Full thesis book farah almashareqa by Farah Al-Mashareqa

Students name: Farah Al-Mashareqa Students number: 201310178 Supervisor: Dr. Yasser Abuhashem Graduation Project Thesis Faculty of Architecture and Design Department of Architecture 2017/2018 - First Semester

Preface Dedication…………………………………………………….……4 Acknowledgment…………………………….…………………5 Abstract…………………………………………………..….………6 Table of Contents……………………………………………....7 Table of Figures…………………………….……………………9

Dedication

To my caring parents Tayseer and Nawal, my brother Taher, and my sister Haneen for the support and love they gave me through my life and for encouraging me to follow my dreams and to be the best version I could ever be . To my friends for their love that gave me the strength to pass all obstacles I faced. To this project which gave me the chance to discover the true value of Arabic language and the importance of such heritage and culture and it role in art. To the people who have taught me more than Architecture during my life in University of Petra, My professors and doctors.

Acknowledgment

I would like to Acknowledge Dr. Yasser Abu Hashem my supervisor for his patience and his efforts for giving us the knowledge that will make us better Architects in the future, and for his guidance.

Abstract This book is a graduation project thesis for JOTHOUR a project to revive Arabic language and culture and its use in art and life The main issue that the project came to solve is that the children of the Arabic world abandoned it and replaced Arabic language with other international languages this center aims to bring light to Arabic language and culture as a life style, that it is a language that worthâ&#x20AC;&#x2122;s to be valued basically in the Arabic world and also world wild. It will also discuss the meaning of language as a life style, the background of Arabic language and its role in art, also analyzing case studies of how can we translate Arabic architecture into modern architecture in both Arabic and western countries and how to translate the proposed activities into functions , also analyzing sites to the proposed project .

Contents 1. Chapter 1: Introduction .....................................................................1 1.1. Introduction Statement.............................................................................. 2 1.2. Working Methodology ............................................................................... 3 1.3. Arabic Language ....................................................................................... 4 1.4. Arabic language as a life.......................................................................... 5 1.5. Case Studies ................................................................................................ 6 1.5.2. Sheikh Nahyan Centre for Arabic Studies & Intercultural Dialogue4 ....... 7 1.5.3. Kimball Art Center ........................................................................................... 8

1.6. The Project Definition ................................................................................. 9 1.7. References of chapter 1.......................................................................... 10

Chapter 2: Arabic language........................................................11 2.1. Introduction ............................................................................................... 12 2.2. Arabic language as a history ................................................................. 13 2.3. Language changes the way we think. ................................................. 15 2.4. Threats faced by Arabic culture and language ................................. 17 2.5. Arabic language as an art...................................................................... 19 2.6. Conclusion ................................................................................................. 21 2.7. References of chapter 2.......................................................................... 22

3. Chapter 3: Arabic language as a lifestyle ...................................23 3.1. Introduction ............................................................................................... 24 3.2. Arabic language in art ............................................................................ 25 3.3. Art in life ...................................................................................................... 33 3.4. Conclusion. (Arabic language as lifestyle) ........................................... 34 3.5. References of chapter 3.......................................................................... 35

4. Chapter 4: Case studies ..................................................................36 4.1. Case study 1 Institut du Monde Arabe.................................................... 37 4.2. Case study 2 Sheikh Nahyan Centre for Arabic Studies & Intercultural Dialogue.............................................................................................................. 48 4.3. Case study 3 Kimball Art Center .............................................................. 56 4.4. References of chapter 4.......................................................................... 63

5. Chapter 6: Site Analysis ...................................................................64 7

5.1. Introduction ................................................................................................. 65 5.2. Proposing Sites ............................................................................................. 66 5.3. Proposed site number one: ....................................................................... 67 5.4. Proposed site number two: ....................................................................... 75 5.5. Proposed site number three:..................................................................... 78

6. Chapter 7: The Project .....................................................................81 6.1. Introduction ............................................................................................... 82 6.2. The Aim of The Project ............................................................................. 83 6.3. Targeted group ......................................................................................... 83 6.4. Identifying Functions Categories and Activities................................... 84 6.5. Functions and program ........................................................................... 86 6.6. Arabic architecture .................................................................................. 87 6.7. Site considerations .................................................................................... 89

7. References .........................................................................................91 8. Appendix............................................................................................94 8.1. Survey questions\answers ......................................................................... 94 8.2. Thesis Poster ................................................................................................ 99

Table of figures Figure 1. Methodology Diagram (Researcher) ____________________________ 3 Figure 2 general view ( Archdaily ) _______________________________________ 6 Figure 3 elevation interior view (Archdaily ) _______________________________ 6 Figure 4 general view 2 (Archdaily) ______________________________________ 6 Figure 5 general view ( Archdaily ) _______________________________________ 7 Figure 6 campus view to Mediterranean Sea ( Archdaily ) _________________ 7 Figure 7 outdoor court ( Archdaily ) ______________________________________ 7 Figure 8 general view (archdaily) _______________________________________ 8 Figure 9 mashrabyah 3d model night shot (archdaily) _____________________ 8 Figure 10 model photo (E-architect) _____________________________________ 8 Figure 11 Arabic language aspects (Researcher) _______________________ 12 Figure 12 communications (Google images) ____________________________ 13 Figure 13 Relationships between Semitic languages. (Encyclopedia Britannica) ____________________________________________________________ 13 Figure 14 distribution of the Arabic language map on left and sematic language map on right (Google images) (Britannica) ___________________ 14 Figure 15 different languages (Google images) __________________________ 15 Figure 16 Arabic poetry (Google images) _______________________________ 19 Figure 17 Arabic poetry (Google images) _______________________________ 19 Figure 18 types of calligraphy (Google images) __________________________ 20 Figure 19 Geometric style calligraphic inscription at Shah Mosque in Esfahan, Iran. (commons. Wikimedia) ____________________________________________ 20 Figure 20 types of calligraphy (Google images ) _________________________ 20 Figure 21 Qubbat al-Sakhra inscriptionv (Google images) ________________ 20 Figure 22 Qubbat al-Sakhra inscription (Google images) _________________ 20 Figure 23 Kufic style (Pinterest)__________________________________________ 26 Figure 24 Mashq style (Pinterest) ________________________________________ 26 Figure 25 Eastern Kufic style (Pinterest)___________________________________ 26 Figure 26 Styles of cursive script (Pinterest) _______________________________ 26 Figure 27 measurements of letters in points (Pinterest) ____________________ 26 Figure 28 Table lamp (iyadnaja)5 ________________________________________ 27 Figure 29 decoration vase (iyadnaja)5 __________________________________ 27 Figure 30 Square Kufic Calligraph- chair (Pinterest) _______________________ 27 Figure 31 calligraphy on dining table by Mishari & Emad ( Pinterest) ______ 27 Figure 32 inscripted calligraphy on elevator door (iyadnaja)5 _____________ 27 Figure 33 coffee set designed with arabic text (Pinterest) _________________ 28 Figure 34 coffee tables (Pinterest) _______________________________________ 28 Figure 35 tea set designed with arabic text (Pinterest) ____________________ 28 Figure 36 tea table intersects with Arabic letter as a base by Mishari & Emad (Pinterest) _____________________________________________________________ 28 Figure 37 asakum mn alayyeden calligraphy (Google images ) __________ 28 9

Figure 38 al basmalah calligraphy (Google images) _____________________ 28 Figure 39 calligraphy art (Google images) _______________________________ 29 Figure 40 calligraphic title for the Khan Murjan Souk in Wafi Mall in Dubai (atrissi) 6 _______________________________________________________________ 29 Figure 41 calligraphy art ( Google images) ______________________________ 29 Figure 42 Beirut inscripted of a golden bag (Google images) _____________ 30 Figure 43 designed dress with Arabic letters (Google images ) ____________ 30 Figure 44 scarf with Arabic letters (Google images) ______________________ 30 Figure 45 Egyptian artist Habiba designs â&#x20AC;&#x153; hisham a jakh poetry â&#x20AC;&#x153; calligraphy ( Masralarabia ) 7 ______________________________________________________ 30 Figure 46 A bag with Arabic letters (Google images) ____________________ 30 Figure 47 dress with Arabic letters ( Google images) _____________________ 30 Figure 48 poem calligraphy on ring (google images) _____________________ 30 Figure 49 painting with Arabic calligraphy (Google images) ______________ 31 Figure 50 Yelimane Fall, Seven Lines from Jawartu, Krannert Art Museum and Kinkead Pavilion, University of Illinois (starr-review)8 ______________________ 31 Figure 51 Taj al-Sir Hasan painting (al-Arabiya)9 __________________________ 32 Figure 52 painting with a use of Arabic script by Dr Laila Albustami (the artist )10 _____________________________________________________________________ 32 Figure 53 Illuminated Arabic Calligraphy by Artist Julien Breton (Pinterest) __ 32 Figure 54 Arabic calligraphy in tunisian music instruments By Sami Gharbi, Tunisia (Pinterest) _______________________________________________________ 32 Figure 55 Exterior photo ( archdaily ) ____________________________________ 37 Figure 56 interior light shot ( archdaily) __________________________________ 37 Figure 57 location (google earth) _______________________________________ 38 Figure 58 3 dimensional (Agha khan) ____________________________________ 38 Figure 59 Location on Site (Agha Khan) _________________________________ 39 Figure 60 3d shot ( Youtube) ___________________________________________ 39 Figure 61 ground floor and forecourt (Agha Khan ) ______________________ 39 Figure 62 view from building (youtube) __________________________________ 40 Figure 63 ramp on plan (Agha Khan ) __________________________________ 40 Figure 64 south elevation ( archdaily ) __________________________________ 40 Figure 65 pattern developments (Agha khan ) __________________________ 41 Figure 66 south elevation details (Archdaily ) ____________________________ 41 Figure 67 roof terrace (archdaily ) ______________________________________ 42 Figure 68 smoking area ( wikiarquitectura ) ______________________________ 42 Figure 69 smoking area ( wikiarquitectura ) ______________________________ 42 Figure 70 library ( agha khan ) __________________________________________ 42 Figure 71 book tower (youtube) ________________________________________ 43 Figure 72 book tower (imarabe) ________________________________________ 43 Figure 73 Hypostyle hall (imarabe) ______________________________________ 43 Figure 74 section (Agha khan ) _________________________________________ 43 Figure 75 inner courtyard material (archdaily) ___________________________ 44 Figure 76 plan (agha khan) _____________________________________________ 44 10

