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_table of CONTENTS Introduction : Granada
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Historical Content | 24 The Alhambra | 37 Site Analysis | 44 Project: Alhambra Entryway Sequence
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Conceptual Framework | 88 My Design | 112 Technical Solutions | 148 Appendicies | 174 Appendix A: Black and White Set Appendix B: Process Work Appendix C: Course Documentation
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_INTRODUCTION
Granada, Spain Geographic Conditions Urban Conditions neighborhoods
street typologies
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INTRODUCTION
_granada’s NAME
Granada’s name originated from a fruit that we know today. Pomegranates take their name from pomum meaning apple and granatus meaning seeded. The fruit was brought from southern Spain to the colonies during the latter part of the 18th Century. Pomegranates: Ancient Egypt – symbol of prosperity and ambition Ancient Greek/Rome – ‘Fruit of the dead’, abundance, fertility and good luck Mythology – explanation of the seasons Judaism – fertility of ‘the promise land’ – fruitfulness Christianity – decoration, bursting/broken = fullness of Jesus’ suffering and resurrection Islam- grow in the gardens of paradise, mentioned 3 times Because the name of the city is derived from this fruit, sculptural representations can be found throughout the city. The images to the right are both of pomegranate sculptures found in granada. The image on the top line the streets of granada preventing vehicles from driving on the sidewalks. The bottom image can be found at a fountain on a Wall of the Alhambra.
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_projectENTRYWAY
In the Andalucian region of Spain, there exists one of the world’s greatest architectural and historical treasures: La Alhambra. Truly valuable to the study of archaeology, history, architecture, art, literature, music, anthropology and culture, La Alhambra is a magnificent golden complex anchored to a Hill in the historic city of Granada. Located on Sabika hill overlooking the rest of the city, the complex has many concerns in regards to accessibilty and clarity of sequence at the entrance to the complex. After years of restoration and conservation, and even a 20th century attempt to rectify the entrance to La Alhambra, the space still fails to direct visitors efficiently into the complex. The area of intervention includes the Plaza de la Alhambra, La Plataforma del Agua, the café, the current entrance pavilion and the adjacent green areas, an area approximately 120,000 square feet in dimension. “Impact areas” was also carefully considered throughout the design process, such as the entry sequence to La Alhambra Archives and the progression through existing parking lots and drop-off zones. These impact zones will be slightly modified to improve the overall dynamic of La Alhambra y El Generalife Complex. The purpose of this architectural design studio is to create a new building, the Atrio of La Alhambra, which, coupled with massive landscape development. will resolve all of the issues involved with the entrance. The design project is two fold: creating a functional entry sequence for visitors to La Alhambra, and creating a space that connects La Alhambra to the city of Granada. The project aims to improve the conditions of the sequence of arrival and access to the monument that the visitors have to experience.
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INTRODUCTION
L O C A T I O N
_granadaSPAIN Geographic Conditions Location: 37° 15’ 0” N, 3° 15’ 0” W Population Total: 900,000 + Density: 70/ km² The province of granada covers an area of 12,635 km² and is loated in the eastern part of the autonomous community of Andalusia. Its population is over 900,000, 30% of which live in the capital. Its population density is roughly 70/ km² Granada is a mid-sized city located in the Granada Province in the Andalucia region of Spain. Granada has been continuously inhabited by humans for at least 2500 years, making it rich in history and culture.
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ANDALUCIA
PROVINCE OF GRANADA
CITY OF GRANADA
_cityGRANADA
Today, Granada is a midsized city 300,000 inhabitants and another 600,000 people in its metropolitan sprawl. Once a city that hugged the hillsides, urban growth in the past century has resulted in the complete occupation of La Vega.
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INTRODUCTION
G R A N A D A
_urbanCONDITIONS Granada today has become a vibrant mixture of architectutural languages due to its historically eventful past. The contrast of the various architectural styles, colors, and materials creates an awe inspring composition.
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INTRODUCTION
_urbanCONDITIONS - e
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The city of Granada brings in tourists from all over the world thanks to its Moorish architecture and famous Alhambra palace. The Alhambra World Heritage Site is Granada’s biggest tourist attraction. Granada is also well-known within Spain for the prestigious University of Granada which has about 80,000 students, spread over five different campuses in the city. Each year the city also attracts over 10,000 foreign students, as well as providing employment to a large number of people, the university also boosts the local economy by creating demand for rental property. The money spent by students also helps to support shops, restaurants, bars and other services in the city. Agriculture contributes less than 5% of the nation’s GDP. Industry contributes about 35% of Spain’s GDP. Tourism brings millions of visitors to Spain and contribute almost $50 billion to their economy each year accounting for 60% of Spains GDP.
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_urbanCONDITIONS - c o
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The colors are vibrant in Spain’s architecture. From the streets and shops to the stain glass windows and mosaic tile patters in the Alhambra, bright colors are ever present in the Granada city-scape.
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INTRODUCTION
_urbanCONDITIONS
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Rising above the modern lower town is the Alhambra.. One of the most interesting situations in the city is the juxtaposition between the old and new city fabrics. This continuous dialogue with wthe past creates intriguing urban conditions, making granada what is is today.
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_urbanCONDITIONS
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GRANADA SPA x
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Home of the Alhmabra, Granada has a characteristic architectural materiality rich in texture. There are many ways in which the interaction of old and new is handled. Textural quality is one way of mimicking the old in a tasteful way. From the delicate and ephemeral to the solid and massive, the architecture found within granada is very inspiring to all that experience it. On the bottom are floor and cieling patterns found withint the alhambra. The Top left is a perforated brick wall of a recent project in Granada. The top right is an image of the walls os the fortress complex.
An inlaid inlaidtile tilepatio patioatatThe TheAlhambra. Alhambra. - An
- Ceiling pattern the Alhambra - Ceiling pattern in theinAlhambra
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INTRODUCTION
THE MAGIC OF THE ALHAMBRA Washington Irving described in his book entitlted “The alhmabra” the magical qualities that he discovered first hand when he visited the Alhambra in the middle of the 19th century. It is mostly because of Irving that The Alhambra became globally famous. That is why today most people know Granada for the Alhambra. It turrets and delicate fretwork, the mythology that surrounds it and the building’s almost pristine perfection gives it an almost supernatural quality to be remembered by all who lay their eyes upon it.
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INTRODUCTION
_cityCONTEXT Aerial view of Granada. Sabika Hill Extends in from the right with the Alhambra sitting at its most western point, overlooking the city.
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INTRODUCTION _cityCONTEXT
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Lower City
Upper Albayzin
Sacromonte _urbanCONDITIONS
Albayzin s
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Walking in Granada is definitely the best way to experience the city. There are several intermingling street typologies. Streets can be short, winding, narrow, and put you in very close proximity Centro to automobile traffic. They can also be larger, having sidewalks separating pedestrian traffic from vehicles, while alleyways will have short iron posts along the side to serve this purpose. Granada is made up of Six major areas, the Albayzin, Centro, Lower City, Realejo, and the Upper Albayzin and Sacromonte. Each contains its own architectural styles, reflecting some of the influence of the previous occupiers.
The Alhambra
Realejo
The Albayzin is the oldest neighborhood in Granada. From the 12th to the 15th centuries, this neighborhood was populated by the wealthiest Arabs in Granada and was the medieval version of a gated community. The Sacromonte is a neighborhood comprised of gypsies in cavedwellings. Excavated from the hillside, these homes look quite ordinary from the front, however the interior reveals the earthy nature of the caves-turned-residence. The Realjo was originally the Jewish District prior to the Inquisition’s persecution. Following the expulsion of the Jews and Muslims from Granada this neighborhood became a section of Royal Gardens. Today this neighborhood is characterized by narrow winding streets, quaint whitewashed homes and a “doorway” culture. The Upper Albayzin and the Lower City are the result of 19th and 20th century urban sprawl. Characterized by more contemporary design and urban planning, these neighboorhoods boast wide streets, tall apartment complexes and small suburban style homes.
Lower City
Realejo
Centro
Albeyzan
Upper Albayzin
Sacramonte
HISTORICAL CONTENT _historyGRANADA Spain is half African, and Africa is half Asian. Spain has been influenced by many different styles of art and architecture over the centuries. The alhambra is the ultimate Legacy, contributed to by several different cultures and powers, and left lasting for all to admire. Alhambra palace as one shrouded in mystery that is kept alive by the inhabitants of Granada.
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1232-1273
_historyGRANADA A
l c a z a b a
“Looking down on the city, the alhambra watches with an omininous guard” -Washington Irving The location was chosen by the nasrids because of its vantage point. To the right is the view that the military base would’ve had only its over the present day Granada. La Alcazaba was built as a military fortress to protect all of La Alhambra. Located on the western-most portion of Sabika Hill, La Alcazaba “advances on the city like the bow of a ship”. It is the oldest part of the Alhmabra – thought to be built before Muslims 9th century.
