustat center for creative Art & Technology, aims to create new opportunities for art, architecture and technology to thrive as interrelated mutually updating modes of exploration, knowledge and discovery. The project is driven by the huge potential technology holds for cross generational artistic expression. Accordingly, it will be a reflection of the current, which is the what Al-Fustat is truly about, a cultural hub that reflects the current. This will be achieved through synergy of artists, craftsmen, performers, researchers and inventors working together to create artwork, blurring the lines between disciplines. This synergy and introduction of technology will guarantee e the continual reflection, expression, adaptation, connection and transformation [R.e.A.c.T] to the change. This will ensure the continues interaction of art, philosophy, architecture & user experience in Al-Fustat.
Site layout
Chapter 01: art aND PHILOSOPHY
-01 basement Floor Plan
00 Ground Floor Plan
01 First Floor Plan
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PRojECT DESCRiPTion Structure responds to density of users, type of activity, and user need. The louvers and exposed structural system adapts to environmental, and functional changes. The shadow of both louvers and structure creates a rhythmical pattern. The pattern continuously changes as the light changes. Al-fustat center for creative art & technology, a building that promotes interrelationships among time, function, people and art. A building designed to revitalize the creative scene in al-fustat through introducing technology as catalyst of change that guarantees continual interaction, transformation & adaptation of art, architecture & user experience. Section Studies showing adaptive structure
3D Shot
Chapter 01: art aND PHILOSOPHY
Prespective View
Prespective View
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The TerresTrial reconciliaTion and awareness of naTure QARUn, FAYoUm, eGYPT A center designed to use nature, art, philosophy and architecture, preventing extraction of wildlife, disturbance of the natural habitat and integrating the beauty of nature with the human beings natural thirst for knowledge.
By: mostafa Gaber
defining The Theme arT, philosophy & TransformaTive archiTecTure in Qarun
The Terrestrial Reconciliation and Awareness of nature at Qarun center is an approach that aims within the theme of art, philosophy and architecture, to accommodate nature. it is intended to discover the art in nature; the deeper meanings and more analytical layers to nature where comes the role of philosophy. Questioning and understanding these deeper meanings and exploring its analytical layers, which philosophy is all about, unravels more dimensions to art. So considering both can lead to a richer experience with nature and a maturer level of connection/communication between the man made and nature, that we tend to destroy or enjoy passively. in order to achieve this it is important to first capture the beauty of nature, experiencing it through being there to then be able to appreciate and care for it to then be able to utilize it and learn from it. Where it then becomes a cycle, and by learning man becomes part of the cycle, having a more rich experience that then feeds back in. Looking within the context of egypt, there are many places that can employ this concept; nevertheless, Qarun, Fayoum juxtaposes our city life with its deep connection to nature; holding great potentials that lie within its natural resources, however they are being neglected. There exists a missing link, more explicitly, a gap between those responsible and should maintain Qarun, and the actual needs to maintain such a sensitive site.
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PRoblEm DEFiniTion Qarun is rich for its natural assets, however they are not capitalized on, creating a gap between what it takes to enjoy and preserve nature and the interested users.
in addition to the general problem in Qarun. The site holds a vacant eco-lodge. The Kamariat ecolodge is in a poor condition, lacking services and facilities
Chapter 01: art aND PHILOSOPHY
DESign inSPiRATion
STUDiES
Elements of nature as Art: Water inspired by low, movement & mechanism of the sawaqi Birds, acknowledged for its wintering waterbirds & bird watching sites
inspiration extended from Site:
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PRojECT DESCRiPTion The project works on bridging the distance between nature and the interest users; Qarun locals, internationals, local authority, tourists, environmentalists. Located on lake Qarun frontage, as an extension and a continuation to a deserted ecolodge that failed to provide the users with a full rich experience. it adds an experiential aspect of nature through a recreational element, Appreciation and nature consideration through the nature exploration and interpretation, nature education through the awareness facility. All work on fulfilling the cycle, providing the user with a fill rich experience and enhancing the interaction with nature for a more assertive human impact towards nature, Thus; use art, philosophy and architecture, preventing extraction of wildlife, disturbance of the natural habitat and integrating the beauty of nature with the human beings natural thirst for knowledge. Accordingly, the proposed project is a Recreational and Awareness/ educational center.
Site layout
Chapter 01: art aND PHILOSOPHY
00 Ground floor Plan
01 First Floor Plan
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SHADowS STUDiES:
The Facades of the main spine transform throughout the day.
Section Blow up
elevation
Chapter 01: art aND PHILOSOPHY
3D Shots
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Al-AZbAkEyA ART pARk AL-AZBAKeYA, DoWnToWn, cAiRo, eGYPT A park designed to revitalize Al-Azbakeya garden by creating an area of expression open for the different arts, and performers. The area will create a main centre for arts present in downtown as well as an art medium for passengers; creating a connector and collector of art in the area.
By: Rola Tarazi
defining The Theme arT, philosophy & TransformaTive archiTecTure in al-aZbAkEyA
After egyptians of all segments called for communication expressing themselves physically and more experientially during the revolution, art forms went viral in different directions, on the street through graffiti art, performances and other expressive forms of art. However post revolution, expression in Tahrir was banned and art is currently focused mainly in the elite segment. Resulting in the problem generated that the art we see today does not reflect mass culture, for it has been monopolized by certain more powerful groups. Thus masses do not have the opportunity to express, and this freedom of expression is best presented the public domain. For this reason, Al-Azbakeya art park focuses on contemporary art or more specifically public art, is always changing and evolving to respond to the street. it reflects the existing reality, and people of all segments can relate to it. Since art is continuous change. Along with Unix philosophy which is a digital philosophy that states that spaces should be reinterpreted and reused by the users rather than its inventor. This is reflected in architecture in which spaces have its capabilities and can be used and changed independently according to change in needs. By combining the three forces art, philosophy and architecture, transformation is achieved when architecture is approached with a different perspectives through digital theories along with continuously evolving and changing art and architecture making art more practical and user friend. Since, Al-Azbakeya has always been a center for this art and culture in downtown which was considered the oldest cultural node in egypt, it still maintains its strategic location a center for all modern art activities and festivals held in downtown.
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PRoblEm DEFiniTion Al-azbakeya gardens lost its cultural value, and the public lost the daily interaction with arts. The garden is a center between 4 different street activities with diversity of people, activities and essence. contemporary art targets the surrounding context through reflecting the existing reality, and directly affected users can relate to it, creating interest among the mass, acting as a collector of art from the surrounding context.
context integrated with design
Chapter 01: art aND PHILOSOPHY
FoRm gEnERATion Al-azbakeya art park will act as the seed of growth of public art in the area philosophically and architecturally
ATABA
OPERA SQUARE
26 JULY
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PRojECT DESCRiPTion Al-azbakeya art park will act as the seed of growth of public art in the area philosophically by rooting and directly connecting to its surrounding art related facilities (national theatre and puppet theatre) and other art facilities in downtown including cinemas, theaters, galleries and others, acting as a connector of art in the heart of downtown.
Site layout
Chapter 01: art aND PHILOSOPHY
Studies
00 Ground Floor
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Sections
Chapter 01: art aND PHILOSOPHY
3D Shot
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chapTer
02
environmenTal Thesis I Advisor: Dr. khaled Tarabieh Thesis ii advisor: dr. hisham gabr
group members: 01 Christina Matta 02 Dina bahaa 03 farah abd el-aziz 04 farah omar 05 gannah el-sabbagh 06 menna mansour
El-TAbyAH AlEXANDRIA
The research began by trying to formulate an idea of what is “transformative” and the distinctions between that term and the word “transforming” and “transformable”. Since the idea of “transformative” could be applied to several topics, including “transformative art”, “transformative philosophy”, “transformative technology”, etc., research was conducted in several areas of studies in order to be able to formulate an idea about what it is that is considered “transformative”. The conclusion of this portion of the research was that “transformative” means that it has the ability to either transform oneself or the user. The keyword here was change. it was thus imperative that further research be conducted on the several types of change that are taking place and that are predicted o take place in order to be able to map these changes and hence the idea of transformation based on the variable of change. According to further studies about the history of change and the changes that are taking place, the conclusion was a classification of change into three variables; positive vs. negative change, gradual vs. sudden change and intended vs. unintended change. For instance, global warming would be classified as gradual, unintended and negative change. An earthquake, on the other hand, would be classified as sudden, unintended and negative. The introduction of solar cars would fall closer to gradual change on the spectrum and it would be classified as positive and intended change. And so on and so forth. The buildings to be created on the selected thesis site should thus fall into the classification of intended, gradual/sudden and positive change. Returning to the idea of “transformative”; based on the mapping of these different kinds of changes, one would theoretically be able to thus create a perfect world, a utopia, that would be able to withstand the negative changes but also trigger a positive change. Research on utopia as well as dystopia brought with it the necessary
Chapter 02: EnvironmEntal
factors that make up a utopian society such as a place for one to voice ones opinions, the presence of large open spaces and the ability for one to maintain some sort of individuality and the space to do carry out that which makes them individually happy. However, it was becoming more and more evident that the idea of utopia was, as the name suggests, a dream, or rather an unachievable goal. Seeking out to achieve utopia would be like setting oneself up for failure, since the “utopian dream”, as the name suggests, is an unattainable goal. A UnivERSAl moDEl So how does one combat this? How does one prepare for all the negative, unexpected changes, while still creating and inspiring positive change in the society around? The answer to this would be through creating a universal model. A model that would apply to all situations across different places, throughout time and across a multitude of different people. A model that applies to the changes that take place over people, place and time. much like the idea of raising children; one cannot prepare them for all the changes that may occur to them over their lifetime, but one could instill in them certain values, universal values, that they would carry with them and apply them across different situation. The same idea was to build a piece of architecture that would be able to withstand and combat the changes that take place around it, not by trying to predict every change that may occur (since that is impossible), but by constructing it according to a model that would enable it to deal with these changes in a positive manner.
THe “RARe” moDeL The question then, was to put the guidelines for this model. This was based on the previously specified factors or variables of change. As written in the paper, for something to be transformative, it must first be resilient towards the change that takes place around it. Applying that to architecture, if an earthquake were to hit a building, it must be resilient and remain standing, rather than crumble in around itself.
These steps are all brought together with the idea of having a “critical threshold”, below which one must not drop. in other words, the step of resilience is key in maintaining the current threshold (whether that is of knowledge, of sustainability, etc.). The final step would elevate this threshold and this would be the new threshold that must be maintained. The model spiraling not only upwards but also outwards as the cycle repeats itself with a new, increasing set of variables, since The second step towards transformation would be in transformation is not simply about moving upwards, but dealing with positive rather than negative change. For about evolving in shape altogether. This would continue examples, some buildings could not adapt to the changes in modes of transition of energy and information and on in a cycle of resilience, adaptability and raising the portions of them fell out of use. The second step would thus threshold through evolving resourcefully, thus achieving to be adaptable, or have the ability to adapt towards the the goal of being “transformative”, by not only dealing with positive changes taking place. These two steps of resilience the positive and negative changes, but also by triggering and adaptability both deal with unintended change, or change and hence transformation. change that is already occurring (whether negative or positive). However, in order to be transformative, it is not sufficient to simply adapt or be resilient towards changes that are already occurring, but the factor of intended or purposeful change must come in. one must use the resources around in an efficient and effective manner in order to elevate oneself from ones current position. The third step is thus resourcefulness, or using ones resources or assets allocated to them in order to evolve. Resourcefulness is defined as the ability and creativity to cope with difficulties. if you are stranded in a house without power and you are able to find a way to get a fire going and cook yourself some lunch, this is an example of resourcefulness.