Figure 77 structure 3d model ( agha khan ) ______________________________ 44 Figure 78 stairs and elevators ( archdaily ) _______________________________ 45 Figure 79 elevators (agha khan ) ________________________________________ 45 Figure 80 ramp ( youtube ) _____________________________________________ 45 Figure 81 book tower ramp ( imarabe) __________________________________ 45 Figure 82 circulation 3d model ( youtube) _______________________________ 45 Figure 83 zoning on plan ( researcher ) __________________________________ 46 Figure 84 The details of the actual use of the floor â&#x20AC;&#x201C; program- ____________ 47 Figure 85 exterior shot ( archdaily ) ______________________________________ 48 Figure 86 exterior shot ( archdaily ) ______________________________________ 48 Figure 87 landscape photo ( archdaily ) _________________________________ 48 Figure 88 site plan (archdaily) ___________________________________________ 49 Figure 89 top view sketch black and white (archdaily) ___________________ 49 Figure 90 3d view sketch colored (archdaily) ____________________________ 49 Figure 91 form development sketches (archdaily) _______________________ 50 Figure 92 view fro the courtyard (architizer) ______________________________ 51 Figure 93 courtyard sketch (archdaily) __________________________________ 51 Figure 94 continuity of view and movement on sections (researcher) _____ 51 Figure 95 sketches that shows the dialogue of two sides (archdaily) _______ 51 Figure 96 view to southern part of the building (archdaily) ________________ 51 Figure 97 auditorium in northern part (dezeen)___________________________ 51 Figure 98 southern part dealing with site (dezeen) _______________________ 51 Figure 99 use of material in elevations (architizer) ________________________ 52 Figure 100 green roof design sketches (archdaily) _______________________ 52 Figure 101green roof photo (archdaily) _________________________________ 52 Figure 102 green roof photo (architizer) _________________________________ 52 Figure 103 entrance photo (archdaily) __________________________________ 53 Figure 104 entrance photo (archdaily) __________________________________ 53 Figure 105 sketch shows how the design dealt with site constrains (archdaily) _______________________________________________________________________ 53 Figure 106 elevation design (archdaily) _________________________________ 54 Figure 107 use of material (dezeen) _____________________________________ 54 Figure 108 zoning on plans (researcher) _________________________________ 55 Figure 109 site plan (archdaily) _________________________________________ 57 Figure 110 location map to the city (googlemaps) _______________________ 57 Figure 111 exploded axonometric (designboom) ________________________ 58 Figure 112 digital screen (sparanomooney) _____________________________ 59 Figure 113 aspen material In interior design (archdaily) ___________________ 59 Figure 114 view inside to workshops (designboom) _______________________ 59 Figure 115 volumetric diagram shows the flow on the building (designboom) _______________________________________________________________________ 59 Figure 116 hierarchy of events diagram (designboom) ___________________ 60 Figure 117 zoning on section (researcher) _______________________________ 60 Figure 118 Ground floor zoning (researcher) _____________________________ 61 11

Figure 119 Basement floor zoning (researcher) ___________________________ Figure 120 Ground floor functional analysis (researcher) __________________ Figure 121 Basement floor functional analysis (researcher) _______________ Figure 122 working methodology diagram (researcher) __________________ Figure 123 site selection requirements (researcher) _______________________ Figure 124 accessibility to site (Google maps) ___________________________ Figure 125 site development timeline (researcher) _______________________ Figure 126 street traffic analysis around site (researcher) _________________ Figure 127 landmarks around site (researcher ) __________________________ Figure 128 site dimensions (Researcher ) _________________________________ Figure 129 site segmentation (Amman explorer ) _________________________ Figure 130 site boundaries now (Google earth) __________________________ Figure 131 neighborhood to site (Researcher) ___________________________ Figure 132 climate analysis (Researcher) ________________________________ Figure 133 noise to the site (Researcher) _________________________________ Figure 134 Good\Bad view from site (Researcher) _______________________ Figure 135 Site contour (Amman explorer) _______________________________ Figure 136 site section B-B (Researcher) _________________________________ Figure 137 site section A-A (Researcher) _________________________________ Figure 138 views from site (Researcher) __________________________________ Figure 139 Existings on site (researcher) __________________________________ Figure 140 Kevin lench analysis method (Researcher) ____________________ Figure 141 Site recommendations (Researcher) __________________________ Figure 142 SWOT analysis (Researcher) __________________________________ Figure 143 accessibility to site (Google maps) ___________________________ Figure 144 site boundaries (Researcher) ________________________________ Figure 145 Views from site (Researcher) _________________________________ Figure 146 SWOT analysis (Researcher) __________________________________ Figure 147 Zahran st. architectural timeline (Researcher) _________________ Figure 148 Accessibility to site (Google maps) ___________________________ Figure 149 view to site from 7th circle (Researcher) _______________________ Figure 150 site boundaries (Researcher) _________________________________ Figure 151 view from the site (Researcher) _______________________________ Figure 152 SWOT analysis (Researcher) __________________________________ Figure 153 Proposed activities (Researcher) _____________________________ Figure 154 functional diagram for users (Researcher) _____________________ Figure 155 Proposed program and areas (Researcher) ___________________ Figure 156 Arabic old houses design (Researcher) _______________________ Figure 157 Difference between old Arabic houses and modern houses design when it comes to open gardens and open courtyards in section __ Figure 158 site consideration sketch plan (Researcher) __________________ Figure 159 site consideration sketch section (Researcher) ________________ Figure 160 site consideration sketch plan (Researcher) ___________________

61 62 62 65 66 67 68 69 69 70 70 70 70 70 70 70 71 71 71 72 72 73 73 74 75 76 76 77 78 78 79 79 79 80 84 85 86 87 88 89 90 90 12

1.Chapter 1: Introduction

•

Introduction Statement

•

Working Methodology

•

Arabic Language

•

Arabic language as a life

•

The Project Definition

•

Case Studies

•

Conclusion

1.1.

Introduction Statement

This chapter is a brief about what is Arabic language and its history, importance, characteristics, and its relationship with local community, also the inherited Arabic culture aspects and the effect it has on our life. In addition of discussing the purpose of the project, the working and research methodology, the facilities of the proposed Center, Also some related case studies, and a final conclusion.

1.2.

Working Methodology

Figure 1. Methodology Diagram (Researcher)

1.3.

Arabic Language

‘’The Arabic language is our mother language and the language of the holy Quran. Arabic is the fifth language spoken globally, more than fourhundred million people throughout the world are native speakers, and it is the main language of most of the Middle East. Each region in the Middle East has a different Arabic dialect that may or may not be understood in a different region.’’1 Arabic language is not exclusively for Muslims, in fact not all Muslims speak Arabic. Also, not all people who speak Arabic are Muslim. We cannot restrict it in religion it is an inherited culture that concerns Arabic speaking people in general, and they must appreciate the rich nature of the Arabic language and how difficult it can be to accurately capture the true essence of the Arabic text in any language. With time many additions have been made to Arabic language for making it perfect and easy to be understood. Now the latest form of Arabic, Modern Standard Arabic as a base Arabic Language contains 28 letters. It is written in horizontal rows to look like English but the direction is from right to left. “In the past, there were no marks on Arabic language for easy reading. With time scholars have placed marks on Arabic language for easy understanding and good results”2

1.4.