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HISTORICAL CONTENT
_granadaEVOLUTION Under Ancient Roman rule Granada developed as an economic center of Roman Hispania, with the construction of aqueducts, roads, and other infrastructure. With the fall of the Roman Empire the city was ruled by the Visigoths before being reconquered by the Byzantine Empire New agricultural practices were introduced as the old Roman infrastructure was put to use for irrigation, leading to a major expansion of the city as it grew from the river valley up to the hills currently occupied by the Alhambra and the Albayzín The Moorish conquest of 711 brought Islamic rule to the Iberian Peninsula and Granada was quickly established as a center of AlAndalus. The Arabs respected the Roman cities and roads, making them bigger by adding new constructions. In the 9th century evidence from Arab texts points to new constructions inside the Alhambra, although it is thought that some kind of construction was built during the Roman period and even earlier. The successive invasions of Almorávides and Almohades in Granada ended with fierce and bloody battles that took place in the Alcazaba del Albayzin After the Caliphate of Cordova civil war, the capital of the Granada province was moved from Elvira to Granada in the 11th century, Following the fall of Córdoba in 1236 to the Christian Reconquista, the city became the center of the Emirate of Granada
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1200
_granadaEVOLUTION
1492
After 1340, when the battle of Río Salado settled the question of the straits in Castile’s favour, Granada adopted a policy of isolation, taking advantage of any propitious circumstance to strengthen its land frontiers. It was in this period that Yusuf I (ruled 1333-54) and Muhammad V (ruled 1354-59 and 1362-91) finished building the Alhambra. The city grew with the development of new suburbs and extended its walls nearly until it was conquered at the end of the 15th century. Flushed with the success of the Reconquista, Spaniards conquered much of the Americas and brought great wealth to the new Spanish Empire. In the case of Granada, the Christians soon forced the existing Jewish and Muslim residents to convert and began making significant changes to the appearance of the city in an attempt to hide its Muslim character, including replacing the city’s primary mosque with the massive Cathedral and constructing a large Christian palace in the heart of the Alhambra. Persecution against the Muslims and Jews took its toll, and over time the city began to suffer economically as these populations abandoned their homes in the area. The Kings of Spain from 1500 to 1700 ruled over Spain, Portugal, southern Italy, Sicily, Malta, Holland, Belgium, parts of France and Germany in Europe as well as from Argentina to Canada and some colonies both in Africa and Asia. As a matter of fact during the reign of Charles the I of Spain and V of Germany in the 16th century it was said that the sun never set over the Spanish Empire. The Spanish army was totally undefeated for 100 years
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HISTORICAL CONTENT
_granadaEVOLUTION In the beginning of the 19th Century Granada’s, and La Alhambra’s, story starts to become very rocky. French forces under the control of Napoleon invade and occupy Granada for several years. They leave as quickly as they came but leave behind them a wake of destruction. Two gates of La Alhambra were leveled and the city was left in political chaos which leads to the beginning of revolutionary activity. In the latter half of the 17th century Spain went into a gradual decline and in 1714 it surrendered its European territories, however maintained and enlarged its overseas empire. Granada remained a largely medieval-style city well into the 19th century,
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1796 The Alhambra, Coloured Engraving, 1812, by Alexandre Laborde,
2012
_granadaEVOLUTION As the 20th Century came about Granada began to become the artistic center of Spain. One of Spain’s most famous writers, Frederico Garcia Lorca, lived within Granada and was killed when the Nationalists seized control in 1936 when they gained control of the city. In the late 70’s the city started to see another change, this time in the educational field. More and more middle and lower class citizens began to attend universities where before the universities were made up of mostly upper class students. This once again the last half of the 19th century saw Granada incorporated into the national rail network and the first stirrings of tourism thanks to reports of sites like the Alhambra to a global audience. However, the Spanish Civil War of the 1930s sunk Granada’s economy, and it persisted largely as a bureaucratic and university town until the late 20th century, when the city underwent a massive period of modernization and development Many different cultures have influenced granda making it was it is today. The environmental conditions however have been fairly consistent meaning throughout time that archiecture was designed to withstand similar environmental conditions just in deifeerent ways
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HISTORICAL CONTENT
temperature and humidity are inversely related
Climate: Mediteranean
_environmentalCONDITIONS te m p e r a t u r e + h u m i d i t y Located on the in the south of Spain, Granada is in a mediteranian climate area. It is about 70km from the coast. Being in this position means that it is possible to go skiing and sunbathe on the beach in the same day. The area is characterized by hot and dry summers with lots of solar radiation and clear skies. The area has a very dry climate. During the summer months temperatures can reach above 100 degrees fairenheit but its not too uncomfortable due to the lack of humidity. During the winter months temperatures can get below freezing especially at night and then rise to warm, comfortable temperatures
Humidity
Granada is located just at the point where the Sierra Nevada mountains meet the fertile plain of the vega. at the confluence of three rivers, the Beiro, the Darro and the Genil. Behind it are steep mountains and in front there is flat agricultural land. It was first inhabited because it was easy to defend from behind and although it is dry in the summer there is always a supply of water coming from the mountain fuelled by melting snow, the rich soil in the Vega provided an ample food source as well.
To the right , Granada and the Sierra Nevada, seen from space. Satellite view of the mountains around the historic city of Granada, southern Spain. The white area in the centre is snow in the Sierra Nevada mountains, the highest peak of which is Cerro de Mulhacen (3482 metres). Granada is a reddish patch on the left and at the base of the Sierra Nevada mountains
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Temperature
_environmentalCONDITIONS r a i n f a l l + w i n d Design Implications: Consistent rainfall is fairly unusual but every few years there can be long wet spells lasting two or three weeks. Occasionally, there are winter rain storms that may last a few days, and snow is rare except for in higher elevations. Most rainfall occurs during the autumn and winter months in short bursts and in between these bursts the weather is usually crisp and clear. Because of these patterns flash flooding is a concern so proper site drainage is crucial in this climate, particularly in the design of sidewalks, patios and courtyards. this also means that hardy, drought-resistant plants must be used or an irrigation system must be installed. The majority of wind in Granada comes from the south, particularly from the southwest and southeast and in the early spring and late summer months. The windiest times in this region are in the afternoon and evening hours. The month of March is the windiest time of the year. During the spring the wind comes from the east over the Sierra Nevada mountains bringing cool to warm relatively humid air. The Summer months have the steadiest increase in winds throughout the day, while the other months are fairly sporadic. During the summer months the wind generally comes from Africa bringing dry, hot air. The winds also tend be stronger than in other months. Dust storms have been associated with the summer winds and because of Granada’s valley location the dust tends to settle and stay in the area for awhile. Spain just happens to be the country with the world’s biggest percapita amount of wind energy. Its home to the world’s biggest wind power operator, and is a rather significant player in the world solar market.
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_environmentalCONDITIONS s o l a r
r a d i a t i o n
As the sun ascends…at the height of noon there is a pause. The panting city sinks into lassitude, and for several hours there is a general repose. The windows are closed, the curtains drawn; the inhabitants retired into the coolest receses of their mansions; the full-fed monk snores in his dormitory…the peasant and the laborer sleep beneath the trees of the Alamdea, lulled by the sultry chirping of the locust. The streets are deserted…” (74) -Washington Irving Solar Radiation Levels Granada Spain is an area with very high levels of solar radiation, especially in the sumer months. Solar radiation is distributed very evenly throughout the entire region. However, there are differences between each season of the year. The amount of solar radiation in the region means that it would be feasible to consider solar energy as a potential energy source for different domestic uses, factories and commercial buildings in the form of individual photovoltaic solar panels or systems. Design Implications The optimum orientation of our site is direct south as the high mountains are to the north/northwest of the site and the site is elevated above the Granada. During the winter months the high ceiling heights of many of the buildings allow for light to penetrate deep into the buildings. During the summer months the altitude of the sun is so high that the interior of the buildings are generally protected, only really allowing the diffuse/reflected lights from pools into the buildings to light up the interiors.
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HISTORICAL CONTENT
_buildingSTRATEGIES s o l a r
r a d i a t i o n
During the extremes of the winter months passive solar gain and thermal mass effects can be utilized to increase the comfort levels of living. Shutter doors and the jalousie windows are used to retain heat inside Nasrid buildings During the extremes of the summer months thermal mass effects and natural ventilation can be utilized to increase the comfort levels of living. The high ceilings and open windows of the Nasrid buildings allow for heat to escape while the ceramic/marble floors as well as the glazed tile dadoes give a sensation of coolness Pools of water are used to humidfy the dry air in the summer months making the sur rounding area more inhabitable for plants and people
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HISTORICAL CONTENT
Visigothic Architecture
Mozarabic Architecture
_architecturalINFLUENCES
Church of San Juan de Banos de Cerratos_ Palencia Mid 7th century
Sant Quirze de Pedrel, Catalonia, Barcelona 800-900
h i s t o r
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Many differnet architectural styles have contributed to what the alhambra is today. Throughout centuries of expansion, wealth, and turmoil, several different powers with very different ideals and religions, constructed possibly the most rich architectural wonder in the world. Because of the environmental conditions present in Spain many different building strategies have evolved over time in this region. The Visogothic and Mozarabic are a more solid and heavy architecture with few openings, creating a cool dark recess from the harsh sun. The Mudejar is a much lighter airy architecture created with the use of slender collumns, and larger openings for natural ventilation using the breeze.. The renaissance onward you can see the use of very tall cielings to allow the hot air to rise away from those at ground level and for the natural lighting advantages.
Church of San Juan de Banos de Cerratos_ Details and horseshoe
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court of the cuarto dorado: illustrates the visagoth influence in la alhambra
Mudajar Style
The Renaissance
Contemporary
Torre del Salvador, Aragon, 13th
El Greco Alterpiece
The Hall of the Lions, Alhmabra
La Sagrada Familia Antonio Gaudi
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HISTORICAL CONTENT
_componentsLA ALHAMBRA “Alhambra” is an arabic term that literally means “red castle.” Some believe this refers to the color of the building material, however the stone is not really red, but rather a tan color that “by starlight is silver but by sunlight is transformed into gold.” The Alhambra consists of four clearly distinguishable zones that are clustered together on top of the hill: Charles V’s Palace (Christian Renaissance), the military zone or Alcazaba, the exquisite Moorish- Palacios Nazaries, and Generalife. All of them surrounded by woods, trees, gardens, parks and vegetable gardens. These different zones, give La Alhambra a unique character. It is a complex construction, charged with multiple levels of relationships and that could be read from different perspectives. In addition, there are a variety of scales, from the domestic to the urban. All in dialogue with landscape. The Alhambra represents the qualities to which contemporary architecture aspires and that is what sets it apart from other monuments of the past. It has the presence of a palace and the somberness of a religious and military place. “The Alhambra was never a place of wealth like that of Cordoba. It was a more “humble” architecture.” Juan Domingo Santos “The interior of the Alhambra is a veritable fairyland, with evanescent vistas of sky and water, soaring arches fantastically embellished, and halls-whether vast or intimate whose rampant décor ranges from floral to abstract and includes a running rubric of stately Arabic epigraphy” (Stewart 1974, 11)
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HISTORICAL CONTENT
_fortressALCAZABA
Moorish Rule With Arab leaders holding the major cities of the Iberian Pennisula, Islamic influence began to appear in the art, architecture, and social aspects of society. One major influence on the Iberian Pennisula can be seen in the mass conversion of its non-Arab population to Islam. The Moorish leaders of Northern Africa began building larger fortresses to repel the invaders of the Reconquista. The beginnings of the Alcazaba can be seen at this time in Granada, along with the introduction of defensive walls and boundries. Granada’s location in southern Iberia allowed for some vestages of peace even during the Reconquista. This meant more lavish lifestyles for some of the cities residents. The Moors were way ahead of their time in some senses . The architecture of the moors is “modern” in its simplicity and forms, where as the Christian architecture although created later is more historical. The Moors did a lot of work exploring the idea of “skin” which is a big element in contemporary architecture today.