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SiTE SElECTion THE HiSToRy oF AlExAnDRiA now that a “model of transformative� has been created, it could theoretically be applied to any place and any situation. The city of Alexandria was first chosen because of its rich history and heritage, its transformation over time. The city has seen invasions from the Romans, Greek, French and ottomans. it is a rich cauldron where many diverse backgrounds mix, creating an interesting combination. Added to that is the backdrop of the sea; a timeless entity that has remained unchanged and remains comparatively unchanging over time, as opposed to the ever changing urban and ethnic fabric of the city.
evolving cycle of change and transformation. The sites were thus narrowed down from three to two (since the one in Semouha was at the heart of the city and nowhere near the ocean). The first of the remaining sites was a small site in Sidi Gaber. it is located close to the railway station, next to the army port and directly facing the ocean. The other site was near the Qaitbay Fortress, also directly on the beach, in an area called Ras el-Teen. now while the Qaitbay Fortress region is somewhat active with tourists, directly beside it, along the shoreline to the southwest is an area by the name of Al-Tabiah, which is less urban, more rural and closed off. What attracted us to this area is the diversity that could be clearly seen, not only among the people, but among activities, occupations and even architectural style and of course its huge potential THE TimElESS SEA A site that was close to the sea would thus maintain this for tourism. connection to the timeless core, the timeless entity, while everything else around it continues through its ever-
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Site
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house of The people AL TABYA, ALexAnDRiA
By maintaining a thread of connection to the past yet dealing with the problems of the present and preparing for those that may arise in the future, “A House for the People� creates a ReSiLienT and ADAPTABLe micro community that is able to TRAnSFoRm itself as well as the residents of Al-Tabiah, raising their threshold through time. By: christina matta
Al-TAbIAH INITIATIvE A MICRO-URbAN pROJECT
For over a decade, residents of Al-Tabiah have been gradually expelled from their homes by government powers with major commercial plans for this prime piece of property. As a result, not only was the sense of community and belonging in the neighborhood deteriorating, but the identity, character and heritage of the place were fading away. my intervention strategy aims to find a solution that allows both the government and the locals to co-exist on-site while benefitting from one another. Al-Tabiah initiative is thus a micro-urban project that is a collaboration between the government and the local residents of Al-Tabiah. Built on the model of ethno-tourism, tourists live alongside the locals on-site (fishermen and boatmakers) and experience an authentic egyptian lifestyle. Thus, locals maintain their position and an regain their claim to their threatened homes while also profiting the government. This will not only profit the government which will own the hotel business sector, but it would also revive and revitalize the area, and provide an added income for the locals, creating a socioeconomically sustainable system. in order to restore the sense of belonging and community on site, the project is designed based on the principles of placemaking, where the intermediate spaces, or “in-between� spaces are designed specifically around the patterns of activities already found on-site.
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PATHWAY SHEDS INDICATION OF A MORE PRIVATE ZONE AND INDICATE THE WAY HOME.
Celebrating the Sea: Beach Perspective
Chapter 02: EnvironmEntal
Cluster Blow-up
CLUSTERS FORM AROUND SEMI-PRIVATE COURTYARDS.
ROOF CIRCULATION: ACCESSIBLE ROOFS CREATE INTERESTING “IN-BETWEEN” SPACES FOR PEOPLE TO INTERACT WITH EACH OTHER AND THEIR SURROUNDING.
BRIDGES ACROSS CLUSTERS PROVIDE ADDED CIRCULATION AND ACCESSIBILITY BETWEEN THE ROOFS.
OVERHANGING ROOFS AND SHEDS PROVIDE SHADING.
PATHWAY SHADING IS AN INDICATION OF A MORE PRIVATE ZONE AND INDICATES THE WAY HOME.
Unit Blow-up OVERHANGING ROOFS ON SOUTHERN AND WESTERN FACADE PROVIDE SHADING.
COMMON SPACE (LOCK) FOR BOTH USER GROUPS (TOURISTS AND LOCALS RESIDENTS) TO INTERACT AT THEIR CHOICE.
PRIVACY OF THE USERS MAINTAINED.
PRIVATE ENTRANCES FOR EACH OF THE USER GROUP (TOURISTS AND LOCALS).
Northern Elevation
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FlooR PlAnS
Site layout
Ground Floor Plan
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Second Floor Plan
node Topography
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Section through Main Path
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house of The sea AL TABYA, ALexAnDRiA
“experiencing histpry through the eyes of the sea, which is exposing different positive and negative relationships between the people and the sea itself over time.”
by: Dina bahaa
house of The sea ExPERiEnTiAl mUSEUm
The project focuses on history of the site and tourism addressing the rare model. it looked at the sea as the constant element on site, witnessing the transformation happening on site and the different relationships taking place between the people and the sea. The project is an experiential museum exploring those positive and negative relationships people have with the sea and how they change over time as well. Architecturally, the projects mimics shoreline in plan and waves in elevation. The concrete frames are built to portray the idea that the sea is carrying the building as well as bridging the connection between the people and the sea. With this connection built, the sea can now tell the stories of these relationships. The sea tells 6 different stories that are translated into 6 different experiences in the building. The first story is about pollution and the abusive nature of this relationship from the human side. This story takes the user through an ecological exhibition where artists creates awareness about the environment through their work. The second story allows people to travel through time and witness how the sea used to be before and how it changes through time, and this is expressed using media in the visual reality rooms. The third story expresses the strong connection between Alexandria so and the sea through fishing and boating and it is experiences onto he marina where families can reserve boat trips.
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PRojECT DESCRiPTion The fourth story is the story of life under the sea. it is exhibited by having 360 degrees glass tunnel under the sea and reach an island in the middle of the sea. The fifth story is about the tabia itself. This one focuses on the history and the architecture that used to exist and how it changed over time. This part includes a historical exhibition. The sixth and final story is about bonding with nature. it gives them space to create their own stories through performance art in the amphitheater. The project is not a normal museum with a linear journey. There is a main spine and they have the chance to go into these stories and explore them. The spine creates different experiences on its own through the shading cast by the frames. Upon entering the building, the users go through this multipurpose Plaza.
Zoning
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First floor plan
Ground floor plan
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enViRonmenTAL AnALYSiS + FoRm GeneRATion winD CiRCUlATion
Wind circualates through the fragments abd frames
DAy ligHT AnAlySiS:
All spaces are naturally Lit except the rooms which are designed as black rooms
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HOUSE OF THE SEA
Prexpective Shot of northern Facade
Transparent northern Facade HOUSE OF THE SEA
concrete Frames are usedas structural system. creating rythum and support
Shading Westren Facade & outdoor Areas
Beams and Louvers are used to connect the frames to ensure continuity in the whole project
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elevation
elevation
3D Shot
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3D Shot
3D Shot
3D Shot
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HOUSE OF THE bOATS eL TABYA, ALexAnDRiA
“Redefining the connection between the boat making craft and Alexandria by recreating a transformative and sustainable relevance to the site through enlarging the scope of target group”
By: Gannah el-Sabbagh
HOUSE OF THE bOATS A ceLeBRATion oF THe BoAT mAKinG cRAFT The boat making site’s reputation in Anfushi, Alexandria is based soley on the presence of the capable worksmen and their admirable work. But the decline in the state of the site started in 2004, with the plan about the new mega project taking place in the whole area. the news about moving the boat makers to dekheila to use this place for the benefit of the project was demotivating to the craftsmen. Their presence is a strong point in the identity of Alexandria given the historical importance of the site. The boat making craft started near this site since the isolation of the existing site time of mohamed Ali. nonetheless, the situation kept declining slowly until 2011. The revolution caused the complete absence of market demaned on boats especially by foreigners. The boat makers started reverting to other jobs such as fixing car or making boat models for the tourists as souvenirs. Studying the site, it appeared to be like an isolated space, hidden from the public eye. by standers would not know the fuction of the place unless they go inside. The existing workshops are constructed very close to each other with no intervetion on the site space for outsiders to observe what is happening inside nor be able to pass through to the site. This isolation created a barrier between the boatmakers (site) and the rest of Alexandria, causing this site to deteriorate rapidly. my intervention was about recreating a relevance to the site that the rest of Alexandria would relate to. Allowing them in so they can reinterpret the site instead of erasing it and replacing it with a mega project, taking with a part of the identity of Alexandria. This relevance was created to the people in Alexandria; locals and tourists and creating a place for them of site to include them in and include the boat makers in their lives. inclusion of more target groups
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gUiDing ConCEPTS Sving the craft required some investigations from within, what the boat meant to its user and its maker. The boat wasn’t just a way to go from a place to place. it was a home, a way to gain income, a place to eat, a place to rest and a place to bond with others. all these features and more had to be there to turely infuse the essence of the site in the design. The design concepts themselves had to be basic guiding concepts to the survival and flow of the normal boat; balance, movement and structure and composition. The idea of balance led tocreating a balance between the shorelines of the place since 1984 and the formal lines coming from the neighbours. The movement of the boat was based on its shape. The building was set out on the formal grids as basic shapes to suite the function and then shaped by 2 forces; nature and people.
Guiding boat survival aspects
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Feel of the site. Paintings by Rabab nemr
Form Generation
being RARE
Design Gaps- Adaptability
Activities on site- Resilience
Sustainability- Resourcefulness
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boAT AS A STRUCTURE The boat was the true inspiration to the project. Different parts of the boats had their own specific functions. The core (squeleton) was the base of the project were the existing workshops. The casing (shell) was the museum where the olished final prosuct is displayed. The engine and the connectors were symbolised by the evelopment center and the activity center respectively. The evelopment center is where the new designs and technology happened. The activity center was the new hobby place to make boat models.
boat as a Structure
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Site layout
Ground Floor Plan
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liFE oF THE PRojECT The project has this liveliness in it created within the idea of the boat. visitors can have fun as well as learn how the boat works and how much it means to each and every owner. They experience to make it as well as living each and every experience in it and it is a privilage to be a part of this industry. the museum include several galleries displaying difrent aspects of the life on the boat, a promenade to induce this mingling between the visitors and the resident craftsmen, a restaurant that offers food prepared on boats and caught by fisherman, a shipwreck graffiti area to attract users at the gate through expression and several outdoor areas serving as potential expansions to the building or needed functions by users.
First Floor Plan
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Basement Floor Plan
Activities in the building
explainatory Sections and elevations
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house of The fish eL TABYA, ALexAnDRiA
Transforming the marina and Touristic Resources on site to raise the economic Threshold of the community through a Resilient and Adaptive approach while reviving the identity of Alexandria through the interaction between the insider and outsider.
By: Farah Abdel-Aziz
house of The fish
Applying the RARe model initiative on the site, el Tabya to raise the Threshold of the site, i have figured out several unused potential such as The Sea, Halaket el Samak, and Diverse User Groups. Another important observation is the huge pollution problem that has affected Alexandria’s economy in a negative way. This pollution problem caused Halaket el Samak to deteriorate in its work system, thus caused a huge neglection to this over 200 years building. i saw an opportunity to solve this problem by having an Urban proposal that uses the on-site potentials and solves the pollution problem on the long run. This urban proposal starts with the renovation of Halaket el Samak, with an extension to accommodate the activities that happen within the space. Then there would be a market space for the fishermen to sell fish and related products. All of that will lead to the Aquarium space in the end with will be an awareness for the pollution problem in Alexandria. Halaket el Samak is going to be the first step of the RARe model, Resilient as it is a way to keep this magnificent building that attracts both insiders and outsiders. The markets space will be adapting to the site as there are several informal markets spaces surrounding Halaket el Samak that people sell fish at. Last but not least the Aquarium space, is considered Resourceful as it uses all the on-site potential to raise the economic Threshold of Alexandria. “Start to fix the core problem “PoLLUTion”, thus i will start to design The Aquarium first” The aquarium is being resilient as it spreads awareness about the pollution of the sea. on the other hand, the aquarium is being adaptable as it uses the same grid as the surrounding buildings and keeping in mind the Sea’s dynamic. All of that in addition to using the on-site potential, diverse user group.
