Thesis book | Fun by Dania Bahaider

FUN DANIA BAHAIDER 2018

NEWSCHOOL OF ARCHITECTURE AND DESIGN UNDERGRADUATE THESIS DESIGN STUDIO SPRING 2018 ID 403

FUN CENTERLAB FOR ISLAMIC CONTEMPORARY ART HOUSE RESTORATION | OLD TOWN JEDDAH, SAUDI ARABIA

FUN A Thesis Presented to the Undergraduate Faculty of

The NewSchool of Architecture & Design

In Partial Fulfillment of the Requirements for the Degree of Bachelor of Interior Architecture

by Dania Bahaider

FUN A Thesis Presented to the Undergraduate Faculty of The NewSchool of Architecture & Design

by Dania Bahaider

Approved by: June Interior Architecture Chair

Elena Pacenti

Date June

Studio instructor

Jorge Ozorno

,2018

,2018 Date

iii

THESIS ABSTRACT BY RESEARCHING THE USE OF ISLAMIC GEOMETRY, THIS THESIS WILL BE LOOKING AT SOME OF THE ASPECTS WHERE ISLAMIC GEOMETRY AND ARCHITECTURE CAN BE USE IN A CONTEMPORARY WAY. THROUGH THE SCOPE OF ARCHITECTURE AND INTERIOR ARCHITECTURE, A CONCLUSION CAN BE TRACED ON WHAT SPATIAL QUALITIES THESE GEOMETRY SHARE. CONSEQUENTLY, THE CREATION OF A CENTERLAB FOR ISLAMIC ART WOULD REGENERATE THE ARTISTIC VALUE IN THE SAUDI ARABIAN SOCIETY, AS WELL AS, IT WILL REINFORCE THE ISLAMIC ARCHITECTURE, ART, AND DESIGN.

DEDICATED

To the ones who raised me to become who I am

‫ماما و بابا‬

To my beloved man & Finally to my supportive siblings.

vii

viii

ACKNOWLEDGMENTS I am excited knowing that every word in this book has been shaped by the people in my life. My greatest appreciation and gratitude to my family, friends, and teachers for helping me achieve this. To the family of class 2018, thank you for being you, you guys are the best, and I wish for our friendship to last for a lifetime. To my thesis studio instructor Jorge Ozorno, to all my former instructors, to the staff of NSAD .. Thank you from the heart for all your inputs that made this possible.

Title Page

Signature Page

iii

Abstract

Dedication

vii

Acknowledgments

Table of Content

CONTENT .............................PRIMARY THESIS ELEMENTS ...................WRITTEN RESEARCH & METHODS ...............................VISUAL COMMUNICATION ..........................................................LOCATION ..................................................................FF & E ...............................FINAL PROPOSED DESIGN

CHAPTER ONE

Primary Thesis Elements

“

YOU CANNOT SIMPLY PUT SOMETHING NEW INTO A PLACE. YOU HAVE

”

TO ABSORB WHAT YOU SEE AROUND YOU, WHAT EXISTS ON THE LAND, ALONG WITH CONTEMPORARY THINKING TO INTERPRET WHAT YOU SEE.

TADAO ANDO

INTRODUCTION (/ärt/ Arabic: ‫ فن‬/fən/) Fun is Art The expression of the art of Islam or Islamic art applies to the artistic production that took place since 622 AD until the 19th century in an area extending from Spain to India inhabited by groups of Islamic cultures.

INTENTION The first intention of the thesis was to achieve the creation of a centerLAB for Islamic Art, a space that is setup to attract people to it, focusing mainly on strengthening relationships between people and the appreciation of art.

DEVELOPMENT In the process of developing the study, the focal point of this thesis was redirected to deeply focus on the variety of the use of the Islamic architecture and explore different ways of taking it to a different level and unusual places, and on the other hand keeping the beauty of the simplicity of the Islamic geometry. Achieved through out the deconstruction of Islamic geometry, through reflection and shades applied to wall, floor, and furniture.

BACKGROUND In Islamic art, the actual representation of the physical world and figures is very much avoided, specially the representation of God and his prophets. It is believed that it lead to worshiping the image rather than God himself. So, this part of my heritage generally features abstract geometrical patterns that are based on mathematical laws.