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history of alhambra and its legacy
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HISTORICAL CONTENT
_palaceNASRID DYNASTY After slowly rising to power among the Moorish monarchs, the Nasrid dynasty marked a high point of Islamic rule in the Iberian Pennisula. Beginning in 1232, their reign included a succession of 23 emirs and encompasses the most significant Islamic alterations to Alhambra. In this period the system of walls and gates were spread out from the Alcazaba to encompass the entire hill leaving room for the lavish palaces and gardens for the Sultan’s and their royal courts. Their rule would only be contested when the Reconquista had conquered every other region of the Iberian Pennisula. La Alhambra was both influenced by literature and influenced literature in equal measures. In Islamic culture, art, architecture, literature and music are so completely integrated that the lines between the liberal arts often blur completely. Patterns and design motifs often integrate Kufic Script and other forms of Caligraphy. The most exquisite and striking of its buildings is the Palacios Nazaries. It is beautiful and light and full of symmetry, and while I was admiring the ornate patterns on the walls, my guide, an erudite American academic, explained to me that these were not just fancy scrawls but poems eulogising the sultans. “The Nasrid artists embellished the Alhambra in three basic ways: the carving of stylized foliage; the use of tiles to form elaborate geometric figures in primary colors; and the repetitive use of Arabic calligraphy” (Stewart 1974, 29). The Nasrid Palace, is a labyrinthine and anything but monumental. It conveys an impression of lightness, weightlessness and intimacy and, compared to Charles’s Palace, has a lyrical quality. The muqarnas vault is another elaborate decoration of detail of the Nasrids, deriving complex stellation compositions to ‘crown’ significant spaces within the Alhambra
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Palacio de Carlos V
_palaceCHRISTIAN ERA Christians did not conquer in the sense that they won a battle and drove the moors out, -this was arranged. The Moors left and took everything valuable to them with them. This meant that the Christians had to reinterpret what they thought the moors had done resulting in a “replica/imitation experience. Said differently this is a synthesis or purity of an experience. With Ferdinand and Isabella’s defeat of the Nasrid rulers at Alhambra in 1492, Granada fell under Christian rule. The Spanish Inquisition then began to purge the region of Muslims and Jews, causing a large portion of the population to convert to chrisianity. Alhambra fell under the rule of Carlos V, grandson of Ferdinand and Isabella. His influence can be seen in his own palace in the center of the complex, as well as the creation of a large church and monastery. Christian rule would damage and strip many of the Islamic influences on the complex, only beginning to restore the palaces in the 19th century. Charles’s Palace is a majestic granite monument, befitting his imperial title of Holy Roman Emperor. The palace is massive, ordered and symmetrical, and gives a sense of epic grandeur.
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HISTORICAL CONTENT
_gardenGENERALIFE The name ‘Generalife’ means ‘garden of the architect’. Your visit to the Alhambra is complete, and you’ve earned your reward. “Surely Allah will make those who believe and do good deeds enter gardens beneath which rivers flow; they shall be adorned therein with bracelets of gold and pearls, and their garments therein shall be of silk” (Quran 22.23). At a short distance to the east of the Alhambra, the enchantment is extended to the gardens of the Generalife, rural residence of the Emirs. The relationship between the architectural and the natural has been reversed here, where gardens and water predominate over the pavilions, summerhouses and living quarters. Five-hundredyear-old paintings show it looking essentially as it does today. The flowers, herbs, aromas, and water are exquisite...even for a sultan. The most beautiful and striking features in the Generalife gardens are the plants, the water with its continuous interplay with light, and its sounds. The massive boxwood trees, rose, carnation and gillyflower bushes, shrubs ranging from willow to cypress, comprise an absolute masterpiece of the art of horticulture within the Generalife.
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SITE ANALYSIS
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SITE ANALYSIS
_analysisALHAMBRA + SITE
Experiences Approaches Site Zones
= Alhambra = Site
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Boston Common Boston, Massachusetts
_scaleALHAMBRA The terrace or plateau where the Alhambra sits measures about 740 metres (2,430 ft) in length by 205 metres (670 ft) at its greatest width. It extends from west-northwest to east-southeast and covers an area of about 142,000 square metres (1,530,000 sq ft). (en.wikipedia.org/wiki/Alhambra) To the left is a comparison of scale to two other famous places; The Boston Common of Boston Massachusets, and Vatican City in Rome. These two sites offer as a frame of reference for how big the Alhambra really is.
The Alhambra Granada, Spain
Vatican City Rome, Italy
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SITE ANALYSIS
Red Brick Wall: The Homage Tower
Nasrid Rammed Earth Wall: Alcazaba
Calicosirado Wall : The Arms Gate
Grey lime concrete: Wall of La Alhambra
Limestone: Located throughout Complex
Cobblestone Paving: Located throughout Granada
_materialsEXTERIOR The many materials and styles used in the architecture of the Alhambra were determined by religious influence and influenced the design and style of the surrounding city of Granada. Within the city we see many of the same materials used in the Alhambra such as concrete limestone and plaster. Most structures within the Alhambra were constructed using a packed earth method. This method of construction was passed down by earlier ancient Roman building traditions. The bricks which make up most of the Alhambra were raised by packing a mixture into a framework consisting of two parallel planks joined together by a crossbeam. The three most prominent in the Alhambra include: 1. Grey Concretes- These are very hard and entirely lacking in clay. 2. “Calistrado� Walls- These contain a higher lime content in the outer part of the material and have a clay-like center. This results in a reddish interior due to the source of clay that was used. This was the original material used by the Islamic rulers to build Alcazaba. 3. Reddish Walls- These walls are rich in clay with a very low lime content. They have a similar composition in both the inner and outer parts of the wall. The red brick was the material primarily used by the Christians to repair damages to the older Moorish towers.
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Red (Alhambra) clay
Wood Carved Ceiling: The Salon del Trono (Comares)
Glazed tiles: Located throughout Complex
Tile Flooring: Located throughout Complex
_materialsINTERIOR
Stone Flooring: Located throughout Complex
Carved Plaster: Alhambra
Brick Paving: Located throughout Complex
The majority of the decoration and ornamentation in La Alhambra is made of plaster. It is used in all typologies from the greatest palaces to the lowliest houses and include techniques ranging from basic wall stucco to mocarabes ornamentation La Alhambra exhibits the widest variety of delicately crafted plaster ornamentation in the world. As a structural material, stone more than just a functional means of constructuion, but also acts a symbol of the power of La Alhambra. Because of this symbolic significance, most og the portals through the city walls consist of structural stone that is highly designed and ornamented.
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SITE ANALYSIS
_site morphologyVEGETATION The vegetation found around the alhambra severs many different purposes. It can: provide shade, serve as windbreaks, define spaces, screen views, block or direct sound, improve air quality, use its root structures to increase permeability of the soil to water and air, prevent erosion, can reduce air temperature by absorbing solar radiation and encouraging cooling by evaporation This quote From the Alhabra by Washington Irving describes some of the beautiful experiences created by the vegetaion. “The Guadaira winds its stream round the hill, at the foot of these ruins, whimpering among reeds, rushes, and pond-lilies, and overhung with rhododendron, eglantine, yellow myrtle, and a profusion of wild flowers and aromatic shrubs; while along its banks are groves of oranges, citron, and pomegranates, among which we head the early not of the nightingale.� (11)
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Forest: the alhambra woods
parking
Accent planting: alcazaba entry
formal garden: generalife
Circulation: jardin de Los adarves
courtyard: court of the lions
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SITE ANALYSIS
_site morphologyTOPOGRAPHY
Because of its proximity to the sierra nevada mountains, the site is characterized by steep inclines and distinctive plateaus. Because of this topography, the buildings in Granada are built into the land or step up to correspond to elevation changes. The intensity of the incline is evident in all scales: pedestrian paths, vehicular roads, La Alhambra, and the entire urban complex. Granada has several hilly areas (most notably the Albayzin and the entrances to the Alhambra) with many stairways and steep streets, and climbing them can be strenuous Due to this, in the medieval Moorish past they traversed the landscape by having narrow winding streets
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_site morphologyTOPOGRAPHY “hillside architecture” “The ancient kingdom of Granada, into which we were about to penetrate, is one of the most mountainous regions of Spain. Vast Sierras, or chains of mountains, destitute of shrub or tree, and mottled with variegated marbles and granites, elevate their sunburnt summits against a deep-blue sky; yet in their rugged bosoms lie ingulfed verdant and fertile valleys, where the desert and the garden strive mastery, and the very rock is, as it were, compelled to yield the fig, the orange, and the citron, and to blossom with the myrtle and the rose.” (Irving 8)
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_alhambraTODAY In 1870 la alhambra was declared a national monument under the new spanish government and funds from the annual budget were allocated for the conservation of the site. since then a variety of organizations have had roles in continued maintenance of la alhambra in its role as a museum complex. in 1984 la alhambra was designated as a world heritage site making it the only complex with this title under the management of the andalucion department of culture. la alhambra is currently managed by the department of culture in conglomeration with the council of the alhambra and generalife. in addition to general maintenance and management, the council supervises a variety of research projects (archaeological, anthropological, etc) and recently published an intensive guide book with current historical information and photography.
Today, La Alhambra functions as a monument/museum complex that recieves more than two million visitors each year. La Alhambra is currently managed by the Department of Culture in conglomeration with the Council of the Alhambra and Generalife. The Council is protected legally under the Spanish historical Heritage Acr of 1985 and the Laws on the Historic Heritage of Adalucia of 1991 and 2007. This legislation has allowd the Council to develop and extensice Master Plan to use as a tool for the future use and development of La Alhambra and the Generalife.
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_alhambraTODAY p u b l i c
t r a n s p o r t a t i o n
The City of Granada has a radial public transport system of busses provided by a private company through a municipality administrative concession. It operates in coordination with a metropolitan consortium by public transport, which depends from Regional Government, to connect the city centre with metropolitan area. Currently, a light rail transport system is being built to connect the main metropolitan municipalities with the city centre The local policy to improve the accessibility and mobility in its urban space is focused on the selective and progressive restriction of private transport traffic in the historical town centre through roads hierarchization and the establishment of located automated barriers, promoting the establishment of new pedestrian areas and consolidating the already existent.
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_alhambraVIEWS The alhambra offers breathtaking views of the city. To fully appreciate the unique architecture of the Alhambra set within the surrounding landscape, it is advisable to see the Alhambra for afar as well as up close: several locations in the AlbaizĂn
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_alhambraZONES The Alhambra: Part fortress (the Alcazaba), part palace (Palacios Nazaries), part garden (the Generalife) and part government city (the Medina), this medieval complex overlooking Granada is one of the top attractions in Spain,
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P R O J E C T
_siteCHALLENGES The sites main chanllenge is the changes in topography. The Site is sloping down hill as you move through it towards the alhambra, passing a series of parking lots on your left as you approach. The site serves as the main entryway for the Alhambra, anf has to logically accomodate all of the monuments visitors in a clear and consise way.
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VIEW OVER THE ARCHIVES TO SITE FROM THE HILL TOP TO THE NORTH
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_siteVISIT During the visit to the site, there were many things that were noticed that later affected the design process. The biggest being the sloping topography, and the second being achieving a clear and logical visitor flow to direct tourists into the monument. During this site visit, our class was able to meet one of Spain’s famous Architects, Juan Domingo Santos. He is the architect that has the actual project in real life, of the hypothetical project our class was doing. Juan Domingo had already researched all the information we were looking for, and was able to shed light on many aspects of the site and project that we wouldnt have known had we not had this oppurtunity.
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SITE ANALYSIS
Gillette Stadium Foxboro, Masachusetts
_siteSCALE The Site is composed of several different gradients, all sloping down hill towards the Alhambra. The site measures roughly over 500 ft long and 200 ft wide. To the left is a comparison of scale to two other common places; A football stadium, and Battery Park in NYC. These two sites offer as a frame of reference for the size of the entryway site.