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ConCEPT
FoRm gEnERATion
create oneness experience with the marine Life how to achieve that: illUSion
Use illusion to gain insight into the inner works of the visual system. Thus, use the brightness, colours, shadings and other powerful effects on what we see. how to apply it architecturally: STATiC vS. DynAmiC
Humans Home
marines Home
Applying contextual Forces to a static form generates harmony between both homes and results in a space that it usable to both types of beings. how to apply it in the experience: REvERSE iT To have the most effective experience, the users experience the best scenario of the Sea in the Submerged and Floating Phases then they go to the interaction which is interpreted in the education spaces.
Chapter 02: EnvironmEntal
Floating and Submerged phases represents the depth that the marine life live at.
SEREniTy inTERACTion FloATing SUbmERgED
Ground Floor Plan
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CiRCUlATion AnAlySiS The users enter the Aquarium at the ground floor, the ticket area, then they go through a fish tunnel that leads them to the submerged level. They go though the experience of being submerged and seeing all the deep marine life. After that, they move to the ground floor, the floating stages where they find all the marine life that float at the sea level and there are several interaction pool such as the touch pool and diving with the sharks. The users then go on a bridge above the Seal pool leading to the educational area where there are labs and awareness classes for users to learn about the Sea pollution problem.
basement Floor Plan
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First Floor Plan
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SECTionS AnD ElEvATionS
STRUCTURE AnAlySiS
There are several entrances to the Aquarium according to the user groups. The main entrance is for both users insiders and outsiders. They go into a common area then if there are visitors they start the journey by going into the fish tunnel. on the other hand, if they are regular users and they are going to the educational classes, they go to the right part of the Aquarium, the rectilinear part. Also, there is an employees entrance going to the administration area. Regarding the services, there is a separate entrance and circulation so that all mechanical rooms and tank are easily accessed.
The structure system in the Floating stage, galvanises Space Frame and steel cladding to survive the environmental conditions.
Section A-A
Section B-B
northern elevation
Chapter 02: EnvironmEntal
EnviRonmEnTAl AnAlySiS Between each frame, the closure is curtain wall for light access.. There are movable panels for light and ventilation on the spaceframes. At the rectilinear part, the educational spaces, the walls are all curtain walls with shading devices in the South and east direction.
3d section
Southern elevation
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The losT space eL TABYA, ALexAnDRiA
The interpretation between linkages of us people, a moving complex creature with evolving needs, and a certain fixed context in time, created undefined lag.
by: Farah omar
AbOUT THE pROJECT THE loST SPACE
Research in its nature is a formal logical practice that embarks on a systematic series of questions and factual answers. on the contrary, the Tabiah contexts lacks the logical process and its informal in nature dictates an non-logical research methodology. Therefore, the dynamically layered site calls for spaces that deals with this formality dichotomy. The main goal is creating linkages of the existing informal tabiah grids and extended promenade pathways. in addition, this allows for not disturbing the site’s flow of forces; however, the change happens to the users’ perception by experiencing the same reality in a totally new realms.
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RESOURCEFUL ADAPTABLE RESILIENCE
THE JOURNEY
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Main Street levation
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Section - ighlighting the ow of researchers
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D
W GS
Longitudinal Sections
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Promenade extension entrance
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sancTuary AL TABYA, AlExAnDRiA
“A shelter of spirituality from materialistic modernity, restoring oneness with nature.”
by: menna mansour
sancTuary HoUSE oF THE SoUlS once upon a time, the Tabya and Alexandria used to be the spiritual, intellectual and artistic capital of the whole world. However, through out several unfortunate historical events, this spiritual and artistic prosperity decreased dramatically. is it going to continue in its trend of decrease? or are we going to do something about it? Doing something about it is easier said than done when we’re dealing with two main problems: 1) Reason being valued over faith. 2) We have forgotten how to coexist. That’s where Sanctuary comes in. it reminds us of the thing we all have in common; our Soul. it aims to help people reconnect with themselves and each other, using a journey of the three main Transformative stages: Resilience, Adaptability & Resourcefulness and finally evolution. Resilience: Reconnecting with yourself. Adaptability and Resourcefulness: Reconnecting with yourself around others. evolution: Reconnecting with others. So what is Sanctuary’s building type? As long as it remains UnlAbElED, As long as it remains UnDEFinED, it will ever exist as a non-BUiLDinG, A timeless thought in our mind. THE PRoCESS: The non-Building was found in Literature. Prose was collected expressing the soul of each stage, which was then transformed into images and later into spaces. PRoSE -> imAgES -> SPACES
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evenly part. In part. In aterials aterials g (e.g. sult of g (e.g. ensions n was on. A nwater was etween water spaces, as a spaces, used to at slab used ace to in evenly ace in ulacon, part. In ulacon, used aterials used ourney gourney (e.g. were n were was racon, water racon, which spaces, which encre used to ngencre the acethe in ng wind ulacon, wind ow in used in o ow main ourney o main uary is were uary is er one racon, er one cept of which cept of s are encre s are oof to ng the oof to d air d wind air utdoor ow in utdoor o main
uary is er one cept of s are AL oof AL to
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Studies Studies
Resilience Plan, 3D Shots and Seccons
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SANCTUARY Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Te Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text Text
Adaptability and Resourcefulness Plan, 3D Shots and Seccons
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Evolucon Plan, 3D Shots and Seccons
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SecTionS + eLeVATionS
Section A-A Passing through the second and third stage, showing how space evolves into the Bridge-To-no-Where, where one can stand in the middle of nothingness and meditate, completely isolated from the world.
Section B-B Passing through the first, second and third stage, showing the progression of light. The first stage starts in Darkness and then gradually turns into Light, by the evolution Stage.
Street entrance elevation At the entrance, you are met with “The Wall”, with fenestrations, emphasizing the stair entrance and showing nothing but a few tree tops from behind, accentuating the “non-Building”.
Seaside (Western) elevation Your view of the non-Bulding from the Sea. All that is visible is a series of planes, columns creating rhythm and a bridge going to no where.
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Space Studies
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chapTer
03
heriTage Thesis Advisor: Dr. Dalila El-kerdany group members: - Hana Zaky - hiba mahmassani - mariam el-behiary - hiba mahmassani - sherif el-hawary
defining heriTage in ismalia DEFining HERiTAgE
THE SiTE: iSmAliA
To be able to tackle transformative architecture from a We chose our site to be ismailia for several reasons. First of all heritage point of view, heritage was ismailia was first established during the khedival period which to be defined first. marks the sharpest transformation and the start of modernity in egypt. This idea of a modernized ordered city was brought to Heritage is made up of two different categories; light through the French expedition led by napoleon Bonaparte tangible and the intangible heritage. Tangible heritage in 1798 which created interactions between egypt and the includes any physical element that plays a role in western civilizations. This interaction had a major impact on creating a memory of a place. This is created through the later urban planning and architecture of egypt. The French the specific elements of a city; its urban and in fact introduced the concept of organized and well-structured architectural morphology and its environment. neighborhoods with wide streets and well intangible heritage comprises of any nonphysical identified squares and public spaces. This idea came in contrast element that creates the identity of a certain society; to the old islamic cairo, which due to its irregular design cultural values and social structure. was perceived as chaotic and illegible. mohamed Ali was the ruler who initiated the use of modern principles where the For heritage to be preserved and remembered, it transformation and development of public spaces played a key transforms with its community. As part of keeping role in his vision about modern egypt. This vision was further up with age, adaptation of heritage happens. When developed by his grandson Khedive ismail, who influenced by heritage fails to adapt, it is lost. When heritage his educational experience in europe, aimed at transforming adapts, it continues. This process is known as cultural cairo, its urban planning and selection. architecture into a Parisian city (AbdelAzim, 2014). ismailia referred to as the city of beauty and enchantment, was one of the cities developed to portray this modern image of egypt(Abbas, celine and Arnaud, 2009). However, unfortunately this image and vision deteriorated after the nationalization in 1956 where all the european left the city; and more specifically after the october war 1973 where lots of people were relocated in ismailia and lots of new neighborhoods were constructed damaging the
Chapter 03: Heritage
original urban and architectural planning of ismailia. These aspects of deterioration which will be discussed further in the report transformed the image Khedive ismail originally had for the city. Today we can witness how the urban fabric disappeared, how heritage buildings are being completely neglected and how new tall structures, which do not carry any of ismailia’s initial vision, are starting to replace the original historic buildings. Thus, it could be said that ismailia currently is heading towards losing its architectural character which directly affects the cultural identity of the community. gRoUP APPRoACH: A. THE mAgnET The idea of the magnet approach was to establish the extraction of the heritage qualities of ismailia, and implement it further away from the city, and create a corridor that leads up to the projects. Hence, leading the development away from what is already existing in ismailia, to stop the tearing down of the buildings there, and the enforcements of the characterless buildings. The projects will not just act as a magnet, but will also be a reference to how this corridor that will be built leading up to the newly developed area should be like. The precedent that we chose to take as a reference to this approach is the American University in cairo new cairo campus. it was mainly built as an urban architectural statement for the future development of the area. The architectural style was meant to guide the buildings that erect in the corridor of extension the campus provided.
b. THE SEED The first approach was to create a center that provides room for the projected growth of the area. The core elements that the neighborhood would require to establish the bases of a successful communal icon, that resembles the heritage of the city both architecturally and communally. And the projected growth with time will be guided by the initial start that our projects provided. The precedent that was associated with this approach is the Previ Housing by charles correa. The project gives space for the users to complete and grow on to the initial start of the building. All happening according to the persons themselves and their needs. Hence the result reflects the nature, identity, and needs of the persons that are occupying the space itself. C. THE inTERwEAvE The idea behind the interweave was to integrate the humanistic scale of the past which resembles the heritage of ismailia city in our projects. This humanistic scale is what gave it its identity, and provided the human comfort that it is known for. But the idea is to also integrate the verticality of the modern buildings which are more functional in terms of it can occupy more people with the continues growth of the population, and the increase of land value and hence increasing the profitability for the owners. This approach will satisfy the trends of buildings of the present time, yet still hang on to the heritage aspect in the ways of building of the past, along with the cultural benefits that come along with them.
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The arcade iSAmAliA
“An interdisciplinary approach that merges the process of creative production with culture, ensuring the continuity of heritage through social interaction.�
by: Hana Zaky
The arcade the project called for an architectural intervention in ismailia’s vibrant informal market
The project aims at regenerating the market place with the inclusion of ismailia’s culture and heritage. Transforming the market from a strict consumer based scene to a producer and consumer based scene; allowing heritage to intervene in the process of production to change the final consumer product. The project is comprised of interdisciplinary work environments ranging from textile workshops to art galleries and recording studios alongside the primary marketplace; providing the means to produce creative work that can later be sold in the market. The market acts as a platform for ismailia’s creative workforce to showcase their designs and for the local working class to shop for day to day products. The intertwining of creative forces, achieved through density, with day- to-day commodities will help in spreading the creative culture in ismailia as a whole. spaces are connected on a multi-layered basis. The presence on communal areas on all levels, including the roof. creates a constant flow in the inbetween space. The project’s core is the inbetween space. The project’s core is the inbetween space which acts as the arcade in ismailia’s heritage.
