Depth by daliahassandwedar

BY DALIA HASAN

Approval of the Thesis Book for Final Architectural Project Department of Architecture, School of Architecture, Art, and Design, American University in Dubai Student’s Full Name: Dalia Hasan Thesis Book Title: Depth Thesis Abstract: Bigness, as Rem Koolhaas would define it, is a phenomenon when an architectural object reaches beyond a threshold of a certain critical mass or a physical dimension. Instead, its complexity has a more direct relationship with the idea of bigness rather than size. Dubai can be known as a city of superlatives where it hosts the highest towers and the largest developments. However, fragmentation can be the main identifier for bigness. Due to Dubai’s exponential growth, the urban fabric expanded approximately 400 times more since 1950 and became overwhelmed by the intense contrast between the new and the old. Dubai’s bigness exists on a vertical form of urbanism that puts into perspective the scales of humans compared to the stark heights of the buildings. It is more visible as well on the horizontal form of urbanism or on a map, where street life is deteriorating because of the domination of cars. While still sticking to Dubai’s superlative identity, finding a substitute for towers and megamalls can be a drift to new possibilities. If not height and width, what about depth to answer bigness? This proposal is aiming to assess the different urban typologies and the existing lifescapes in Dubai. By exploring depth, a new dimension will open the possibility of a shared infrastructure that breaks down this fragmentation while emphasizing the human scale. It can become a robust and networked urban system that protects humans from Dubai’s harsh weather and the rising temperatures. Depth is a barely discovered natural mass in Dubai that needs to be explored and experienced. Beneath the city, there can be the answer to a new lifescape. Keywords: Fragmentation, Bigness, Urbanism, Typology, Depth

Student Signature: ________________________________ Date __________________ Advisor / Professor Name: Professor Annarita Cornaro Advisor / Professor Signature: _______________________ Date __________________

Dedicated To: My Family For taking in all my hardships and always giving back patience, love and support. My Rawan and Nada, For always being there throughout the worst times, the best times, being my comfort and my backbone in life. My Khuluud, Mariam, Yasmeen, Hind, Razan, and Sarrah, For always believing in me and loving me no matter the distances between us. The new addition to my 2019, For always being loving and my number one supporter.

CONTENTS 14

CHAPTER 1: BIGNESS

CHAPTER 2: DEPTH

CHAPTER 3: UNDERGROUND

108

CHAPTER 4: SUBSURFACE ARCHITECTURE

SEC1

THEME

1.1 Size Zero to Bigness

1.2 Vertical+Horizontal Urbanism

1.3 Dubai’s Future

2.1 Dialogue: Depth + Drama

2.2 Dubaians: Life Choreography and Space

2.3 The New Dimension: Conceptual Approach

3.1 The Urban Underground

3.2 Sustainable Gains with Underground Spaces

3.3 Dubai’s Current Subsurface

104

SEC2

CASE

STUDIES

Overview

110

Conceptual Strategy

114

Adopted Technologies

122

Successful?

124

Photo Gallery

126

Programs

132

DANISH NATIONAL MARITIME MUSEUM

184

CHAPTER 5 SUBSURFACE INFRASTRUCTURE

198

CHAPTER 6 GREEN INFRASTRUCTURE

216

CHAPTER 7 SITE ANALYSIS

EWHA WOMANS UNIVERSITY Conceptual Strategy

136

Adopted Technologies

146

Successful?

148

Photo Gallery

150

Programs

158

THE BLOCH BUILDING Conceptual Strategy

162

Adopted Technologies

170

Successful?

172

Photo Gallery

174

Programs

182

SAMPLE

CASES

PATH, Toronto

186

RESO, Montreal

192

Highline, New York

200

Lowline, New York

208

SEC3

SITE

SELECTION

Judgement Criteria

218

General Analysis

220

276

CHAPTER 8 DEPTH FORMATION

Dubai’s Bigness

226

Dubai’s Smallness

228

Site A

232

Site B

238

Site C

244

Best-Fit Site

250

Figuring Out the Plot: In-Depth Site Analysis

252

Case Studies Programs

268

Proposed Project Programs

268

SEC4

CONCEPT

Conceptual Approach

278

Concept 1

280

Concept 2

284

Concept 3

288

BIBLIOGRAPHY

292

FIGURE LINKS

294

THEME

BIGNESS

1.1

SIZE

ZERO

BIGNESS

The Birth of the Skyscraper Architecture is the art and science of building design and construction that is defined by dimensional magnitudes such as the metrics of width, length, height to roof, and types of materiality. Throughout the 20th century and during the Industrial Revolution, modernism has caused more architects to dwell on designing architectures larger than a simple and functional building. They focused more on the wholesome look of a cityâ&#x20AC;&#x2122;s urban settings around the building. Due to the increased growth of commercial cities from industrialization and international trade, socio-economic changes and technological developments liberated the various technical and creative aspects in architectural practice. For instance, the introduction and continuous advancements of hydraulic elevators were firstly created by Elisha Otis back in 1852. Modernized buildings on forwards were designed by architects while taking into consideration that lifts can help architectural design to surpass a height that previously dwarfed buildings. The first believed skyscraper is the Equitable Life Assurance Building (1870) by the architects Arthur Gilman and Edward H. Kendall in New York City, USA. It was 40 meters in height because the Otis passenger elevators made it possible. (Fig. 1)

Fig. 1.1 Otis elevator illustration, 1895

Fig. 1.2 Vanna Venturi House (Mother’s House) in Philadelphia, USA by architect Robert Venturi, 1964

Theory of Complexity The 20th century was a period when architectural practice expanded with movements/styles such as Brutalism, Metabolism, Minimalism, and more. There became an added measurement: complexity. Complexity is neither a metric measurement nor a seen feature when a building ‘does not look simple,’ as its readability goes beyond the factual and the obvious. Architecture is considered a complex practice, or multi-dimensional. Yet, the meaning of complexity is a subjective concept to different architects and theorists. Robert Venturi mentioned in his publication, Complexity and Contradiction, that complexity is ‘based on the need to consider the richness of experience within the limitations of the medium.’ He highlights the historical examples of complexity in architectural design and claims that the absence of ornamentation on modern-day buildings creates a ‘less affectionate’ relationship with its users (Venturi, 1966).

What is a Complex Object? Ludwig Mies Van Der Rohe’s ‘Less is More’ ideology is what Venturi would regard as monotone or simple. Minimalistic design tends to have a complex process that chooses to hide any decorative features and shows the bare essentials of space in form and function. Van Der Rohe theorized that minimalism as gives “maximum power to architectural space”. In the project Barcelona Pavilion, constructed in 1929, he played with different factors such as materiality, structure, heights, and programs to create an atmospheric effect in space. It translates feelings of honesty, tranquility, and purity (fig. 3).

The physical image of the Barcelona Pavilion seems austere and simple; however, behind the scenes, a design as such stemmed from a considerably complex process. John Gribben states in his book Deep Simplicity: Chaos, Complexity and the Emergence of Life that simplicity and complexity are considered to be two sides of one coin. They coexist on the same scale, and an architectural outcome arrives from the interaction of both concepts (Gribben 2004). Humans perceive these philosophical elements from deeper thought. According to Ernst Gombrich, humans have a natural need for a “careful balance” between both concepts when geometrically analyzing an architectural space. He states that the human mind tends to have no trouble reading regular and linear grids. Nevertheless, the mind easily “disconnects” if there is a less honest or a tricky form of order or configuration (Gombrich, 1979).

Fig. 1.3 The Barcelona Pavilion by Ludwig Mies van der Rohe, 1929 - disassembeled in 1930, reconstructed in 1986.

Venturi reaffirms this attention for beauty and order in architectural geometries. He states: “The recognition of complexity in architecture does not negate what Louis Kahn (an American architect) has called ‘the desire for simplicity’. But aesthetic simplicity which is a satisfaction to the mind derives, when valid and profound, from inner complexity” (Venturi, 1922). In fact, mathematician George Birkhoff (1884-1944) formed a formula that measured beauty:

O M= C This measure creates a relationship between beauty, order, and complexity. Too much complexity designed in an object with little order equates to a lower aesthetic measure. In other words, an object becomes chaotic.

Complexity: Buildings Complexity is further divided for analysis into two parts: small scale (building’s components and shape) and large scale (urban growth, development, and landscape). On the smaller scale, buildings were made bigger in size, conceptually, and technically over time. Technology settled the issue of heights through the use of elevators. Thus, buildings became taller and more robust because of materials such as concrete and steel — these architectural advancements made going higher in construction possible and large spans manageable. Almost blindly, architects, until nowadays, keep creating slightly bigger, taller, and more spatially complex buildings than each other. Realistically, the sky is the limit, but contemporary architects continue to redefine what is ‘big’ by twisting theory, application, and every aspect of their practice while limiting size. Cities with much more technological advancements became a display for architectural competitiveness and greed for the larger and the more complex. Dubai, for instance, is a global city that provides a platform for architectural design and invites bold proposals and ideas. It is known to be a laboratory for architectural practice.

Fig. 1.4 The Burj Khalifa in Dubai, UAE is the highest tower (830 m) and considered to be a big technological breakthrough, not architectural.

Fig. 1.5 The Kingdom Tower in Jeddah, KSA is the upcoming 2020 highest tower of 1000m. Still, a mechanical achievement rather than architectural.

Complexity: Urban Fabric On a larger scale, complexity is analyzed in the urban fabric. Urban complexity, starting from the mid-20th century, became the resultant from massproduction processes and urban sprawls in a city that caused alienation between the inhabitants and their environment. Those cities grew to be development industries with culture-less landscapes; therefore, they evolved into monotonous environments with little connection to human emotion. Away from the fact that populous cities are inherently complicated, order and complexity are crucial factors to be controlled. According to the book, Assessing Urban Complexity by Serge Salat, Loeiz Bourdic, and Caroline Nowacki, Paris and Barcelona are examples of cities that “grew without any real overall plan, but their structure, however impervious it might be to any sort of topographic regularity, reveals a shape of complex order… giving them a seal of an irreducible identity.” (Salat, Serge et al, 2010)

Fig. 1.6 Urban paradigm of Paris, France

Referring again to Birkhoff’s formula, an approximate balance of complexity and order produces an aesthetic urban environment in the case of the two cities: Paris and Barcelona. However, when complexity is measurably the largest factor in the formula, a physical disorder on the urban fabric of urban fragmentation is created. This fragmentation happens because cities become reduced to isolated objects, which leads to the loss of order with growth in population. The imbalanced formula can eventually lead to a state of bigness, where architectural objects or parts of the urban fabric function independently and stop having a connecting and understandable language as a whole. Therefore, bigness is not directly a measurement of physicality. It is a measurement of the level of complexity in comparison to other aspects in design: order and aesthetic appeal (beauty).

Fig. 1.7 Urban paradigm of Barcelona, Spain

What is Bigness? In other words, bigness is a phenomenon when an architectural object reaches beyond a threshold of a certain critical mass or a physical dimension. Instead, its complex configuration has a more direct relationship with the idea of bigness rather than its size. Spatial, social, and organizational parts collectively generate a complex object. Complexity is a factor that contributes to bigness, yet it is not the only definition for bigness. Rem Koolhaas, a Dutch architectural urbanist profoundly known for his deconstructivist styles in contemporary architecture, has defined the phenomena of Bigness using five theorems in his publication, Delirious New York (Koolhaas, 1995):

1 building becomes a Big Building.’ Parts

After reaching a certain size or mass, ‘a become autonomous but together as a whole.

they

remain

2 The elevator establishes a mechanical connection rather than an architectural connection.

3 The interior space & the exterior façade of the building separate. “What you see is no longer what you get.”

4 “Through size alone, such buildings enter an

amoral domain, beyond good or bad. Their impact is independent of their quality.”

5 With all these breaks, the building “exists; at most, it coexists.’ It defies context and disobeys any relativity.

Fig. 1.8 Rem Koolhaas’ sketch about bigness: The immense scale of the master-plan eliminates the possibility of doing an iconic building or a building so big that would resolve all the problems.