The Atrio Granada, Spain
Battery Park New York, New York
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Site Sections
_siteMORPHOLOGY The biggest chalenge of the site is its sloping topology. Being in this mountainous region, there are not any areas on the site that are flat. This poses some challenges for the design process, but by using the terracing techniques, similar to how the alhambra handled the terrain, interesting spaces can be achieved.
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SITE ANALYSIS
_siteEDGE CONDITIONS The site is surrounded by several important impact areas. These edge conditions will affect the project and will be affected by it. The Parking steps down with the ladscape as you approach the site The Hotel is to the south of the site slightliy uphil. Archive – Surprisingly has the largest footprint of any building within Granada
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La Alhambra Archives
Site
El Hotel Alixares
Parking
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_siteWIND design implications: as seen in the season wind direction diagrams (bottom), dominant winter winds are from the northeast bringing cooler temperatures from the mountains. building orientation and/or the use of wind breaks should be used to ensure the comfort of visitors. as illustrated in the diagram below, a wind break of a particular height (x) is effective up to a distance five times greater than that height. in summer months winds from the south west bring dry air from the north african coast. these winds can be easily captured for ventilation and temperature control through the careful placement of building fenestration. furthermore, trees or other structures blocking these winds should be avoided so that air may cool visitors during the warmest weather.
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wind channeling
x
_siteSUN Andalusia has one of the highest levels of sunshine in the whole Iberian Peninsula. The Gulf of Cadiz and the coast of Almeria get over 3000 hours of sunshine per year and given low latitudes in the region, the sun rays hit almost perpendicular to the surface. The optimum orientation of our site is direct south as the high mountains are north/northwest of the site and the site is elevated above the Granada During the winter months the high ceiling heights of many of the buildings allow for light to penetrate deep into the buildings. During the summer months the altitude of the sun is so high that the interior of the buildings are generally protected, only really allowing the diffuse/reflected lights from pools into the buildings to light up the interiors Solar orientation plays the most significant role in the building’s passive strategy. As the sun rises, the process begins and the building’s main walls catch the light and filter it down into the courtyards. The custom brick wall that wraps the building’s exterior ptotects the southern side of the atrio from excess heat gain diminishing the need for intensive active mechanical inside.
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_siteAPPROACHES From central Granada, the 30 and 32 minibuses offer a direct connection to the Alhambra There are also several different routes that can be taken by foot. The two brown dots and the blue dot represent possible locations visitors may be coming from. The orange dot represents project site, green is where tickets are purchased and yellow is a primary entrance into the Alhambra.
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_generalAPPROACHES Cuesto Del Chico Rey Walking up the Cuesto del Chico Rey is also an option. Bringin visitors up a steep slope along the northern wall of the Alhambra from the lower city, this route offers great views but requires the most energy to climb.
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_generalAPPROACHES Cuesta De Gomerez On foot, you can walk up to the Alhambra from Plaza Nueva (about a 30 minute hike) by taking Cuesta de Gomerez. Although uphill, this route offers abundant greenery, views to the alhambra, and sounds of flowing water.
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_generalAPPROACHES
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_siteCONDITION Approach views: The approach to the site is downa hill with a slope of roughly 1:20
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_siteCONDITION Site Views The approach to the site is downa hill with a slope of roughly 1:20 Moving through the site, the visitor will first pass the upper parking lots, and back parking lots. The visitor then moves through the noisy bus turnaround with shops to the left and down a slope of garden space towards the
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_siteIMPACT ZONES The project site is located southeast of La Alhambra and the Generalife, roughly on access with the entrance pavilion of the complex, It is the portion in yellow. The site is bordered by parking to the east in gray. The Alhambra archives to the North and Hotel to the South in black. To the south east there is additional parking in three large lots that step across the topography, also colored gray. The intent of this design excersise is to resolve the entry sequence to the Alhambra.
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_experiencialDESIGN Handled in Three ways: Water Garden Light
The experiences are recreations of what existed because a lot of the Alhambra was restored during the 20th century. 1870 onward this area became a place where the artistic came to imagine how it was in the past. For Hundreds of Years it has functioned as a connection between ideas from the east and the west. Experience The Alhambra/Generalife appeal to all 5 senses! This is what allows the Alhambra to be connected with nature. The alhambra complex relates to nature in such strong ways that if it didn’t, it would be the Alhambra Does this in three different ways: Abstract Figurative Allegorical
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“ Venice, Italy is built with water in the same was that the Alhambra was built on the utopian ideals of nature” -Juan Domingo Santos Not only is Venice “built” on the water physically, but is also built on the water metaphorically. This same idea applies to the Alhambra and its relationship with nature
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_colageWATER Water takes a very active roll in the experience of the space within the Alhambra. Chemically- water is water (h20), but within the complex it is very different experientially from space to space. Water flows throughout the palace, unseen to the eyes, only heard as spirits of prisoners, of which gives life to gardens whose aromatic qualities are circulated through the romantic hall of the twin sisters and further into the palace. Just in the way water can direct pedestrian flow all around the Alhambra complex, this can be used through our site/ building and into the Alhambra. Flowing water and create reflections of light on surfaces and falling water can create dynamic shadows that are constantly in motion. “…bubbling currents and tinkling falls of water conducted under the pavement through pipes and channels to supply the fountains…” (32) “A cupola or latern admits a tempered light from above and a free circulation of air; while on one side is heard the refreshing sound of waters from the fountain of the lions, and on the other side the soft plash from the basin in the garden or Lindaraxa…While the city below pants with the noontide heat, and the parched Vega termbles to the eye, the delicate airs fron the Sierra Nevada play through these lofty halls, bringing with them the sweetness of the surrounding gardens.” (33)
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_experiencialWATER Water is a central feature in Islamic gardens. It represents: - the soul - God’s mercy - the illusion of the corporeal world as a reflection of the heavenly world Fountains of water are designed on the idea of the interplay between the changing corporeal world and the constant heavenly world. describes the beauty and the attraction of the jets of water: Behold this mass of glistening pearl, falling within a ring of frothing silver, to flow amidst translucent gems than marbles whiter, than alabaster more translucent.
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_experiencialWATER Reflecting pools reflect a abstracted reality, almost like a mirage in its subtle dream-like qualities
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_collageNATURE l a n d s c a p e From early on the landscape and the garden acted as form defining factors, helping to make easy design decisions. In the collage on the right, several ideas or being explored. First , the idea of seeing many different types of garden spaces from one location. Narrow pathways intimately interacting with water forces the visitors become more aware of their surroundings. Another idea is changes in elevation that to some may seem pointless, but to others will make the experience more memorable. Trees will shade pathways, and flowes will line the direction of travel
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_experiencialNATURE courtyards defining space JDS “Any intervention has to be from the standpoint of the garden” Back then the concept of the garden didn’t exist but now, it takes the protagonist roll in the architecture. Garden space was viewed as a generator of spaces throughout the entire desgin process The Generalife- notes on courtyard space within garden. Avg. size of intimate hedge courtyard within the Alhambra is approximately 8m x 8m with seating for 12 around the perimeter 6 entry/exits Field trips/ tour groups wait on south side of site investigate possiblilties of intimate space that allow for people to hear each other during crowded days and keep track of children.
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_experiencialNATURE shading trellis Vines used to link the natural landscape with the facades of the architecture ex. Existing ticket booths
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NATURE
_experiencialNATURE incorporating greenery : ivy retaining wall condition By incorporating Greenery into the retaining wall conditions you can accomplish many other things while still holding back the earth. You can do it: To control impact on the natural environment (avoiding excessive cutting and/or filling.). To control the visual presence of the buildings in the landscape. To allow different levels of privacy within the building or groups of buildings To maximize the views combined with landscape and building massing strategies, it contributes to better control the climate (both temperature and relative humidity) inside the building
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_experiencialLIGHT Light is used in many different ways in Spain, specifically within the Alhambra complex. When designing a project, light is a powerful tool and if used correctly, can create experiences that will never be forgotten. To the left is a shading device by ____ architects located in Merida Spain, that provides a shelter for pedestrians as well as a visually dynamic pattern that changes throughout the day The Project was inspired by the Alhambra in its treatment of surfaces, textures, sequences of rooms, and the interplay of light and shadow.
The absence of light creates shadows, cooling spaces and acting as a place of retreat from the harsh sun. Light itself provides heat naturally in the colder months
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_lightSYMBOLISM Always two different stories going on, the scientific and the legend there is a tasteful overlap of these two ideas. Example. Sky lights, represent stars but allow light in , or perforation that creates heavenly lights, but allows heat to escape cooling the interior.
Symbolicaly light is the purest form of life, and to some reapresents heaven (proverbial light/ divinity). In here is a cupola which by its height becomes lost from sight, beauty in it appears both concealed and visible... The bright stars would like to establish themselves firmly in it, rather than continue wandering about in the vault of the sky... (Dodds 250) Here not only do the star shaped skylights in the dome cieling of the alhambra let in enough natural daylight to illuminate the space, but they also attract the attention of the viewer and provide references to the heavens
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_lightLAYERING Light runs deep and affects everything it touches. “The window is the floor and vice Versa. Smooth-polished floors in certain areas can be used to reflect light in and around the space Direct sunlight on white wall will function as a window even though its on an inner wall. Within the palaces there are layers of bouncing light, You never have light directly into a main interior space. Also its never about a window (layers diffused light)
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_lightCOLOR Light- Though not an ornament itself, light implies on the decorative elements in a special way. Decorative elements within the palaces change through light and shadow resulting in different colors and shapes being revealed at different times of the day.
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Light: Revealing
_colageLIGHT Without light we would not be able to see. Light reveals textures and can create patterns that are dynamic throughout the day and from season to season. Light builds textures, perception is not objective. The directional light produces a magical almost divine feeling.
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_lightCONTRAST
A high contrast of bright light in a dark place can be used to direct attention “Light is not so much something that reveals, as it is itself revelation.� - James Turrell Light can direct movement acting as a destination. The reference to the proverbial light at the end of the tunnel can be a very strong gesture. Bright light flooding into such a dark space with only reveal parts of the texture on the wall, creating a new visual texture. a wall covering with various degrees of perforations that create a textured surface - replicating the traditional Moorish patterns, the historical background of the structure. Light allows you to define materiality Without light we would not visualy experience the architecture It is used to highlight moments and direct attention with the help of high contrast light and dark. The viewer gets glimpses of the intricate textures on the walls
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_perforationMASHRIBIYA
Mashrabiya is the Arabic term given to a type of projecting window enclosed with carved wood latticework located on the second storey of a building or higher, often lined with stained glass. The mashrabiy is an element of traditional Arabic architecture used since the middle ages One of the major features of the Mashrabiya is for privacy, an essential aspect of Arabic culture. A good view of the street can be obtained by the occupants without being seen, preserving the private interior without depriving the occupants from a vista of the public outside. Environmental: The wooden screen with openable windows gives shade and protection from the hot summer sun while allowing the cool air from the street to flow through. The designs of the latticework are usually with smaller opening in the bottom part and larger openings in the higher parts, hence causing the draft to be fast above the head and slow in lower parts. This provides a significant amount of air moving in the room without causing it be uncomfortable. The wood itself absorbs the humidity from the air. The facade marks the separation between the public and private areas with exceptional attention to detail in the overall decoration, epigraphy, and wood work.