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STUDIES This project aims to reinterpret the rules that govern the informal market in Ismailia and give the city a new civic heart.
Porosity Easy Access and Exit
Easy access is one of the primary rules found in the informal market. The circulacon manipulates the pace of the pedestrian. Starcng fast and gradually slowing down.
GROUND FLOOR PLAN
Main Spine
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Revelacon- Hidden Nodes
Overlooking Nodes
Cra smen’s workshops and arcsts’ studios combined with outer zones overlooking the market. The intent is to remind Ismailia of its arcscc Potencals that exist in its heritage .
FLEXIBLE SHOP DETAILS
FIRST FLOOR PLAN
Gradients of Flexibility
Basement Floor Plan
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DETAILED SITE PLAN DETAILED SITE PLAN Detailed Site plan
South-Western Elevacon South-West elevation Elevacon South-Western
Section A-A Seccon AA Seccon AA Chapter 03: Heritage
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Sho Sho
north elevation
Section c-c
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heal iSmAiliyA
creating a conscious integration with ismailia’s environment that intensifies the importance of nature’s effect on personal health & regenerates ismailia’s environmental heritage.
By: Hiba mahmassani
design approach
Humans being the main reason for the continuation and preservation of heritage within ismailia, the healing center is aimed at shedding light on the humans themselves as part of environmental cultural heritage. nature played a major role within ismailia’s establishment, and the reason for the maintenance of ismailia’s air quality. Today, the main public spaces within ismailia’s urban design are confined to the public squares of old ismailia, and other undefined spaces within the newer parts of ismailia, most of which have been neglected and turned into trash dumps. The healing center will capitalize on ismailia’s nature as a way of the rejuvenation of the human mind, body and soul from the daily stress that comes with urban life, through contact with nature. DESign PRoCESS The design process started off with the expression of different moods through the manipulation of variables. SPACE QUAliTy
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By figuring out the relationships between the nodes, it was possible to group the spatial qualities, done earlier, into series of visual sections.
To create these nodes, stacking was used as a method of clustering. it took different experimentations and trials to figure out a final method of form generation - as shown in the figures to the right.
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communiTy performance cenTer iSmAiLiA, eGYPT
A project designed to provide a synergy of architecture, performance art, culture and history that revives the strength in communal life and ensures a continuous transmission of heritage.
by: mariam El-beheiry
parTi performance arT of ismailia ismaila historically was marked by a struggle between the european and the local community. after the european left, ismailia’s tangible & intangible heritage deteriorated, and a new urban and architecture morphology is starting to colonize the city. my project aims at reviving the cultural and architectural heritgae of ismailia while responding to the present challenges. The design capitalizes on the human being and his connectivity tothe environment and the community. The project provides continuous walkable surfaces for the user to explore his surroundings and perform collective activities. such design enhances communal gatherings and interaction with the art and nature of ismalia. The continious walkable surfaces are created as a reinterpretation of the tilted roofs that characterize the old architectural morphology of ismailia. this element did not respond to the local community’s need and thus after the europeanleft the city, it was never used again my project aims at utilizing this element to bring back the idea of connectivity with a different perspective.
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HiERARCHy
The project through the idea of connectivity and walkability offers two main scenarios of movement to the user. These scenarios leads to different points of attraction and they interlock at the third floor where the foyer of the main theater is located. The first scenario capitalizes on the nature of ismaila and the view towards lake timsah. it offers a continuous journey from the public square to the main theater. The second scenario in contrast focuses on enhancing the user’s relationship with the public space providing strong and continuous visual connection with the plaza.
The ramps added to the structural columns form a double skin to the built form and provide a reinterpretation of the arcade that used to dominate ismailia’s architectural morphology. The double skin allow for maximum visibility and connectivity to the outdoor while still providing protection and shading for the internal spaces.
CHAnging PERCEPTion The reinterpretation of the sloped surfaces and concrete columns into double skin elements, revives ismailia’s concept of arcade providing a transitional zone for communal activities. These double skins manipulate the user’s perception; while walking, it appears to be transforming. Such revelations trigger the user’s curiosity and excitement about the project and the journey he is about to take.
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CUlTURAl HUb The design reduces the building footprint in the objective of maximizing the use of the ground floor plan as a transformative cultural park dedicated to the needs of the community. The park hosts different activities based on its flexible design;and the use of movable walls and furniture.
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communiTy performance cenTer iSmAiLiA, eGYPT
A project designed to provide a synergy of architecture, performance art, culture and history that revives the strength in communal life and ensures a continuous transmission of heritage.
By: Sherif el-Hawary
design approach
The project aims to set a model for the residential/commercial hgh rise buildings that have become a reality and continue to grow more and more in our present day in the city of ismailia. The project will create the social opportunities that the heritage residential buildings created. The new imposed towers do not reflect or resemble the city’s architectural morphologies nor the social qualities that the buildings and the urban morphologies provided. The Project also reflects the agricultural heritageaspect that the city of ismailia is distinguishable at from all the other cities in egypt. making the tower forever transforming as the greenery grows and embeds itself to be a part of the live/work environment, while reflecting a core essence of the city’s main economical force.
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AgRE The people’s circulation in the open plan is what defines the workspaces, inspired by the urban grid of “Hay efrange” urban grid qualities. Territorial spill out from the workshops. The space is also designed to provide social interactive opportunities. The main entrance provides stepped socializing spaces that grow out and pixelated from the building’s podium, providing spaces for socializing for the buildings and the market users.
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AgRE The elevations in themselves have a transformative nature, as they have the vertically growing greens. in addition to their transforming orientation to maximize the view.
he elevations in themselves have a transformative nature, as they have the vertically growing greens. n addition to their transforming orientation to maximize the view.
hemselves have a transformative nature, as they have the vertically growing greens. n addition to orientation to maximize the view.
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phenomenology Thesis i Advisor: Dr. Ashraf Botrous Thesis ii Advisor: Dr. Sameh el Feki Group members: - Ahmed Sakr - Ali mahgoub - nada el-Ahwal - Rinade el-Waziry - Salma el-Ziki - Shady Gad
ACHIEvINg EXpERIENCE IN ARCHITECTURE
Different methods and approaches were taking into consideration in order to find a way to create transformation in Architecture, after stating the problem that architecture has become bound by the stagnant elements of construction not allowing it to transform with time, therefore another dimension or mechanism should be added to architecture in order to break these chains and create transformative elements. The approach taken in this thesis study in order to create this transformative feature was the idea of time, and therefore required a further deeper study of the theories of time and how this can relate to architecture.
what creates a pattern. Specific patterns were created within our project in order for us to again create this idea of a transformative, experiential approach to design. The study was then shifted to a more detailed study area, when the location was picked, which was the location by The Abu Simbel Temples, that belonged under the selection criteria of cycle of Life, because of the fact that the Abu Simbel Temples were given another cycle of life after almost being flooded due to the construction of the Aswan High Dam. The phenomena of the light crack that is included in the Abu Simbel architecture was used in our projects when considering the different patterns. The study then moved to understanding the requirements and needs of this area and what is required when designing and specifying the individual projects.
What is Time? “The indefinite continued progress of existence and events in the past, present, and future regarded as a whole.” (oxford Dictionaries) The analysis of this site gave us six different projects, these included, a nubian Village, a School, a musical center, a According to Albert einstein’s theory of relativity we were Building institute, a Hotel, and a museum. able to draw the fact that in a fourth dimensional world, Hence, the thesis statement shifted from it revolving one does not exist through time (past, present, future) around rigid architecture and moved towards returning and instead one simply exists at one instant. Therefore the once lost civilization of the nubian culture that the fourth dimension that was added, time, caused the thrived in the area before the unfortunate flood due the transformation that we want to apply in architecture. construction of the High Dam. Relating this analogy to architecture, experience would be the fourth dimension. The second theory that was used as an approach to incorporate transformation through architecture, was the design theory of christopher Alexander, where he was able to create 217 different pattern in architecture that requires a similar problem, that leads to a similar context and therefore a similar solution is used. This process is
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PATTERnS in ARCHiTECTURE We have now developed our concept of transformation in time, and we have reached a rich understanding of the manner. now we need to have a better understanding to how time and transformation in architecture. To further develop the theory we looked at the book titled “Timeless Way of Building” because the title sounded extremely relevant to what we want to achieve. Unfortunately, the information wasn’t as helpful as we thought it would. Hence we looked at the “A Pattern Language” by christopher Alexander also after recommendation of several Doctors. PATTERn lAngUAgE The book creates a new language, what the authors call a pattern language derived from timeless entities called patterns. The repetition of the same problem within the same or similar context creates this pattern he calls a language. After going through the book and understanding the different patterns he explains, we noticed that many of them a more or less a pattern that allows for transformation. These patterns are for most related to natural elements such as water, light, etc…
1 cRAcK oF LiGHT
This pattern explains that the orientation of a building allows a ray of light to penetrate the building and lighten a certain element on a specific day and a specific timing. This creates a crack that should not be obstructed. in another date, this phenomena will not occur. A representation of this pattern would be the main attraction at our site: the phenomena of the Abu Simbel Temple. The sun ray on the 21nd of February and on the 21st of october lights up three out of the four statues at the end of the temple leaving the statue of the underworld in the dark.
Transformative Architecture Patterns Just as christopher Alexander defined patterns as an architectural language, we created our own transformative patterns that would help us further develop our designs individually and as a group.
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This pattern states that we would be creating an element that uses the sun rays in order to light up certain elements at several timings of the day. This element can be a pair of tents connected to each with tubes that will penetrate the sun rays. An example that shows this pattern is the Science oasis building designed by Architects Rassem Badran and Abdelhalim ibrahim. it is based on the concept of light, as it contains a dome which has holes that access light. each hole is a representative of the position of the sun in each hour, where light access the building through the holes in the dome.
This pattern states that through technology, transformation can be achieved to show the time changes within a period of time. many example nowadays represent this pattern of kinetic architecture whether it is through wind, sun or other natural elements. The precedent that mostly shows the idea of dynamic architecture and that caught our attention the most is the Sharifi-Ha House in Tehran, iran.
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6 TEmPlE in mAn Take it from psd file that soomi sent you. Proposed masterplan Analysis
4 wATER RHyTHm This pattern states that using the rhythm of water through the rise and fall, an electronic device is added to manipulate this rhythm creating transformation. So this pattern would be using technology as well natural elements in order to achieve transformation in architecture.
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JONgIR - bUIlDINg INSTITUTE nUBiA, eGYPT
Reviving the expertise of a lost civilization and guiding them to the future to create a dialogue in time and space.
By: Ahmed Sakr
THE EXpERIENTIAl MUSEUM OF ASTRONOMy AND HISTORy - kUMA
START A ToURiST - enD A nUBiAn This is an experiential museum that transforms the tourist experience, as the journey inside the museum explores nubian history throughout history and time. Furthermore, it explains the phenomena that lead to the crisis in nubian history, and it reveals how some of these phenomena were used by the pharaohs in their temples.
found in the area, such as the aura of Abu Simbel Temple. How did the sun rays penetrate through the temple? What are so special about the dates of the 22nd of February and 22nd of october? Why did that date change from the 21st to the 22nd? Hence, the museum will be an architectural manifestation that will answer those questions.