“Not only is Bigness incapable of establishing relationships with the classical city-at most, it coexists-but in the quantity and complexity of the facilities it offers, it is itself urban.” Rem Koolhaas, architect

Dubai’s Bigness This thesis analyzes bigness at the urban level in Dubai. The complexity of Dubai’s urban fabric almost reached its climax and created a disorder of urban spaces on its map (picture). The urban ground consists of areas with intense physical nodes of activities and sudden empty lands in between. Human walkability became limited around the city, segregation of developments physically exist as gated communities, and sustainable urban strategies are not widely applied. According to the World Population Review (2019), Dubai is one of the fastestgrowing cities in the world, with a rising annual rate of 10.7%. If the urban disorder remains without any intervention to ‘fill in the gaps,’ Dubai’s urban fabric will be strained from harsh fragmentation and urban sprawl in the future. To further investigate the city of Dubai, the next subchapter explains urbanism in two forms: vertical urbanity and horizontal urbanity.

Fig. 1.9 A sketch of Burj Khalifa and Downtown Dubai showing the scale difference.

1.2

VERTICAL

HORIZONTAL

URBANISM

Where is Bigness? Dubai, a city located at the coast of the Persian Gulf, has a desert climate that is hot and dry during most of the year. After the exponential growth that occurred in the 1950s from the discovery of oil, the city has boomed economically and technologically. The decentralization that happened from the creek (where Dubai’s infamous trade in fishing and selling pearls once took place) to a linear form of urbanity along the shore of the Persian Gulf can indicate the urban demand for a waterfront. However, according to Amale Andraos and Dan Wood, Dubai’s fast track development methodology that involves ‘microplanning’ has caused a fragmented urban fabric (Andraos et al, 2013). Microplanning is when development companies such as EMAAR and Nakheel construct and design towers and urban developments that curate the idea of ‘a city within a city,’ regarding little to none of the surrounding context. Therefore, visual and social segregations are one of the most analyzed aspects Dubai has today. This fragmentation can be an identifier of an extreme case of bigness where each building created is a stand-alone entity that does not conform as much as choosing to stand out.

Vertical Urbanity This thesis analyzes bigness at the urban level in Dubai. The complexity of Dubai’s urban fabric almost reached its climax and created a disorder of urban spaces on its map (picture). The urban ground consists of areas with intense physical nodes of activities and sudden empty lands in between. Human walkability became limited around the city, segregation of developments physically exist as gated communities, and sustainable urban strategies are not widely applied. According to the World Population Review (2019), Dubai is one of the fastestgrowing cities in the world, with a rising annual rate of 10.7%. If the urban disorder remains without any intervention to ‘fill in the gaps,’ Dubai’s urban fabric will be strained from harsh fragmentation and urban sprawl in the future. To further investigate the city of Dubai, the next subchapter explains urbanism in two forms: vertical urbanity and horizontal urbanity.

Fig. 1.10 Al Karama neighbourhood with low to medium-rise buildings (human-scale friendly).

Fig. 1.11 Area behind Emirates Towers showing urban emptiness and detatchment of human activities from towers.

Horizontal Urbanity Ludwig Mies Van Der Rohe’s ‘Less is More’ ideology is what Venturi would regard as monotone or simple. Minimalistic design tends to have a complex process that chooses to hide any decorative features and shows the bare essentials of space in form and function. Van Der Rohe theorized that minimalism as gives “maximum power to architectural space”. In the project Barcelona Pavilion, constructed in 1929, he played with different factors such as materiality, structure, heights, and programs to create an atmospheric effect in space. It translates feelings of honesty, tranquility, and purity.

Fig. 1.12 Vehicle-dominated infrastructure in Dubai maked as a sign of Bigness.

Fig. 1.13 Megamall called Dragon Mart and visible plot fragmentation.

1.3

D U B A I ’S

FUTURE

What is on Dubai’s Mind? Master developers in Dubai have a future plan that chooses to retain the city’s global image through technological advancements. According to the 21st century vision put forward by the UAE Government, Dubai is in progress for social and economic developments in industrial, architectural, and infrastructural sectors. Historically, the creek has had its influence in attracting major economic activities such as trade and forming a tight and diverse community. Marine life is a large influence in the Emirati culture. Eventually, the urban tissue has expanded to around the creek and the Persian Gulf, making waterbodies as active programs. For instance, Nakheel Properties is one of the leading developers in the real estate industry that has designed the first artificial island projects in the UAE, the Palm Islands. The so-called archipelago consists of Palm Jumeriah, Palm Jebel Ali, The World Islands, and the future’s largest waterfront land of Deira Islands. The Deira Islands comprises of four man-made islands with a total area of 15.3 square kilometers extending from Dubai’s older district of Deira. The project has been on hold ever since the economic crisis of 2008 that caused a plethora of projects to halt construction or pause. There are no indications, however, that this project is not going to take place in Dubai’s upcoming master plans.

DUBAI WATERFRONT

Fig. 1.14 Waterfront projects on map view.

PALM JEBEL ALI

PALM JUMEIRAH

WORLD ISLANDS

DEIRA ISLANDS

Fig. 1.15 Aerial view render of future Phase I of Deira Islands.

Fig. 1.16 Palm Jumeirah aerial view.

Modern Creeks Another way waterbodies were artificially introduced to the urban fabric is Dubai Marina, a residential and mixed-use development. By piercing the urban floor with an extension of the Persian Gulf, EMAAR, another giant developer, formulated residential and commercial communities revolving around the marina as shown in the before and after. Future-wise, plans remain to evolve as if Dubai is growing and reaching out towards the waterfront. The plans to create Dubai Creek Harbour, which will be opened to the public by 2021, was primarily to excavate and flow from the Persian Gulf another ‘creek’ called Dubai Water Canal. The water canal intersects Jumeriah Road and connects it to Dubai’s Downtown. This created a platform of 80,000 square meters for new public areas, facilities, commercial developments, and the construction of another icon that will surpass the height of Burj Khalifa called Dubai Creek Tower.

Fig. 1.17 Dubai Marina excavation in 2000.

Fig. 1.18 Dubai Marina, today.

A City Within A City One clear observation about the path Dubai chooses to conquer is the fact that it never fails to be a city of superlatives. A superlative object is one that is extreme and exaggerated. Dubai’s superlative feature is through its buildings being the tallest and its city attractions aiming to be the first and the largest. This creates stronger ties as a global city rather than promoting a deeper identity connected to the native UAE heritage. Dubai is commonly applying the idea of bigness according to Koolhaas’s theories, where the different developments seem to be functioning autonomously and are not necessarily networking or connected. It appears to be a modernday competition between the master development companies to stand out and create ‘their own cities’ within an adapting city. Dubai is a flat canvas open for architects to experiment and create. People who live in this city, none the less, can easily recognize different urban areas from a map, an aerial view, or from the developer’s architectural signature in materiality or typology. The ‘city within a city’ effect leads up over time to be the main reason for urban fragmentation, especially with newer versus older areas. The art community of Al Serkal Avenue within the industrial area of Al Quoz is an example of a programmatic fragmentation.

Fig. 1.19 Al Serkal Avenue in Al Quoz Industrial Area

Fig. 1.20 Al Quoz Industrial Area Aerial View

Fig. 1.21 Residential area for labours in Al Quoz Industrial Area.

What is missing in Dubai? As of today, Dubai’s vertical urbanity (skyscrapers) and the horizontal urbanity (megamalls, streets and highways) fail to provide a clear urban language that includes its citizens and locals as part of the planning strategy. The lack of communication and connection between developments except if it is made by the same real estate developer is a disadvantage for street life and the human walkability. Where is the role of humans in the ‘bigness’ design narrative? The Ministry of Environment in New Zealand identifies the seven Cs as essential design factors that produce a quality urban life: Context, Character, Choice, Connections, Creativity, Custodianship, and Collaboration. All the seven Cs revolve around the work of the community to avoid isolated buildings, places, spaces and create all these elements as part of a whole. Dubai needs a harmonic urban example that can answer to the effects of bigness and redefine it to support future life. The introduction of a new dimension or ‘depth’ in the urban axis typology can strategically utilize land usage and break the harsh segregation of the different lifescapes in Dubai caused by the urban fragmentation.

Fig. 1.22 A human, away from the superlative skyline of Dubai.

DEPTH

2.1

DIALOGUE:

DEPTH

DRAMA

Depth (n.): \ Ë&#x2C6;depth \ (Merriam-Webster Dictionary) (1) A profound or intense state (as of thought or feeling). (2) The perpendicular measurement downward from a surface. (3) The direct linear measurement from front to back. (4) The quality or state of being complete or thorough.

Almost all definitions of depth signal to a different point of view of observing elements, whether emotionally, physically, or mathematically. The word itself is volatile and relative to the context of the text to generate a certain meaning that will add a dramatic factor. Similarly, the bigness phenomenon solidifies the ‘drama’ in buildings and a city; in this case, it stands stubborn in its architectural jargon. Does it necessarily translate well with whoever makes the city alive, humans? Architects have given such buildings and structures personalities that by nature accommodate users, but they are not necessarily allowed much flexibility to ‘conversate with facades.’ Human-tobuilding conversations might require a useful element such as a new dimension or ‘depth’ to solve the downside of bigness that tends to overlook the scales and overwhelm a city, Dubai, known world widely for its buildings more than its people. Dubai being a superlative city, can be a positive lens to tourists who temporarily stay and negatively viewed by its citizens who daily pass by or live around those structures. What if a certain emotion or a physical condition is missing that can reformulate the existing architectural typology in Dubai and can conceive a stronger and diverse community through an architectural object? To reach this outcome accurately, a wider lens for viewing ‘depth’ through experiences and creations of the people is a vital area to be discovered. This is a photo essay.

light

Fig. 2.1 ‘grace light’ by George Zisiadis and Gabriel Gold, San Francisco, USA

Fig. 2.2 Visitors to â&#x20AC;&#x2DC;grace lightâ&#x20AC;&#x2122; by george zisiadis and gabriel gold look upward through a slight atmospheric haze and are enveloped in a 100-foot-tall shifting curtain of light.

Fig. 2.3 Through grace light, the artists hope to create a space for contemplation, selfdiscovery, and healing.

Fig. 2.4 While either lying down within the labyrinth or standing just outside the light curtains, visitors experience a 15-minute journey of synchronized light and sound as light emanates from the eaves directly above grace cathedralâ&#x20AC;&#x2122;s famed labyrinth.

sound

Fig. 2.5 ‘wind instrument’ by Étienne Paquette Montreal, Canada

Fig. 2.6 It is made up of six large steel pipes — reminiscent of ones you might find at one of the city’s many construction sites — that are designed to turn the ambient sound caused by the hustle and bustle of city life into music.

Fig. 2.7 Those who walk by can contribute to the soundscape by speaking or singing into the pipes. “If we can’t silence our environment, we can at least play with its sounds.”

underwater

Fig. 2.8 ‘cancún underwater museum’ by Briton Jason deCaires Taylor, Mexico

Fig. 2.9 Those who walk by can contribute to the soundscape by speaking or singing into the pipes. “If we can’t silence our environment, we can at least play with its sounds.”

Fig. 2.10 Taylor labors over his sculptures for weeks, five-ton concrete figures of men, women and children, many of them modeled after people in the fishing village near here where he lives and works.

Fig. 2.11 It serves at once as a tourist attraction and as a conservation effort by drawing divers and snorkelers away from the Mesoamerican Reef, the second-largest barrier reef system in the world, and toward this somewhat macabre, artificial one.

underground

Fig. 2.12 ‘matmata’s underground shelters (troglodytes) in tunisia’

Fig. 2.13 The houses themselves are built by first digging a deep circular pit into the sandstone, which is soft enough to work with simple hand tools. Caves are then dug out around the edges of the pit, forming the underground rooms and leaving the main pit as a courtyard.

Fig. 2.14 Once finished, the troglodyte construction offers a fine escape from the heat of the day, and a sturdy home that could survive for many years.

2.2

DUBAIANS:

CHOREOGRAPHY

LIFE &

SPACE

Bedouins Bedouins scripted their living spaces to support primitive needs and using local, flexible materials to keep interior spaces cooler during the summer. As nomads, having temporary residence is essential to their daily activities for hunting, farming, and taking care of herds. The shelters were placed at a higher platform to allow an efficient passage of air. These palm frond shelters, or Bait Aareesh, had rectangular or square-shaped wooden frames coming from mangroves, palm trunks, or any other locally available wood. To protect from the heat, the dried palm leaves were stripped off and interwoven to create layering screens, and full fronds were used as thatching for the roof. During intense heat, the thatched roofs were watered to cool down the temperature all over the house.