Arabic language as a life

As Arabic language evolves, original meanings become blurred. Meaning and myth are buried in modern language. Though a meaning is tied to a word in modern language, it is instant and merely allows a distorted or minimal understanding of the origin of the word. It is the origin that yields a true understanding, and transforms the word into an experience. Therefor a well understood origin of language is not just language it is an experience and lifestyle. As language is directly tied with concept formation and imagination, once language begins to flatten, imagination must do so too, we can also phrase it as a two-dimensional understanding of meaning is slowly replacing the three-dimensional. And because meaning in language affects thinking, and therefore must affect creating. As a result of language being the core of life the thinking and ingenuity of our generation would be original just like the well understood language. To clarify what does the word “language as a life“ mean, in order for people to communicate and express themselves they need a way, and a result for this need “the language has been invented and developed. Communication begins with language, the distinctive ability which has made possible the evolution of human society. With language any message, no matter how complex, can be conveyed between people over a limited distance”3 and by that we can measure, .many of expression ways is considered as a section of communication methods in many cultures, but they are countless, we can conclude the ways that depend or use Arabic language and calligraphy in them.

1.5.

Case Studies 1.5.1.

Institut du Monde Arabe 5

Location: 1 Rue des FossĂŠs Saint-Bernard, 75005 Paris, France Project Year: 1987 It responds to its immediate context both in plan and elevation. The system incorporates several hundred light sensitive diaphragms that regulate the amount of light that is allowed to enter the building. During the various phases of the lens, a shifting geometric pattern is formed and showcased as both light and void. Squares, circles, and octagonal shapes are produced in a fluid motion as light is modulated in parallel. Interior spaces are dramatically modified, along with the exterior appearance. While these ocular devices create an incredible aesthetic, they are functional from an environmental controls standpoint as well. Solar gain is easily mitigated by closing or reducing the aperture sizes.

Figure 2 general view ( Archdaily )

Figure 3 elevation interior view (Archdaily )

Figure 4 general view 2 (Archdaily)

1.5.2.

Sheikh Nahyan Centre Intercultural Dialogue4

for

Arabic

Studies

Location: Koura, Lebanon Area: 2567.0 m2 Project Year: 2015 Located on a gently sloping site with an unobstructed view of a walnut grove, the campus in the foreground, and the Mediterranean Sea beyond. The design of CASID evolved from the

Figure 5 general view ( Archdaily )

concept of dialogue. Dialogue with its immediate site, architectural heritage, and wider cultural context of Al Kurah and Lebanon. The building aims to engage faculty, students and visitors alike, be a nonauthoritarian accessible platform for

Figure 6 campus view to Mediterranean Sea ( Archdaily )

cultural and intellectual exchange, and offer a progressive image of Arabs to the world. The roof is seen as the fifth elevation clearly visible from the hills around Figure 7 outdoor court ( Archdaily )

1.5.3.

Kimball Art Center

Location: Utah Concept : The design concept is the aspen tree, “one of the oldest (80,000 years) and largest (6,600) living organism on our planet”. Just as this tree nourishes the creatures of the Wasatch mountain range The proposed project aims To provide enrichment, support and growth for the “artists, arts educators, local residents and visitors within this transformed art center” of Park City. The transformation serves also to teach the community about sustainable practices, materials and the salvaging and recycling of our natural and unnatural habitat.

Figure 8 general view (archdaily)

Figure 9 mashrabyah 3d model night shot (archdaily)

Figure 10 model photo (E-architect)

1.6.

The Project Definition

In the light of the recent technological developments that have affected the world around us, the Arabic language was affected in both negative and positive ways; Positive as it was able to spread worldwide, negative as Arabic has become more of a symbols language. Children of the Arabic world abandoned it and replaced it with other international languages and also replaced its calligraphy and letters with numbers in English to present it. For example the '‫ 'ع‬is 3- '‫ 'ط‬is 6- '‫ 'ح‬is 7- '‫ 'ق‬is 8- '‫ 'ص‬is 9 and more. Which will affect the language through time, with this center aims to bring light to Arabic language and culture as life that it is a language that worths to be valued basically in the Arabic world and also world wild. Users of this center will go through an exploratory journey to view and learn the Arabic language as a base that is considered weak to all generations and then to explore that Arabic is not only a language that is taught in school it is a lifestyle that imposes and involve every aspect the aim of my project of my project is the revival of such knowledge and the importance of Arabic language and the culture within it as well

1.7.

References of chapter 1

1. Ghazalh (2013). [online] Available at: http://www.antiessays.com/freeessays/The-Importance-Of-Arabic-404921.html [Accessed 14 Oct. 2017].

2. http://muslim-academy.com/importance-of-the-arabic-language/ 3. (2009,

11). History of Communication. EssaysForStudent.com, https://www.essaysforstudent.com/essays/History-ofCommunication/17216.html [Accessed 20 Oct. 2017].

from

4. ArchDaily. (2017). Sheikh Nahyan Centre for Arabic Studies & Intercultural

Dialogue / Fouad Samara Architects. [online] Available at: https://www.archdaily.com/878278/sheikh-nahyan-centre-for-arabic-studiesand-intercultural-dialogue-fouad-samara-architects [Accessed 24 oct. 2017].

5. Tim Winstanley. (2011). AD Classics: Institut du Monde Arabe / Enrique Jan +

Jean Nouvel + Architecture-Studio. [online] Available at: https://www.archdaily.com/162101/ad-classics-institut-du-monde-arabe-jeannouvel/ [Accessed 24 Oct. 2017].

6. Vinnitskaya, I. (2012). Kimball Art Center / Sparano + Mooney Architecture.

[online] ArchDaily. Available at: https://www.archdaily.com/199996/kimball-artcenter-sparano-mooney-architecture [Accessed 24 Oct. 2017].

2. Chapter 2: Arabic language

•

Introduction.

•

Arabic language as a history

•

Learning language changes the way we think.

•

Threats faced by Arabic culture and language.

•

Arabic language as an art

•

Conclusion.

2.1.

Introduction

This chapter discusses what is Arabic language and its history, importance, and how language could affect the way we think and we see things and what is the situation of Arabic language and the threats it faces. In addition of discussing the situation of Arabic language and the threats it faces and a final conclusion of how the purposed project could help improving the current situation and the problems that includes.

Figure 11 Arabic language aspects (Researcher)

2.2.

Arabic language as a history

Civilizations throughout history had multi ways of expressing themselves, some ways like drawing, dancing, singing and sculpturing. They needed a permanent way to express their selves and to communicate with each other’s so Languages were created. Languages are people's way of communication; languages contains speaking and writing within them.

Figure 12 communications (Google images)

Arabic language is one of the oldest languages in the world but it still exists till now. It belongs to Semitic languages which most of them have been extinct due to some reasons such as no people speak them any longer. “It is specifically a northern Semitic language. Other past Semitic languages included Akkadian also in the north, Hebrew, Aramaic and Syriac to the east and west and Abyssinia to the south. Today, Arabic is the widely spoken Semitic language. Some other native Semitic languages spoken today include: Hebrew, Aramaic, Kurdish, Amharic (spoken in Ethiopia), Tigre (spoken in Eritrea) and Berber (spoken in Morocco and Algeria). Some Semitic languages have either gone extinct or have become greatly limited because of the spread of the Arabic language”1.

Figure 13 Relationships between Semitic languages. (Encyclopedia Britannica)

Modern Arabic is really almost two languages: Modern Standard Arabic and colloquial Arabic. Modern Standard Arabic is used in reading, writing, and high register speech. It is descended from the Classical language of the Quran and in the view of almost all Arabs, is the "correct" Arabic. However, Modern Standard Arabic is a learned language. It is no ones mother tongue. In fact, all Arabs grow up learning the second or colloquial language In recent years, the term “Modern Standard Arabic” (MSA) has come about. MSA is almost identical to the classical, formal Arabic of the Qur’an, with the exception of the addition of modern words and some differences in grammar constructions. MSA is the most common form of Arabic and is the variety taught in schools and colleges and is most commonly used in the workplace, in government and in the media.

Figure 14 distribution of the Arabic language map on left and sematic language map on right (Google images) (Britannica)

According to UNESCO, there are currently 22 countries in the Middle East and North Africa where Arabic is an official language, and it is these countries that are considered part of the Arab world. The Arab world shares many things in common, it is extremely diverse in terms of culture, religion, and even accents and languages. Even though Arabic is the official language of each country in the Arab world, other languages are spoken too and the Arabic language itself can sound very different depending where you are, and by that we can realize that Arabic culture is extremely diverse and can’t be restricted in one box. 14

2.3.

Language changes the way we think.