People are curious, and people want to know about nubian History, and they want to understand the series of events that unfolded that lead to the nubian’s current situation. There are other questions that people still have about famous monuments
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FoRm gEnERATion The form is inspired by the plot, as there are four curved forms. The forms are transform into rigid forms that parallels the rigidity of the history of pharaohs. These forms are slightly changed from certain grids which are a north-south grid and a grid taken from the hotel and the musical institute. These forms are then connected to each other by bridges from the first floor. The form is divided into four zones, and each part explains phenomena or a history. These four zones, in order from entrance, are history zone, sun zone, moon zone and water tide zone. There is a something called “The Loop� in the project, which is the journey which allows the user to experience the nubian history throughout the years.
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in the loop, you start from the history zone. First, the users enter an exhibition space in the first floor in the history zone which hosts and explains the history of the nubian history. Then you go the sun zone. in the sun zone, the different aspects of the sun phenomena are explained and experienced. The moon zone is then approached, here is where the different forms of the moon throughout the month is explained. By passing from the history zone to the moon zone, the people experience the beautiful life in the nubian history before building the high dam, as they have a view from the first floor on the beautiful landscape, Lake nasser and the sun. But as the people go from the moon zone to the water tide zone, they experience a transition, and this transition parallels the shift in the nubian history from the beautiful and peaceful life to the crisis.
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JONgIR - bUIlDINg INSTITUTE nUBiA, eGYPT
Reviving the expertise of a lost civilization and guiding them to the future to create a dialogue in time and space.
By: Ali mahgoub
JONgIR - bUIlDINg INSTITUTE
REviving A DiAlogUE TThe main concept is to revive the lost nubian building techniques and teaching more modern techniques, and to create a dialogue between the two. This will act as a selfmodifying institute that serves the whole project. The project is composed of mainly two parts, the traditional building institute, and the modern building institute; both contain teaching and research facilities for both the students and visitors. The teaching facilities include workshops and classrooms in the traditional institute and for the modern institute it provides more advanced classrooms and studios. Both institutes also include their own research centers with material testing and fabrication labs. These research centers aim to provide the dialogue needed for future progression and improved building technology.
This concept mostly relies on the time dialogue between traditional and modern. most importantly the structural dialogue; which combines between the stereotomic techniques of the traditional building and the tectonic techniques of the modern building. Another is the material dialogue which is based on the traditional and natural materials vs. the modern processed materials. We also have the expressional dialogue which combines modern and traditional forms of expression based on the different methods of construction. And finally, the sustainable dialogue which combines modern and traditional methods of sustainable design.
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FoRm gEnERATion For the form generation, i started with the crack of light inspired by the Temple of Abu Simbel to create the main promenade. Then given the social habits of the nubian people derived from the interviews and research, i focused on the social nodes where i wanted the users to interact and the open spaces that served the buildings where the users can build their models and compositions and integrated it into the landscape. now given that there is a lot of focus on these open spaces i chose to add a structure to cover them. inspired by the nubians symbology of the
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‘life and death’ triangles they implement in their facades and coronations, i found the space frame to be the most fitting structure especially that it gives a strong feeling of the structural dialogue. So for the design of the space frame i connected the several interaction points and removed the excess points around the buildings.
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The space frame surpasses the superficial use as just a shading superstructure that simply covers the buildings. i chose to integrate it much further into the design. This was done by taking the interaction nodes and using them as a basis for the design by expanding the truss points that overlay the interaction nodes, pushing out and expanding the truss over the areas that require more activity.
used to transition between the traditional institute to the modern institute where the truss starts off in a grid like manner then gets distorted to align with the two grids of the project, the crack and the north grids. The shade and shadow itself, which is part of the environmental dialogue, are selected based on the angles of the sun path and wind orientation, where i have open, glass and solid panels. Then further through the project the dialogue increases to another level, the expressional dialogue, where the The truss would work on two different scales, the human truss itself becomes part of the modern buildings such scale where the structure would house the different as creating the entrance seen in the 3D shots and roofing user activities and create an interesting experience for another building seen in the section. the users passing underneath. on the project scale, it is
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TiTle loCATion
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by: nada el-Ahwal
DESCRIpTION OF THE pROJECT A project that aims to create a DESTinATion hotel in the area of Abu Simbel where the touristic attractions are minimal.This will attract more tourists to the unappreciated area of Lake nasser. Abu Simbel is the only touristic attraction in the area due to its historical background and because of the unique phenomena that occurs twice a year, the sun festival. on 22nd February and october each year, the sun penetrates the temple and lightens the statue of King Ramses iito illustrate on the idea of timing where these particular dates are said to be his birthday and the anniversary of his ascension to the throne. Therefore, the idea of time is extremely emphasized using light in Abu Simbel. inspired by this distinctive touristic phenomena in Abu Simbel in parallel to the original inhabitants, the nubians, and their rich history, the SUn-inn ecolodge stands out from the limited number of surrounding hotels.
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HoW To cReATe THe DeSTinATion HoTeL? This destination hotel will be provided in three ways: 1. The uniqueness of the Site itself being an island. 2. The unique interaction that will be created between the nubians and the Tourists through adding crafts workshops and designing using the nubians values. 3. The unique rooms that will be present in the resort where a royal suite will be added that will rotate in search of light. Adding to it the normal rooms’ opening will be designed to create a story within every room using sunlight.
1. Unique Location 2. Unique interaction Physical interaction: - nubians crafts (Jewelery, Painting, Handmade Goods) - Visits to the nubian Village/mueseum non-Physical interaction: - Building using nubians Values (on contours, Strong relation to nature)
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nubians without Tourists economy Tourists without nubians History
3. UniQUE RoomS A) RoYAL SUiTe
inspired by Shape-Shifting House, Tehran
Royal Sunrise Suite rotating to penetrate light every morning at 7Am
Rotating portion of the Royal Suite
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B) ReGULAR RoomS openings will be designed in order to create a story in each and every room in the hotel to achieve the maximum eperience of light and time in the ecolodge. At 7am, openings will be placed in order to penetrate the light on the bed to awaken the resident for breakfast. At 9am, openings will be designed to enter the active sunlight representing the active timing of the day where the site visits and workshops will start. Last, at 4pm, indirect calming lighting will enter from small slits to create the comforting environment of either relaxing on the pool or enjoying the sunset with the nile view. Therefore, studies had to be done, using the sun path of Abu Simbel, on plan in order to know the locations of the windows and on sections to know their heights.
7AM Breakfast
9AM Site Visits Workshops
Different openings
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4PM Pool - Relaxing
Penetration of Light in Plan and Section
2. Adding main Spine on Axis of 22 Feb/oct
1. Adding more contours to create hierarchy
3. Adding Secondary Spines on Contours
Admin Lobby
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RoomS AnD ClUSTERS AnAlySiS As mentioned before, desiging using nubians values was an importat concept to create a destination hotel. Therefore this would not only be applied on the urban scale, but also on the small scall of the rooms. There are two types of typical hotel rooms, Double and Single. To create the nubian aspect, clustering the rooms together in a way that creates the feel of the nubian village. courtyards are added in the middle to create not only a ventilation soace but a social interaction space with mastabas. Balconies are also added not as an individual property but a public balcony having mastabas and “Tableyas� for the residents to live the nubian experience of enjoying the nile view with the simplicity of the setting, just nature.
50 Single
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3D Shots of the clusters from inside, outise respectively
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MUSIC INSTITUTE music insTiTuTe MUSIC INSTITUTE Tex The idea behind this project is to give the nubians the feel of The idea behind this project is to give the Nubians Inspiration for form the feel of their rich culture with its changed and their rich culture with its changed and transformed aspects that transformed aspects that happened through time,displacement. before happened through time, before and after their and aThe aim of this project is to reflect the nubian music with all er their displacement. The aim of this project is to Tex The idea behind this project is to give the Nubians re ect music all its values, background its the values, and development order to and educate Inspiration for form the feelNubian ofbackground their richwith culture with its in changed and transformed development in that order to educate the before new aspects happened through time, the new generations who missed out on growing up with those generations who missed out on growing up with those and a er their displacement. The aim of this project is to tunes and the exposure to the singing and dancing ceremonies. tunesre and theNubian exposure theall singing and dancing ect the musicto with its values, background Traditional Nubian Song and development in order to educate the new ceremonies. generations who missed out on growing up with those tunes and the exposure to the singing and dancing ceremonies.
Traditional Nubian Song
Modern pop song
Modern pop song
Nubian music at di erent timing of a song
Nubian music at di erent timing of a song
Visualizing Music is Space
Visualizing Music is Space
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DES G CR TER DESign CRiTERiA
The di erence in height implements the users’ experience walking throughin the building . while The difference height implements the Giving a users’ experience while walking through the building . sense of curisoity as well as a feel of music Giving a sense of curisoity as well as a feel of music movement all along . movement alongadd . to the idea of connection The negative spacesallalso with nature.
The negative spaces also add to the idea of connection DES G CR TER with nature. The di erence in height implements the users’ experience while walking through the building . Giving a sense of curisoity as well as a feel of music movement all along . The negative spaces also add to the idea of connection with nature.
Form Studies
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caTchy nUbiA
creating plnned housing environment to briing the nubians back home by balancing the economic requirements and the socio-cultural needs of the nubians.
By: Salma el Ziki
FOR THE FORgOTTEN by THE FORgOTTEN
in my project, my main target is to create plnned housing environment to bring the nubians back home by balancing the economic requirements and the socio-cultural needs of the nubians. Thus, creating a nubian driven design based on the concept of diversity within uniformity. This approach was driven by my analysis of nubia as shown in corresponding figures. The analaysis of the relocation of nubia and the architectural changes that happened within the nubian community had lead me to define the problem in nubia. The newly built environment created for the nubians, after building the high dam, was not successful in meeting the social and the spatial needs and instead was purely based on the economic factors to house all the society in a confined area.
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PRoToTyPE oRgAniC ComPilATion
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SCHOOl OF EXpERIENTIAl EDUCATION nUbiA
“Transforming The architecture of the school from a house for teaching into an education”
By: Shady Gad
SCHOOl OF EXpERIENTIAl EDUCATION
on a Quest for Knowledge The sources of knowledge are all around us. Literally, everything around us tangible and intangible is a source for knowledge. So why is it so difficult to search for something that is so scarce? Well, our problem lies in two main things, how we experience those sources and how we can connect them together. i will not go into the sources of knowledge, they are infinite, but as an architect, i will focus on the sources we can influence by the nature of our job. The key to become on a quest for knowledge is a fusion between ‘experience’ and ‘Phenomenology’. experience As human beings we our experiences can be infinite too, but what we are concerned about in this research is experiencing nature and experiencing architecture. nature nature wants to be observed, explored and connected with because it is a primary source for knowledge that can provide us firsthand with invaluable information and inspiration. This leads us back once more to the idea of the savage mind. nature and Architecture (Patterns) When we fuse the educational elements of nature and architecture we come up with patterns. These patterns emerge from the movement of nature against the staticness or dynamisms of architecture
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FoRm PHiloSoPHy
PHEnomEnology The other aspect in the quest for knowledge is phenomenology, which has the simple definition of “the science of phenomena as distinct from that of the nature of being / an approach that concentrates on the study of consciousness and the objects of direct experience�. The idea is that we can learn from ourselves. We can learn from the changes to happen to us, the transformation of our minds, from the simplicity and purity of childhood, the energy of the teenage, the wisdom, and power of adulthood. We can learn so much, only if we could actually see this whole transition, or at least sense it, instead of going through it in a linear manner.