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+ Red Brick Wall -The Homage Tower (horizontal banding & assembly of pieces)
= Wooden Mashribiya (Alhambra ) (perforated qualities& assembly of pieces)
=
= Abstracted Horizontal pattern
Final Brick Wall System (Horizontal/perforation/assembled)
CONCEPTUAL FRAMEWORK
_ideas behindFACADE SYSTEM Construction method: Most structures within the Alhambra were constructed using a packed earth method. This method of construction was passed down by earlier ancient Roman building traditions. The bricks which make up most of the Alhambra were raised by packing a mixture into a framework consisting of two parallel planks joined together by a crossbeam. An image of a similar tool to what the islams used when constructing the alcazaba fortress. The idea of using brickes for the enclosure stemmed from this. Reddish Walls of the Alhambra: These walls are rich in clay with a very low lime content. They have a similar composition in both the inner and outer parts of the wall. The red brick was the material primarily used by the Christians to repair damages to the older Moorish towers. Significance: The many materials and styles used in the architecture of the Alhambra were determined by religious influence and influenced the design and style of the surrounding city of Granada. Within the city we see many of the same materials used in the Alhambra such as concrete limestone and plaster.
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“Alhambra” is an arabic term that literally means “red castle.” Some believe this refers to the color of the building material, however the stone is not really red, but rather a tan color that “by starlight is silver but by sunlight is transformed into gold.” This idea was applied to the materiality of the Entryway in the form of this custom clay brick. Daylight is the cheapest material . In the sustainable world that we are pushing for today, this is very important for energy consumption because it can reduce electricity usage. Light is an extremely abundant resource. Even on a cloudy day the natural light’s level of ilumination is 30 times greater than what is required indoors. Southern light is Warm, abundant, and easily controlled, So this perforated brick wall wraps every southern facing surface of the building. At the Atrio, light is used as the primary texture to enhance the visitors experience because it is cheap and always available. In terms of interior comfort, all daylight transforms into heat, but artificial light generates more heat. In the winter months the sunlight puncutring into the building will naturally heat the interior space. The perforated brick system was designed to block a large portion of this sunlight entering so the interior will stay cool.
_major inspiration
_design translation
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_inspirationTHE WALL The Idea of “the wall” plays a major roll inthe architecture at the alhambra, so that greatly influenced the design of the Atrio itself. The alhambra is a walled fortress. It has a continuous tall wall only interupted by towers surrounding the entire complex. There is somewhat of a mystery behind these walls when you walk around the alhmabra. The blankness on these massive solid walls make the visitor curious, asking “what could be behind it that could need a wall this big?
Moorish- essentially a walled city. Christian move in make it into a palace. Delineated perimeter is formed by walls, vegetation, drops.
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CONCEPTUAL FRAMEWORK THE WALL
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“The spaces within are defined by their relation with the space outside� Preliminary sketches investigating form and space
_foldingWALL In the diagram to the right, The folding orange wall that you see is composed entirely of the perforated system of custom bricks. Because of the desired lighting qualities created by the perforated brick wall, the goal was to maximize exposure on the southern facade by having a saw tooth shape as opposed to one singular and flat southern wall. Program interacting with perforated wall: 1 Bus Drop-off 2 Offices 3 Lobby Patio 4 Lecture Hall 5 Reception/ Garden Patio 6 Entry Volume 7 Exhibition 8 Daycare/ Garden Patio 9 Future Attractions/ Nursery
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Building in the Site: Aerial Render View from South East When entering the the site, the visitor can approach from two ways. Either the city which is from the lower left on the image, or they can approach from the higher on the mountain by their own car or by bus, which is from the top right of the image on the left.
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preliminary sketch
_entrySEQUENCE The entry sequence was very important in the design of the Atrio of the Alhambra. When visitors arrive the first things they interact with can make or break their experience, so a clear entry sequence is crucial. The Alhambra is a “world” famous attraction, so many visitors will likely have a language barrier causing confusion as to how to get to the entrance. Several techniques were used to pull visitors in the right direction, and make them aware of some of the wonders that await inside the Alhambra. Water in the form of reflecting pools, flowing streams, and cascading stepped pools are used as a way to make the visitor aware of their surroundings as they make their way to the entrance. Several changes in elevation mark different area’s of green space, all of which are aligned with different parts of the building. Stairs and ramps make breaks in the retaining walls, allowing the crowds to make their way down the slope to where they can purchase a ticket.
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The Atrio’s linear water elements were inspired by the generalife.
Entry Sequence
Preliminary Sketch of water element Preliminary Sketch
Site Model
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_entryGARDENS Another spacial seperation technique used to emphasize the transitions between garden levels is the white stone threshholds as is seen at many doormays within the Alhambra. The stone tile flooring patterns are interupted by a line of bright white stone in certian places where more emphasis is wanted on on that space. The series of entry gardens main challenge was finding a way to traverse the 30’ change in grade moving from the bus drop off at the top of the site main entry of the building at the bottom only 300’ away. This was done using a series of ramps and stairs allowing the visitor to choose which route to take while getting their first taste of the nature gardens to come once inside the Alhambra. Breaking down a 300’ long garden space into more manageable size pieces for the flow of visitors was not an easy task but was done by using a series of transitions. As the visitor gets off the bus they move from “hardscape” (concrete gardens), through a “transition” (which is highlighted using water in close proximity to pathways, ramps, and white stone thresholds), and “landscape” (nature gardens). 120 JUD
ENTRY GARDENS
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LONGITUDINAL BUILDING SECTION Notice the repetition of interior program and exterior garden space. this is a references to the sequence of spaces encountered while moving through through the alhambra and its courtyards/ gardens
EXTERIOR GARDEN SPACE
NURSERY GARDEN AREA
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LOBBY
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LECTURE HALL
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1. BUS DROP-OFF The bus drop-off is the first thing that many visitors will experience. It is a noisy and polluted place due to the busy bus traffic so a noise buffer was essential between the bus drop off and the first pedestrian zone. Upon stepping off the bus, you immedeately see the custom perforated brick walls framing the bus turn around. It is accentuated with lushed greenery which helps block some noise. Above the paved pedestrian pathes that wrap the bus turn around is a shading system composed of cables and rectangular panels, making very interesting patterns as well as a cool place to walk or wait. Beyond to the north are orange trees rising just above the walls, to the east is parking and to the west is the atrio which is the only way out of this space making it an easy chaoice as to which way to go to enter.
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2. OFFICES The office of cultural events is related to special programs organized by the patronato. it requires has a reception area for visitors as well as a storage space. The office for student visitors is a suite for visiting students. While it is primarily an administrative area, it is comprised of three zones: marketing 50%, student center area 30% and a storage area 20%. Programatically this is one of the most private spaces. Meant for employees and not visitors, this section of the building is only accesable in the back where the employee parking is located. The solid introverted facade is meant to make visitors focus more on the entry garden experience than what is happening inside the section of the building Below is a Rendering of the tunnel-like entry, somewhat hidden from the flow of visitors
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3. LOBBY PATIO GARDEN The Lobby Patio Is a unique space loacted at the end of the lobby. After purchasing a ticket, visitors move towards this area because their is abundant natural light flooding into the lobby here. This area is over 16 feet below the exterior ground level, meaning it is a sheltere/sunken garden. I has several species of trees and shrubs and flowers, bringing all types of singing birds and offering an aromatic and relxing interaction with nature. Once in this space there is a ramp wraping the courtyard allowing people to exit if they are on their way back through the building to leave. A central reflecting pool with splashing fountains offers cool breezes bouncing off it and the peacful noise of running water. There is office space at one end and stairs up to the other floors at the other.
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4. LECTURE HALL Programmatically, the lecture hall is a space that is flexible in terms of function and could be used in a variety of ways. left to the discretion of the Patronato. It can function as an auditorium, a concert hall, or a theater. It works in relation with the exhibition space and the student offices. The lecture hall has enough support space to provide the latest audiovisual technology, including 3d projections and is able to accommodate up to 450 people with stepped rows as well as balcony seating. Filling the space under the seating area are mechanical spaces, area storage, and dressing rooms. The Lecture hall also has direct press support access. This is an area designated for use by media personel and has the necessary support in terms of audiovisual systems. In the front is a raised stage and in the back are exits, restrooms, and access to exterior garden spaces as well as the student offices. Architecturally the Lecture Hall really is an iteresting space. It is the second biggest space in the whole building next to the exhibition area. The westward and southward facing wall are composed of the perforated brick wall system allowing it to naturally light the entire room if desired as well as provide an interesting backdrop for what ever is taking place on the stage. Different types of curtains are able to be lowered from the ceiling on cables to either difues the sunlight or block it completely. The 60’ lateral span is acheived with very deep prestressed/post-tensioned concrete beams which attatched to which is a steel wire mesh supporting the neccesary audio and lighting equipment.
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PRELIMINARY SKETCH OF LECTURE HALL
Lecture Hall Section 129
5. RECEPTION The reception area is a 2500 sf intermediary space that is located between the main exhibition space and the lecture hall. The main visitor flow is along the southern wall which has the lighting patterns formed by the perforated brick wall piercing through leaving lines of light in the direction of visitor flow. This space can function in multiple ways. The reception area can be set up as spill-out area for the large crowds that can be formed by a lecture hall of this size. This room can also be used to serve food at special events in the form of either buffet style food tables set up along one of the longer walls or full table and chair set ups for rare occasions. There are restrooms on the rear of this room that can accomodate a large portion of the the possible 300-400 visitors in the lecture hall. From here there is also multiple ways of direct access to outside. There is an outdoor interaction with perforated brick wall as you enter or leave the lecture hall either inside or outside. Outside allong this wall there is an ivy covered trallis element in the same pattern as the perforated wall.
In an effort to get natural light deep into the long reception area a large skylight was used. It puctures up into the outdoor garden space above, adding to the interaction between interior and exterior spaces. Visitors that are entering from the back parking lots, or just visitors that ended up in that grassy courtyard exploring the building have the ability to see down into the reception hall.
PRELIMINARY SKETCH OF RECEPTION SECTION
PRELIMINARY SKETCH OF RECEPTION AREA
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Lecture Hall
Reception
Exhibition Space
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6. EXHIBITION SPACE The exhibition space is meant to be a celebration of la alhambra, with the goal of creating a means to ‘visit’ la alhambra without accessing the monument (and without paying for a ticket). This area independent access from the lobby and has all the information means necessary to prepare the visitor for the full experience of la alhambra. This space is a multi functional and is split between two floors, occupying the entire atrium. It can be used to exhibit artwork or historical artifacts from the alhambra’s vibrant history, or can also be used for events. From the exhibition space there is direct connection to many areas of the building including, the daycare, lecture hall, multiple outdoor gardens, restrooms, stairs, and elevators. Structurally speaking the huge space is made possible with the use of 16” square reinforced concrete collumns and 40” deep prestressed post tensioned concrete beams . Hanging from the roof structure are tall pieces of art actings as daylight chandeliers that catch and reflect light coming in from the southern side around the space.