Figure 15 different languages (Google images)

According to a study by Lera Boroditsky who is an assistant professor at Stanford University about whether the languages we speak shape the way we see the world “Learning language changes the way we think” , the way we think, and the way we live our lives and also if learning new languages change the way you think. By collecting data from around the world: China, Greece, Chile, Indonesia, Russia, and Aboriginal Australia. They came up with a result that that people who speak different languages do indeed think differently and that even flukes of grammar can profoundly affect how we see the world. “How language shapes us” was a result from a simple observation that languages differ from one another, Some languages tend to alter the verb to indicate tense and gender also to include in the verb information about completion if it’s a part or a whole. People might think it would be easy to learn to speak other languages. Unfortunately, learning a new language is never easy; it seems to require paying attention to a new set of distinctions. Also there is a phenomenon called frame-shifting it explains why your views change with the language you use to voice them and they explain it by saying that actually if you speak more than one language fluently, the language you happen to be using at the time may directly affect the 15

outcome of the conversation and it basically gives you the ability to put yourself in someone else's cultural shoes just by speaking in their language. For an example, they applied a test to an Arab (Palestinian with Israeli nationality) who spoke both Arabic and Hebrew fluently, they asked participants to record whether words had negative or positive connotations. When the test was given in Arabic, the participants picked Jewish names as being intrinsically negative, but this effect disappeared when the test was given in Hebrew, their bias against Jewish names arose from the fact that they were thinking in Arabic at the time, and not because they necessarily had any deep-seated bias against Jews

We end up with a result, that languages shape the way we think about space, time, colors, and objects. many other studies also have found the effect of language on how people languages in which we speak deeply changes the way we think, the way we see the world, and the way we live our lives. Also how we construe events, reason about causality, keep track of number, understand material substance, perceive and experience emotion, reason about other people's minds, choose to take risks, and even in the way they choose professions and spouses. Unconsciously shaping us from the nuts and bolts of perception and cognition to our abstract abstractions and supreme life decisions.

2.4.

Threats faced by Arabic culture and language

It is Ironic really that those who have Arabic as a first language are losing it, for many reasons Arabic language has become less desirable from people in some parts of the Middle East, whereas it is becoming more desirable from foreigners where they need Arabic speakers to fill Foreign Service positions. Abandoning of Arabic language comes as a result of different causes the main one is as a result of the recent technological developments the new generation reached an idea about Arabic language is old fashioned and also it is not an international language and why to blame them when you take a look around you realize that Arabic people tend to communicate by colloquial Arabic as people seem to find 'prestige' in avoiding standard and feel proud of using the local variety( colloquial Arabic), which really differ than the modern standard Arabic and also text communicating with others in Arabize; “Where it is Arabic words written in English alphabets with an addition of numbers to represent some letters in Arabic, such as 2, 5, 6, 7 and 9”. Most Arab Internet users find this way easier than typing in Arabic. Teachers fear that this will weaken their Arabic language ability or even replace the language in the future According to the UNESCO Atlas of the World’s Languages in Danger showed more than 200 languages had become extinct. And we should hope that modern standard Arabic doesn’t join them, in fact there is some countries like Algeria who applied for colloquial language to be taught for students at early ages to do not create a gap about the Arabic spoken at home and the ones taught at school, Algeria’s case is however not the first time that attempts to institutionalize colloquial Arabic has been made. A wave of novelists and writers are increasingly using colloquial or ‘aammiyya’ (slang) in their writings. Also, song writers tend to use shallow colloquial words, as more writers from the Arab world have been using colloquial Arabic in literary works, the fate of Standard Arabic is being questioned. So, we should work to preserve the language. Not using formal Arabic does not justify abusing it. When all that is happening the value of proper Arabic language knowledge is increasing and the work that is written with modern standard Arabic is valued and respected because of the richness its words beholds and the difficulty to accurately capture the true essence of the Arabic text in any language. 17

So that makes us wonder if Standard Arabic is literally dying. According to Richards and Schmidt, language death is "the disappearance of a 'living" language as its speakers switch to using other languages and children cease to learn it." There is three experiences associated with reviving the language with reviving an identity with power: the Hebrew experience and the Francophone experience, also European day of language “ a day launched by The European Commission in the "26 th of September" every year; a national European day for the protection of European languages, immigrants from third world countries. “

According to the United Nations “that it is the right of any people to preserve their language without prejudice to others, and that the Europeans had the right to search for ways to protect their languages from their country of origin and that this was not a racist view but a legitimate right of any State”

2.5.

Arabic language as an art

Arabic language can be noticed in many types of art such as poetry and literature, calligraphy and Inscriptions. Taking poetry for an example it takes the language and uses the beauty of the meanings that language includes and combing them to a well phrased texts to express certain meanings and feelings of the writer and after that these writing may be converted to songs after adding the appropriate music to it.

Figure 16 Arabic poetry (Google images)

Figure 17 Arabic poetry (Google images)

On the other hand calligraphy and inscriptions takes the writing of Arabic language styles Kufic, Naskh , Regional , Modern and relating it to all kind of art and they depend on each other as the inscription basically depends on the methods of calligraphy and they inscript them on the appropriate material to be used as exterior and interior decoration and architecture. Also, calligraphy is being used in interior furniture, graphic design, fashion and other types of art.

Figure 20 types of calligraphy (Google images )

Figure 19 Geometric style calligraphic inscription at Shah Mosque in Esfahan, Iran. (commons. Wikimedia)

Figure 22 Qubbat al-Sakhra inscription (Google images)

Figure 18 types of calligraphy (Google images)

Figure 21 Qubbat al-Sakhra inscriptionv (Google images)

2.6.

Conclusion

On one hand we have those who will lose the language and the culture and all that relates to Arabic, and we will have those who selectively learn the language (without the cultural implications of course) for their own purposes. So, learning Arabic doesnâ&#x20AC;&#x2122;t always include culture . according to the theory of how language effect the way we think learning a new language, you're not simply learning a new way of talking, you are also inadvertently learning a new way of thinking. Any language on earth is not only a language it is a culture, way of thinking and also a feeling because learning Arabic language gives you power of expressing and a power of being a part of such a great Arab nation with its diverse culture and traditions Preserving Arabic language and reviving it is a Nobel goal that comes against all the threats faced by it and only can be revived by realizing the importance of our legacy and to find different ways to make it attractive in the eyes of the new generations, and that is the main goal.

2.7.

References of chapter 2

1. Testen, D. (2015). Semitic languages. [online] Encyclopedia Britannica. Available at: https://www.britannica.com/topic/Semitic-languages [Accessed 3 Nov. 2017].

2. Boroditsky, L. (2009). HOW DOES OUR LANGUAGE SHAPE THE WAY WE THINK? |

Edge.org. [online] Edge.org. Available at: https://www.edge.org/conversation/how-does-our-language-shape-the-waywe-think [Accessed 6 Nov. 2017].

3. Floorwalker, M. (2014). 5 Surprising Ways Your Language Affects How You Think. [online] Cracked.com. Available at: http://www.cracked.com/article_20744_5surprising-ways-your-language-affects-how-you-think.html [Accessed 20 Dec. 2017].

4. Maher, N. (2015). Colloquial Arabic - a theat to the language?. [online]

GulfNews. Available at: http://gulfnews.com/culture/heritage/colloquialarabic-a-theat-to-the-language-1.1566650 [Accessed 13 Nov. 2017].

5. Richards, J. and Schmidt, R. (2002). Longman Dictionary of Language Teaching and Applied Linguistics, (3rd Edn.), Pearson: London 6. Amandolare, S. (2010). Arab culture and language in danger: Qatar and the UAE. [online] Arabizi‫العربية‬ ‫اللغة‬. Available https://arabizi.wordpress.com/2010/06/23/arab-culture-and-language-indanger-qatar-and-the-uae/ [Accessed 12 Oct. 2017].

at:

7. Elkoussy, M. (2016). ‫ عبقرية اللغة العربية‬The geniusity of the Arabic language. Publications of the Islamic Educational, Scientific and Cultural Organization (ISESCO) p. 17-22 8. Commons.wikimedia.org. (2007). File:Inscription-Esfahan.JPG - Wikimedia Commons. [online] Available at: https://commons.wikimedia.org/wiki/File:Inscription-Esfahan.JPG [Accessed 12 Nov. 2017].

3.Chapter 3: Arabic language as a lifestyle •

Introduction.

•

Arabic language in art

•

Art in life

•

Conclusion. (Arabic language as a lifestyle)

3.1.

Introduction

In this chapter, we will discuss the relationship between life and art and the role of Arabic language in art to come up with a conclusion that Arabic language is in fact nothing but a life style we live and see in every part of our life.

3.2.