Fig. 2.15 Bait Areesh

Fig. 2.16 Community.

Nomads Nomads then decided to settle down after the increase of temperature of the years and the extreme combustibility of the Areesh houses after a fire. They created more robust dwellings around the creek area specially for the trade of pearl and fishing. The influence of marine life on the local settlers has not only changed their type of trade, activities, and economy. But also, it has shaped the ingredients of an Emirati house. The houses are Bait Morjan because they are made out of coral, limestone, clay, mud, and mortar from seashells. Another layering technique with such materials similar to earthen pots that store cool water is used to insulate the buildings from the heat and retain any cool air trapped inside these desert homes for optimum temperatures. Usually, these desert homes are also built halfway into the ground to create a ‘stepping in’ sense for a change in space and to protect the interior space by saving cooler air with the help of geothermal insulation.

Fig. 2.17 Dubai Creek.

The urban community thrived around the creek in a clustered area of fishermen, locals, officials, and sheikhs working together provide for their families and the country’s economy with international traders. This group of people, given a purpose (fishing and pearling) and resilient dwellings (Bait Morjan), remains to be a significant part of Dubai’s heritage until today.

Fig. 2.18 Al Bastakiyya area has rennovated Bait Morjans for museums and restaurants. Bait Morjan entrances are on a lower level than ground, shown visibly at the doors.

Expats The fall of the pearl industry was met with the discovery of oil in 1966 and the rise of a new empire, which in return, boomed Dubaiâ&#x20AC;&#x2122;s economy and attracted foreign investors. From there, modernist towers such as the World Trade Center (1979) started to appear on the main highway of the urban infrastructure and Burj Al Arab (1999) on the waterfront south, the older creek area. This decentralized the activity around the Deira creek and expanded Dubai along the coastline creating multiple, intense physical nodes spaced out on the urban fabric. Globalization then formulated the next wave of buildings and developments to be one modernized international style of architectural typologies that were devoid of native authenticity and UAEâ&#x20AC;&#x2122;s identity. This elevated a platform for investors, expat workers, and labour to come work and live in Dubai, and overtime, the city keeps expanding for more diversity, and a large surge of people making only 10% of the total population of the UAE is local Emirati citizens only. Fig. 2.19 The start of international consummerism.

Fig. 2.20 Jumeriah Beach Residence towers gating the public beach.

Big & Bigger Buildings became mechanical works rather than architectural experiences, with many of the disconnections falling under Koolhaasâ&#x20AC;&#x2122; theorems about bigness. For instance, the immense influence of the elevator pushed boundaries of height to the extreme as in Burj Khalifa (the highest tower in the world). The air conditioner has created a shortcut for space production without the need to design with the intent to utilize natural resources (wind direction) as in a sustainable building. Vehicles dominated the main mode of transportation, and walkability stopped being an obstacle, unlimiting urban expansions, and distances between developments. Throughout all this hassle of expansions, remnants of older Dubai exist around the corner but barely buzzing with activities. Needless to say, architectural strategies in the past were sustainable enough for the weather conditions and a community to thrive, but unfortunately, elements that guide architectural design nowadays lack depth in meaning, in connections, and in features that make two important features to what architecture truly is: an emotional, physical, and programmatic alchemy.

n Dubai w o t n w o D Al Satwa

Fig. 2.21 Downtown Dubai skyline facing towards Al Satwa neighbourhood showing a harsh urban fragmentation.

2.3

THE

NEW

DIMENSION:CONCEPTUAL APPROACH

The Problem The globalizing formula generated today spontaneous, different iterations of towers and developments that look alike and evolved a society that is as fluid as water. Yet, modern communities are distant from Dubai’s heritage and the past. People of Al Karama, Al Satwa, and areas as such with an Asian culture dominance is sandwiched by Jumeirah Road and Downtown Dubai inhabited by people of another demography and activities. There are no humans in the equation of bridging the gaps between different communities and different developments. The bounded plot areas on the ground can majorly cause the segregation of communities. Dubai’s infrastructure circulates the mechanics of vehicles, metros, trains, and trams to transport and connect. Where is architecture’s intervention into the city’s language of connectivity? To answer this question by an effective force, the past has utilized levels on Earth’s topography to contribute to space formation similarly to the typology of Bait Morjan being lower into the ground as a sustainable strategy. Climate change nowadays has worsened, creating harsher temperatures, which make it a large threat to the quality of life on the streets and urban environments. Dubai’s plans seem to be incremental and have no direction to redefine the wasting and polluting typographies that currently do not alleviate the problem in any way, either.

Fig. 2.22 Digital sketch of concept of a skyline.

Fig. 2.23 Digital sketch of concept of an inverted skyline.

Depth is Underground In this case of vertical and horizontal urbanity, depth in the sense of underground space can be the missing typology. The concept of this thesis is about the underground space as a potential to trespass though existing developments and connect the infrastructure with walkable spaces. By overwriting and breaking all theorems of bigness and fragmentation, this can be called a robust typology that will house not only facilities but also network the urban fabric, as smooth as a comma in a sentence of dialogue, and drastically save plot areas above ground. In the underground, human demography is not the denominator of urbanity. It acts as a buffer zone for an architectural experience with a depth factor taken emotionally and physically. Citizens become the center of connectivity and a symbiotic relationship is created between the architecture that carries them through the earth. Dubai is attempting to become more sustainable. This new urban typology can be an opportunity for a new variable in Dubaiâ&#x20AC;&#x2122;s urban equation like a piece of the puzzle, producing limitless outcomes.

UNDERGROUND

3.1

THE

URBAN

UNDERGROUND

Troglodytes Throughout history, the underground proved to be a habitually viable space. Tunisian underground dwellings in Matmata were created to majorly resist harsh weather conditions. This type of underground form is called a troglodyte (an earth-sheltered dwelling). The troglodytes of Matmata were only discovered in 1976 because of heavy rainfalls that forced the inhabitants to leave their homes and seek help. However, myths say its origins stretch back possibly during the Arab Invasion in 661 AD for Tunisian natives who wanted to hide from attackers. This subterranean culture that dates back during harsh living conditions that stripped away all elements to basic and useful necessities. Nowadays, most dwellers living in troglodytes did not move out to the ground. Not only the earth-sheltered dwellings served a comfortable space, but also they were environmentally friendly, sustainable, and economical. In Learning Lessons From Matmata by Mamdouh Sakr, he claims that this typography inspired different fields like architecture, environmental design, and eco-tourism to diverge more on the possibilities of the underground as the potential dimension of space (Sakr, 2006).

Fig. 3.1 Troglodytes and ground landscape.

Fig. 3.2 Interior Space of Troglodyte.

Yaodongs The Yaodong, a Chinese concept of 4,000-yearold underground dwellings, stood the test of time and influenced archetypical theories of human settlements in use until today. Located in the Loess Plateau in northern China, it has a similar pit-like structure deep into the ground to that of Matmataâ&#x20AC;&#x2122;s in Tunisia. However, it is known that this region has a geology that was easy to excavate material and form a self-holding structure within the earth. The earliest date back to the Qin Dynasty (221 BC), yet yaodongs still inhabit 80% of 40 million civilians in northern central China. What makes this typography interesting and adaptable for the modern-day way of life is the systematic spatial languages that it generated for different underground developments. The two basic forms for subterranean development are: yaodongs formed by excavating a courtyard in the middle and create rooms through sideways and a form that is carved out of a hillside to create spaces inside the hill (Liu et al, 2002). Fig. 3.3 Yaodongs and ground landscape.

Fig. 3.4 Interior Space of Yaodong.

World War II Bunkers The second World War (1943-1945) created a wave of thick concrete structures created for a single purpose: protection. Those bunkers, mostly underground to be concealed and stable, lack any sense of ornament and style. According to Jimmy Stamp’s article Architecturally Ghostbusting World War II Bunkers, he states that “If Le Corbusier’s houses are machines for living, bunkers are one for survival to withstand bombs, fire bullets, flames, fires, and gases.” Wars were intense and reoccurring during the time to the extent that architecture was considered part of the bunker-making field. China has the deepest nuclear bunker that can house almost a million individuals. Nowadays, if not utilized for protection against natural disasters, most bunkers are abandoned and decaying. They merely exist as reminders of history and violence, or what would Stamp call, a ghostmodern architecture (Stamp, 2014).

Fig. 3.5 A dug-out bunker form The Netherlands.

Fig. 3.6 German WWII Bunker Interior.

Kaymakli Underground City Uncovering more of this underground dwelling, an article by Jen Pinkowski explores its boundaries. The Kaymakli Underground City is the largest and the deepest underground settlement in the Cappadocia region in Turkey. It dates back to the 8th century and has eight levels (40m) underground carved from soft volcanic stone. Those levels were capable of housing 20,000 people once in an area of 5 million square feet. The programs range from churches and workshops to living spaces and freshwater channels (Pinkowski, 2016). Nowadays, 4 out of the eight levels are accessible by tourists as a historical experience.

Fig. 3.7 Section of the Kaymakli City.

Fig. 3.8 Interior Spaces of the underground.

Modern Inspiration A modern project that has applied these basic yaodong-inspired forms is the Artez Faculty of Dance and Music in Arnhem, the Netherlands by the architect Hubert Jan Henket. The surrounding context has important icons. One is the original building built in 1963 by Dutch architect Gerrit Rietveld, and the other being the Veluwe push moraine that dates back to the last Ice Age. The challenge for Henket was that no new building should interrupt the views to either and the faculty demanded more space for its new activities. Therefore, he proposed an underground extension to the existing building. The extension includes an elongated atrium is carved into the ground similar to the yaodong courtyard tunnels to meeting rooms and classrooms sideways along the perimeter. The ceiling of the atrium is clear glazed to provide sunlight to the underground spaces while establishing a spatial connection visually on the ground and providing a view to the push moraine. There was an initial opposition for the Henketâ&#x20AC;&#x2122;s concept by students and staff but it proved otherwise and became a successful and a brilliant architectural endeavor.

Fig. 3.9 Ground view of new undergound faculty.

Fig. 3.10 Depth of underground faculty.

Underground Arrangements Over the centuries, humans evidently experimented the underground as a potential space. There are currently different space arrangements for subterranean developments (illustrated in figure 3.11).

Fig. 3.11 Illustrations of different underground typologies.

Underground on Sloped Landscape

TRUE UNDERGROUND

ATRIUM OR COURTYARD

BERM ELEVATION

ELEVATED NONEARTH ROOF

Underground on Flat Landscape

TRUE UNDERGROUND

ATRIUM OR COURTYARD

BERM ELEVATION

ELEVATED NONEARTH ROOF

3.2

SUSTAINABLE

WITH

UNDERGROUND

Why the Underground? o Congestion in urban areas has been dramatically reduced by the use of the underground. o Underground space inherently conserves energy. Because they are removed from climatic influences, underground facilities provide significant energy savings and conservation of energy. o Underground space is inherently energy efficient. Severe fluctuations of temperature are nonexistent, allowing more efficient control of temperature and energy. o Underground space requires little maintenance. o Underground space generally has a very long life; some have been in continuous use contributing to sustainable development for centuries o Long life & little maintenance not only reduce lifecycle costs but also reduce demand for renewable & nonrenewable resources. o Use of the underground permits preservation of open space for habitat, environmental, and scenic values. o The Underground provides strong protection from natural disasters and hazards.

GAINS

SPACES

Fig. 3.12 Sketch by architect, Malcom Wells, in his book How to Build Underground Houses. Wells is a known pioneer for green buildings.