PROBLEM STATEMENT The developing of the city of Jeddah with all of the tourism that they are expecting in the next years where there are new rules that would help a lot for people to visit this important region of Saudi Arabia. My contribution for this future expansion that I will be modeling and creating a center in the city of Jeddah where I will redesign an old building and structure to turn it into an art center. Institution to preserve Islamic history and architecture, which focuses on the architectural heritage.

CRITICAL POSITION The hope of this place is to serve as a platform for freedom of expression and a stage for the local designers to demonstrate and transmit their design creation and philosophies to the world. The culture of Saudi Arabia is very rich and diverse, yet it is fading away. Therefore, the country of Saudi Arabia needs to raise the awareness of keeping it is heritage and create a space hopefully serving as a model of a leading country in the field of design and creativity.

THESIS STATEMENT The idea is to create not only a museum that shows exhibits, but also a place for researching the potentiality of design as an element that enriches our daily life, a place that fosters the publicâ&#x20AC;&#x2122;s interest in design by arousing in them different sights and perspectives on how we can view the world and the objects surrounding us. From this concept, I aimed to create a place of the culture of Saudi Arabia. It is Saudi Arabia with a new face - a face that does not only esteem the traditional aesthetic values of itâ&#x20AC;&#x2122;s culture, but also seeks out new challenges and possibilities of design.

CHAPTER TWO

Written Research & Methods

THESIS ESSAY Fun is a center lab for Islamic arts. It is located in old downtown Jeddah, Saudi Arabia. Saudi Arabia is in a major changing process. Jeddah is expecting to grow its pilgrims from 8m to 30m a years because Jeddah is the capital of religious pilgrimage, as well as the kingdom of Saudi Arabia will allow tourism where they are expecting at least 2m visitor a year. My project is going to be the window of Saudi Arabia. The window is utilizing art as the expression of the country. The concept of my project is to show the traditional Islamic designs in a more contemporary way. The west version of making Islamic art. A relationship between the culture of Saudi Arabia and the united states. Old Jeddah is full with buildings and architecture heritage that is being abandoned or destroyed due to the new contemporary

buildings near by. Therefore, my project is introducing a new way of recycling the buildings in order to keep the identity of the city of Jeddah which is going to make it a more sustainable way with different use and integration of new use into the exciting context of downtown Jeddah. The center lab is going to keep the same architecture component of the Saudi Arabian architecture, however; it is going to be using more contemporary materials and textures as well as it is going to be in colors that were never used with the traditional Islamic designs. The main component of the center lab is the center courtyard which is which is also going to be a transformer courtyard where it can be a water mirror, floor, or earth. As well as it is going to act as a cooling system for the building.

COMPONENT OF THE SAUDI ARABIAN ARCHITECTURE

• Windows • Protruded balconies • Arched doors • Center facade is lower • Fortress appearance • Inner courtyard • Lots of ornamentation

FIGURE 2.1

“ 17

”

THERE ARE 360 DEGREES, SO WHY STICK TO ONE?

ZAHA HADID

DESIGN GOALS

• Shading System • Water Mirror • Inner Courtyard • Integration To The Outside • Minimalistic Abstraction • Green Roof Program • New Codes “Emergency Exits”

TARGET AUDIENCE

YEHYA AL MANSOURI

ADAM BAKER

Art instructor who has his own fine art line and teaches his students some techniques that he have gained from his experience

Graphic design student who is interested in attending Fun centerLAB to learn and eventually has his work being displayed.

Jeddah, Saudi Arabia

Amman, Jordon

LINA AL

Dub

Jewelery d is using the events to ad and sel

L JASSER

bai, UAE

designer who e trade shows dvertise, display, ll her work.

REEM GHAZOLI

RAUL AND SAVANA

Fashion design student who is currently participated in a fashion design competition and sponsored by Fun centerLAB.

Visitors who are coming to Jeddah for a one week vacation for the first time and want to explore the city and learn about itâ&#x20AC;&#x2122;s culture.

Yanbu , Saudi Arabia

Lisbon, Portuguese

SPONSOR Amar Association of modern architecture renovation. An and

institutions

architecture.

Architectural

preserve The

Heritage

Islamic

Amar which

history

Center

for

focuses

conversing architectural heritage. Revival and development of traditional architecture through research and studies. Restoration and rehab.