Arabic language in art

Clarifying what is art and what do we mean by Arabic language in art we have to divide its role into two, the first one is the role of Arabic as a language by it meaning in art and the second is the use of Arabic script in art, and both will be discussed Firstly, Arabic language by it meaning is used in different types of art such as novels, poetry, short stories and songs, â&#x20AC;Ś, these actually use the richness in the language to come up with a combination of word to describe a certain feeling or certain situations. We notice as a result of the technological developments and abounding our language the output that we come up with using Arabic language becomes weaker and weaker and we can notice the gap between our literature outputs before decades and now, the richness that it contains is what we now we thirst for. According to the American writer, novelist and painter Henry Valentine Miller

and from that we realize that language is the essence of any writing which is an essence of the first type of art and he also mentions that the writers mission is to deliver this secret as he stands in the middle between the secrets and the reader and eventually he will become the path himself. 1

On the other hand we have second type, the art using the Arabic script which is widely used by artists and designers in their art pieces not only in Arabic countries but also internationally. According to the Iraqi artist Abdulghani Alaani who won a UNESCO prize for being the first artist who introduced the Arabic calligraphy the western world

This kind of art is common in different categories of art such as interior design, graphic design, fashion and painting and they all follow the same methods which is using the styles of Arabic script ( Mashq, Kufic, Eastren Kufic) and the six styles of cursive writing ( Thuluth, Naskhi, Muhaqqaq, Rayhani, Tawqi and Riqa, Maghribi, Taâ&#x20AC;&#x2122;liq Nastaâ&#x20AC;&#x2122;liq and Shikasteh ) 3 , Modern ( which is influenced by western design )

â&#x20AC;˘

styles of Arabic script

Figure 23 Kufic style (Pinterest)

â&#x20AC;˘

Figure 24 Mashq style (Pinterest)

Styles of cursive

Figure 25 Eastern Kufic style (Pinterest)

Figure 26 Styles of cursive script (Pinterest)

By defining a certain word or text and form them according to basic design methods and the measurements of letters in points

because Arabic script is always cursive, or joined-up, and never has separate letters it is an ore material to come up with a designed combination of calligraphy and then apply it on the desired art work in any field of designing such as:

Figure 27 measurements of letters in points (Pinterest)

1. Interior design: In interior design, the use of calligraphy is widely used in different sections such as furniture, accessories and each time it is used differently it gives the pieces a unique identity, richness and more value.

Figure 28 Table lamp (iyadnaja)5

Figure 29 decoration vase (iyadnaja)5

Figure 30 Square Kufic Calligraphchair (Pinterest)

Figure 32 inscripted calligraphy on elevator door (iyadnaja)5

Figure 31 calligraphy on dining table by Mishari & Emad ( Pinterest)

Figure 35 tea set designed with arabic text (Pinterest)

Figure 33 coffee set designed with arabic text (Pinterest)

Figure 36 tea table intersects with Arabic letter as a base by Mishari & Emad (Pinterest)

Figure 34 coffee tables (Pinterest)

2. Graphic design: Graphic design use Arabic language scripts mainly to add an identity to the work because of what it contains of richness in meanings also whereas Arabic letters were created and designed in order of beauty rules, like the Golden Ratio, environment ... which correspond with the basic design principles.

Figure 38 al basmalah calligraphy (Google images)

Figure 37 asakum mn alayyeden calligraphy (Google images )

Figure 41 calligraphy art ( Google images)

Figure 40 calligraphic title for the Khan Murjan Souk in Wafi Mall in Dubai (atrissi) 6

Figure 39 calligraphy art (Google images)

Fashion design: Clothes designers across the Middle East are increasingly using Arabic calligraphy in their designs â&#x20AC;&#x201C; which some see as a way to keep their language and culture in fashion. Arabic letters inscribed on shirts, scarves, handbags, necklaces and bracelets are worn today by many, in a practice linked with preserving local culture and reinforcing our identities in the things we wear.

Figure 43 designed dress with Arabic letters (Google images )

Figure 42 Beirut inscripted of a golden bag (Google images)

Figure 48 poem calligraphy on ring (google images)

Figure 46 A bag with Arabic letters (Google images)

Figure 44 scarf with Arabic letters (Google images)

Figure 47 dress with Arabic letters ( Google images)

Figure 45 Egyptian artist Habiba designs â&#x20AC;&#x153; hisham a jakh poetry â&#x20AC;&#x153; calligraphy ( Masralarabia ) 7

3. Fine art: Fine art is integrating with the Arabic calligraphy to produce artistic compositions using Arabic script. The artist takes the Arabic script in his works and artistic formations as a symbol of his civilization and his environment to travel internationally, carrying between them a whiff of the eastern fragrance of the Arabic letter, which has always been and always the most important ambassador of Arab culture in the world.

Figure 50 Yelimane Fall, Seven Lines from Jawartu, Krannert Art Museum and Kinkead Pavilion, University of Illinois (starr-review)8

Figure 49 painting with Arabic calligraphy (Google images)

Figure 52 painting with a use of Arabic script by Dr Laila Albustami (the artist )10

Figure 51 Taj al-Sir Hasan painting (alArabiya)9

Figure 53 Illuminated Arabic Calligraphy by Artist Julien Breton (Pinterest)

Figure 54 Arabic calligraphy in tunisian music instruments By Sami Gharbi, Tunisia (Pinterest)

3.3.

Art in life

Art is an expression of our thoughts, emotions, intuitions, and desires, but it is even more personal than that: it’s about sharing the way we experience the world, which for many is an extension of personality. It is the communication of intimate concepts that cannot be faithfully portrayed by words alone. Art is to be found in how the media is used, the way in which the content is expressed11 . Every creativity created by the human hand is called an art as long as it achieves aesthetic value and the essence of which serves the artists will. It’s a means of communication where language is not sufficient to explain or describe its content. In fact Art gives you the ability to discuss different aspects of life without saying words, you can discuss love, death, diseases, politics, pain, hunger, through art you can reach people and reach their feelings to make a difference, whereas art represents life on canvas and life inspires us to creates art on canvas we can phrase it by “ Art is Life and Life is Art “, And we can’t forget that everything around us is actually an act of art done our God, life is an artistic masterpiece done by our creator and it is the thing that was only gifted to human kind, fine arts always play an important role in the human society, and make man more sophisticated, it is a case of human advancement. So we come to a result that Art is actually life, not life itself, but its full luxury. It is what gives you the way to enjoy life Ultimately, art surpasses itself. Most artists defeat life through their struggle with it, henry miller says”

”1.

3.4.

Conclusion. (Arabic language as lifestyle)

Arabic language appears in many aspects of our life, everything we use or produce has a connection to language, it is the way we connect with each other the way we express ourselves and it is the base that we lean on, Any kind of formation if the base is weak then the things based on are also weak and unstable and so on with language, Arabic language is our source of power because of what it contains of secrets and treasures. In fact Arabic language is a lifestyle and that is a result of its deep connection with art which is strongly connected with life and sometimes it represents life itself, so life is represented with art (art = life) , and if we take Arabic language it is not just words that are spoken in fact it is an art to come up with a meaningful combination of word that expresses certain feelings and it is the only language that can speak a full sentence in one word and actually the ability of such output is art, also the use of Arabic script in art with a strong knowledge of the language, so the result is (Arabic language = art ) and according to mathematics if (X=Y) and (Y=Z) then (X=Z) then ( Arabic language = art = life ) so clearly Arabic language is life and speaking and using it fluently is actually not just using language but also living it as a life style

3.5.

References of chapter 3

1. Greatthoughtstreasury.com. (2018). Henry Miller, aka Henry Valentine Miller | Great

Thoughts Treasury. [online] Available at: http://www.greatthoughtstreasury.com/author/henry-miller-aka-henry-valentinemiller [Accessed 27 Jan. 2018]. 2. Bakali, M. (2017). ‫ الرسم بالحروف‬..‫الخط العربي‬. [online] Aljazeera.net. Available at: http://www.aljazeera.net/knowledgegate/magazine/2016/11/3/%D8%A7%D9%84% D8%AE%D8%B7-%D8%A7%D9%84%D8%B9%D8%B1%D8%A8%D9%8A%D8%A7%D9%84%D8%B1%D8%B3%D9%85%D8%A8%D8%A7%D9%84%D8%AD%D8%B1%D9%88%D9%81#slide2#5 [Accessed 18 Nov. 2017].

3. Yasin Hamid Safadi,(1978) Islamic calligraphy, Great Britain-London, Thames and Hudson, page 40 -87 4. Vam.ac.uk. (2018). Calligraphy in Islamic art - Victoria and Albert Museum. [online] Available at: http://www.vam.ac.uk/content/articles/c/calligraphy-in-islamic-art/ [Accessed 27 Nov. 2017].

5. http://www.iyadnaja.com/ 6. Tarek Atrissi Design. (2007). Khan Murjan Calligraphy Experiments | Tarek Atrissi

Design | The Netherlands. [online] Available at: http://www.atrissi.com/khanmurjan-calligraphy-experiments/ [Accessed 26 Nov. 2017]. 7. Helmy, R. (2016). ‫ سكندرية تنحت أشعار "هشام الجخ" على النحاس‬..‫بالفيديو| حبيبة‬. [online] ‫مصر العربية‬. Available at: http://www.masralarabia.com/%D8%AA%D9%82%D8%A7%D8%B1%D9%8A%D8%B1%D9%88%D8%AA%D8%AD%D9%82%D9%8A%D9%82%D8%A7%D8%AA/1232222%D8%A8%D8%A7%D9%84%D9%81%D9%8A%D8%AF%D9%8A%D9%88%D8%AD%D8%A8%D9%8A%D8%A8%D8%A9%D8%B3%D9%83%D9%86%D8%AF%D8%B1%D9%8A%D8%A9%D8%AA%D9%86%D8%AD%D8%AA-%D8%A3%D8%B4%D8%B9%D8%A7%D8%B1%D9%87%D8%B4%D8%A7%D9%85-%D8%A7%D9%84%D8%AC%D8%AE%D8%B9%D9%84%D9%89-%D8%A7%D9%84%D9%86%D8%AD%D8%A7%D8%B3 [Accessed 26 Nov. 2017]. 8. STARR REVIEW (2013). Arabic Calligraphy in West Africa: Yelimane Fall at the Krannert Art Museum. [online] Starr-review.blogspot.com. Available at: http://starrreview.blogspot.com/2013/08/arabic-calligraphy-in-west-africa.html [Accessed 26 Nov. 2017]. 9. alarabiya (n.d.). A trailblazer in Arabic letters technique. [online] Enawafeth.alarabiya.net. Available at: http://enawafeth.alarabiya.net/content/trailblazer-arabic-letters-technique [Accessed 24 Nov. 2017]. 10. Bustami L. (2017) avalible at: https://web.facebook.com/profile.php?id=100018465574589 11. Philosophynow.org. (n.d.). What is Art? and/or What is Beauty? | Issue 108 | Philosophy Now. [online] Available at: https://philosophynow.org/issues/108/What_is_Art_and_or_What_is_Beauty [Accessed 28 Nov. 2017].