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SOCIO-ECONOMIC Thesis i & ii Advisor: Dr. Khaled Tarabieh Thesis i & ii Advisor: Dr. Ramy Diasty Group members: - bishoy galal - Yasser el-Shafiey
recycling planT nEw CAiRo
Bein el-Sarayat recycling hub has changed the ordinary concept of a recycling space from a smelly and a factory like space to a green open space inviting people in to interact with the project through several ways
by: bishoy galal
AbOUT THE pROJECT RECyCling PlAnT
it is divided mainly in 5 main sectors: 1.Reception & Administration: Acts as a transition zone from the parking level (Basement level) to the main level which is the ground level. 2. Work-shops: Where visitors gets the chance to learn how to use recycled paper in order to transform it to pieces of art that can get exhibited. 3. exhibition Area: Where users gets the chance to see the end result of the recycling hub represented in hand maid pieces of arts. 4.Auditorium: A final touch to the project providing an open stepped space that allows socializing. Located just above the recycling space to allow users to interact with the process without allowing direct contact with it.
c.De-inking: The recovered paper is dissolved in water and separated from non-fibre impurities during this stage the ink is removed in a flotation process where air is blown into the solution. The ink adheres to bubbles of air and rises to the surface from where it is separated. D.Grinding or compacting: Where the recovered paper faces high pressure by machines in order to compact them and make sure that unwanted waste is completely removed. E.Carton machine: Final step where the recovered paper gets smoothed and dyed and then provided with a layer of coating (bleaching) to produce the final result of a “new� paper to be used back again with usage of it
5. Recycling Unit: Divided in five main stages: A.Sorting: The first stage in the recycling process where we sort the waste depending on its material, b.Pulping: Done using the Pulper where recovered paper is sorted and graded then delivered to a paper mill where it is slushed into pulp and large non-fibrous contaminants are removed.
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oRDER vS. CHAoS This project concept was acquired from its own function as paper waste comes in representing the chaos part and the end result is paper art and recycled paper which represents the order on the other hand. At the same time this project bridges the socio-economical gap between Bein el-Sarayat & the surroundings. As the area of Bein el-Sarayat is suffering from severe cracks regarding the economic and social states so in my design i wanted to highlight and illustrate the recycling concept which is bringing chaos system to an order one. creating a huge space of greenery in order to link between Bein el-Sarayat residence and Dokki residence through outdoor seating and gathering spaces.
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oRDER vS. CHAoS Using smooth and sharp lines at the edges of the project represents order and from the inner edges of the buildings i have created a walkway that takes the visitors in a journey around the whole project and using the grid this walkway started to break into the buildings and out several times creating outdoor green spaces to bridge the social gap and at the same time represents the chaos part of the concept. in addition to the exhibition area where i used a huge truss system to convey the chaos part covering a huge bubble like a tent representing order. Also this huge doom acts like a mirror to the doom of cairo University. in addition to the exhibition area where i used a huge truss system to convey the chaos part covering a huge bubble like a tent representing order. Also this huge doom acts like a mirror to the doom of cairo University.
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order vs chaos concept was also applied to the façades as we will find the lines of the curtain walls in chaotic form starting from the administration and as we go through the project reaching the Auditorium we will find those lines in clear order form.on the other hand in my design i figured a way to bridge the economical gap by providing job opportunities for Bein el-Sarayat residence through working in the recycling units and also to interact with Dokki residence through the workshops that held sessions between both sides to work on paper waste and recycled ones monitored by students and professors from cairo university to produce an artistic product to be displayed in the exhibition. so that’s why i created this huge doom of the exhibition to mirror cairo university’s doom to provide a clear statement the education and knowledge is the only way to bridge the gaps and transform chaos to order.
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communiTy TalenT culTure cenTer nEw CAiRo
The project aimed to create a place that contributes to a heightened complexity of social interactions that reflects real-life transformation, such transformation is achieved through change, diversity and continuity, bringing out an innovative community of talents
by: yasser el-Shafiey
AbOUT THE pROJECT CommUniTy TAlEnT CEnTER
This project is Based on the relationship between Transformative architecture and sustainability and how they will be used to fix an existing problem in a specific area or a city. i will be discussing the importance of the social aspects in relation to the theme “Transformative”. This project will be located in new cairo city and it will be targeting its problems. The main problem was the connectivity, the socio-urban fabric of this city is the main problem as it is a new settlement and it needs all the support it can get, however instead of people supporting each other, people exist here in theoretically isolated islands where each house exist on its own in a gated community that exists on its own. The project main target is to create a node where people with similar mind sets and interests meet and talk and get to know each other creating the bon between the different islands. Things that helped in coming up with the project were the broadness of art and self-expression. These two terms were merged to come up with the main idea behind the project as people will always want to express themselves but it’s usually with words, art is considered to be a language where there are a lot of different adjectives and nouns to help people express themselves. So in conclusion this project will be mainly targeting the human factor in the “Social” aspect of the sustainability along with the Transformative Architecture, and it will be aiming to connect and gather people through arts and talents.
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PRojECT DESCRiPTion The project is based in new cairo, egypt by road 90 just across the American university in cairo. The project’s main goal was to tackle the poor connectivity of that place due to the island like formation created by the gated communities where everyone lives on their own island and forget about the others. The project is trying to integrate between the different social fabrics of the community creating a well-integrated strong community.
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Sections
Chapter 05: Socio-econmoic
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chapTer
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TecTonics Thesis Advisor: Dr. Amr Abdel Kawi Thesis TA: Ahmed Borham
Group members: - Anne Ayman - monica benham - nouran osama - Radwa mohamed - Rana Ayman - Sherouk Badr
THEORITICAl EXplORATION
“Architecture is the canvas for the stories of our lives”, Bjarke ingels. Architecture is affecting and is being affected by the various aspects of life, it is a tool that expresses different cultures. Architecture on its own has been transforming throughout history going through different styles. The term “Transformative architecture” is divided into two words. The first word is “transformative” and that could be explored by finding out what transformation is and “architecture” which in our case is explored from the perspective of tectonic. in other words our exploration of transformative architecture entailed that we look into two main concepts; transformation and tectonics. When we decided to study transformation, we asked several questions. What is transformation? Why does it
Memory
happen? Who does it happen to? Who does it impact? is it predict-able? Who predicts the future? Do we predict the future or do we develop a good understanding of our surroundings to the extent that transformation becomes familiarized? To find the answers, we studied six different aspects from various fields such as philosophical, technological, cultural, socio-economic, political, architectural and scientific aspects. . By looking into these fields, we realized that the future happens when memories are changed through time. By studying science, culture and the relationship of politics with economics and social level, we realized that this change is often viewed as a threat where the introduction of new ideas is associated with attack.
Memory
Memory
Knowledge
Knowledge Power
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This is where knowledge is introduced. Knowledge in our model is a form of realization or the awareness. in all the fields we studied, knowledge either empowered change or it got empowered by change. For example, the realization of a society that it is being subjected to injustice empowers the society to revolt which means it empowers change. Similarly in philosophy where the potential in the being in potency gets triggered by a realization. on the other hand, knowledge is empowered by change when the power to change our physical surroundings change our perception and awareness of space. So, the general idea is that in order for transformation to occur, we have to have an empowering knowledge. his empowering knowledge creates a series of events affecting each other in a pattern similar to a spiral loop that repeats itself because the human nature is the same even when the time and space changes. This was proved through studying of history of economics and politics where we realized how behind every revolution was a familiar interplay of politics, economy and social level. By knowing that transformation happens through a loop, we know that familiarizing this transformation is possible therefore its predictability is possible which will make us deal better with transformation.
Material Assembly
Human vitality
Sequential Regeneration
Innate Desire Forces
in conclusion, it can be deduced that transformation is a process that takes place when empowering knowledge acts as a trigger. Accordingly, a familiar loop of events take place changing memories through time. By understanding this process, transformation vould be regenerated
Revolutionary Potential
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in architecture, tectonics is defined as the science or art of construction, both in relation to use and artistic design. Tectonics doesn’t limit construction to being the “activity of making the materially requisite construction that answers certain needs, but rather to the activity that raises this construction to an art form.” By that we mean that tectonics assigns meaning to construction. in that sense, it models a material to bring it to presence: from the physical into the meta-physical world. Having read the different tectonics-related theories, it was realized that tectonics establishes a relationship between humans and materiality where they both interplay together. Tectonics changes the human experience and perception by assigning meanings to the physical qualities of a building whether structure, materials, organization, services, detail or its process of assembly and constructional technique. Therefore the building brought into metaphysical presence if the material assembly of a building tells a story or has a narrative meaning. That way tectonics becomes concerned with the apparent self-consciousness of a building with respect to its construction. in return humans leave their impact on materiality where they assign meanings to it. Tectonics hereby is concerned with the poetic meaning of construction. This could be summed up in one statement where Tectonics is Poetic narrative of the interplay between the material assembly and the human vitality. By combining our understanding of transformation and tectonics along with the keywords generated from both statements, we reached a definition of transformative architecture. if it is proved that transformation is a process that is triggered by empowering knowledge resulting in a familiar
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series of events changing memories through time. Then Architecture has to refer to memory to accommodate change. This could be done either by triggering the change, adapting to it or reintegrating it if it is going in the negative direction. To do that, it has to provide the empowering knowledge that could act as a stimulus for change. Then, we had to integrate the tectonics approach in the process which we earlier defined as the poetic narrative of the interplay between the material assembly and the human vitality. Human vitality can be broken down to the knowledge and the power to change. Both of them interact with material assembly to change the way memories are processed through time. This leads to a mutual interaction where humans give meanings to materiality and its assembly and in return materiality gives new experience that changes human’s perception. That is where a common ground between tectonics and transformation is found. in tectonics the empowering knowledge interacts with material assembly creating a poetic narrative and in transformation, the empowering knowledge regenerates time entangled memories. combining both together, transformative architecture could be defined as the regeneration of time entangled memories narrated through the interplay between the material assembly and the empowering knowledge. Based on the previous research, transformative architecture is like a spiral 3d loop of memories occurring through time, that does not repeat itself, as it’s narrated by the interplay of two main components which are knowledge and power. Those main components are not constant as they always change depending on several variables such as political, socio-economic, cultural, political situations as mentioned
earlier. in addition to material assembly being another variable of transformative architecture equation, the interplay between those variables (knowledge, power and material assembly) creates to a non-constant loop of memories. From our common understanding of transformative architecture, we derived six different approaches to it. our masterplan became on a conceptual level and our main aim became to create models for transformative architecture that can fit in any site and that builds on potential and desire of change. We have 6 narrational directions/approaches derived from this master plan, where those approaches build on each other to create one picture for transformative architecture: 1-The forces approach focuses on the interplay between forces with the objective of creating a more balanced interplay
Forces
Potentials
Revolutionary
Innate Desire
Regeneration
Sequential
Meet Okba
Quassabet Radwan, EL Khayameya
Paradigm Shift
Knowledge
Model
2-While the potentials approach it is mainly reading the potentials as means of drawing a path for change. 3-moving to the Revolutionary approach, it came from the idea of having a shift in the path of memories moving it to another realm. 4-As for the innate desire, it focuses on transformation that comes from within only, when it is empowered by knowledge. 5-The Regeneration approach where memories of codependent societies are structurally regenerated continuously by weaving empowering knowledge and materiality to sustain a healthy relationship between them 6-The Sequential approach where time entangled memories create a sequence focusing on the continuum of memories, seeking to maintain an uninterrupted continuum
Site
Arab el Hesn
Project
Evolution
Arab el Hesn Revival Centre
Maspero
Maspero
Ramlet Boualq
Media Centre
Fashion Centre
Art & Design Sprawl
Multi-Story Automotive Service Complex
Art and Design Residency
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RADWAN bEy MIXED USE COMplEX QASAbET RADwAn
Transformative architecture enables the regeneration of material assembly and human vitality factors to revolutionize the structure of memories triggering its evolution through time.