FIGURE 2.2

CHAPTER THREE

VISUAL COMMUNICATION

TYPOLOGICAL ANALYSIS case studies

FIGURE 3.1

Dr. Sami Angawi's House Jeddah, Saudi Arabia The

open courtyard, pools and fountains work

to cool the house, and drip irrigation water the plants, which in turn adds moisturize the air toÂ help cool it. The house combines modern constriction techniques with classic Arabic design. A prominent Saudi Arabian architect, designed his own family home with a whole host of incredible features that make it a real life Islamic solar punk home.

FIGURE 3.2

Arab World Institute Paris, France The system incorporates several hundred light sensitive diaphragms that regulate the amount of light that is allowed to enter the building. During the various phases of the lens, a shifting geometric pattern is formed and showcased as both light and void. Squares, circles, and octagonal shapes are produced in a fluid motion as light is modulated in parallel. Interior spaces are dramatically modified, along with the exterior appearance.

CHAPTER FOUR

LOCATION

SAUDI ARABIA 32.28 million 830,000 mi² 5th Largest state in Asia. 2nd Largest state in Arab world. Important Cities • Riyadh 5.188m • Jeddah 3.431m • Mecca 1.535m It is the only nation with both a Red Sea coast and a Persian Gulf coast. Most of its terrain consists of arid desert and mountains.

FIGURE 4.1

THE ARABIAN PENINSULA

RIYADH

JEDDAH

MAKKAH COUNTY

RIYADH COUNTY

-Over 20m Visitor a Year -25% of the Population -Highest Population

-The Capital -2nd Largest county -24% of the Population

BRIDE OF THE RED SEA “different”

As Labeled by the majority of Saudis

• The major urban center of western Saudi Arabia. • Largest city in Makkah Province. • Largest sea port on the Red Sea. • 2nd largest city in Saudi Arabia after the capital city. • Saudi Arabia’s commercial capital. • Principal gateway to Mecca and Medina, two of the holiest Cities in Islam and popular tourist attractions.

4 million

618 mi²

KINGDOM TOWER

FIGURE 4.2

CITY CENTER (OLD JEDDAH)

FIGURE 4.3

JEDDAH NEW AIRPORT (JED)

FIGURE 4.4

FIGURE 4.8

JEDDAH FOUNTAIN

FIGURE 4.5

WATER FRONT

FIGURE 4.6

SCREEN TOWER

FIGURE 4.7 38

WHY JEDDAH? Jeddah is the second largest city in Saudi Arabia, as well as the principal gateway to the holy city of Mecca and a key urban hub in the Middle East. Jeddah has experienced unprecedented growth in the past five decades and anticipates that its population of four million people will increase to six million in the coming two decades. Also it is considered a popular tourist attractions With the current vision 2030 of the kingdom, which is a plan that seeks to reduce Saudi Arabiaâ&#x20AC;&#x2122;s dependence on oil, diversify its economy, and develop public service sectors. Part of vision 2030, at least two cities of Saudi Arabia are planned to become one of the worldâ&#x20AC;&#x2122;s most beautiful cities. Jeddah is expected to be one of them. Therefore, tourism will become intensive in the coming era. 39

FIGURE 4.9

This is the new urban plan for the city of Jeddah which is called the â&#x20AC;&#x153;Jeddah Plansâ&#x20AC;?, the documents are designed to shape the city over the coming 20 years.

MALE POPULATION IN SAUDI ARABIA

1.2

NON-SAUDIS 0.5 SAUDIS 0 0-1

1-4

5-9

10-14 15-19 20-24

25-29 30-34 36-39 40-44 45-49 50-54 55-59 60-69 65-69 70-74 75-79

80+

MAJORITY OF MALE AGE POPULATION IS BETWEEN 25-35

TEMPERATURE IN JEDDAH 125°F 100°F 75°F HIGH F

50°F HIGH F

LOW F LOW F

25°F 0°F Jan

Feb

Mar

Apr

May

Jun

Jul

Aug

Sep

JEDDAH FEATURES A TROPICAL WEATHER.