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entry volume
7. EXTERIOR ENTRY SPACE Hovering just a few feet above your head as you approach the main doors of the Atrio is a massive floating continuation of the perforated brick facade. This screen not only casts dynamic patterns of light and shadow on the tile patio as is found within the Alhambra, but it also creates an amazing outdoor space in this contemporary interpretation of a sheltered courtyard space. The lighting qualities acheived with this screen are meant to open the visitors senses so they will be able to truly appreciate lights’ beautiful qualities. It prepares visitors for what is to come once they buy their ticket and go inside the Alhambra, but it also was designed to be so large so that it will easily attract all visitors that may be confused that are trying to get inside simply because it is the tallest structure that can be seen while on the site.
Structurally speaking, this space is accomplished with the use of three post tensionedprestress concrete beams that are part of the frame structure supporting the rest of the builing. Although It appears as if it is cantilevering, the brick walls are supported with thin steel posts at midspan shortening the span from 80’ to 40’.
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DIAGRAMATIC SKETCH OF ENTRY
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
Entry Space
North South section through exterior entry space and exhibition space
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
prelimary sketch of entry
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8. DAYCARE With so many people visiting the Alhambra daily, obviously their will be a large amount of young children with parents that want to view the monument without being bothered by their crying kids. A space that will keep children happy and occupied for the day was designed for this reason. The day care area is a multipurpose room for child care , with an accompanying waiting area for parents picking up their children, and a nursery for infants. Another nice feature of the daycare is the private outdoor play area’s that allows the kids to enjoy the fresh air outdoors in a safe and prodected environment.
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9. FUTURE ATRACTIONS/ NURSERY Keeping how this building will function in the future a high prioirity, this section of the atrio is where visitors will be able to bypass the building, the alhambra, and the generalife altogether, traveling straight to where there will posssibly be new attractions in the future. Up this way is also the nursery for the alhambra and generalife. This green sancuary is a dense forest emenating sounds of singing birds and running water. There is a functionality to this part of the Alhambra in that If there is a tree or shrub that needs to be replaced within the Alhambra or the Generalife, one can be transplanted from here. The perforated wall wraps the entire building and continues up the hill this whay catsing shadows all the way until the top returs to the red earth where it emerged at the other end of the building
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89 25
egress stair
Bathrooms area=1250 sf
Bathrooms
mechanical area-150sf mechanical area-400sf service
Daycare- area=
2500 sf
Storage
me
ch
mechanical area-400sf
Reception Area=2600sf Storage
service
mech
Stage area= 900sf
SECOND FLOOR Mostly public Zones Program: Exhibitions Space Reception Lecture Hall Garden Patio Daycare Restooms Storage Mechanical Rooms
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Bathrooms area=1250 sf
25 8 2 25 584 1.36 25 87.9 .64 91 2 .2
egress stair
THIRD FLOOR Semi public/Pivate Zones Program: Exhibition Space Garden Patio’s Lecture Hall Student offices Cultural offices Offices
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PROGRAM WITHIN BASE WALL Mostly public Zones 1. 2. 3. 4. 5.
Lobby 25,000 sf Ticket Booths Information Center Offices Garden Patios Restooms Storage Space Mechanical Rooms Book Store 6. Security/ Bag drop off 7. Audio Guides 8. Tourist Guides 9. Cafe
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mech
Bathrooms area=1250 sf
egress stair mechanical area-150sf mechanical area-400sf
service
bathrooms for cafe Area 1000 SF
Bathrooms area=780sf
up
service
mec
kitchen
h
offices
Storage
mechanical area-400sf
security/bagcheck Area=800sf
Lobby area=20,000 Int. 10,000 Ext.
audio guides
tourism guides
Garden Patio
ticket counter
Info Center
Storage ticket offices
Info Offices
Medical Infirmary
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bookstore
GROUND FLOOR One of the advatages for all of these program components within the base wall shown on the left is the thermal cooling effect caused by the alhambra red earth that it is nestled in.
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TCUDORP LANOITACUDE KSEDOTUA NA YB DECUDORP
LOBBY
TCUDORP LANOITACUDE KSEDOTUA NA YB DECUDORP
Once inside the 25,000 sf lobby space imeadeately visitors notice the expansive atrium vertically linking the lobby with the two floors of exhibition space. Flooding in from the South side of the building are bright contrasts of light and shadow speckling the polished concrete the lobby floor. The light reflects from the polished floor up onto collumns and interior walls resulting in anothe texture decorating the interior. Attatched are several exterior garden spaces offering a retreat to nature like is done all over the alhambra and generalife. From here there is access several other areas of the building. The lobby, which is the primary function space for the building, was designed to be able to accomodate the possible 5000-8000 visitors per day with gathering and organization space for large groups without interfering with the circulation of the building or the lines at the ticket office. The ticket area is on the right after coming in the main entrance. It is a space where all tickets to enter the complex are sold There is both an area for automated machines, and several tellers so the process is smooth and a quick as possible. The Information center is adjecent to the ticket area and is the place where visitors can go for any required service. Since many visitors will be from other countires and not speak the native spanish language there are audio guides which allow visitors to rent audio equipment that they can experience a tour of la alhambra without an actual tourguide. If a tour guide is desired, the tourism office provides general information on la alhambra and the city of granada.
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LOBBY There are several other programatic components that have direct access to the large lobby space. The security control/bag storage is an open space with bag scanners any visitor that wante to enter the Alhambra wil have to pass through here. It also has an area of lockers for bags. and a coatcheck area. The bookstore is a retail space offering books, souvenirs and other memorabilia associated with la alhambra. This area is in close proximity to the lobby, but from here you can not access the entrance to the Alhambra since this is open to the public before purchasing a ticket. The lobby is also in direct contact with the offices for technical services, which is designated as administrative space to be used by employees. Being such a large space at 25,000 sf, there is also an abundant amount of storage space. there is a designated fire department storage room with adequate storage for fire fighter support including all fire suppression systems. There are storage spaces for cleaning supplies and equipment associated with the maintenance of the facilities maintenance needs for different zones of the building.
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preliminary idea sketch
CAFE The catefteria is one of the spaces that visitors will interacted with the most. Designed purposly for this reason, it is located right where anyone going into the alhambra or leaving it will have to pass making it a frequent stop for visitors. The perforated brick wall really works it’s magic in this location forming a tunnel with lighting paterns that pull visitors through the exterior seating area and possibly inside for a snack. Because of its location and the fact that it is “inside� the alhambra complex, a ticket must already be purchased to eat here. Aside from the natural light coming through the perforated brick wall on the south and west sides of the cafe, there is a large lightwell up into the garden space above that is lighting the exterior seating, and small natural light wells piercing up through the cieling and into the planter boxes in the garden space on the floor above.
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preliminary process render
preliminary idea sketch
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TECHNICAL SOLUTIONS The technical solutions reflect a search for ways to incorporate all systems into the existing conceptual framework.
Program Reconciliation Passive Strategies Active Strategies Structural System Building Envelope
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PROGRAM public spaces: lobby/reception- the primary function space for the building, the lobby must be able to large groups of people for gathering and organization without interfering with the circulation of the building. the lobby must be adjacent to the ticket office. ticket booth- this space is where all tickets to enter the complex are sold and therefore must have a direct connection to the lobby. an area for automated machines has to be provided, as is a secure, locked room which will house the vaults for money and tickets. bookstore- the bookstore is a retail space offering books, souvenirs and other memorabilia associated with la alhambra. this space must have its own storage space and should be in close proximity with the lobby. cafeteria- the cafe must be close to the lobby and account for a kitchen, storage and an area for vending machines. exhibition space-this space is a celebration of la alhambra, with thegoal of creating a means to ‘visit’ la alhambra without accessing the monument (and without paying for a ticket). this area must have at least one independent access from the lobby and must have all the information means necessary to prepare the visitor for the full experience of la alhambra. information center- the information center is the place where visitors can go any required service. it must be specially equipped to deal with accessibility concerns as people with disabilities or who need special assistance will be directed here,.
Daily Visitor Flow With a maximum of 8000 visitors in one day, a 5000 a day avgerage, and 2 million annually, the Atrio must be capable of funneling large amounts of tourists into the building and then the Alhambra with minimal confusion.
audio guides- this space allows visitors to rent audio equipment that they can experience a tour of la alhambra without an actual tourguide. tourism office- this office provides general information on la alhambra and the city of granada. it should be adjacent to the information center and include a space for tourism guide booths (independent companies will set up kiosks to offer guided tours of the complex) semi-public spaces: lecture hall/conference room: this space is flexible in terms of function and could be designed in a variety of ways. left to the discretion of the designer, this program could be an auditorium, a flex-space with partitions, a banquet hall, etc. it could be its own entity or could work in relation with the exhibition space or cafeteria. the only stipulation is capacity, as the space must be able to accommodate up to 300 people. the lecture hall must have enough support space to provide the latest audiovisual technology, including 3d projections. day care: this program calls for a multipurpose room for child care. it should have a waiting area and a nursery for infants. office of cultural events: this office is related to special programs organized by the patronato. it requires a reception area for visitors as well as a storage space. press support- an area designated for use by media personel must be provided. this space must have the necessary support in terms of audiovisual systems. office for student visitors- a suite for visiting students must be designed. while it is primarily an administrative area, it is comprised of three zones: marketing 50%, student center area 30% and a storage area 20%. the marketing offices must be connected to the ticket booth area as well as the information center.
private spaces: offices for technical services- this suite is designated as administrative space to be used by employees. support/service spaces security control/bag storage- an open space with bag scanners is required as is a area of lockers for bags. a coatcheck area should be included in this area. fire department storage- adequate storage for fire fighter support including all fire suppression systems must be provided. storage area- spaces for cleaning supplies and equipment associated with the maintenance of the facilities must be provided. consider different maintenance needs for different zones of the building.
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program: descriptions
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TECHNICAL SOLUTIONS
Program Reconciliation Occupancy Loads
Located on the in the south of Spain, Granada is in a mediteranian climate area. This is characterized by hot and dry summers with lots of solar radiation and clear skies. Winters are mild and cool with small accounts of rain Because of the facade system chosen, it is possible for large amounts of natural light to enter the building. The heat that comes along with light, coupled with the huge amount of visitors that could fluctuate in and out of the space at any given time could greatly affect the internal climate. For this reason a great deal of investigation went into the Heating Ventilation and Cooling Systems.
+
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4874 occupants
235 occupants
73 occupants
8 occupants
1 occupant
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TECHNICAL SOLUTIONS
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Third Floor Egress
Second Floor Egress
Egress and Accessibility All horizontal travel distances through the building fall under the maximum limits dictated by total occupancy levels, and vertical modes of circulation including both stairways and elevators allow for handicap accessibility and meet fire safety regulations. Each of these core circulation points serve as either fully exterior or enclosed stairs, protecting the people of the building from the dangers of smoke inhalation as well providing safe haven with a 2 hr fire-rated enclosure.