By: Anne Ayman Badawy
REvOlUTIONARy AppROACHPARADigm SHiFTing ARCHiTECTURE
The world is all about changes that lead to transformations. Looking at these transformations from the macro scale, we will realize that it goes through paradigm shifts that lead to evolutionary changes until it encounters another paradigm shift that changes how people see the world. To understand what causes such changes within a site throughout time, one should study the factors that cause the structure of memories. it consists of an interplay between the human vitality and material assembly factors. The human vitality factors are related to the human needs, desires, ability and awareness of change. However, the material assembly factors are related to technology, change of functions or occurring catastrophes. Based on that… “Transformative architecture enables the regeneration of material assembly and human vitality factors to revolutionize the structure of memories triggering its evolution through time” Applying this concept within any site, requires understanding these factors and how they interplay together to form different shifts. Studying these shifts enable identifying the negative shifts and pointing out its causes. These studies enable the architect to regenerate the positive human vitality and material assembly factors within a project which acts as a catalyst to create a positive paradigm shift within an area. creating a paradigm shift requires deconstructing elements to reveal the complexity and multiplicity of things that lies under the smooth integrated surface. Questioning how things were constructed, emphasizes the difference between functions and their relations together.
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SiTE ExPloRATion According to the thesis statement, the selected site was maspero Triangle as it resonates to the site criteria. By studying the history of the site, the shifts within the area were identified in relation to the human vitality and material assembly factors. The dominant factors that caused shifts in maspero were integrated within the project. These factors included introduction of new users to the area who transfer various knowledge and power structures, people’s desire to change the role of different power structures and variance of building’s functions existing or newly introduced.in addition to Surrounding Fashion Related Professions studying the history of the site, the current state of the fabric of the area showed an interdependent bond between the inhabitants themselves, between the stakeholders and the area itself and also existing bearing walls reflect the interdependent behavior in which removing one wall affects the rest of the structure. Based on those studies, the idea of hosting a new business system emerged. To strengthen the interdependent bond, the chosen profession was related to fashion industry as it already exists in the surrounding area and it will also replace the displaced mechanical professions. The Fashion Center acts as a catalyst to create a paradigm shift in the area through two main catalytic reactions (ignition and Attraction) as shown below. These were reflected in the flow of movement in relation to the surroundings. To achieve this fluidity within the project, it required revolutionizing the logic of spaces and forms of buildings in maspero. This was done by deconstructing many existing elements which played a role in forming the external and internal form.
Visual Representation
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DEConSTRUCTiviSm The concept of deconstructivism was applied in many forms such as the following: - Studying the different heights of surrounding buildings resulted in the external form while complementing the existing structures by symbolizing fluidity. - Deconstructing the existing functions, activities, users and flow of movement on the ground floor level formed the location of different functions in relation to nodes and pathways. This study helped identify the main entrances for each function.
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inTERTwining oF SPACES Understanding the variety of functions within the project and their interdependent bond formed the internal spaces. This was reflected in the intertwining of the spaces instead of the usual stacked layering of spaces existing in maspero Triangle. This resulted in having multiple levels connecting functions.
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Ground Floor Plan
elevation
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SPACE FRAmE STRUCTURE integrating all of the previously mentioned studies created the final form which was supported by the space frame structure. This type of structure wasn’t used exteriorly only but was supporting the internal spaces as well. The external triangular form demonstrates the concept of deconstructing the existing condense fabric to create a positive paradigm shift in the area.
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Ground Level Shops
Business incubators entrance
night Shot
Stepped Resources Library
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RADWAN bEy MIXED USE COMplEX QASAbET RADwAn
A sequence of memories narrated by an intentional, evolutionary change driven by the material assembly.
by: monica Ashraf behnam
a seQuenTial approach
in my sequential approach, transformative architecture is a sequence of memories narrated by an intentional, evolutionary change driven by the material assembly. mainly, i am seeking an uninterrupted continuum of memories. The site that resonates with my statement is Qassabet Radwan in el Khayameya. it is part of a narrative spine that was created through time. it maintains its balanced life through the work-live relation. However, the narrative spine has been interrupted due to the unbalanced mixed use leaving many scattered, unconnected threads. To reconnect it to its old narrative spine, i had to take the strongest threads that were maintaining this narrative spine and try to reshape them. in other words, i am re-integrating the three main components that are the core of this spine; the work, the live and the performance component. The performance component is the act of selling and exhibiting some of the crafts work. i decided to take these three components and merge them with a new aspect which is introducing the artists/ designers to the area. Raw materials Products Sequence of memories
Rebuilding an interrupted Spine
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AnALYZinG THe STReeT AcTiViTieS: A STARTinG PoinT Since, the performance component is the essence of any street, i became oriented towards “the street activities� in my design strategy and guidelines. i started exploring the potential of the street as a volume. it could be a covered place, an open place or an underground space. According to this language, i asked the question of why not design a performance component and let it be the core of my project. The performance component will link the ground level with the underground level of the monumental palace in the area which will create a mixture between covered and uncovered areas. As for the other two components; the work and the live components, they will cluster together around the performance spine. my concept then guided me to layer different journeys for the different users of my site; the visitors, the inhabitants and the workers By layering these three journeys together, i was able to come up with a zoning diagram
Final Zoning Diagram
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layering the journeys
THE STRUCTURE For the sequence of memories to be narrated by material assembl, the structure should reflect and allow the continuum of this sequence hence the continuum of transformation in the site. So, the intervention needs a structure that will narrate the layers of experience and at the same time create a dialogue with the existing. i chose the wooden timber scaffolding for a structural system. it is known to be a peaceful light structure and it is not considered an odd intervention in a historic site. The scaffolding reflects
the human behavior as it acts like a skeleton where people fill it the way they please. This will allow a continuity of transformation that could occur through time based on the human behavior. The scaffolding structure gives an impression that it is temporary but this implies that there will always be a new building in the site at different intervals in time.
Structural Details
language
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moDUlES DESign From this point, i created modules for each component; the work, the live and the performance. The designed modules generated a grid of fixed dimensions.i started genrating an essence for each component by developing a language for its material assembly.
next, i worked on a blow up solving the connections between the three components; the work, the live and the performance, highlighting the different identity of each of them.
Performance modules
Live modules
A Journey Within the Structural Grid.
Work modules
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connections Design
THe inTRoDUcTion oF BRicKS my transient building transforms to become a permanent closed areas.in the future this transient building will transone by using solid walls ( brick walls) expressing perma- form to be permanent one by the transformation from nence. These walls are not mute, they talk. They are either gypsum boards walls to brick walls. for guidance , creating pockets for interaction or semi en-
Ground Floor Plan
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Underground Floor Plan
elevation 1
Section 1
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First Floor Plan
Second Floor Plan
Site layout
elevation 2
Section 2
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ARAb El HESN REvIvAl CENTER ARAb El HESn
Architecture where an interplay between material assembly and forces is stimulated to change memory through time.
by: nouran mostafa
FORCES AND MATERIAl ASSEMbly
on our first approach to transformation, i developed an The clash of Forces in Arab el Hesn interest in the social, political, cultural and economical forces that affect each other in familiar patterns giving different outcomes at different points in time. Since we are dealing with architecture from the tectonics approach, my project is concerned with creating a narrative where the forces interaction and materiality interact with each other changing memory in time. The site that resonates with that concept is Arab el Hesn. When the value of historic Arab el Hesn diminished, tribes from the south invaded it enforcing their social traits. Among these tribes were drug dealers who took control of the area protected by the strong social bonds. Residents burnt the The movie: A conceptual Representation monuments o drive the attention away from. A petroleum company emerged polluting the place further. Here, my project bets to empower the forces, that exist on site, to write different stories if we provide them with appropriate tools. if we could create a structure that builds itself out of eating the carbon in the air, we will create a technologically advanced attention grabbing landmark. Functionally, it can provide a new base for archaeologists to revive work on the antiquities. Archaeologists and the attention grabbing structure work together to attract visitors to the site. This will change the resident’s vision of themselves and their surroundings. Therefore, they will open up and start rejecting drugs and crime because now they have alternative sources of living; working with the archaeologists, or other marketing services to the new visitors to the site. The movie depicts the struggle and the potential that lies in the forces. it asks the question of how the forces interplay can change if we empower the forces to show thier beauty.
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moDElling THE FoRCES: TowARDS An inTimATE SiTE ExPERiEnCE my project bases itself on the understanding of how forces interplay. This is why a further study of the nature of forces interplay on the site is needed. i did so by tracing interaction between people and each other and between people and outsiders and represent them with strings With this intimate understanding of the site, i started my narrative of functions by extrapolating the strings and creating a story with them.
empowering on-Site Scenes
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Tracing the Forces interplay
THE ExTRAPloATion oF THREADS
1
CHEmiCAl AnD STRUCTURAl
2
3
4
5
6
The generated narrative of functions starts by the research center. Then, the visitors come over to see the structure and the monuments. Thus, the exhbition spaces. Residents offer services. Thus, the economic incubator. eventually, residents and archaeologists co-operate together creating the training center. gRiD gEnERATion To nest the spaces within the emergent structural grid, a solid and void study was made to investigate what space composition corresponded to which feeling on site. Then, i had to do is nest the spaces with different patterns that emerge from and react to the existing patterns of forces.
A substructure is fixed to the frames. its suports windows and doors and the peptoids
Solid and Void Study
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DRAwingS
Second Floor Plan
Third Floor Plan
Fourth Floor Plan
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Ground Floor Plan
The ground floor of the building houses the economic incubators, receptions and the vertical cores for the archaeological research center. The design of the building ensures that there is always an interesting experience going on to create a museum of architecture. The circulation between the exhibition spaces takes place
through bridges that connect to different exhibition areas. These bridges create a transparent interesting experience they lead to a library which is open for both residents and visitors. it serves an enlightening tool to both of them. The archaeological research center has its isolated pathways and vertical cores. The training center is on the last floor.
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3D SHoTS
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media cenTre mASPeRo, cAiRo, eGYPT
Transformative Architecture is The material narrative that empowers People to Utilize their Potentials Knowledge to cause change Through Time.
By: Radwa mohamed
TransformaTive archiTecTure
Transformation can be either sudden or gradual. When change is gradual, it becomes a habit, as people get used to it during the process. memories could help us predict the change that could happen; they aren’t isolated, they are connected. if memories disappear, we may get lost. interrelated memories create something like a net that changes through time and according to different scenarios, creating memories in their new forms. Time in that case is the datum that runs parallel with the change of memories. Surrounded by loops of knowledge and power that interplay over time. Architecture and the future are combined with the idea of change. Architecture must visualize transformations and focus on designing life and spaces of the future. Transformation is a form of change, and change is a threat. We tend to like the status quo because of fear of the future. it is affected by power, which might stop that change from happening or push it towards a certain direction. At the beginning, those in power impose their censorship on people who are under them. After a certain time, self censorship starts to appear and the people easily conform; maybe because you know that what you did or want won’t happen, because you lack the power. We need to read the potentials that might take us in a different way, we need the knowledge to do that. To test that definition of transformative architecture, we need to find a site that has a power struggle and in the core of the city that might give it the potentials of having this power struggle. Therefore, maspero triangle was chosen. it resonates as the high land value created power struggle between the residents and various stakeholders; that caused change in the land. through time.