Oct

Nov

Dec

FEMALE POPULATION IN SAUDI ARABIA

1.2

NON-SAUDIS 0.5 SAUDIS 0 0-1

1-4

5-9

10-14 15-19 20-24

25-29 30-34 36-39 40-44 45-49 50-54 55-59 60-69 65-69 70-74 75-79

80+

MAJORITY OF FEMALE AGE POPULATION IS BETWEEN 4-10

POPULATION GROWTH IN SAUDI ARABIA 60 50 40 30 NON-SAUDIS

SAUDIS

10 0

1960

1970

1980

1990

2000

2010

2020

2030

POPULATION IS GROWING FAST IN SAUDI ARABIA 42

FIGURE 4.10

FIGURE 4.11

FIGURE 4.12

OLD TOWN JEDDAH The city of Jeddah is considered one of the beautiful cities in the Kingdom, which is characterized by a history of achievements in all fields, especially the architectural aspects that have been the best witness to the historical times, as the historical architectural buildings are still the best witness to the civilizations that passed through Jeddah. Al-Balad is the name given to the old center of Jeddah. Its buildings shelter stories in a thick cloak of decay. It can be difficult to discern empty shells from inhabited buildings. One might seem abandoned and threateningly slanted, only to have its stature resuscitated by a man who enters it with a bag of groceries. He has enough potatoes to last a family a week.

AL BALAD

In 1813, Sheikh Mahmoud Mohammed Qasim Al-Khunji built a house that reflects the architecture of the ancient cities of Hejaz, where widows and single women lived in the

framework

“Waqf”

culture. The house is located on

Abu

Anabah

FIGURE 4.13

Street,

known as one of Jeddah’s historic

neighborhoods.

is a 18,270 square feet, twostory building with 19 rooms.

FIGURE 4.15

FIGURE 4.14

FIGURE 4.16

FIGURE 4.17

FIGURE 4.18

FIGURE 4.19

FIGURE 4.20

RUBAT AL KHUNJI AL KABER

Al-Balad, 7291 Zugag Balila, Al Balad District. 22236 Jeddah 3185, Saudi Arabia

AGE

205 YEARS OLD

SIZE

18,270 SF

STRUCTURE

CONCRETE COLUMNS WOOD FRAMING SYSTEM

ORIGINAL USE

AFFORDABLE HOUSING FOR DIVORCED AND WIDOW

EXISTING USE

ABANDONED

The Architectural building known for the passage of time as the “Al-Khunji Ribat”, an icon of the Saudi Art Week in Jeddah, which attracts the attention of everyone. It draws attention and captures everyone’s thinking about the history of this building.

Widows migrated this house so it turned to be an abandoned building. However, recently the artist Abdullah Al-Othman transformed the building from an abandoned place to a wonderful work of art. This tinfoil wrapped building is a major intervention into the urban material of the old town - the delicate, disintegration layer an attempt to freeze the 200-year old building in time. Thus, it was transformed into a major social and cultural concern, and an artistic building that attracts the public to the heritage area.

FIGURE 4.21

MASTER PLAN

SITE ANALYSIS SUN

WEST

WIND

65 - 115

WEST

May - October 100 - 95 | 81 - 74 EAST

November - April 93 - 83 | 74 - 65

SHADING SYSTEM

WEST

65 - 115

Max 23 mph Avg 7 mph Min 0 mph

EAST

NATURAL VENTILATION

65 - 115

WEST

EAST

65 - 115

EAST

CHAPTER FIVE

FINAL PROPOSED DESIGN

CONCEPT DEVELOPMENT

CENTER COURTYARD

CIRCULATION

NATURAL VENTILATION

VOID/

OPENING

ROOF GARDEN

SHADING SYSTEM

REFLECTION

SITE

GROUND FLOOR

SECOND FLOOR

ROOF

STRUCTURE

COURTYARD SHA

ADING SYSTEM

The idea was to deconstruction the Islamic pattern and simplify it in order to get a pattern that is minimal and transform it into a three dimensional pattern that can help hold the shading system and add a contemporary look 69

with

the

exposed

structure.

STRUCTURAL SYSTEM

TRANSFORMATIVE COURTYARD The center courtyard will have the ability to be transformed into three different options depending on the needed use. It is a space for the designers where they are free to do whatever they want in this center courtyard. The first one is a water mirror which helps cooling the space and adds an aesthetic look. The second is an extended floor for the space that can be use as an auditorium, or a gallery. And the third is an earth that would bring landscape into the interior and make a contrast between the desert outside and the oasis inside. It can be seen as an art insulation as well.