4.Chapter 4: Case studies • Institut du Monde Arabe • Sheikh Nahyan Centre for Arabic Studies & Intercultural Dialogue

• The Kimball Art Center

4.1.

Case study 1

Institut du Monde Arabe PROJECT: Arab World Institute, Paris (Institut du Monde Arabe) ARCHITECTS: Jean Nouvel CLIENT: Institut du Monde Arabe STURCTURAL SYSTEM: curtain walls.

metal

structure;

MAJOR MATERIALS: aluminum, glass. PROGRAM: 25,000 square meters of museum, library, auditorium, conference and meeting rooms, cafeteria, and offices.

Figure 55 Exterior photo ( archdaily )

Figure 56 interior light shot ( archdaily)

The Arab world Institute: The use of technology, light, and material to create a place which Is one of the large-scale projects situated in the center of the capital Paris, the building provides a meeting place for the two cultures which have produced it: France and twenty Arab countries.

LOCATION: Arab World Institute, 1 Rue des Fossés Saint-Bernard, 75005 Paris, France

Figure 57 location (google earth)

Concept: providing a place for continuing artistic technical and scientific exchange between two old civilizations which have continuously enriched each other. Its main objective is to reinforce the French understanding of Arab culture and civilization, and "to change the Arab world's image in France”

Design: The building acts as a buffer zone between the Jussieu Campus of Paris VI University and the Seine. thus, creating an axis between the two. follows the curve of the waterway and helps reduce the hardness of a rectangular block, adapting itself to the view from the Sully Bridge. At the same time the building also appears to fold itself back in the direction of the Saint Germain des Prés district.

Figure 58 3 dimensional (Agha khan)

thus, creating an axis between the two. A cul-de-sac type driveway separates the two parts, and an inner courtyard located at the end of this passage which rise the building's seven storyâ&#x20AC;&#x2122;s. This passage provides a direct entrance for official guests, while the public are required to use the main entrance on the plaza. The far western end of the building is occupied by the library drum - a white concrete cylinder - spiraling upwards behind a transparent facade.

Figure 59 Location on Site (Agha Khan)

The building itself is split in two and the driveway between, in line exactly with the towers of Notre Dame, terminates in an internal court, with a fountain at its base echoing the fountains of Arabian palaces of 1,000 years ago.

Figure 60 3d shot ( Youtube)

Figure 61 ground floor and forecourt (Agha Khan )

The spiraling ramp and wall have been carefully calibrated to allow views of the Seine from the lower levels and a panoramic view from the upper levels.

Figure 63 ramp on plan (Agha Khan )

Figure 62 view from building (youtube)

The southern facade is cladded with 113 photosensitive panels with 16000 moving parts that operate like a camera's diaphragm as they open and close to control the flow of sunlight into the interior.

Figure 64 south elevation ( archdaily )

A photo-voltaic sensor electronically controls the lenses' moving parts, which in turn allow a variation between 10 and 30% of daylight to seep into the interior. The polygonal openings echo Islamic geometric forms, giving the 30x80m facade the air of a gigantic mashrabiyya, from which the visual allusion to traditional Arab culture is easily captured.

Why this project? • • •

The spatial experience at location Creative passive treatment for lighting and ventilation. Landmark to serve the needs of the user for such experience.

•

Dealing with the context diversity on both sides and connecting it to the concept. 40

Conceptual progress of elevation pattern The southern facade is the best example of this dual loyalty, as reinterpreted a number of frequently used geometric figures in Arab culture, giving them a contemporary form of mobile diaphragms, very similar to a camera. The space game related to the expansion and contraction; the hypostyle hall that evokes the great mosques, and a deep sense of the use of reflections, refractions and effects backlight provide certain magic to this place.

Figure 65 pattern developments (Agha khan )

Figure 66 south elevation details (Archdaily )

Places

â&#x20AC;˘

Panoramic view from the rooftop and High Council Room

the rooftop terrace offers some remarkable panoramic views of the most noteworthy monuments of Paris On the same floor lie the transparent walls of the High Council Room and its smoking room, it is the only part of the building where transparency is almost Absolut Figure 67 roof terrace (archdaily )

Figure 68 smoking area ( wikiarquitectura )

Figure 69 smoking area ( wikiarquitectura )

â&#x20AC;˘

The Library and its book tower: From the first floor to the sixth, at the south-western part of the building is located the Library, with its minaret like spiral staircase at the western end, facing the boulevard St. Germain from its transparent envelope. The Library's lecture spaces use three double floors, connected by the ramp which is used as a book deposit space as well. From the first up to the seventh floor, Figure 70 library ( agha khan )

Figure 72 book tower (imarabe)

Figure 71 book tower (youtube)

The library spans across three floors connected through the book tower, which spirals up and offers beautiful views of the urban landscape, including the Seine river, Notre-Dame, and the Boulevard Saint-Germain It springs from the ground in a glass case which culminates in the most spectacular of IMA’s rooms, the High Council Room, and its panoramic views of the city.

•

Hypostyle hall:

Under the forecourt, a seemingly endless forest of columns leads to the auditorium. Its repetitive nature conveys a sense of infinity. second level of the basement a “forest of columns”, a hypostyle hall that creates the appearance of immensity, this inner immensity is the essence of the building itself, its base is discovered. The columns are not support by of any vault or ceiling, on the contrary themselves are space, hollow, the vastness sinking into the earth.

Figure 73 Hypostyle hall (imarabe)

Figure 74 section (Agha khan )

•

Inner courtyard

The building is built around a void. On the fourth floor, from which you can access to the permanent collections of the museum, and suspended in the air, an inner courtyard, that no one can access becomes the center around which are organized, rotate and internalize all spaces. A zone “outside on the inside”

Figure 75 inner courtyard material (archdaily)

Figure 76 plan (agha khan)

Structure and material The building has two faces and two bodies, on the north side, facing the river, the building is covered with glass in which clear images of the city on the other side are taxed. On the south side, the glass wall is covered by a type of metal lattice that resembles the “moucharabieh” typical lattices found in the patios and balconies of the Arab countries. The two bodies are united by an elevation bridge on the 4th floor

Figure 77 structure 3d model ( agha khan )

Circulation

Figure 82 circulation 3d model ( youtube)

Figure 81 book tower ramp ( imarabe)

Figure 78 stairs and elevators ( archdaily )

Figure 80 ramp ( youtube )

Figure 79 elevators (agha khan )

Zoning

Figure 83 zoning on plan ( researcher )

The building measures to be 77 meters long, 35 meters wide and 32 meters high. On a site of 10.000 sqm, 7250 were used in ground floor and the basement. The Institute's facilities include a library, a museum, an information center, exhibition areas a news room, an auditorium, a restaurant and a book stone.

Program Functions

Area (sqm)

Museum exhibition halls

1900 sqm

Library, Documentation Centre and 1900 sqm Actualities hall Sound and Image

160 sqm

Auditorium (364 seats) and annexes

760 sqm

High Council Hall 430 offices

2150 sqm

Restaurant and Cafeteria

600 sqm.

. Car Parking (129 places)

3350 sqm

Square, roof terrace, court and ranp

5780 sqm

Services, Technical and circulation spaces

7290 sqm.

Total area

23890 sqm

Figure 84 The details of the actual use of the floor â&#x20AC;&#x201C; program-

4.2.