Ground Floor Egress
There are two enclosed egress stairs that are on the north side of the building within the service bar that runs up the back along the parking lots. There is an egress star in the cafe that directs people up the hill and away from the building. The main public elevator is centrally located, bringing people from the lobby floor up through the atrium. There are two small service elevators, one being on the west end in the kitchen to deliver suplies, the other linking the ground floor offices to the third floor offices on the East end of the building
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TECHNICAL SOLUTIONS
Sustainable Design Elements
Thermal Mass Southern Exposure Natural Daylighting Natural Ventilation Cooling using water photovoltaic cells or green roofs Ventilated Roof By adopting passive design strategies while designing a building it can greatly influence many energy consumption factors. How the building is design can affect heat losses in the winter, over heating in the summer Naturalventilation options as opposed to only costly air conditioning, and a scope for natural daylight utilization. The form of the building, the material of the building, etc will have an impact on the buildins interior climate. If the building enclosure systems and design are not optimal, it will require more energy from the active systems, resulting in more cost and waste of energy. The environmnet has always and will always have an impact on building form and envelope, by completely understanding the environmnet of the site it will greatly affect the initial capital investment of the building, the resources neccessary for maintenance. In todays world, all buildings are hybrids including this one, meaning that they combine mechanical systems and environmental strategy.
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Temperature During the winter months temperatures can get below freezing especially at night and then rise to warm, comfortable temperatures (temperature inversion) Temperature inversion - warmer air resides above colder air creating smog in the early mornings this warmer rising air causes the temperature in the mountains to increase roughly 2.8 degrees fairenheit per 1000 ft. During the summer months temperatures can reach above 100 degrees fairenheit, so heat waves are common in the summer months and when accompanied by droughts, there is a high risk of wild fires
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TECHNICAL SOLUTIONS
Southern Elevation
preliminary sketch
Thermal Mass: A “Terracing� Architecture When visiting Spain It is quickly notice in the alhambra that huge temperature changes take place between bright hot exterior and cool dark interior. There can literally be a 20 to 30 degree temperature change in some areas. Also, adding to the intense experiential aspects of that condition, when underground, it gets very quiet and no breeze/wind can reach resulting in quite a different experience from an exterior garden. The slope of the site is perfect for a terraced architecture. The surroundings neighborhoods and city look like a singular mass that was carved out forming streets terraces and patios, so applying this idea to the building architecture and entry terrain was an easy decision to make. The geography determined the organization and layout of Granada, so why not apply that mentality to our site. On one side, some may say that excessive cutting into the landscape might would have negative impacts and cost to much. One the other side you have the cost savings and benefits. By using the thermal mass of the earth, The Northern half of the building will stay cool since it is pressed up against the cool earth below the surface. Having the building nesteled in the earth cools the building in the summer and warms it in the winter, significantly lowering heating and cooling cost. It can also aid in controlling the relative humidity levels inside the building. When earth spills over on to the roof of an occupyiable space, an oppurtunity for a green roof arises which is another sustainable strategy because the design allows for vegetation to grow where the footprint covered at ground level
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STEEL
CONCRETE
-Lighter
-Heavy
-Quicker (less labor)
-Slower construction process
-Lower thermal mass
-Higher thermal mass
-Cost more
-Cost less
-Less Embeded Carbon
-More Embeded Carbon
-Imported raw materials;
-Local raw materials; and processing
local processing -More recycled content
-Unlikely to recycle aggregate
-More easily disassembled
-Less easily disassembled for future recycling
for future recycling
mech
Bathrooms area=1250 sf
egress stair mechanical area-150sf mechanical area-400sf
service
Bathrooms area=780sf
up
service
me
kitchen
ch
mechanical area-400sf
offices Storage
security/bagcheck Area=800sf
Lobby area=20,000 Int. 10,000 Ext.
audio guides
tourism guides
Garden Patio
ticket counter
Info Center
Storage ticket offices
Info Offices
Medical Infirmary
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25
81 .3 .64 6
offices
25
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
bathrooms for cafe Area 1000 SF
Daniel Jud Roger Williams University 1 Old Ferry Rd Bristol, RI 02809
Drawing Number
Structural Materiality: Concrete PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
LA ATRIO DE LA ALHAMBRA
Granada, Spain
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
Concrete is used all throughout Spain for the structural construction of many new buildings. Concrete was chosen to the form the structure of the Atrio for several reasons. Keeping sustainablility in mind concrete construction is better than steal construction in this situation for many reasons. It’s cheaper and requires less energy to make. The raw materials are from closer locations, and it can be easily formed to the needed sizes and shapes on the site as opposed to trying to have it halued to the site on trucks through the narrow and sinuous roads of Granada, Spain. Concrete also has a higher thermal mass meaning it can hold in heat that it gathers from the earth or the building occupants in the winter, heating the space passively and lowering heating costs. In the summer it retains some of the coolness from the earth and cool night-time temperature and cools the building in the summer throughout the hot days. Concrete also is a better choice for the area because the Alhambra itself was constructed using methods similar to how we use concrete today in the moulding of prefabricated building components. By using concrete as the structural material to mould the massive collumns and beams, the building references how the islams constructed the Alcazaba fortress by moulding bricks for the massive structural and defensive walls.
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TECHNICAL SOLUTIONS
Humidity and Temperature The design for the Atrio incorporates a number of passive strategies, in order to create the most comfort table atmosphere possible, while saving energy. As is seen in the two charts on the right, as temperature increases, relative humidity decreases. In a area as warm and dry as this, one way to cool and re-humidify the air to make it a little more comfortable for the buildings occupants is to have cooled water pools strategically placed to pick up and cool down some of the breezes that are circulating the space. The diagrams above show how somthing as simple as a shallow reflecting pool can passively condition the air in a space.
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OLD CAIRO
Hot and Arid: shading and the courtyard. In hot and arid regoins such as this, enclosed courtyard spaces have been a means of helping to add some comfort in the heat for cententuries. They help to reduce the solar and conductive heat gain. Also they can promote cooling by evaporation using water features and plantings. Shading for windows with shading devices such as mashribiya limit the amount of light(heat) entering but still allows views out. Shading in general in a courtyard space can be comfortable with a cool breeze, making the courtyard space even more attractive
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TECHNICAL SOLUTIONS
Roof Drainage + Rain Water Collection Every single surface in a building has to be designed with drainage in mind, whether it be for exterior garden spaces so they dont flood or dry out, so roofs dont cave in or leak, or inside where drainage would be for water if fire alarms ever went off. In the diagram on the right, the dark blue highlights where roof dranage is located. This area is above an occupiable space so water would be drained into piping running withing the catalan roof system and directed down to water storage tanks that are stored both in the mechanical rooms for recycled water inside or to exterior subsurface water collectors where it will be used to water the vast amounts of greenery on the site. The light blue areas on the diagram to the left are exerior occupiable space with occpyable space underneath. The green areas’ are exterior garden spaces that dont have occupiable space underneath so although it has adequate drainage, collecting it is not a prioirty here. The calculation for adequate drainage is 1 collector per 1500 SF or roof area. With an 11,500 SF roof area, the exhibition roof has 8 colletor drains. The lecture hall has a 7,750 SF roof , resulting in 6 ollectors. The offices have a 6,750 SF roof resulting in 5 collectors. All of these work together to collect a large amount of water annually , which saves cost and helps the environment. If anuall rainfall in Granada, Spain is about 14 inches, and 1 inch of water spread over 1 square foot is .6234 gallons of water, than a 26,000 SF roof space could hypothetically collect nearly 270,000 gallons of water per year. This is just one of the many sustainable design features of this building.
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TECHNICAL SOLUTIONS
The Sun: Solar Energy A solar panel is a collection of solar cells. Many small small cells spread over a large area can work together to provide enough power to be useful. Essentially, the more energy that hits the cell, the more electricity it produces. These photovoltaic cells are very useful in an area with this high of levels of solar radiation. Because of these possible benefits, the roof of the exhibition space will be used for photovoltaic cells. It will be gathering and storing large amounts of solar energy from the harsh sun rays that hit Granada, Spain The area of the roof is roughly 26,000 Sq. Ft. or 2540 sq. yards allowing for a large amount of solar panels. Every square yard of land, if exposed to direct sunlight, receives about 833 watts of solar energy Therefore, a one square yard area exposed to continuous direct sunlight [in an optimal geographical location] for six hours will have received 6 hours x 833 watts = 4,998 watt-hours of solar energy during the course of a day. In round numbers, a one square yard area will receive about 5000 watt-hours (5 kilowatt-hours) per day of solar energy. The amount of energy generated per year is roughly:... The Amount of money saved each year could be very beneficial adding to the “sustainable� - cost saving features.
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Preliminary sketches of ideas on how to controll the effects of light in this area.
Light: Light rays are either absorbed, reflected, or transmitted. All three happen on every surface altough one or two may be predominant. All of this depends on the material and the angle at which the light is hitting the surface. Angles higher than 55 degrees tend to be reflected. Lighter colored surfaces absorb less light that darker colored ones.
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TECHNICAL SOLUTIONS
+ Red Brick Wall -The Homage Tower (horizontal banding & assembly of pieces)
Ideas Behind Facade System
= Wooden Mashribiya (Alhambra ) (perforated qualities& assembly of pieces) )
Abstracted Horizontal pattern
Construction method: Most structures within the Alhambra were constructed using a packed earth method. This method of construction was passed down by earlier ancient Roman building traditions. The bricks which make up most of the Alhambra were raised by packing a mixture into a framework consisting of two parallel planks joined together by a crossbeam. An image of a similar tool to what the islams used when constructing the alcazaba fortress. The idea of using brickes for the enclosure stemmed from this. Reddish Walls of the Alhambra: These walls are rich in clay with a very low lime content. They have a similar composition in both the inner and outer parts of the wall. The red brick was the material primarily used by the Christians to repair damages to the older Moorish towers. Significance: The many materials and styles used in the architecture of the Alhambra were determined by religious influence and influenced the design and style of the surrounding city of Granada. Within the city we see many of the same materials used in the Alhambra such as concrete limestone and plaster. 164 JUD
=
=
“Alhambra” is an arabic term that literally means “red castle.” Some believe this refers to the color of the building material, however the stone is not really red, but rather a tan color that “by starlight is silver but by sunlight is transformed into gold.” This idea was applied to the materiality of the Entryway in the form of this custom clay brick. Daylight is the cheapest material . In the sustainable world that we are pushing for today, this is very important for energy consumption because it can reduce electricity usage. Light is an extremely abundant resource. Even on a cloudy day the natural light’s level of ilumination is 30 times greater than what is required indoors. Southern light is Warm, abundant, and easily controlled, So this perforated brick wall wraps every southern facing surface of the building. At the Atrio, light is used as the primary texture to enhance the visitors experience because it is cheap and always available. In terms of interior comfort, all daylight transforms into heat, but artificial light generates more heat. In the winter months the sunlight puncutring into the building will naturally heat the interior space. The perforated brick system was designed to block a large portion of this sunlight entering so the interior will stay cool.