FRONT PLAZA

FRONT/ S I D E PLAZA

S I D E PLAZA

BACK PLAZA

LOBBY/ RETAIL

FRONT D E S K

INNER COURTYARD

101

G A L L E R Y

103

AUDITORIUM

105

B A Z A A R

107

B A Z A A R

109

SECRET A R Y OFFICE

111

PRINCIPLE OFFICE

113

MEETI N G ROOM

115

SECRET G A R D E N

117

OFFICE

119

S D L N

T U E N T O U G E

121

S D L N

T U E N T O U G E

123

O U T DOOR T E R RACE

125

O U T DOOR T E R RACE

127

S D L N

T U E N T O U G E

129

COMP U T ER LAB

131

COMP U T ER LAB

133

C O WORK I N G SPACE

135

CLASSROOM

137

C O WORK I N G SPACE

139

C O WORK I N G SPACE

141

MEETI N G B O O T H S

143

MEETI N G B O O T H S

145

ROOFT O P L O U NGES

147

ROOFT O P L O U NGES

149

ROOFT O P L O U NGES

151

ROOFT O P CLASSROOM

153

AL MAJ L E S

155

T H E A T E R

157

ROOFT O P L O U NGES

159

C A F E

CHAPTER SIX

FF & E

GROUND FLOOR GROUND FLOOR ROOM

FLOORING

WALLS

Lobby

CARRARA MARBLE

White Paint

LIGHTING

FURNITURE PENDENT LIGHT NO. 1

WALL ART

Landscape

Gift Shop

CARRARA MARBLE

CONCRETE

TRACK SPOT LIGHTS NO. 2

Gallery

CARRARA MARBLE

White Paint

TRACK SPOT LIGHTS NO. 3

BRAND |ORIGINAL NO. | 6 COLOR | WHITE

BRAND |ORIGINAL NO. | 54 COLOR | BLACK

Auditorium

CARRARA MARBLE

White Panit

SPOT LIGHTS NO. 4

BRAND | IKEA NO. | 7 COLOR | WHITE

BRAND |ORIGINAL NO. | 55 COLOR | WOOD

BRAND | ORIGINAL NO. | 70 COLOR | BLACK

BRAND |COSTUME NO. | 71 COLOR | WOOD

PENDENT LIGHT NO. 5

BRAND | STEELCASE NO. | 8 COLOR | BROWN/ PINK

WALL PAINT

HALO LIGHT NO. 6

BRAND | STEELCASE NO. | 9 COLOR | BROWN

SPOT LIGHT NO. 7

BRAND | HERMAN MILLER NO. | 10 COLOR | WOOD/ WHITE

Trade Show

CARRARA MARBLE

White Panit

COSTUM

BRAND |ORIGINAL NO. | 5 COLOR | GLASS/ PINK/ GREEN

163Meeting Room

CARRARA MARBLE

White Paint

PENDENT LIGHT NO. 8

BRAND |HERMAN MILLER NO. | 13

BRAND |ORIGINAL NO. | 56 COLOR | STEEL

Trade Show

CARRARA MARBLE

White Panit

COLOR | WHITE

COLOR | WOOD

BRAND | ORIGINAL NO. | 70 COLOR | BLACK

BRAND |COSTUME NO. | 71 COLOR | WOOD

PENDENT LIGHT NO. 5

BRAND | STEELCASE NO. | 8 COLOR | BROWN/ PINK

WALL PAINT

HALO LIGHT NO. 6

BRAND | STEELCASE NO. | 9 COLOR | BROWN

SPOT LIGHT NO. 7

Meeting Room

CEO Oï¬&#x192;ce

CARRARA MARBLE

White Paint

PENDENT LIGHT NO. 8

BRAND |HERMAN MILLER NO. | 13 COLOR | WHITE

SPOT LIGHT NO. 9

BRAND |ORIGINAL NO. | 14 COLOR | STEEL/ BLACK

SPOT LIGHT NO. 10

BRAND | STEELCASE NO. | 15 COLOR | BROWN/ PINK

BRAND | EL SEED NO. | 57 COLOR | BLACK/ WHITE

PENDENT LIGHT NO. 11

BRAND |ORIGINAL NO. | 16 COLOR | GLASS/ STEEL

BRAND |ORIGINAL NO. | 58 COLOR | BLACK

BRAND |ORIGINAL NO. | 56 COLOR | STEEL

CARRARA MARBLE

White Paint

SPOT LIGHT NO. 12

BRAND | NADA DEBS NO. | 19 COLOR | WOOD

BRAND | ABYAT NO. | 59 COLOR | BLACK/ GOLD

BRAND |HERMAN MILLER NO. | 20 COLOR | WHITE/ WOOD

164

SECOND FLOOR SECIND FLOOR ROOM

FLOORING

Student Lounge

WALLS

LIGHTING

FURNITURE

WALL ART

White Paint

SPENDENT LIGHT NO. 14

BRAND |HERMAN MILLER NO. | 24 COLOR | WHITE/ WOOD

CONCRETE TILE

HALO LIGHT NO. 15

BRAND | MOROSO NO. | 24 COLOR | GRAY

Landscape WALL PANIT

GRAVEL

Computer Lab

RECYCLED WOOD

White Paint

CORTEN PLANTER

OUTDOOR FLOOR LIGHT NO. 16

BRAND | NADA DEBS NO. | 30 COLOR | CONCRETE

SPOT LIGHT NO. 17

BRAND | NADA DEBS NO. | 31 COLOR | WOOD/ ORANGE