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inTERvEnTion STARTEgy An old unresolved conflict between stakeholders resulting in deadlock due to the absence of a mediator and potential knowledge, causing lack of trust and communication between all parties, in the presence of an outdated TV building that does not represent the 21st Century. To tackle that problem, we need a platform where interaction could happen between various parties, in a way that makes each party see his own potentials and how they are related to the benefits of the other party. They need a place that acts as a platform-mediator where authentic interaction can occur between various stakeholders and through that common or shared grounds can be recognized with financial gain as it is always an effective platform for bringing interests together. This could be through trying to build an identity for the area by focusing on media concentration to create knowledge and awareness. So we need a media centre that offers the various stakeholders the potential for making some financial gains yet through some shared interests or platform.
Unfold maspero to Bridge the Gap
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Public interactive Spaces
Form Generation
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PLAnS, SecTionS AnD eLeVATionS Spaces were designed in a way that ensures that most of them are connected to facilitate the circulation and to integrate the spaces with each other. At the same time, outer circulation was created as a way to make both the vistors and the workers part of the elevtion. This will give a feeling that this building is alive and there is something going on all the time.
Workshops Plan
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Studios Plan
Section and elevation
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FoRm AnD STRUCTURE The form of the building was created in a way that makes it act as a gateway for maspero. This affected the form by making it elevated from the ground floor, to let the public pass through the building as an entrance for the new maspero area. And then the boxes were detached from each other to allow for oppenness and transparency. The structure system that responded to those requirements was a steel truss system. it allows for large spans that media production requires. At the same time it gives an identity for the building and creates different experiences in different spaces. By adding curtain walls it will create the required transparency that will change the typical image of media that was created along time. media will no more be closed and rigid, it will be exposed.
3D Shot
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3D night Shot
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MEIT OkbA AUTO HUb meiT oKBA, cAiRo, eGYPT
Transformative Architecture is the ReGeneRATion of coDePenDenT memories mATeRiALLY TRiGGeReD by emPoWeRinG KnoWLeDGe, that creates an enHAncemenT of the existential and emotional human experience by: Rana Ayman
FORCES AND MATERIAl ASSEMbly
“material assembly in this project is represented by providing a space that brings all the workers together, empowering them with the knowledge of their potentials, which in turn would enhance their environment and their living conditions.�
PRojECT DESCRiPTion: multistory Automotive Service centre with High Tech and spacious workshops of various specialties in the same complex as a utilization of co-dependency, backed with vocational workshops that offer the skills and knowledge needed to transform the service industry. Spaces to accommodate onsite activities such as recreational activities (cafes and restaurants), alongside spaces to put meet okba on the local car market such as boutique displaying galleries to be rented out for special car shows and car introductions. Spaces to provide services for both mohandessin and meet okba users such as car dealerships and rental agencies, alongside a significant parking zone. The project spreads throughout the site on different plots, with communal spaces in between to connect them and create a more regular urban space and lessen the dense fabric of meet okba
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PRoblEm DEFiniTion: - Different power structures influence the constantly evolving mohandessin which in turn affects meet okba’s socioeconomic status. - Lack of attention towards the co-dependency of both communities on each other hinders the development of meet okba’s residents. - Lack of proper accessibility due to tight alleys and deteriorating infrastructure. - noticeable decay of meet okba’s car service provider identity. - Lack of collective space to ease the sharing of expertise.
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Section 1
Section 2
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arT and design sprawl RAmlET boUlAQ
The material assembly that exposes knowledge to the Human’s innate Desire for progression, and reacts to the resulting release of power.
By: Sherouk Badr
The innaTe desire
FRom gRoUP STATEmEnT To inDiviDUAl ConCEPT The group statement talks about how the human’s empowering knowledge along with the material assembly around him can create a positive and an ongoing transformation. Focusing more on the idea of the empowering knowledge, several questions started to be raised: What is the main drive for transformation besides the knowledge, what is the human vitality that undergoes this transformation. The innate desire it is, the human’s innate desire for progression. Here transformation becomes progression, a positive slope that the human’s innate desire always seeks, to jump from the base of maslow’s triangle to its top. We always tend to get this bottle of water to drink or decide to go to school, from smaller scales to bigger scales they are all different paths of progression pushed by the human’s innate desire. DESign APPRoACH: DiRECTing THE innATE DESiRE my approach would be designing based on the innate desire and guiding it to achieve its own progression in both voluntary and in involuntary ways. Voluntarily: when you are given several choices to progress and you finally choose what you think is suitable for you. involuntarily: like whenever you are in a disfavored space you are tempted to move to a more favored space. or when you only have one path to go to, so involuntarily you are pushed towards a path of progression.
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KnoWLeDGe; THe TRiGGeR AnD THe SiTe cHoice The knowledge becomes the trigger for progression. The human’s innate desire needs to acquire a certain exposure or awareness to activate the innate desire to progress. This leads to the choice of Ramlet Boulaq as a site where there is a strong exposure between the self and the other (The nile city towers and the residents of the slums).
The model is set to propagate along Ramlet boulaq,by putting the nodes at thecenter of Ramlet Boulaq. This will flourish the whole site.
ExPlAining THE SiTE
Building the three layers of the sprawl startng by the interaction and art as an attractor for the users.
There are two main target groups on site: the residents and the towers users. The problem on site is that there is mental boundary and physical boundary between them. The aim of the project would be creating a setting of acknowledgment between the two targets where both can come together to create an inclusive progression. This should happen by triggering both their innate desires and pushing them towards one another creating a sprawl that propagates and progresses all Ramlet boulaq.
inserting nodes into ramlet Boulaq, a sprawl would occur attracting more users into the site. A continuous process of propagation in site, creating more nodes.
EPiSTEmology Going back for the idea of knowledge being the trigger for the innate desire. in epistemology, a branch of philosophy. it’s suggested that knowledge is acquired through two phases first empiricism where the human senses get external signals, then through rationalism where the human start to process and interpret these signals into rational thoughts. Then based on this rationalism, the “human’s innate desire” will choose its path for progression. There are then three phases: empiricism, rationalism and progression.
Functionalities
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REPRESEnTing THE innATE DESiRE
Following THE TRAjECToRy oF ligHT
To represent the innate desire, a metaphorical sense had to be developed. The innate desire is usually driven by enlightenment and guidance. We tend to move from darker spaces to lighter ones and we always want to reach the “light at the end of the tunnel”. Light is always a symbolic of what the human wants to reach. Therefore, light was chosen to be the primary empirical sense and becomes the main drive of the innate desire. “Light as a trigger for the innate desire”
Based on the three phases of the experience: empiricism, Rationalism and Progression, light could be experimented. Using my senses and my innate desire, i tried to follow the light to generate several light patterns with different modules: Regular, Radial, Axial and Scattered. Throughout the light exploration there are several elements that take part in creating the experience: obstruction, Reflectors, Semi-open Space, Paths, enclosed Spaces.
EmPiRiCiSm
RATionAliSm
PRoGReSSion-ToP
WALKTHRoUGH
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light on Site
lAying THEm Down on SiTE After including the factor of time, activity patterns arouse. By the tower an axial experience is needed to drag users in from the street, it gives an interesting scattered pattern while guiding the users’ innate desire into the site. At the other side a modular regular experience is needed for the daily life of the worker, it goes well with the grid of the governmental housing of Ramlet Boulaq. For the educational center, the most dynamic and vibrant experience is needed. The source of light there is of a strong empirical evidence and should be very vibrant to attract users from the workshops/ exhibitions into the spine.
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circulation Logic
ZoninG The idea is to create bilateral circulation and movement between the site that is considered an affiliation to the ncT users and Ramlet Boulaq. The zoning would be divided in a way to drag ncT users into RB and push the residents to interact on site with incoming users. The zoning will enforce the crossing of both target groups and their interaction in a communal space which represents the “Rationalizing area�. The alternating zoning will give the users reflection points where decision has to be made to follow their innate desire. Work and Art would be alternating along the spine. At the knots, there are reflectors that reflect the nature of each path, followed by these reflectors the user is put in a rationalizing space where he gets to pause, think and choose his own path. The reflection spaces are open communal and are the main nodes of interaction that help direct the innate desire of each user in this experience. Ground Floor Plan
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TECToniC lAngUAgE
empirically evident volumes
Section
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Reflector: for Work Reflectors along the spine that guide the users into Ramlet Boulaq, They are only seen from an angle of vision, each reflector at a time.
Rationalizing Space
Source of Light
Exposed Interior in Rationalizing Spaces, it allows users ti have a choice between both paths of progression whether recreation or work.
Path of Progression
Source of Light
Source of Light Source of Light in the exhibition area, the workshops and the recreation node that gradually leads to the sprawl.
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TEAM MEMbERS THESiS CooRDinAToRS
Thesis i: Dr. Khaled Tarabieh
Thesis ii: Dr. Sherif morad
01
arT & philosophy
Thesis i advisor: Dr. Zeinab Shafik
Thesis ii advisor: Dr. Hisham Gabr
Thesis i Ta: ehsan Abu Shady
Thesis ii Ta: nouran
Heba el-Sawy
mariem Afifi
mostafa Gaber
Rola Tarazi
Chapter : Team members
Thesis ii Ta: mona Gaber
02
Thesis i advisor: Dr. Khaled Tarabieh
environmenTal
christina matta
Dina Hussein
Farah Abdel-Aziz
Thesis i Ta: mariam Amer
Thesis i advisor: Ramy El-Diasty
Farah omar
Gannah el-Sabbagh
menna mansour
Thesis ii Ta: Sarah Salem
Thesis ii advisor: Dr. Hisham Gabr
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03
heriTage
Thesis advisor: Dr. Dalila el-Kerdany
Thesis i Ta: Dina Taha
Thesis ii Ta: omar mourad
Hana Zaky
Hiba mahmassani
mariam El-behiary
Chapter : Team members
Sherif el Hawary
04
phenomenology
Thesis i advisor: Dr. Ashraf botrous
Thesis i Ta: Reham
Ahmed Sakr
Ali mahgoub
nada el-Ahwal
Thesis ii advisor: Dr. Sameh el Feki
Thesis ii Ta: Ahmed
Shady Gad
Salma el-Ziki
Rinade el-Waziry
250
05
SOCIO-ECONOMIC
Thesis i advisor: Dr. Khaled Tarabieh
Chapter : Team members
Thesis i advisor: Ramy El-Diasty
bishoy galal
Yasser el-Shafiey
06
TecTonics
Thesis advisor: Dr. Amr Abdel Kawi
Thesis Ta: Ahmed Borham
Anne Ayman
Radwa mohamed
monica benham
nouran osama
Rana Ayman
Sherouk Badr
252
TEAM lEAD by DR. AMR AbDEl kAWI
Cover and Template Designed by Mariem Afifi Team members: Heba El-Sawy, gannah El-Sabbagh, Mariem Afifi, Menna Mansour, Nouran Osama farah abdel-aziz, and farah omar.