Case study 2

Sheikh Nahyan Centre for Arabic Studies & Intercultural Dialogue PROJECT: Sheikh Nahyan Centre for Arabic Studies & Intercultural Dialogue Koura, Lebanon

Figure 85 exterior shot ( archdaily )

ARCHITECTS: Fouad Samara Architects CLIENT: University of Balamand Area: 2567.0 m2 Project Year: 2015 Figure 87 landscape photo ( archdaily )

Figure 86 exterior shot ( archdaily )

Sheikh Nahyan Centre for Arabic Studies & Intercultural Dialogue: Was designed as an addition to the existing and firmly rooted fabric of the University of Balamand. It creates a forum for cultural, intellectual, and religious exchange; and aims to embody the progressive ethos of the University

Location: Located on a gently sloping site with an unobstructed view of a walnut grove, the campus in the foreground, and the Mediterranean Sea beyond, the design of CASID evolved from the concept of dialogue. Dialogue with its immediate site, architectural heritage, and wider cultural context of Al Kurah and Lebanon

Figure 88 site plan (archdaily)

Figure 89 top view sketch black and white (archdaily)

Figure 90 3d view sketch colored (archdaily)

Why this project? • • •

The spatial experience at location Successful translation of concept The function of the project and the zoning

• •

Dealing with the context on both sides Treatment of elevations according to the views and the orientation of the building

Aims: The building aims to engage faculty, students and visitors alike, be a nonauthoritarian accessible platform for cultural and intellectual exchange, and offer a progressive image of Arabs to the world.

Concept: A modern interpretation of the traditional courtyard buildings of the Levant, CASID is not a fort like structure. On the contrary, it knits itself into the site, opens to all its surroundings, and engages with them. A forum for the entire campus, it opens up towards the West, symbolizing its role as a vehicle for intercultural dialogue.

Figure 91 form development sketches (archdaily)

Translation of the concept of intercultural dialogue:

â&#x20AC;˘

The open courtyard and the continuity of views from the building

Figure 93 courtyard sketch (archdaily)

Figure 92 view fro the courtyard (architizer)

Figure 94 continuity of view and movement on sections (researcher)

â&#x20AC;˘

The dialogue of different sides of building, the first follows the slope to create an auditorium whereas the second one stands on columns which enhances the concept of dialogue of culture

Figure 95 sketches that shows the dialogue of two sides (archdaily)

Figure 96 view to southern part of the building (archdaily)

Figure 97 auditorium in northern part (dezeen)

Figure 98 southern part dealing with site (dezeen)

•

The use of glass in ground floor around public areas to enhance the connection with the surroundings and create a sense of continuity between internal and external spaces.

Figure 99 use of material in elevations (architizer)

•

fifth elevation “the roof” Because of the site as it is visible from the hills around, the architect designed the building 4 elevations and also added a fifth one to appears as a continuation of the sloping landscape. This connection with the site is reinforced by the rooftop spaces covered with plants.

Figure 102 green roof photo (architizer)

Figure 100 green roof design sketches (archdaily)

Figure 101green roof photo (archdaily)

â&#x20AC;˘

Access to the building is provided from all sides and respective levels of streets and landscape around, further symbolizing its role as a nexus of exchange accessible to all.

Figure 103 entrance photo (archdaily)

â&#x20AC;˘

Figure 104 entrance photo (archdaily)

reflecting how traditional Levant architecture deals with construction on a slope. The western part hovers heroically creating the main entrance aligned to the street while embodying the aspirations Arabs must have for the future. The southern part acts as a natural extension to the landscape itself.

Figure 105 sketch shows how the design dealt with site constrains (archdaily)

•

The treatment of elevations as a direct response to site views and slope, according to the concept and sustainable design treatments of elevation whereas the couth elevations either have less void than other elevation and the other mass south elevation they used the vertical louvers in a way similar to al mashrabyiah which supports the concept and function of the project.

Figure 106 elevation design (archdaily)

Material: Clear Glass, rough shuttered reinforced concrete - ‘Beton Brut’ for structure and envelope, Basalt for floors in and out, aluminum for sun baffles. Figure 107 use of material (dezeen)

â&#x20AC;˘ Zoning

Figure 108 zoning on plans (researcher)

4.3.

Case study 3

Kimball Art Center

PROJECT: The Kimball Art Center, Utah CLIENT: Competition Material: Glass, Timber(wood) PROGRAM: studios, workshops, Galleries, café, offices, meeting room,…

 The Kimball Art Center

The Kimball Art Center in Park City, Utah non-profit center for the arts in the heart of Park City’s historic and vibrant art community”

Location:

Figure 110 location map to the city (googlemaps)

Figure 109 site plan (archdaily)

why this project? • • • • • •

The functions, their relationships, and adjacency. The inviting environment of the building Socially bending with the community by public spaces and social events. Focusing on the education and productivity. Layering in functions and materials. The importance of common open spaces such as outdoor terraces and theaters

Aims: the Kimball Arts Center provide enrichment, support and growth for the “artists, arts educators, local residents and visitors within this transformed art center” of Park City. The transformation serves also to teach the community about sustainable practices, materials and the salvaging and recycling of our natural and unnatural habitat.

The project serves as: • • • • • • • •

Cultural center. Community center. An educational facility. An exhibition space. An event space. A world’s theater. And a workplace. and a memorable place to visit either daily, during festival season, or just once in a lifetime.

the Kimball Art Center will be a flexible and constantly transforming space, directed by the active use of its spaces. Concept: The design concept is the aspen tree, “one of the oldest (80,000 years) and largest (6,600) living organism on our planet”. Just as this tree nourishes the creatures of the Wasatch mountain range

Places:

•

The program spaces grow out of the center’s foundation and are enveloped by a canopy of an etched high-performance glass photovoltaic screen that produces energy and gives the interior spaces a substantial amount of sunlight during the day.

Figure 111 exploded axonometric (designboom)

•

The screen is also a dynamic register that provides users with information, such as visualizations of the changing seasons or activity on the street.

Figure 112 digital screen (sparanomooney)

•

The interior surfaces of the programs are built out of aspen logs that have been killed by the bark beetles of Utah. The salvaging of these materials gives them a new use while serving as a memory of the log cabin and the connection to the Wasatch mountain range.

•

The design also challenges public and private spaces. Passersby can walk through outdoor studio spaces to watch artists at work or see their completed projects.

Figure 113 aspen material In interior design (archdaily)

Figure 114 view inside to workshops (designboom)

•

Cafe and lobby serve as a welcome to the community (an urban living room that flows directly from the street),

Figure 115 volumetric diagram shows the flow on the building (designboom)

â&#x20AC;˘

Hierarchy of public spaces and their events

â&#x20AC;˘

Section:

Figure 116 hierarchy of events diagram (designboom)

Figure 117 zoning on section (researcher)

Zoning: •

The zoning of the plans shows the linkage and relationships between an “art center” various functions, the way finding, and circulation paths.

Figure 119 Basement floor zoning (researcher)

Figure 118 Ground floor zoning (researcher)

Functional analysis:

Figure 121 Basement floor functional analysis (researcher)

Figure 120 Ground floor functional analysis (researcher)

4.4.

References of chapter 4 1. Agha khan (2013) Institut du Monde Arabe Project Brief. Compiled by the Aga Khan Award for Architecture. Geneva: Aga Khan Award for Architecture, 2013. Available at: https://archnet.org/authorities/371/publications/8597 2. Institut du monde arabe. (n.d.). Architecture. [online] Available at: https://www.imarabe.org/en/architecture [Accessed 8 Dec. 2017].

3. WikiArquitectura. (n.d.). Arab World Institute - Data, Photos & Plans WikiArquitectura. [online] Available at: https://en.wikiarquitectura.com/building/arab-world-institute/ [Accessed 8 Dec. 2017]. 4. Atelieritalia (2008) available at: https://www.youtube.com/watch?v=5DEEjTlJl8E 5. ‫ العمارة والبناء‬- ‫( بـــنــاة‬2011) available at: https://www.youtube.com/watch?v=QM5H2ytT7Jk

6. Architizer. (n.d.). THE SHEIKH NAHYAN CENTER OF ARABIC STUDIES & INTERCULTURAL DIALOGUE (CASID). [online] Available at: https://architizer.com/projects/the-sheikh-nahyan-center-of-arabicstudies-intercultural-dialogue-casid/ [Accessed 14 Dec. 2017]. 7. ArchDaily. (2017). Sheikh Nahyan Centre for Arabic Studies & Intercultural Dialogue / Fouad Samara Architects. [online] Available at: https://www.archdaily.com/878278/sheikh-nahyan-centre-for-arabicstudies-and-intercultural-dialogue-fouad-samara-architects [Accessed 14 Dec. 2017]. 8. Griffiths, A. (2017). Cantilevered concrete volume shelters entrance to Lebanese university. [online] Dezeen. Available at: https://www.dezeen.com/2017/08/25/cantilevered-concrete-arabic-studiesbuilding-lebanese-university-architecture/ [Accessed 14 Dec. 2017]

9. Vinnitskaya, I. (2012). Kimball Art Center / Sparano + Mooney Architecture. [online] ArchDaily. Available at: https://www.archdaily.com/199996/kimball-art-centersparano-mooney-architecture [Accessed 20 Dec. 2017]

10. Sparano + Mooney Architecture. (n.d.). Kimball Art Center. [online] Available at: http://www.sparanomooney.com/kimball-art-center [Accessed 20 Dec. 2017] 11. Grieco, L. (2012). sparano + mooney architecture: kimball art center. [online] designboom | architecture & design magazine. Available at: https://www.designboom.com/architecture/sparano-mooneyarchitecture-kimball-art-center/ [Accessed 21 Dec. 2017].