BRAND | ORIGINAL NO. | 62 COLOR | BLACK

BRAND | MOROSO NO. | 50 COLOR | BLACK

BRAND | SHERIN GUIRGUIS NO. | 72 COLOR | COLORFUL

BRAND | FAIG AHMED NO. | 52 COLOR | ORANGE/ RED Classroom 1

RECYCLED WOOD

White Paint

FLUORESCENT LIGHT NO. 18

BRAND | IKEA NO. | 32 COLOR | WHITE

Classroom 2

RECYCLED WOOD

White Paint

FLUORESCENT LIGHT NO. 19

BRAND | IKEA NO. | 33 COLOR | BLACK

165

BRAND | IKEA NO. | 34 COLOR | WHITE

BRAND |ORIGINAL NO. | 63 COLOR | BLACK

BRAND | HERMAN MILLER NO. | 29 COLOR | GRAY Lounge Outdoor

GRAVEL

Computer Lab

RECYCLED WOOD

White Paint

CORTEN PLANTER

OUTDOOR FLOOR LIGHT NO. 16

BRAND | NADA DEBS NO. | 30 COLOR | CONCRETE

SPOT LIGHT NO. 17

BRAND | NADA DEBS NO. | 31 COLOR | WOOD/ ORANGE

BRAND | ORIGINAL NO. | 62 COLOR | BLACK

BRAND | MOROSO NO. | 50 COLOR | BLACK

BRAND | SHERIN GUIRGUIS NO. | 72 COLOR | COLORFUL

BRAND | FAIG AHMED NO. | 52 COLOR | ORANGE/ RED Classroom 1

RECYCLED WOOD

White Paint

FLUORESCENT LIGHT NO. 18

BRAND | IKEA NO. | 32 COLOR | WHITE

Classroom 2

RECYCLED WOOD

White Paint

FLUORESCENT LIGHT NO. 19

BRAND | IKEA NO. | 33 COLOR | BLACK

BRAND |ORIGINAL NO. | 63 COLOR | BLACK

RECYCLED WOOD

White Paint

FLUORESCENT LIGHT NO. 20

Meeting Booth

RECYCLED WOOD

White Paint

SPOT LIGHT

SPOT LIGHT NO. 21

BRAND | FAIG AHMED NO. | 46 COLOR | PINK/ RED

166

ROOFTOP THIRD FLOOR ROOM

FLOORING

Lounges

TREX

Coï¬&#x20AC;ee Bar

TILE

WALLS

LIGHTING

FURNITURE

WALL ART BRAND | MOROSO NO. | 38 COLOR | PINK YELLOW/ BLUE/ GREEN

PENDENT LIGHT NO. 22

BRAND | HERMAN MILLER NO. | 39 COLOR | BLACK

NEON LIGHT NO. 23

BRAND | HERMAN MILLER NO. | 40 COLOR | WHITE

Landscape BRAND | EL SEED NO. | 65 COLOR | COLORFUL

BRAND | IKEA NO. | 41 COLOR | WHITE Hookah Lounges

TREX

CONRETE

LANTERN NO. 23

BRAND | ROCHIE BOBOIS NO. | 42 COLOR | RED/ PINK/ ORANGE

LANTERN NO. 24

BRAND | ORIGINAL NO. | 51 COLOR | STAINLESS STEEL

CORTEN PLANTER

BRAND | Unconventional Interiors NO. | 52 COLOR | GLASS/ WHITE Classroom

Cinema

TREX

PENDENT LIGHT NO. 25

BRAND | HERMAN MILLER NO. | 43 COLOR | WHITE

LANTERN NO. 26

CONRETE

Exterior

Restrooms

167

BRAND | SHERIN GUIRGUIS NO. | 66 COLOR | BLACK WHITE TILES

WHTIE TILES

SPOT LIGHT NO. 27

BRAND | TOTO NO. | 67 COLOR | WHTIE

CORTEN PLANTER

ROOM

FLOORING

WALLS

Staﬀ Oﬃces

CARRARA MARBLE

White Paint

LIGHTING

FURNITURE SPOT LIGHT NO. 13

WALL ART

Landscape

BRAND | STEELCASE NO. | 21 COLOR | BROWN/ PINK

BRAND |ABYAT NO. | 60 COLOR | BLACK/ ORANGE

BRAND |ORIGINAL NO. | 22 COLOR | MARBLE/ GOLD

BRAND |ABYAT NO. | 61 COLOR | BLACK/ GOLD

GRANITE

White Paint

168

169

FIGURE 6.1

EL SEED GRAFFITI Islamic

calligraphy

the

artistic

practice of handwriting and calligraphy based on the Arabic alphabet. It is known in Arabic as “khatt”(‫)خط اسالمي‬, derived from the word line, design, or construction. The development of Islamic calligraphy is strongly tied to the Qur’an, as excerpts from the Qur’an are a common and almost universal text upon which Islamic calligraphy is based. As well as calligraphy became one of the major forms of artistic expression in Islamic cultures. However, Islamic calligraphy is not limited to strictly religious subjects, objects, or spaces.

170

FIGURE 6.2 171