Green Infrastructure Subterranean spaces should be built to be sustainable, otherwise it would be no different to surface developments in contributing to the carbon footprint and electricity consumption. Reinforcing the underground with a green infrastructure can be a method to retain a sustainable system. The most fitting definition for green infrastructures is said by the European Environmental Agency (EEA, 2011): “Green infrastructure as a term does not have a single widely recognized definition. It has been adopted by the various design-, conservation- and planningrelated disciplines and been used to apply to slightly different concepts. However, it is possible to identify underlying features, common to all the disciplines that use the term. These include connectivity, multifunctionality and smart conservation. The term is used for a network of green features that are interconnected and therefore bring added benefits and are more resilient. Another common feature is the aim to either protect or develop such networks.” Another description for green infrastructures is by the Natural England’s Green Infrastructural Guidance (NE176, 2009): “...includes established green spaces and new sites and should thread through and surround the built environment and connect the urban area to its wider rural hinterland.”

Fig. 3.13 Masterplan of Madrid Rio infrastructure in Spain

100

Madrid Rio Project A good example for a project is considered an underground, green infrastructure is the Madrid Rio. The site is along the bank of River Manzanares. Burgos & Garrido, Porras La Casta, Rubio & A-Sala, and West 8 proposed a masterplan that placed underground a 40 km urban motorway built in the 1970s along with urban facilities such as electrical power lines. This generated 1.5 million square meters of public space with 15,000 trees planted on the empty space that was created on ground level. Madrid is a dense city and this projectâ&#x20AC;&#x2122;s concept is fittingly sustainable for overlaying different uses in the same location. The benefits it has brought is: a large public space, reduces the heat island effect from vegetation, filters vehicular emissions from the underground motor way to be released to the atmosphere, and improves the quality of the river through filtration methods and rainwater storage.

Fig. 3.14 Section cut perspective showing underground road and park on top (Madrid Rio).

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Fig. 3.15 Plot before Madrid Rio.

Fig. 3.16 Plot after Madrid Rio.

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3.2

D U B A I â&#x20AC;&#x2122;S

UNDERGROUND

CURRENT SPACE

The Global City In a modern city, fields of urban planning, urban design, architecture, and engineering collaboratively work to discover the possibilities of using underground construction to solve issues such as urban sprawl. This is also to help sustain a city in spatial, infrastructural and environmental aspects. Mostly, the underground is a space full of urban services such as transportation facilities, water utilities, cooling and heating systems, gas, and storage areas. A question to ask is why does it take long for city developments to architecturally intervene with subterranean space as a sustainable and a more reliant accommodation? Antonia Cornaro and Han Admiraal state a few reasons in their book Underground Spaces Unveiled. It can be the geological complications new underground interventions can cause to some already constructed buildings on the surface and the systematic facilities underneath. However, this can be solved by choosing a site after a wide and deep investigation of the areaâ&#x20AC;&#x2122;s geology and its surrounding context. Another reason as to why the subterranean space is not often part of spatial policy plans on a large scale is not because of disinterest. It is mainly from the lack of awareness and understanding about what the underground offer can to make resilient cities (Cornaro et al, 2016).

Fig. 3.17 3D Model of one underground station typology in Dubai.

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Underground Metro Stations Dubai has 8 underground metro stations out of 51 stations located in the older populous area of Deira. They are Salahuddin Station, Union Square Station, Baniyas Station, Palm Deira Station, Al Ras Station, Al Ghubaiba Station, Saeediya Station, and Khaled Bin Waleed Station. All are on the green track line. The typical typology of the underground metro station is a lobby on the first basement, basement intermediate engine room, two side platforms on level -3. Another type has the lobby on level -1, an intermediate level for engine room, two levels of side platforms at the -3 (green line), two-level side platforms -4 level (red line), parking and connections.

105

Fig. 3.18 Union Square Metro Station.

Fig. 3.19 Interior underground metro station.

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107

CASE

STUDIES

SUBSURFACE ARCHITECTURE

OVERVIEW

110

This is a section that analyzes case studies reflecting on the conducted research. The 3 cases adopt different technologies in which they respond to going underground architecturally. They all have different typologies from those mentioned in Chapter 3.1 in figure 3.11. The analysis will help futher the depth of this thesis and inspire the proposed projects to produce programs and concepts in sections 3 and 4.

111

DANISH

NATIONAL

MARITIME

MUSEUM

Architect: Bjarke Ingels Group (BIG) Location: Helsingor, Denmark Area: 17500 m² Main Program: Museum Awards: Architecture Philippe Rotthier 2014 Denmark’s Rederifdrenings Sofartspris 2014 Architizer A+ Awards Jury Winner 2014 Aiany Design Awards Honor Award 2014 Archdaily Cultural Building of the year 2014 Detail prize 2014 AL Light & Architecture Design Awards Fig. 4.1

Aerial night view of the BIG museum

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CONCEPTUAL

ANALYSIS

COURTYARD

Concept The museum had to find its placement in an area that has an important cultural location. Not to disrupt the view towards the UNESCO world heritage site and Kronborg Castle, the subterranean museum replaced what was previously a dry dock. This project proved to have the best way to integrate architecture with an untouched piece of ground. By understanding the character of the plot, the walls of the 60-year old dock remained as an imposed experience for the visitors to feel the scale of ships that once existed in place of the dry dock. Three double-level bridges zigzag along to provide an urban connection directly to the Kronborg Castle and the adjacent Culture Yard. This also serves a promenade to different sections in

Fig. 4.2

Urban platform on ground level.

114

the museum across that historically symbolizes the continuous motion of the Danish Maritime workers inside and around the dock. The floors of the museum beneath the urban landscape go as deep as 7 meters below sea level and are slightly sloped to create a unique sculptural experience.

Fig. 4.3

Site Plan and context Icons Diagram.

DRY DOCK

MUSEUM SURROUDING DRY DOCK

BRIDGES CONNECTING GALLERIES

STAIRS TO DRY DOCK

ENTRANCE TO MUSEUM

WOODEN SUPPORTING SPACES

MUSEUM

Fig. 4.4

Form Diagram.

BRIDGE TO KRONBORG Fig. 4.5

Access Diagram.

CONCRETE SLOPING EXHIBITION SPACES Fig. 4.6

Materiality-to-Programs Diagram.

115

Site Plans

Fig. 4.7

Close-up site plan and urban context diagram.

Access from Surroundings to Museum Access to Museum Interiors Car Track Pedestrian Circulation in the Museum Pedestrian Circulation around the Museum Fig. 4.8

Access and Circulation Diagram.

116

Fig. 4.9

Satellite view of context.

2.40 meters (Ground Level) 0 meters (Sea Level) - 7.24 meters (Museum) Fig. 4.10

Depth diagram in context.

Commercial Area (Cultural Shops) Museum Historical Landmark (Castle) Proposed Site for Underground Museum

Fig. 4.11

Program diagram in context.

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Plans & Section Key for Plans: 1. Foyer, Shop 2. Exhibition (permanent) 3. Exhibition (temporary) 4. Auditorium 5. Cafe 6. Multi-funtional Room 7. Auditorium/Meeting Room 8. Administration 9. Lunch Room

118

10. Induced Kitchen 11. Wardrobe 12. Toilets 13. Technique Room 14. Storage 15. Cleaning Room 16. Wasteroom 17. Inspection Area 18. Classroom

Level

-1

Level

-2

Fig. 4.12

Logitudinal Section

Fig. 4.13

-1 Undergound Level Plan

Fig. 4.14

-2 Underground Level Plan

119

Detail Section

Fig. 4.15

Section detail of building.

120

Fig. 4.16

Close-up section detail.

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ADOPTED URBAN

TECHNOLOGY:

LAYERING

Being located beside a harbor and a UNESCO heritage site, this architectural piece is submerged 100% beneath not to interrupt the context’s view. This architectural piece narrows itself down to absolute functionality while the form takes shape of the subtracted depth of the dock. However, the museum’s presence is found by an approaching visitor as an urban maze on the ground level of the dock. The interiorfacing façade faces the void under the groundlevel pathways making a courtyard effect. The courtyard-type sunken space allows for air ventilation and natural sunlight to come through.

Fig. 4.17

Section diagram in context with Kronborg.

Fig. 4.18

Viewpoint of Urban Layers from Fig. 4.17

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Fig. 4.19

Access on â&#x20AC;&#x2DC;first layerâ&#x20AC;&#x2122;

Fig. 4.20

Space utilization underneath staircase

Fig. 4.21 Efficient space utilization beneath bridge on ground level (hence, double-level).

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SUCCESSFUL?

The Danish National Maritime Museum signifies the importance of contextual ties and architecture. It is an extreme case of creating a structure that strengthens the urban dialogue instead of breaching the context with a modern building within a much older, cultural site. The site is appreciated simply by eliminating the fact that the museumâ&#x20AC;&#x2122;s programs do not need to be on ground level. Instead of hurting the heritage site, it produces an added value of a modern experience that is respectful to the what existed before. In the case of the untouched walls of the dry dock, BIG clearly attempts to minimize changes. All indoor programs are housed underneath the groundâ&#x20AC;&#x2122;s landscape while the only exterior function is the urban connection through the bridges and the central piece: the dry dock. The many awards won by this project explain its success. Fig. 4.22 Underground architecture creating an urban connectivity to provide continuous flow and walkability.

Fig. 4.23 BIG musuem view among surrounding context.

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125

PHOTO

GALLERY

Fig. 4.24 Double-level bridge in evening view.

Fig. 4.25 BIG musuem aerial view alongside the Shipyard Museum.

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Fig. 4.26 Aerial view of BIG musuem and Shipyard Museum.

Fig. 4.27 BIG musuem on linear view with Shipyard Museum.

128

129

Fig. 4.28 Exterior-Interior connection seen through glazed classroom from the outside.

Fig. 4.29

Interior-Exterior connection seen through glazed facade from inside the classroom.

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131

PROGRAMS

DANISH NATIONAL MARITIME MUSEUM Zone

Commercial

Floor

Space

Space Function

Accesibility

Area (m2)

Units

Total (m2)

-1

Foyer/Shops

Public

Everyone

300

-2

Cafe

Public

Everyone

220

Exhibition (permanant) Exhibition (temporary) Multifunctional

Public

Everyone

400

3200

Public

Everyone

225

900

Public

Everyone

105

210

-2

Administration

Public

Everyone

190

380

-2

Lunch Room

Private

Staff

Public

Everyone

480

Self-Public

Staff/Invitees

150

Semi-Public

Staff/Invitees

330

All All Social

-2

-2 Office/Work

-2

Educational

-2

Services

-2

Kitchen

Private

Staff

All

Wardrobe

Private

Staff

-1

Toilets

Public

Everyone

-2

Toilets

Public

Everyone

All

Storage

Private

Staff

240

Private

Staff

360

Private

Staff

Private

Staff

All All -2

132

Inspection Area Meeting Room Auditorium/ Classroom

Technical Room Cleaning Room Wasteroom

Fig. 4.30

Interior-Exterior connection seen through glazed facade from inside the classroom.

133

EWHA

W O M A N ’S

UNIVERSITY

Architect: Dominique Perrault Architecture Location: Seoul, South Korea Area: 70000 m² Main Program: University Awards: 2008 Seoul Metropolitan Architecture Award 2009 Green Good Design Environment / Landscape Architecture Award 2010 AFEX Prize Fig. 4.31

Aerial night view of the university.

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135

CONCEPTUAL

ANALYSIS

BERM ELEVATION

Concept French architect, Dominique Perrault, created a that symbolizes a valley-like motion gives way to bold scheme that goes down and slices the urban the campus center and gives a sense of merging all typography in half. The Ewha Woman’s University levels of the surrounding buildings. building is made to have a strong presence in Seoul’s trendy Sinchon district while being elegantly tucked within and sloping with the hillside. This large, multilayered, and multifunctional structure takes all its activities beneath the urban skin to accommodate space in a strategic manner by leaving space for the context, environment, and walkability on the surface. The void formed from the urban slice makes a campus “valley” where event spaces, sport grounds, academic buildings, and nature combine, blend and follow each other. The descending stairway

Fig. 4.32

A view from the valley to the historical building.

136

Fig. 4.33

Site view with context icons.

Fig. 4.34

Conceptual sketch.

137

Site Plans

Fig. 4.35

Close-up site plan and urban context diagram.

Access from Surroundings to University Access to University Interiors Pedestrian Circulation in the University Pedestrian Circulation around the University Fig. 4.36

Access and Circulation Diagram.

138

Fig. 4.37

Satellite view of context.