Final Brick Wall System (Horizontal/perforation/assembled)
Open to Natural Light (Curtain wall providing enclosure)
Not Open to Natural Light (Double layer of brick/Insulated)
Light Control PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
Ways in which perforated wall is manipilated in order to acommodate different program requirements: More perforation- openings in the custom brick appear when the space needs or can allow a more abundant amount of natural daylight.
bricks have varying depth when the opening is closed to create dynamic visual texture
Less Perforation- less openings/ more closed face bricks are used where program needs minimal natural daylight or needs a more controlled lighting environment. No Perforation- In certain instances the wall may need to be solid appearing as to hide whats behind. In this case only the bricks are used that have a closed shape and dont allow view through. This occurs in both virtical and horizontal strips to hide the structural beams and collumns
CUSTOM BRICKS (Pieces)
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TECHNICAL SOLUTIONS
Today, lighting designers are primarily focused on problem solving tasks, i.e. making our environments more efficient, comfortable and functional. at the Atrio de la Alhambra, one of the lighting’s other tasks is to rekindle our interest in the character, magic, and elusive nature of light itself.
DEMATERIALIZING WALL IDEA SKETCH
Nature provides us with the most amazing light exhibitions everyday and the exhibition is always changing Lighting is a design category unto itself. Like music, it is magical and mysterious and and can make us instinctively connect to the natural world. It acts directly on our psyches, creating and changing moods and feelings. The design of the wall controls the amount of sunlight(heat) entering the building , and this changes throught the year, allowing more light to enter in the colder winter months, and much less to enter in the warmer summer months. This is acheived by the depth of the brick screen. The lighting effects created can be seen in the lighting study at the bottom of the page. The lighting qualities on the left show are in the summer and moves toward winter lighting qualities on the right. During the winter months the high ceiling heights of many of the buildings allow for light to penetrate deep into the buildings. During the summer months the altitude of the sun is so high that the interior of the buildings are generally protected, only really allowing the diffuse/reflected lights from pools into the buildings to light up the interiors
Summer Months= Higher Sun Angle (less heat desired)
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Lighting Study
Design Translation
Inspiration
1/2”=1’-0” Scale Model
Winter Months= Lower Sun Angle (more heat desired)
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TECHNICAL SOLUTIONS
mechanical spaces There is a service bar that runs down the North(back) side of the building. The location was chosen because that side of the building is already a retaining wall and is perfctly suited for a mechanical zone programatically. “This sevice bar” is made up of a thick retaining wall, an 24” cavity, 12 feet of progran space, and finnaly an interior wall that is clad, fireproofed, and soundproofed where need.
The building is divided into five respective zones that can be directly controlled for specific occupancy levels and programmatic building needs.
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MECHANICAL SYSTEMS heat pump system
air handling unit system
Space
Space
Ducting
Pump
Pump
Ex. Tank
ERU
Heat Exchanger
Ex. Tank
ERU
Heat Pump
Air Handling Unit
Heat Exchanger
Vent to Outside
Vent to Outside
displacement ventilation PROGRAM Offices Offices of Students Offices of Cultural Events Tourism Office Audioguides Tourist Guides Press Support Security Control Techinical Services Information Center Public Lobby/Reception Ticket Booths Bookstore Day Care Infirmiry Cafeteria Exhibition Space Unique Lecture Hall
AREA (ft²)
area*10
coolingcapacity*10
COOLING CAPACITY (tons)
9.8 5.2 3.9 3.9 3.2 2.7 2.2 2.2
3500 1500 1000 1000 800 1000 500 500 2950
35000 15000 10000 10000 8000 10000 5000 5000 29500
98 52 39 39 32 27 22 22 78
28000 2000 2600 3500 1000 5500 9000
280000 20000 26000 35000 10000 55000 90000
1090 98 75 98 27 260 390
109 9.8 7.5
7000
70000
300
boilerroom*10
BOILER ROOM SPACE (ft²)
coolingtowers*10
COOLING TOWERS SPACE (ft²)
680 360 280 280 180 185 160 160 650
68 36 28 28 18 18.5 16 16 65
115 52 48 48 31 33 24 24 100
11.5 5.2 4.8 4.8 3.1 3.3 2.4 2.4 10
26 39
7200 690 500 680 185 1090 1160
720 69 50 68 18.5 109 116
1070 120 90 115 33 300 680
107 12 9 11.5 3.3 30 68
30
1100
110
480
48
7.8
9.8 2.7
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TECHNICAL SOLUTIONS
Geothermal Heat Pump System The main concept is to take advantage of the more constant temperature of the earth and use it in the process of heating and cooling the space. The concept allows energy that is not required in some areas of the building (cooling load) to be moved and used in areas that do require energy (heating load). For many applications, water source heat pump systems match or exceed the performance of even the most sophisticated VAV air systems. With this water system a ventilation system will also be used to renew such a large amount of air. A geothermal heat pump (GHP) system is a water-loop system where the boiler and cooling tower have been replaced with a buried earth heat exchanger. Heat is absorbed from or rejected to the ground, and the external energy needed to operate a boiler or cooling tower is eliminated. Conventional water-source heat pumps are designed to operate in the relatively narrow temperature range of 60 to 90 °F and will not perfo rm adequately in a GHP system unless their range is extended down to let’s say 30 degrees F .
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Exploded Axon of Wells
Plan of Geothermal Well layout
Geothermal Wells Vertical Closed Loop System.
sp
400’ deep wells
138 wells because one well at this depth can support two tons of cooling load, meaning this building has a total cooling load of 276 tons. The boreholes are composed of 2 in diameter piping w/ 4” insulation wrapped around. All of the piping has a supply and teturn that are separated into four different mechanical rooms
re
ad
ov
er
50
0’
of
18’ diameter spacing between all wells to prevent the earth from changing temperature with the water in the pipes, making it uch less effective .Although the amount and depth of the bore holes for the geothermal heating system may look extreme, it is the neccesary volume for a system this size, and for the building to be built on this site, the land would have to be excavtaed down to a level where drilling them would be fairly easy.
sit
e
Vertical loops are installed in bore holes 400 feet deep. The holes are typically backfilled with grout. Each hole requires about 250 ft² of surface area. Vertical systems use much less land than horizontal systems. The range is usually between 180 to 250 ft of borehole per ton. The cost is about $900 to $1300 per design ton. The undisturbed ground temperatures at the depth vertical systems operate remains constant throughout the year. Typical loop temperature operating range in Southern climates can be from 35°F. to 100°F. 18’ diam. 18’ spacing
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TECHNICAL SOLUTIONS
Precast Concrete Beam #5 Bar Steel Reinforcing Precast Catalan Roof Component Composite Catalan Roof Panels Stacked Bricks Allowing 12” Vent Space 2” thick Insulation Area for Rain Collecting Pipes Fasteners Water Barrier 3” Rigid Insulation 3 ml Vapor Retarder 4” Concrete Slab 3/16” Corrugated Steel Decking Concrete Beam Rectangular Ductwork Custom Brick (Closed-Shallow) Air Supply Vent Curtain Wall Window Casing Custom Brick (Closed-Deep) Custom Brick (Open) Mortar
Building Envelope and Assemblies Most structures within the Alhambra were constructed using a packed earth method. This method of construction was passed down by earlier ancient Roman building traditions. The bricks which make up most of the Alhambra were raised by packing a mixture into a framework consisting of two parallel planks joined together by a crossbeam. An image of a similar tool to what the islams used when constructing the alcazaba fortress. The idea of using brickes for the enclosure stemmed from this. Reddish Walls of the Alhambra:
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Custom Brick (Closed-Shallow) Ceiling Hanger Fire Rated Ceiling Panels Glass Curtain Wall Enclosure 16”x 24” Reinforced Concrete Collumn 2” thick Insulation Piece 16”x 36” Reinforced Concrete Beam
PRODUCED BY ANBY AUTODESK PRODUCT PRODUCED ANBY AUTODESK EDUCATIONAL PRODUCT PRODUCED AN EDUCATIONAL AUTODESK EDUCATIONAL PRODUCT
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APPENDIX
Additional Documentation Early Work Preliminary Sketches
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process images
process images
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Additional Documentation Early Work Preliminary Models
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Additional Documentation Early Work Mid Review Perspectives
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Additional Documentation Early Work Mid Review Sections
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Additional Documentation Early Work Mid Review Elevations
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Tree Mix (high density) Tree Mix (average density) Tree Mix (lower density) Cypress Palm Tree Small Tree & Shrub Mix Shrubs Formal Hedge & Topiary Flowers & Groundcover Agricultural Water Feature
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forest: the alhambra woods
parking
accent planting: alcazaba entry
formal garden: generalife
circulation: jardin de los adarves courtyard: court of the lions
shrubs
flowers & groundcover
hedges & topiaries
agriculture
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_granadaSPAIN
roman period recycled ashlar stones in various parts of la alhambra lead historians to believe that the romans may have occupied sabika hill. romans were definitely in other portions of granada, but researchers hope to confirm their occupation of la alhambra site itself
0
800
400 200 while the visagoths never occupied the site of la alhambra, their rule in southern spain (including over the city of granada), had lasting architectural influence
visagoths
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court of the cuarto dorado: illustrates the visagoth influence in la alhambra
military district ruins: knee walls and ruins are significant architectural elements within la alhambra both archaeologically and aesthetically
several muslim principalities resided in granada prior to the rule of the nasrid dynasty. one of them, the zirid taifa, built a military outpost on the grounds of what is called alcazaba today. one of the main walls of the outpost still exists.
islamic rule
600
1000 muslims and moors controlled southern spain for more than a thousand years. the majority of la alhambra was created under the nasrids, a moorish family that first came to power in the late 600s.
moorish rule
court of the lions
“sad century”
christian era
patio de los arrayanes: illustrates the blend of islamic & moorish motiffs and design
1200
in 1492 la alhambra fell under the rule of the spanish crown as a royal palace. the ‘new royal palace’ was constructed under emperor carlos v, entrances through la alhambra’s walls were changed and christianity became the new dominant religion.
by the early 1800s la alhambra had fallen into disrepair after decades of neglect. in 1829 american writer washington irving visited and after countless complaints shamed the royal family. this began the conservation process that continues today
world heritage in 1984 la alhambra became an addition to unesco’s world heritage sites
2000
1600 1800
1400
from 1314 to 1391 (the golden age of the nasrids), la alhambra experienced two periods characterized by phenomenal architecture. it is during these years that the greatest palaces were designed and constructed
nasrid dynasty
western facade of the palace of emporer carlos V
2200
in 1868 a revolution removed isabella II from the throne and turned over all royal properties to the spanish government. in 1870 the site was named a national monument and annual funds were allocated for continued preservation
civil war
today
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