TRADITIONAL SAUDI WALL PAINT AL QATT AL ASIRI A traditional interior wall decoration, which is an ancient art form considered as a key element of the identity of the region of Asir. The patterns consist of icons of geometric shapes and symbols. In the past, only women practiced it, but nowadays male and female artists, designers, interior designers and architects practice it. In November 2015, Edge of Arabia in partnership with Art Jameel supported and organized the launch of “Our Mother’s House” “‫ ”بيوت امهاتنا‬where they provided Al-Qatt Al-Asiri mural that is 60 feet long, for the United Nation’s building in New York City. In 2017, it was awarded ‘intangible’ status by the UNESCO, FIGURE 6.3

172

173

COSTUME ISLAMIC FURNITURE Contemporary designs for the sake of taking Islamic geometry to a different level and unusual places. This concept was illustrated in series of designs that has Islamic geometrical patterns and modern western styles or west version of making geometry design. Geometry acts as the link between the material and the spiritual world and has an abstract beauty. The simple yet complex eight-pointed star is the most common geometric shape used in Islamic art, it is believed to include all opposites in the universe and to unite them: male and female, dark and light, conscious and unconscious.

174

FIGURE 6.4 175

CONTEMPORARY/ TRADITIONAL RUGS Carpets are very commonly used in the Saudi Arabian Culture. They mostly come from Iran. It is a heavy textile, made for a wide variety of utilitarian and symbolic purpose. Faig Ahmed is an internationally recognized artist as he participated in Venice Biennale in 2007. He is known for his conceptual works that utilize traditional decorative craft and the visual language of carpet into contemporary works of art. He incorporate ancient carpet-weaving techniques into forms that anyone would identify as hyper-contemporary. FIGURE 6.5 176

FIGURE 6.6

177

FIGURE 6.7-6.9

FIGURE 6.10-6.12

CONTEMPORARY ISLAMIC FINE ART Los Angeles-based Egyptian artist Sherin Guirguis uses painting, drawing, and sculpture to explore the hidden histories of places and communities. In her works, the political and social content is inseparable from formal and material considerations. What makes her work unique is that she uses the traditional Islamic geometry and transform them into an abstract art and designs.

FIGURE 6.13

178

FURNITURE BY MOROSO Moroso has been working in close collaboration with some of the worldâ&#x20AC;&#x2122;s most talented designers to produce luxury sofas and seating since 1952. The furniture line I chose from Moroso speaks the same language as the space as they all have sharp edges and geometrical shapes and yet very contemporary.

FIGURE 6.14-6.18

179

FIGURE 6.19

180

MAJLES BY ROCHEBOBIS Arabic Majles are seating that are very similar in height to the Tatami seating. They are the traditional seating of Saudi Arabia. It is still commonly used as you expect to see it in every house. However, the colors, shapes, and styles of the Majles was always the same until recently Rochebobois designed seating that are very similar to the Majles but in different colors, texture and materials. They because very popular in Saudi Arabia because of it is unique style.