0 meters (Ground Level) 0 meters to - 25 meters (University)

Fig. 4.38

Depth diagram in context.

Mass Void Greenery Urban Pathway with Site

Fig. 4.39

Program diagram in context.

139

Plans & Section

140

Level

-1

Level

-2

Fig. 4.40

Logitudinal Section

Fig. 4.41

-1 Underground Level

Fig. 4.42

-2 Underground Level

141

142

Level

-3

Level

-4

Fig. 4.43

Logitudinal Section

Fig. 4.44

-3 Underground Level

Fig. 4.45

-4 Underground Level

143

Detail Section

Fig. 4.46

Section detail of building.

144

Fig. 4.47

Close-up section detail.

145

ADOPTED URBAN

TECHNOLOGY:

SLICE

A feature of this building uniquely adopted is providing a direct contextual connection that does not disrupt the urban flow. The valley-like space resulting from the void is a dominant feature in the Sinchon district that connects this modern underground structure with the older and significant buildings around the campus. This large void as well provided natural light into the vast spaces of the underground university. This project minimized the removal of nature on the plot. Strategically, Perrault made the sides of the faรงade line up with greenery on the ground level. This method creates a hillside sense and visually continues the landscape along with the context. Maintaining the urban language is one of the essential sustainable reasons as to why buildings should be taken to the underground.

Fig. 4.48

Sketch of the main circulation pathway.

146

Fig. 4.49

Aerial view of the university.

Fig. 4.50

Hillside sense of university elevation.

Fig. 4.51 Downstairs through the valley promenade to the main street.

147

SUCCESSFUL?

Ewha Womenâ&#x20AC;&#x2122;s University is an example of redefining the urban level for architectural purposes. The valley-like pathway connects the underground university building to the rest of the campus, while being a landmark in front of the main gate. The project as well provided landscaping on the ground level to flow with the topography of the site. The only concern would be the design strategy of the void that consumes a large space of the plot. It might not be suitable in all sites since it would drastically change the language of the urban form in an area that is tighter in space. Thus, not all sites can accommodate such depth and bigness.

Fig. 4.52 Underground architecture creating an urban connectivity to provide continuous flow and walkability.

Fig. 4.53

Another view of the hillside showing more urban pockets.

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149

PHOTO

GALLERY

Fig. 4.54 View of the valley promenade during daylight.

Fig. 4.55 View of the valley promenade during night.

150

151

Fig. 4.56 A public seating area at the the hillside.

Fig. 4.57 Waves of different landscaping in perspective of one another.

152

153

Fig. 4.58 Interior space from level -1 at access level.

Fig. 4.59 Cafe space at access level.

154

155

Fig. 4.60 View of interior space from upper levels with staircase circulation showing.

Fig. 4.61 View of interior space from upper level shwoing access level.

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PROGRAMS

EWHA WOMENS UNIVERSITY Zone

Floor -1

Commercial

-1 -1 -2

Social

Office/Work

-3 All

Services

Bookstore Student Lounge Professor Lounge Common Areas

Accesibility

Area (m2)

Units

Total (m2)

Public

Everyone

100

Public

Everyone

220

Public

Everyone

300

Semi-Public

Students / Invitees

350

Private

Staff

150

300

Public

Everyone

550

Lunch Room

Private

Staff

100

-1

Administration

Public

Social

200

Private

Staff

700

Private

Staff

2500

Private

Staff

100

-3 -3

Executive Offices Professor Office Student Services

-4

Auditorium

Semi-Public

1100

-1,-4

Lecture Rooms

Staff/Invitees/ Students

Private

Staff/Students

250

1000

-3

Library

Private

Staff/Students

400

All

Classrooms

Private

Stuff/Students

2800

-3

Kitchen

Private

Staff

All

Locker Room

Private

Staff/Students

480

All

Toilets

Public

Everyone

600

All

Storage

Private

Staff

480

Private

Staff

720

Private

Staff

360

Private

Staff

All All -4 158

Information Center Cafe/ Restaurant

Space Function

-3

-2

Educational

Space

Technical Room Cleaning Room Wasteroom

Fig. 4.62

View showing structure from upper floors.

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NELSON-ATKINS MUSEUM: THE

BLOCH

BUILDING

Architect: Steven Holl Location: Kansas City, United States Area: 15,000 mÂ² Main Program: Museum Awards: 2014 2014 MCHAP FINALIST 2008 AIA INSTITUTE HONOR AWARD 2008 AIA NEW YORK CHAPTER ARCHITECTURE HONOR AWARD 2008 CAPSTONE ARCHITECTURAL DESIGN AWARD 2007 AIA CENTRAL STATES ARCHITECTURE AWARD 2007 LEAF NEW BUILT AWARD 2004 THE INTERNATIONAL PARKING INSTITUTE, AWARD OF EXCELLENCE FOR BEST DESIGN OF A PARKING FACILITY WITH FEWER THAN 800 SPACES 2000 PROGRESSIVE ARCHITECTURE AWARD 1999 AIA NEW YORK CHAPTER PROJECT AWARD 2009 WAN CIVIC SECTOR BUILDING OF THE YEAR, SHORTLIST Fig. 4.63

Night view of the museum.

160

161

CONCEPTUAL

ANALYSIS

ELEVATED NON-EARTH ROOF

Concept Steven Holl architects designed an extension called The Bloch Building that stems from the Nelson-Atkins Museum dating back to the 1933. It fuses architecture with landscape to engage with the existing sculpture garden to transform the Museum site into a one whole experience. The Bloch Building extends from the eastern edge of the existing building and is visible by five translucent glass lenses (lanterns). With a seamless collaboration between architecture and artists, the experience is a flow between art, light, architecture, and landscape with visual

Fig. 4.64

The Bloch Buildings on ground view.

162

connections that from outdoors to indoors and the subsurface space. With respect to the existing, the Bloch Building is a complementary contrast to the opaque, heavy structure of the 1933 classical Temple of Art.

Fig. 4.65

Site view with context icons.

Fig. 4.66

Exploded 3D view of the structures beneath the Bloch Buildings.

163

Site Plans

Fig. 4.67

Close-up site plan and urban context diagram.

Museum Lantern Structure Access from Surroundings to Museum Access to Museum Interiors Car Track Pedestrian Circulation around the Museum Fig. 4.68

Access and Circulation Diagram.

164

Fig. 4.69

Satellite view of context.

0 meters (Sea Level) -12 meters (Museum) Fig. 4.70

Depth diagram in context.

Museum Lantern Structure Access from Surroundings to Museum Access to Museum Interiors Pedestrian Circulation in the Museum Fig. 4.71

Interior access and circulation.

165

Plans & Section Key for Plans: 1. Library 2. Upper Lobby 3. Event Room 4. Museum Store 5. Lower Lobby 6. Contemporary Art 7. Photography 8. African Art 9. Featured Exhibitions

10. Noguchi Court 11. Art Service Level 12. Parking 13. Multipurpose Room 14. Executive Offices 15. Auditorium 16. Cafe

Level Level

Level

166

-1 &

-1

-2

Fig. 4.72

Logitudinal Section

11 Fig. 4.73

-1 Underground Level

167

Detail Section

Fig. 4.74

Section detail of building.

168

Fig. 4.75

Close-up section detail.

169

ADOPTED

NEGATIVE

TECHNOLOGY:

SPACE

AND

POSTIVE

A prominent concept of this project is diffusing landscape with architecture and light into earthcarved spaces. Each of the five lenses house different programs that blur to one another while encouraging movement through interior ramps. The ramps start on the ground floor and spread to two upper floor levels and to one underground level. This technique created positive space (the lanterns/lenses) and negative space (the underground). To sustain this depth, a structural concept known as the “Breathing T’s” transport light down by reflecting it in its curved undersides and suspends the translucent panels to conceal HVAC ducts. The close consideration of the optimum light for artworks and service levels allow for an easy blend of space between the positive mass on ground and the negative mass underground.

Fig. 4.76

Sketch on plan view of the Bloch Buildings and the historical building.

170

Fig. 4.77

Positive mass of the building on ground.

Fig. 4.78

The Breathing T structures.

Fig. 4.79 Negative mass hosting interior space below ground.

171

SUCCESSFUL?

According to the various award wins, the architectural marvel of space and light has invited 500,000 more visitors yearly and 15,000 square meters of space. The introduction of natural light throughout the day intro the interiors and the lantern-lit outdoor view of the buildings at night creates an very landscape-linked kind of experience that completes and not competes the older, existing building. This addiction is a collaborative production between Steven Holl architects and a community of artists and museum curators that is a very important factor for a good contemporary architectural design project.

Fig. 4.80 Aerial view of the Bloch buildings in context.

Fig. 4.81

The Lantern-like structures and human.

172

173

PHOTO

GALLERY

Fig. 4.82 Ground access level from exterior view.

Fig. 4.83

Interior view of the access staircase to first floor above ground.

174

175

Fig. 4.84 Aerial view of the Bloch buildings in context.

Fig. 4.85

Landscape slopes around the Bloch Building.

176

177

Fig. 4.86 Bloch Building interior space of museum.

Fig. 4.87

Underground space museum.

178

179

Fig. 4.88 Bloch Building in context with the Nelson-Atkins Buildings.

Fig. 4.89

Landscaping and walkway around the Bloch Buildings.

180

181

PROGRAMS

NELSON-ATKINS MUSEUM Zone

Floor -1

Commercial

Social

Lower Lobby Museum Store

Space Function

Accesibility

Area (m2)

Units

Total (m2)

Public

Everyone

900

Public

Everyone

160

Upper Lobby

Public

Everyone

145

Cafe

Public

Everyone

-1

Contemporary Art

Public

Everyone

1160

Photography

Public

Everyone

285

African Art

Public

Everyone

275

Public

Everyone

1210

Public

Everyone

360

Semi-Public

Staff/Invitees

320

Public

Everyone

105

150

Private

Staff

105

GF GF +1 +2

Featured Exhibitions Noguchi Court Event Room Multi-purpose Room Executive Offices

Office/Work

Educational

Library

Public

Everyone

240

Services

-1

Art Service

Public

Everyone

4900

GF, +1

Toilets

Public

Everyone

All

Storage

Private

Staff

240

Private

Staff

360

Private

Staff

Private

Staff

All All -1

182

Space

Technical Room Cleaning Room Wasteroom

Fig. 4.90

View showing interior structure from upper floors to underground.

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SAMPLE CASES

SUBSURFACE INFRASTRUCTURE

PATH

Toronto, Canada

Torontoâ&#x20AC;&#x2122;s underground, branded as the PATH in 1995, is a 30-kilometre long pedestrian network in Toronto that exists mainly below grade, but often above grade in bridges and suspended passages. It contains 1200 shops, connects major sport and cultural attractions, regional and local rail, offices and residential units. Over 100,000 people use the PATH every day. Through its more recent development, the PATH connects cultural institutions, sports venues and residences serving an important role in how many experience and enjoy the city especially in the extreme harsh winters.

Fig. 5.1 Interior Space of PATH.

186

187

SITE MAP

KEY

Fig. 5.2 Map of underground tunnels and spaces.

188

189

Fig. 5.3

Underground retail center in PATH.

190

Fig. 5.4

Access platform of PATH similar to a metro station entrance.

191

RESO Montreal, Canada Montréal’s Indoor City is one of the most expansive indoor pedestrian networks in the world, extending for more than 32 kilometers (19.88 miles) and covering an area of twelve square kilometers (4.6 square miles) in the city’s downtown. The benefits associated with the growth of Montréal’s indoor network are numerous, including: improved access throughout the downtown; shorter pedestrian walking distances; year-round climate protection; and increased amounts of public spaces.

Fig. 5.5 Interior Space of RESO.

192

193

SITE MAP

KEY RESO buildings and link Hotspot Place and Services Park Metro Station Train Station Bus Station Parking Information Center

Fig. 5.6 Map of underground tunnels and spaces.

194

195

Fig. 5.7

Underground retail center in RESO.

196

Fig. 5.8

Water feature in RESO from ceiling.

197

SAMPLE CASES

GREEN INFRASTRUCTURE

HIGHLINE

New York, USA

One of the most successful urban development projects in recent years has been the transformation of an elevated freight rail line into a linear urban park on Manhattanâ&#x20AC;&#x2122;s west side in New York City. This tiny park, less than 1.5 miles long, has almost singlehandedly brought energy and vitality to a strip of Manhattan that had largely been ignored. Its impact on the cultural, economic, and social life of the area around it has been as or even more significant than much larger and more expensive urban interventions â&#x20AC;&#x201C; typically buildings â&#x20AC;&#x201C; designed to promote economic regeneration.

Fig. 5.9 Highline Park of NY between buildings.

200

201

SITE MAP

KEY Staircase Elevator Toilets Fig. 5.10 Masterplan of Highline.

TECHNIQUE: PLANTATION LAYERS

Fig. 5.11 Agricultural elements used with design.

202

203

Fig. 5.12

Before Highline.

204

Fig. 5.13

After Highline.

205

SECTION

Fig. 5.14

Section of Highline.

206

207

THE

LOWLINE

LAB

New York, USA The Lowline is a plan to use innovative solar technology to illuminate an historic trolley terminal on the Lower East Side of New York City. Their vision is a stunning underground park, providing a beautiful respite and a cultural attraction in one of the worldâ&#x20AC;&#x2122;s most dense, exciting urban environments.

Fig. 5.15 Underground Lowline Park in NY.

208

209

SITE MAP

Fig. 5.16 Plan of Lowline.

TECHNIQUE: PLANTATION LAYERS

Fig. 5.17 Section diagram of Lowline showing sun transfer technique.

210

Fig. 5.18

Site Plan of underground Lowline Park.

Fig. 5.19 3D city view showing location.

211

Fig. 5.20 Before Lowline underground park.

Fig. 5.21

After Lowline underground park.

212

213

ACCESS ON GROUND

Fig. 5.22 3D render of entrance of Lowline from ground level.

Fig. 5.23

3D realistic render of Lowline access level.

214

215

SITE

SELECTION

SITES ANALYSIS

JUDGEMENT CRITERIA

218

In order to answer the bigness phenomena with depth, I will analyze Dubai’s bigness and smallness, a human-friendly scale. This will help narrow down potential site locations to adopt a subterranean architectural system. To select the best-fit site, the following judgement criteria is developed to correspond to the theme of the thesis. The site must adhere to the following points: Negative Points An area that has contrasting heights Consists of areas with separated programs Has any form of urban disorder caused by fragmentation of plots Opportunity Points Has a dominant pedestrian language Has intense activity nodes or important landmarks An area that has human-friendly heights Near multiple transport systems Near a potential underground space Needs underground construction

The three potential sites will then be filtered through a point system using the judgment points to further select the best-fit site. Potential sites will be scored ‘1’ if they fulfill the listed criteria and scored ‘0’ for not fulfilling. Through this selection process, a deeper investigation will be carried out for the highestscored site. It will clarify more elements to potentially develop the idea of depth, not only in underground level, but also in multiple aspects such as program distribution, spatial organization, access, circulation, etc.

219

GENERAL

Urban Voids KEY VOID MASS WATERBODIES

220

ANALYSIS

Point of Interest: Concentrated Areas of Masses where most inhabitants are.

221

Heights Intensity

KEY HIGH-RISE CONCENTRATION MEDIUM-RISE CONCENTRATION LOW-RISE CONCENTRATION

222

Point of Interest: BIGNESS VERSUS SMALLNESS Areas that have an intense shift in heights (from low rise to high rise)

Jumeirah + Downtown Area

Jumeirah + Marina Area

223

Activity Nodes Intensity KEY OLDER DEVELOPMENTS MODERN & OLD DEVELOPMENTS MODERN DEVELOPMENTS

224

Point of Interest: Modern and old developments with closest proximity to one another

Jumeirah + Downtown Area

Jumeirah + Marina Area

225

D U B A I â&#x20AC;&#x2122;S

BIGNESS

Bigness Concentration World Trade Center Bur Dubai

KEY VERTICAL BIGNESS HORIZONTAL BIGNESS

Emirates Towers Downtown Dubai Business Bay

NEUTRAL/SMALLNESS

Mall of the Emirates Dubai Internet City (TECOM)

Jumeirah Lake Towers Dubai Marina

226

Point of Interest: Intense vertical bigness (heights) independent from surrounding urban fabric.

Downtown Dubai Area

Dubai Marina Area

227

D U B A I â&#x20AC;&#x2122;S

SMALLNESS

Smallness Concentration KEY VERTICAL BIGNESS HORIZONTAL BIGNESS

SMALLNESS AREA

NEUTRAL AREA

BIGNESS-SMALLNESS SEPARATOR

228

Jumeirah & Downtown Dubai Area

ZA YE

(E 11

)

Point of Interest: Areas of intense shifts from bigness to smallness along a clear separator (Sheikh Zayed Road).

The Beach & Dubai Marina Area

229

Potential Sites

SITE A: URBAN MIXED-USE COMPLEXES JUMEIRAH BEACH RESIDENCE & JUMEIRAH BEACH RESIDENCE BEACH SITE B: URBAN MIZED-USE COMPLEXES DOWNTOWN DUBAI & BUSINESS BAY SITE C: URBAN RESIDENTIAL & MIXED USE CITY WALK & AL WASL NEIGHBOURHOOD

230

Site C

Site B

Site A

231

SITE THE

BEACH

+JUMEIRAH

BEACH

RESIDENCE

THE BEACH

JUMEIRAH BEACH RESIDENCE

232

Site Access (Roads)

M T T

M M

M T

T M

Key

Primary Road (E11) Secondary Road Tertiary Road Transit Track

Tram Station

Metro Station

Marine Station

233

Sun Path & Wind Rose

234

Site Programs +100,000

M M

Key

Residential Mixed-Use Commercial Marina Club Greenery

T Tram Station M Metro Station M Marine Station

235

Vertical+Horizontal Urbanity AVG. HEIGHT: 300m Jumeirah Beach Residence

AVG. HEIGHT: 15m The Beach

236

1 3

Jumeirah Beach Residence

GREEN 0.5m AVG. WIDTH: 5m The Beach

AVG. WIDTH: 10m

237

SITE

DOWNTOWN +YANSOON

DUBAI

RESIDENCES

DOWNTOWN DUBAI

LOW-RISE RESIDENTIAL OF DOWNTOWN DUBAI+BUSINESS BAY

238

Site Access (Roads)

Key

Primary Road (E11) Secondary Road Tertiary Road Transit Track

Metro Station

Marine Station

239

Sun Path & Wind Rose

240

Site Programs +200,000

Key

Residential Mixed-Use Commercial Business Towers Greenery

M Metro Station M Marine Station

241

Vertical+Horizontal Urbanity Downtown Dubai AVG. HEIGHT: 600m

Yansoon Residences AVG. HEIGHT: 30m

242

1 3

AVG. WIDTH: 5m

AVG. WIDTH: 20m

243

SITE Al

WASL

NEIGHBOURHOOD+CITY

WALK

CITY WALK

AL WASL RESIDENCE

244

Site Access (Roads)

B B

B M

Key

Primary Road (E11) Secondary Road Tertiary Road Transit Track

Metro Station

Bus Station

245

Sun Path & Wind Rose

246

Site Programs

M M

B M

M M

Key

Residential Mixed-Use Commercial Business Towers Greenery

Metro Station

Bus Station

247

Vertical+Horizontal Urbanity

AVG. HEIGHT: 150m

AVG. HEIGHT: 40m

248

GREEN 1.5m AVG. WIDTH: 2m

AVG. WIDTH: 16m

249

BEST-FIT

Judgement Criteria Judgement Criteria

SITE A

SITE B

SITE A

SITE B

SITE C

SITE A

SITE B

SITE C

An area that has human-friendly heights

Has intense activity nodes or important landmarks

Has a dominant pedestrian language

Near multiple transport systems

Needs underground construction

An area that has contrasting heights

Judgement Consists of areas with Criteria separated programs Has any form of urban disorder caused by fragmentation of plots

TOTAL

Negative Points

250

SITE

Opportunity Points

SITE C

251

SITE

FIGURING

252

OUT

THE

PLOT

A specific site analysis will be conducted of the selected site C to choose the most appropriate plot for the project.

253

LANDMARKS

254

Point of Interest: Intense activity nodes taking a linear shape on the area.

COCA-COLA ARENA

CITY WALK

PERSIAN GULF

BOX PARK

AL SATWA

DUBAI INTERNATIONAL FINANCIAL CENTER

AL WASL

DOWNTOWN DUBAI

ZA YE D

(E 11

)

DUBAI CANAL

SHANGRI-LA HOTEL

THE GREEN PLANET AL KHAZZAN PARK

255

PROGRAMMATIC ORGANIZATION KEY OLDER DEVELOPMENTS MODERN DEVELOPMENTS PLOT SEPARATORS Empty Plots (Voids) Residential Mixed-Use Commercial Business Towers Greenery

256

257

TRANSPORTATION & WALKING DISTANCES KEY WALKING VOIDS M

METRO STATION

BUS STATION 400m Comfortable Walking Distance Radius for Bus Stations 400m Comfortable Walking Distance Radius for Metro Stations

258

Point of Interest: Orange areas signify areas that do not cover the comfortable walking distance especially during summer.

B B B

FIN

KH EI SH

W AS

RO A

ZA YE

259

PEDESTRIAN PATHWAYS The dominant pedestrian pathway shwon in aerial view shows four sides. Two sides have a continuation to other activities (in green) and two sides do not have a continuation and connect to nothing, stopping the human flow (in red).

KEY Analysis MOST ACTIVE WALK PATHS MEDIUM-ACTIVE WALK PATHS LEAST-ACTIVE WALK PATHS DOMINANT PATHWAY Observation PATHWAY BLOCK POSSIBLE PLOT AREAS

260

Point of Interest: The possible plot areas are were the pedestrian pathway stops.

? ?

AL SATWA RESIDENCES

AL KHAZZAN PARK GALLERIA MALL

CITY WALK

COCA-COLA ARENA BOX PARK

MERAAS RESIDENCES AL WASL RESIDENCES

261

HEIGHTS KEY 10m-12m 12m-20m 20m-30m +40m Plot Areas: 15,000 sq m Viewpoints

262

263

HUB SYSTEM INSPIRATION The on-site edestrian pathway is a direct inspiration to develop an idea of underground human road. The grids break the squared block system of roads on ground that cause for fragmentation. Instead, the underground cross-diagonal human roads system will expand and connect to different areas in Dubai faster and away from using cars. On-ground access points are from pop-up stations from the underground to cover different areas.

Pedestrian Pathway

264

Vechicular Road Grids

Deira Underground Metro Station Bur Dubai Creek Harbor Al Wasl Downtown Dubai Burj Al Arab Business Bay Dubai Media City

Al Quoz

Jumeirah Beach Residence Various Residential Areas

Human Road Grids

265

REGULATIONS

Judgement SITE A Criteria REGULATIONS ZONING Zone Code

C1 / 2

Land Use

Commercial

Height

Ground + First Floors

Parking

Parking for each 70 sq m of Commercial Use

Setbacks

10 ft from neighbor and from center of sikka (Service Road)

Community

AL WASL-343

Area

266

15000 sq m

SITE B

267

CASE

STUDIES

PROGRAMS

The following spread contains a summary of all the programs of the analyzed case studies in Section 2.

PROPOSED PROGRAMS

PROJECT

The last page in the spread and the following pages contain proposed programs for the project. They are partially inspired by the case studies and new programs are introduced to relate to the selected site location.

268

Programs Introduced: - 365 Park: An all seasons park protected from heat with strategies to provide adequate sunlight and conditions for plants to strive in the underground. - Water Feature: A characteristic of Dubaiâ&#x20AC;&#x2122;s identity that will be used as a cultural feature and a method to reflect sunlight indirectly into deeper spaces. - Underground Culture: This is a native habit of underground spaces that allows free-flow of spaces and a demography of human expressions throught street art, art installations, and flexible rooms for all artistic purposes.