181

FIGURE 6.20

182

FURNITURE BY NADA DEBS Nada Debs is a Lebanese designer based in Beirut. What ties her work together is her ability to transform culture and craftsmanship to create pieces

emotional

resonance.

There is something of each of her experiences in all of her work. In essence, she captures the power of the human hand to tell stories

FIGURE 6.21

that touch the heart. She calls her

approach

â&#x20AC;&#x153;handmade

and

heartmadeâ&#x20AC;?.

183

FIGURE 6.23

FIGURE 6.22

FIGURE 6.24

LIST OF FIGURES FIGURE 1.1

https://www.pinterest.com/pin/219339444336918656/

FIGURE 2.1

https://murtahil.com/26819/

FIGURE 2.2

https://archnet.org/authorities/142/sites/756

FIGURE 3.1

http://amarinternational.blogspot.com/2009/01/al-makkiyah-foundation-institute.html

FIGURE 3.2

https://thenextweb.com/me/2010/09/18/arab-world-institute-coolest-arabic-building-in-paris/ https://society6.com/product/world-map-white_print#1=45

FIGURE 4.1

https://www.pointtwomaps.com/products/jeddah-city-map

FIGURE 4.2

https://www.dezeen.com/2018/03/12/worlds-tallest-skyscraper-jeddah-tower-adrian-smith-gordon-gill/

FIGURE 4.3

http://mapio.net/pic/p-121113038/

FIGURE 4.4

https://www.weetas.com/gccnews/ar/new-king-abdul-aziz-%D9%90airport-received-best-project-award-arv/

185

FIGURE 4.5

https://www.pinterest.co.uk/pin/511721576387349251/

FIGURE 4.6

http://www.saudiprojects.net/?news=/

FIGURE 4.7

https://haraj.com.sa/116815601/‫_برج_الشاشة_للبيع_بجدة‬/

FIGURE 4.8

http://discovery.ucl.ac.uk/1498764/1/SSS10_Proceedings_071.pdf

FIGURE 4.9

http://discovery.ucl.ac.uk/1498764/1/SSS10_Proceedings_071.pdf

FIGURE 4.10

http://discovery.ucl.ac.uk/1498764/1/SSS10_Proceedings_071.pdf

FIGURE 4.11

https://www.alarabiya.net/ar/saudi-today/2014/01/15-700-.html

FIGURE 4.12

http://www.elementarydev.com/yi0nvSGvuKHsv6brNDWDs?source=4078&transaction_ id=1020/

FIGURE 4.13

https://www.alarabiya.net/ar/saudi-today/2017/08/19/.html

FIGURE 4.14

http://www.jeddahwalnas.com

FIGURE 4.15

http://www.sayidy.net/article/83501/

FIGURE 4.16

https://www.google.com/search?biw=1265&bih=648&tbm=isch&sa=1&ei=8vssW7vtC4-ctgW6qZGYAQ&q=&gs/

FIGURE 4.17

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FIGURE 4.18

http://www.flickriver.com/photos/hookahmahm79/sets/72157625740936971/

186

LIST OF FIGURES FIGURE 4.19

http://www.gecorpa.pt/noticias.aspx?id=11&idc=65&area=Arquivo

FIGURE 4.20

http://www.alriyadh.com/515849

FIGURE 4.21

http://almnatiq.net/370476/

FIGURE 6.1

https://www.pinterest.com/pin/309622543110896479/

FIGURE 6.2

https://www.pinterest.com/offsite/?token=584-727&url=https%3A%2F%2Fi.pinimg. com%2Foriginals%2F04%2F4c%2Ff7%2F044cf798078076b97ad89ce2dabc0b59. j p g & p i n = 2 1 9 3 3 9 4 4 4 3 3 6 9 6 2 4 9 6 & c l i e n t _ t r a c k i n g _ params=CwABAAAADDc4NjQ1NjcwNDE3NQA

187

FIGURE 6.3

http://oasis-mag.blogspot.com/2015/11/saudiart-tomorrow-in-newyork-to-empower.html

FIGURE 6.4

http://www.faigahmed.com/index.php?lang=en&page=8&projID=14

FIGURE 6.5

http://www.faigahmed.com/index.php?lang=en&page=8&projID=14

FIGURE 6.6

http://www.sheringuirguis.com/el-beit-el-kabir

FIGURE 6.7