Zone

Floor

Space

Space Function

Accesibility

Area (m2)

Units

Total (m2)

Zone

Floor

Commercial

-1

Foyer/Shops

Public

Everyone

300

Commercial

-1

-2

Cafe

Public

Everyone

220

-1

Services

Area (m2)

Units

Total (m2)

Zone

Floor

Public

Everyone

100

Commercial

-1

Public

Everyone

220

Space Lower Lobby Museum Store

Space Function

Accesibility

Area (m2)

Units

Total (m2)

Zone

Floor

Space

Space Function

Accesibility

Area (m2)

Units

Total (m2)

Public

Everyone

900

Commercial

Upper Lobby

Public

Everyone

1000

Public

Everyone

160

Public

Everyone

160

Public

Everyone

160

Information Center Lower Lobby

Everyone

400

3200

-1

Bookstore

Public

Everyone

300

Upper Lobby

Public

Everyone

145

-1

Public

Everyone

225

900

Cafe

Public

Everyone

-1

Cafe

Public

Everyone

200

400

Public

Everyone

105

210

Semi-Public

Students / Invitees

350

-1

Contemporary Art

Public

Everyone

1160

GF,-1

365 Park

Public

Everyone

3000

-2

Administration

Public

Everyone

190

380

-3

Private

Staff

150

300

Photography

Public

Everyone

285

GF,-1, Water Feature -2

Public

Everyone

-2

Lunch Room

Private

Staff

All

Public

Everyone

550

African Art

Public

Everyone

275

-1,-2

Street Art

Public

Everyone

1000

-2

Inspection Area

Public

Everyone

480

-3

Lunch Room

Private

Staff

100

Public

Everyone

1210

-2

Semi-Public

Staff/Invitees

300

1200

Public

Everyone

360

-3

Semi-Public

Staff/Invitees

360

Semi-Public

Staff/Invitees

320

-3

Semi-Public

Staff/Invitees

330

1320

Public

Everyone

105

150

-3

Public

Everyone

105

420

-2

Meeting Room

Events Rooms Contemporary Art Auditorium/ Cinema Multi-purpose Rooms

Self-Public

Staff/Invitees

150

-1

Administration

Public

Social

200

Private

Staff

105

Private

Staff

700

Private

Staff

2500

Private

Staff

100

-2

Auditorium/ Classroom

Semi-Public

Staff/Invitees

330

-2

Kitchen

Private

All

Wardrobe

-1

Office/Work

-2

-3 -3 -2

Student Lounge Professor Lounge Common Areas

Executive Offices Professor Office Student Services

Social

+2 Office/Work

Featured Exhibitions Noguchi Court Event Room Multi-purpose Room Executive Offices

Library

Public

Everyone

240

Social

MY PROGRAMS

Social

NELSON-ATKINS MUSEUM

-2

EWHA WOMENS UNIVERSITY

DANISH NATIONAL MARITIME MUSEUM

Educational

Accesibility

Public

All

Office/Work

Information Center Cafe/ Restaurant

Space Function

Exhibition (permanant) Exhibition (temporary) Multifunctional

All

Social

Space

Office/Work

-4

Auditorium

Semi-Public

1100

-1,-4

Lecture Rooms

Staff/Invitees/ Students

Private

Staff/Students

250

1000

-3

Library

Private

Staff/Students

400

All

Classrooms

Private

Stuff/Students

2800

Staff

-3

Kitchen

Private

Staff

-1

Art Service

Public

Everyone

4900

All

Solar Chimney

Public

Everyone

Private

Staff

All

Locker Room

Private

Staff/Students

480

GF, +1

Toilets

Public

Everyone

All

Toilets

Public

Everyone

Toilets

Public

Everyone

All

Toilets

Public

Everyone

600

All

Storage

Private

Staff

240

All

Storage

Private

Staff

240

-2

Toilets

Public

Everyone

All

Storage

Private

Staff

480

All

Private

Staff

360

All

Private

Staff

360

All

Storage

Private

Staff

240

All

Private

Staff

720

All

Private

Staff

All

Private

Staff

Private

Staff

360

All

Private

Staff

360

-1

Wasteroom

Private

Staff

-4

Art Service

Semi-Private

Staff/Invitees

3500

Private

Staff

-4

Wasteroom

Private

Staff

-4

Wasteroom

Private

Staff

Private

Staff

All All -2

Technical Room Cleaning Room Wasteroom

Educational

Services

Technical Room Cleaning Room

Educational

Services

Technical Room Cleaning Room

Educational

Services

Technical Room Cleaning Room

PROGRAMMATIC

RELATIONSHIPS

Relationship Matrix KEY Should Possible Would be nice

272

Solar Chimney

Multi-purpose Rooms

Auditorium/Cinema

Gallery Space

Events Rooms

Street Art

Water Feature

365 Park 365 Park Water Feature Street Art Events Rooms Gallery Space Auditorium/Cinema Multi-purpose Rooms Solar Chimney

273

a m ine

dit or iu

Galle ry

Events Rooms

re atu Fe

t et Ar Stre

ter Wa

Spac e

Spatial Relationship & Connections

Pa rk

Upper

rp pu

lti-

o Ro

Solar

Lobby

Art S

ney

Chim

ervic

obb

er L

Low

Cafe

n Ce

274

SOLAR CHIMNEY

PUBLIC 365 Park Water Feature

UNDERGROUND CULTURE

DEPTH

STREET CULTURE

Cafe

Street Art

SEMI-PUBLIC Events Rooms Gallery Space

Auditorium/Cinema

Multi-purpose Rooms

275

CONCEPT

DEPTH FORMATION

CONCEPTUAL

278

APPROACH

Depth is an architectural exploration of spaces beneath the surface. While buildings host spaces for services beneath the ground, this subsurface can be utilized to host humans to be more inviting and accommodating. This section discusses 3 concepts about the circulation and different forms of spaces in the underground. The technical methods to dig underground such as drilling, excavating, and tunneling are ways to start thinking about forming subsurface spaces. By playing with masses and voids, spatial connections and programmatic relationships can be formed. The chosen site has a direct inspiration from the pedestrian pathway, therefore, the conceptual form will extend to other plots and pop-out as another hub. The design initiative starts from the underground and opens outwards to the top with the same method. This generically produces a form on ground that is continues the design language from the underground. Key Words: Positive and Negative Mass Hierarchy Sequence Blend Layering Network

279

CONCEPT

280

Digging Technique: The Mole

Inspiration The main source of inspiration from this technique is the circulation of the interior. This is to allow a continuous, spiral connectivity from top to bottom. Then, depth is intentionally short and expanding from either sides to allow pathways horizontally and views at the atrium-like negative space. The negative space accommodates sunlight and a water feature that reflects light into deeper spaces. Therefore, a stack effect can take place from passive ventilation. Programs can be in hierarchy and sequential to provide a wholesome experience. The positive space at the access point on ground blends with the surrounding landscape.

Sketch

Positive Mass

Negative Mass

281

Model Gallery

282

283

CONCEPT

284

Digging Technique: Perforation

Inspiration This concept is inspired by the circular tunnels that cause perforations below grade to carry water through. Instead, these tunnels can be redefined into being what can be called â&#x20AC;&#x2DC;air bubbles,â&#x20AC;&#x2122; where it accommodates humans and more below the surface. In a connected network, tunnels can diffuse into one another and share programs. A service tunnel as well can be separate but supplies to certain areas at a distance. Therefore, it can easily filter private areas from the public ones.

Sketch Positive Mass

Negative Mass

285

Model Gallery

286

287

CONCEPT

288

Digging Technique: Excavation

Inspiration This method is a site-based inspiration that fills in the pathways between building plots on the ground. The underground spaces are then formed from the subtraction of positive masses on the ground. The negative mass then becomes organic to accommodate areas and programs, undisturbed by the location of pillars of the surrounding buildings. The underground space layers to create asymmetric mezzanine-like levels and to filter light and programs. At a specific distance, the levels connect to share activities.

PLAN VIEW Negative Mass

Positive Mass

Sketch SECTION VIEW

289

Model Gallery

290

291

BIBLIOGRAPHY “‘Grace Light’ Illuminates San Francisco Cathedral with Ephemeral Atmosphere.” Designboom, 16 Sept. 2019, https://www.designboom.com/art/grace-light-san-francisco-cathedral-georgezisiadis-grace-gold-illuminate-09-15-19/. Admiraal, Han, and Antonia Cornaro. Underground Spaces Unveiled: Planning and Creating the Cities of the Future. ICE Publishing, 2018. Brown, Hillary. Next Generation Infrastructure Principals for Post-Industrial Public Works. Island Press, 2014. Deira Islands, https://www.nakheel.com/en/communities/deira-islands. “Depth.” Merriam-Webster, Merriam-Webster, https://www.merriam-webster.com/dictionary/ depth#other-words. “Dubai Metro - Data, Photos & Plans.” WikiArquitectura, https://en.wikiarquitectura.com/building/dubai-metro/. England, Natural. “Natural England’s Green Infrastructure Guidance - NE176.” Natural England Access to Evidence, 1 Jan. 2009, http://publications.naturalengland.org.uk/publication/35033. “Equitable Life Building (New York City).” Wikipedia, Wikimedia Foundation, 19 Sept. 2019, https://en.wikipedia.org/wiki/Equitable_Life_Building_(New_York_City). Green Infrastructure and Territorial Cohesion the Concept of Green Infrastructure and Its Integration into Policies Using Monitoring Systems. Publications Office of the European Union, 2011. Gribbin, John R. Deep Simplicity: Chaos, Complexity and the Emergence of Life. Penguin Books, 2005. “How Traditional Desert Homes in the UAE Stayed Cool - MyBayut.” A Blog about Homes, Trends, Tips & Life in the UAE | MyBayut, https://www.bayut.com/mybayut/how-traditional-desert-homes-stayed-cool-uae/. International Society of City and Regional Planners. Think Deep: Planning, Development and Use of Underground Spaces in Cities. ISOCARP, 2015. JIAPING, LIU, et al. “An Instance of Critical Regionalism: New Yaodong Dwellings in North-Central China.” Traditional Dwellings and Settlements Review, vol. 13, no. 2, 2002, pp. 63–70. JSTOR, www.jstor.org/stable/41757895. Kanna, Ahmed Ismail. The Superlative City Dubai and the Urban Condition in the Early Twenty-First Century. Aga Khan Program at the Harvard University Graduate School of Design, 2013. Koolhaas, Rem. Delirious New York: a Retroactive Manifesto for Manhattan. The Monacelli Press, 1994. “Monumental Underwater City Imagined to Revitalize Endangered Coral Reefs.” Designboom, 13 Mar. 2019, https://www.designboom.com/architecture/yunil-nam-reef-silence-03-1019/?utm_source=designboom+daily&utm_medium=email&utm_campaign=a+monumental+underwater.

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FIGURE

LINKS

Fig. 1.1 http://cdn.cnn.com/cnnnext/dam/assets/180831113528-gettyimages-173979611.jpg Fig. 1.2 http://www.uncubemagazine.com/sixcms/media.php/1323/01%20Entry%20Facade%2001%20 %28Classic%29-1.jpg Fig. 1.3 https://divisare-res.cloudinary.com/images/c_limit,f_auto,h_2000,q_auto,w_3000/ v1488543635/nkyodelv0mjuhyyrijh2/ludwig-mies-van-der-rohe-maciej-jezyk-barcelona-pavilion. jpg Fig. 1.4 All credits to author. Fig. 1.5 https://image.businessinsider.com/5353253becad04535a696306?width=1100&format=jpeg&auto=webp Fig. 1.6 https://cdn.britannica.com/41/182741-050-C7EFCCFD/Baron-Haussmann-modernization-plan-areas-boulevards-addition.jpg Fig. 1.7 https://inhabitat.com/wp-content/blogs.dir/1/files/2016/08/Barcelona-Superblocks.jpg Fig. 1.8 https://martinfdc.files.wordpress.com/2012/04/bigness-c.jpg Fig. 1.9 https://www.thenational.ae/image/policy:1.822095:1549354309/Dragon%20Mart%20 (3)%20copy.jpg?f=16x9&w=1200&$p$f$w=324804e Fig. 1.10 https://bbih.nl/wp-content/uploads/2014/02/dubai_masterplan.jpg Fig. 1.11 https://mybayutcdn.bayut.com/mybayut/wp-content/uploads/cover-palm-5918.jpg Fig. 1.12 https://www.demilked.com/magazine/wp-content/uploads/2016/07/famous-city-evolution-before-after-13.jpg Fig. 1.13 http://alluae.ae/wp-content/uploads/2017/09/Dubai-Marina-Area-Guide.jpg Fig. 1.14 https://mybayutcdn.bayut.com/mybayut/wp-content/uploads/Dubai-Creek-HarbourMain_tcm223-101839.jpg Fig. 1.15 http://artasiapacific.com/image_columns/0038/3195/03.jpg Fig. 1.16 https://lp-cms-production.imgix.net/features/2018/12/alserkal-avenue-dubai-skyline-bd7c7afcb296.jpg?q=25 Fig. 1.17 https://upload.wikimedia.org/wikipedia/commons/0/02/Al_quoz_industrial_area_4_-_ Dubai_-_United_Arab_Emirates_-_panoramio_%2810%29.jpg Fig. 1.18 https://www.ft.com/__origami/service/image/v2/images/raw/http://prod-uppimage-read.ft.com/ab5669da-5141-11e9-9c76-bf4a0ce37d49?source=next&fit=scale-down&quality=highest&width=1067 Fig. 1.19 https://imgs-akamai.mnstatic.com/fa/6e/fa6e95cb0a1bfed0ad5be143099dbb3d.jpg Fig. 1.20 https://www.designboom.com/art/grace-light-san-francisco-cathedral-george-zisiadisgrace-gold-illuminate-09-15-19/ Fig. 1.21 https://postmediamontrealgazette2.files.wordpress.com/2018/08/0817-eng-wind.jpg Fig. 1.22https://static01.nyt.com/images/2012/08/14/world/CANCUN-1/CANCUN-1-jumbo.jpg Fig. 2.1 https://www.designboom.com/architecture/yunil-nam-reef-silence-03-10-19/ Fig. 2.2 https://i.ytimg.com/vi/fdLRpss4WN8/maxresdefault.jpg Fig. 2.3 https://assets.newatlas.com/dims4/default/d50abad/2147483647/strip/true/ crop/2829x1888+0+471/resize/1160x774!/quality/90/?url=https%3A%2F%2Fassets.newatlas. com%2F8c%2Fa6%2Fd4545a7b4815aac793a7700ac06b%2Ftoptower-vyhlidka-3.jpg Fig. 2.4 https://archinect.imgix.net/uploads/26/26db7b910562a8d883fc3c059ad496c0.jpg?auto=compress%2Cformat Fig. 2.5 https://cdn.theatlantic.com/assets/media/img/photo/2018/02/tunis/t01_RTX4YJV7/main_1200. jpg?1519759941 Fig. 2.6 https://cdn.theatlantic.com/assets/media/img/photo/2018/02/tunis/t05_RTX4YJV6/ main_1200.jpg?1519759941 Fig. 2.7 https://cdn.theatlantic.com/assets/media/img/photo/2018/02/tunis/t03_RTX4YJVE/ main_1200.jpg?1519757160 Fig. 2.8 https://mybayutcdn.bayut.com/mybayut/wp-content/uploads/old_houses_1.jpg

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Fig. 2.9 https://i.pinimg.com/originals/06/db/ee/06dbeeaa1f34a8b535d9e754cdb4f650.jpg Fig. 2.10 https://i.pinimg.com/originals/71/25/a3/7125a36a348d7f8dd258bf416c6ede93.jpg Fig. 2.11 https://cdn.theculturetrip.com/wp-content/uploads/2017/03/sctp0020-alsheikh-uaedubai-dubai1-60-1.jpg Fig. 2.12 https://imagevars.gulfnews.com/2018/11/08/Dubaiâ&#x20AC;&#x2122;s-businesses-and-their-humblestart_1_resources1_16a0851776e_base.jpg Fig. 2.13 https://upload.wikimedia.org/wikipedia/commons/6/6a/Dubai_Marina_Beach_Panorama.jpg Fig. 2.14 https://homesinabroad.com/img/satwa3.jpg Fig. 2.15 All credit to author. Fig. 2.16 https://d3n5tkprdfxpgx.cloudfront.net/wp-content/uploads/2017/01/18043514/Matmata-Underground-Home-with-Mountain-View-From-Above.jpg Fig. 2.17 https://d3n5tkprdfxpgx.cloudfront.net/wp-content/uploads/2017/01/18043526/Berber-Rugs-in-Matmata-Underground-Home.jpg Fig. 2.18 https://lh3.googleusercontent.com/-aiPk0fF7pNU/WnCWtdZMk4I/AAAAAAABVeQ/ ZKUHyJXGd100ARbw7OaAE_QD5c0F49wSACHMYCw/yaodong-25?imgmax=1600 Fig. 2.19 https://www.cob.nl/wp-content/uploads/2018/10/ArtEZ1_BiermanHenket.jpg Fig. 2.20 https://www.cob.nl/wp-content/uploads/2018/10/ArtEZ3_BiermanHenket.jpg Fig. 2.21 All credit to author. Fig. 2.22 https://brookschurch.com/wp-content/uploads/2011/03/whatisuga.gif Fig. 2.23 https://images.adsttc.com/media/images/55e6/3ac1/2347/5ddd/1700/0311/large_jpg/ arganzuela.jpg?1441151672 Fig. 3.1 https://www.urbanistdispatch.com/wp-content/uploads/2012/01/Madrid-Rio.jpg Fig. 3.2 https://www.google.com/maps/place/Union+Station/@25.2651295,55.3135693,17z/data=!4m5!3m4!1s0x3e5f4334d0cc2af5:0x465ec499445a690c!8m2!3d25.2663361!4d55.3145054 Fig. 3.3 https://images.adsttc.com/media/images/5263/3402/e8e4/4e88/a000/0183/large_jpg/ sof-image-by-luca-santiago-mora-22_original.jpg?1382233027 Fig. 3.4 https://images.adsttc.com/media/images/5263/3267/e8e4/4ef4/c200/0188/large_jpg/ sof-image-by-rasmus-hjortshoj-01_original.jpg?1382232626 Fig. 3.5 https://images.adsttc.com/media/images/5263/34cc/e8e4/4ee8/e100/0178/large_jpg/ diagram_(3).jpg?1382233286 Fig. 3.6 https://images.adsttc.com/media/images/5263/34cb/e8e4/4ef4/c200/0190/large_jpg/ diagram_(4).jpg?1382233286 Fig. 3.7 https://images.adsttc.com/media/images/5263/34c0/e8e4/4e88/a000/0186/large_jpg/ diagram_(1).jpg?1382233274 Fig. 3.8 https://images.adsttc.com/media/images/5263/3309/e8e4/4e88/a000/0180/large_jpg/ sof-image-by-rasmus-hjortshoj-09_original.jpg?1382232805 Fig. 3.9 All credits to author. Fig. 3.10 https://images.adsttc.com/media/images/5263/34c0/e8e4/4ef4/c200/018f/large_jpg/ diagram_(2).jpg?1382233275 Fig. 3.11 https://arcspace.com/wp-content/uploads/CropUp/-/media/846299/BIG-SOF_Sections.jpg Fig. 3.12 https://images.adsttc.com/media/images/5263/34df/e8e4/4e88/a000/0187/large_jpg/ first.jpg?1382233297 Fig. 3.13 https://images.adsttc.com/media/images/5263/34f3/e8e4/4ee8/e100/017a/large_jpg/ second.jpg?1382233317 Fig. 3.14 https://www.huftonandcrow.com/images/uploads/BIG_Danish_Maritime_Museum_HuftonCrow_1_1.jpg Fig. 3.15 https://visuall.net/wp-content/uploads/2013/10/2013-036-Photo22.jpg Fig. 3.16 https://visuall.net/wp-content/uploads/2013/10/2013-036-Photo18.jpg

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Fig. 3.17 https://visuall.net/wp-content/uploads/2013/10/2013-036-Photo20.jpg Fig. 3.18 https://images.adsttc.com/media/images/5263/32a1/e8e4/4e88/a000/017f/large_jpg/ sof-image-by-luca-santiago-mora-03_original.jpg?1382232684 Fig. 3.19 https://www.domusweb.it/content/dam/domusweb/en/architecture/2013/10/18/big_ danish_national_maritime_museum/gallery/12-Big-Dnm-rasmus-hjortshl.jpg.foto.rmedium.png Fig. 4.1-4.30 https://images.adsttc.com/media/images/526a/920c/e8e4/4ee8/e100/04d5/large_ jpg/DanishMaritimeMuseum-draft-22.jpg?1382715906 Fig. 4.31-4.62 https://images.adsttc.com/media/images/5263/32db/e8e4/4ef4/c200/018a/large_ jpg/sof-image-by-rasmus-hjortshoj-04_original.jpg?1382232752 Fig. 4.63-4.90 https://images.adsttc.com/media/images/5263/32bd/e8e4/4ee8/e100/0173/ large_jpg/sof-image-by-rasmus-hjortshoj-03_original.jpg?1382232722 Fig. 5.1 http://2.bp.blogspot.com/-PwWW37eEFOM/VPns-5DztNI/AAAAAAAAA6A/H_ pFgpPto-M/s1600/Danish%2BMaritime%2BMuseum_%2303_BIG%2BArchi_©Henrik%2BKam%2B2015.jpg Fig. 5.2 http://1.bp.blogspot.com/-chEfLkd9U24/VPns_GCiY0I/AAAAAAAAA6E/qovpot9GeHc/ s1600/Danish%2BMaritime%2BMuseum_%2301_BIG%2BArchi_©Henrik%2BKam%2B2015. jpg Fig. 5.3 https://images.adsttc.com/media/images/5263/33ed/e8e4/4ef4/c200/018c/large_jpg/ sof-image-by-rasmus-hjortshoj-13_original.jpg?1382233001 Fig. 5.4 https://images.adsttc.com/media/images/5263/337e/e8e4/4e88/a000/0182/large_jpg/ sof-image-by-rasmus-hjortshoj-12_original.jpg?1382232919 Fig. 5.5 https://www.quebecoriginal.com/sites/default/files/qo-000516_h.jpg Fig. 5.6 http://montrealvisitorsguide.com/wp-content/uploads/reso-montreal-map1.jpg Fig. 5.7 https://i.pinimg.com/originals/d2/c5/7c/d2c57cd1409cf9a7e25a327df8c71631.jpg Fig. 5.8 https://i.ytimg.com/vi/D5ACyvUO0do/maxresdefault.jpg Fig. 5.9 https://static01.nyt.com/images/2012/08/02/garden/02HIGHLINE_SPAN/Highline1-jumbo.jpg Fig. 5.10 https://florica.files.wordpress.com/2009/06/high-line-context-map.jpg Fig. 5.11 https://s3.amazonaws.com/fhl-website/content/uploads/2018/06/25195429/Gallery_ DCC_DesignComp_Fods_Diagrams_FHL.jpg Fig. 5.12 http://static.materialicious.com/images/the-high-line-before--the-build-blog-o.jpg Fig. 5.13 https://i.pinimg.com/originals/27/fb/e3/27fbe3b4aea4f5b1800890cd5a5759f4.jpg Fig. 5.14 https://s3.amazonaws.com/fhl-website/content/uploads/2018/06/25195411/gallery_ dcc_renderings_s3p2_northtiltelev_fhl.jpg Fig. 5.15 https://ksr-ugc.imgix.net/assets/012/144/239/572188d7b94a189e8521e12a3665f853_ original.jpg?ixlib=rb-2.1.0&crop=faces&w=1552&h=873&fit=crop&v=1463738486&auto=format&frame=1&q=92&s=28169794d498787f68f65777e198d2f1 Fig. 5.16-5.17 https://i.guim.co.uk/img/media/dbe00fec16b9b8e70e313efbb37b189a52199b5f/0_0_1280_828/master/1280.jpg?width=700&quality=85&auto=format&fit=max&s=06c30bc374f446b6c1eaa63de428771b Fig. 5.18-5.19 https://images.adsttc.com/media/images/578d/d4b9/e58e/cee5/5c00/0165/newsletter/19285394530_5bf7e46f3d_o.jpg?1468912811 Fig. 5.20-5.23 https://thespaces.com/wp-content/uploads/2015/11/Delancey-street.jpg

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