5.Chapter 6: Site Analysis • First site proposal • Second site proposal • Third site proposal

5.1.

Introduction

This chapter is going to discuss a S.W.O.T analysis for three different proposed sites and conclude to select the most legible one for the project, and then going to analyze the site according to its conditions and needs, and will propose a design response in order to solve the problems in the site initially according to Edward White book: Site Analysis and Kevin Lynch analyzing Method.

Figure 122 working methodology diagram (researcher)

5.2.

Proposing Sites

Proposing sites is a phase that studies different sites in order to select one of them that achieves most of the project conditions, according to the selected general site requirements in the following table

Requirements

Description

Should be a destination to people

The site must be a place where people visit it frequently.

Diversity of visitors

The visitors must be from different regions and different ages

High accessibility for visitors

The site must be located at one of the city's main spines in an area that is easy to access

Visible from multiple viewpoints.

Should be visible from different points and easy to see

Visible through a defined visual axis Should be located in between residential and visitors attraction points.

People must recognize the project by seeing it through a clear visual axis. Easy to reach by all targeted groups.

Safe and secured

Because of the different types of users age, behavior and activities.

Rich cultural context

The site should be in a context full of educational institutions and museums

Figure 123 site selection requirements (researcher)

These requirements are basic conditions of choosing and proposing sites, and to help understanding the positive points behind choosing any site.

5.3.

Proposed site number one:

Why this site? 1. Located in an area which is an attraction for people because of the diversity of service such as malls, museums, parks, and royal medical city 2. Easy to reach 3. Diversity of visitors 4. High accessibility Location: Jordan â&#x20AC;&#x201C; Amman- intersection of King Abdallah Bin Al Hussein Ath Thani st. and Mohammad Ad Dahla st. Area 1000 m2

Accessibility ( Distance and travel distance between site and related locations): From Khalda circle ( 2 mins )

From 8th circle ( 6 mins )

Figure 124 accessibility to site (Google maps)

Historical development of area:

Only one main street which is of King Abdallah Bin Al Hussein Ath Thani street with no collecting streets around the land.

Addition of the medical city circle.

Addition of der al Burak street.

Addition of Mohammad Ad Dahla and connecting it to Der Al Burak street instead of connecting it to King Abdallah Bin Al Hussein Ath Thani street.

Site now

Figure 125 site development timeline (researcher)

Figure 127 landmarks around site (researcher )

Figure 126 street traffic analysis around site (researcher)

Dimensions and boundaries :

Figure 130 site boundaries now (Google earth)

Figure 129 site segmentation (Amman explorer )

Figure 132 climate analysis (Researcher)

Figure 134 Good\Bad view from site (Researcher)

Figure 128 site dimensions (Researcher )

Figure 131 neighborhood to site (Researcher)

Figure 133 noise to the site (Researcher)

Contour:

Figure 135 Site contour (Amman explorer)

Sections

Figure 137 site section A-A (Researcher)

Figure 136 site section B-B (Researcher)

Views from the site

Figure 138 views from site (Researcher)

Existing on site

Figure 139 Existings on site (researcher)

Kevin lench method

Figure 140 Kevin lench analysis method (Researcher)

Site recommendations

take advantage from the rich context that surrounds the site

to create a buffer zone between the site and the main street to reduce noise, pollution and also to increase safety

to deal with site levels through using ramps and stairs in lanscape and also to use split levels

to take advantage from the old water torrent in site

to make maximum use of the different good views existing from site

Figure 141 Site recommendations (Researcher)

SWOT analysis Listing the strengths, weaknesses, opportunities, and threats of the site, will be taken in consideration when designing and planning the project

Strengths 1. Attraction of students , workers and residents 2. Many recreational facilities (Cafes,Parks, Shopping malls, Hospitals )

Weaknesses 1.No street activities 2. surrounded by an edge 3.noise from streets

3. Easy accessability

Opportunities 1.Could be a place for people recreation, entertainment and cultural education. 2.Increasing the high level of integration

Threats 1. The old water torrent might affect the structure of the project

4. Diversity of cotexts function 5. Active distination for visitors from different places 6. located in front of two important landmarks and gathering points , medical city and al hussein park 7. high fertile soil and agriculture land

Figure 142 SWOT analysis (Researcher)

5.4.

Proposed site number two:

Why this site? 1. population growth and the expansion of Amman is heading toward the corridor 2. Easy to reach 3. Diversity of visitor as the airport road is one of the main spines in Amman 4. High accessibility Location: Jordan â&#x20AC;&#x201C; Amman- Abdounâ&#x20AC;&#x2122;s new corridor st. Area 15000 m2 Accessibility ( Distance and travel distance between site and related locations): From 4th circle ( 4 mins )

From 8th circle ( 8 mins )

Figure 143 accessibility to site (Google maps)

boundaries

Figure 144 site boundaries (Researcher)

Site views:

Figure 145 Views from site (Researcher)

SWOT analysis

Strengths 1. Attraction of students , workers and residents 2. located near the airport street

3. Easy accessibility

Weaknesses 1.No street activities 2.Noise from streets

3.No activities sites nor cultural context

Opportunities Could be a place for people cultural education.

Threats high speed of vehicles movement

4. empty area

4. new area and high fertile soil and agriculture land

Figure 146 SWOT analysis (Researcher)

5.5.

Proposed site number three:

Why this site? 1. A result of population growth and the expansion of Ammanâ&#x20AC;&#x2122;s unique urban fabric, cityscape and topography through Zahran street 2. Easy to reach 3. Diversity of visitor as the 7th circle is an important node 4. High accessibility Location: Jordan â&#x20AC;&#x201C; Amman- 7thcircle , Zahran St. Area 15000 m2 (130m*90m) Accessibility (Distance and travel distance between site and related locations): From 7th circle ( 2 mins on foot ) From 8th circle ( 4 mins )

Figure 148 Accessibility to site (Google maps)

development of Amman through a story seen in Zahran street

Figure 147 Zahran st. architectural timeline (Researcher)

Boundaries

Figure 150 site boundaries (Researcher)

Figure 149 view to site from 7th circle (Researcher)

Site views:

Figure 151 view from the site (Researcher)

SWOT analysis

Strengths 1. located in zahran street which tells the story of Amman

2. Easy accessibility 3.Attraction of students , workers and residents

Weaknesses 1.the context Predominantly cafes and restaurants

2.Noise from streets 3. A severe traffic in rush hours

Opportunities 1.Could be a place for people cultural education. 2.to reflect the history of amman with an integration with arabic language and culture

Threats 1. high speed of vehicles movement 2. vehicles traffic

Figure 152 SWOT analysis (Researcher)

6.Chapter 7: The Project • Introduction • The Aim of The Project • Targeted Groups • Identifying Functions Categories and Activities • Functions and program • Arabic architecture • Conclusions and Preset

6.1.

Introduction

This chapter will be defining the aim and targeted groups of the project also will discuss the functional part of the project, showing the methodology of proposing the functions ,to reach clear area schedule that will include all functions areas in details, and the methodology of calculating areas for each function. On its second part, it will demonstrate the relationship between all function in spite of their functional correlation, occupying users density and action level for each of them, up to a general zoning for the project on site.

6.2.

The Aim of The Project

Projects main aim is to solve and cure a substantial issue that our generation suffers from, which is the lack of knowledge and education when it comes to Arabic language and culture by using an architecture that includes them as a journey and to live the experience of using Arabic language in a certain aspects of culture in another word the aspects ’’that we live‘’ some of these aspects are: food, Literature, architecture, entertainment, clothing, Tradition, Celebrations, arts. And because of this lack, the cultural output that is rich with Arabic culture is highly valued and also it is rare to have enough knowledge to master such output. So, the main aim of my project can be phrased in to revive the knowledge of Arabic culture and to emphasis the richness it beholds. And the role that it plays in life because it reaches out to all kinds of audiences, so it can be an effective tool and useful for bringing back the value of such language and culture to all ages and levels of people, and to clarify the misconceptions about Arabs and Arabic language to foreigners as well, because these are considered ways to communicate with each other and with other cultures.

6.3.

Targeted group

The project targets both Arabs and international guests from all ages, Arabs whom have thrust and interests to learn such knowledge and also whom need and suffers from the lack of such knowledge, international guests who are interested in Arabic language, culture and art.

6.4.

Identifying Functions Categories and Activities

Users of this center will go through an exploratory journey to view and learn the Arabic language as a base that is considered weak to all generations and then to explore that Arabic is not only a language that is taught in school it is a lifestyle that imposes and involve every aspect through many activities and events in Classes\ lectures , debates , conferences, workshops, art classes, music classes, photography classes, library, discovery museums, cooking\ cafĂŠ

Figure 153 Proposed activities (Researcher)

â&#x20AC;˘

functional diagram

Figure 154 functional diagram for users (Researcher)

6.5.

Functions and program

â&#x20AC;˘ Proposed program

Functions

Area (sqm)

Reception

200 sqm

Workshops

1080 sqm

Classes

800 sqm

Discovery museums

1000 sqm

Library

900 sqm

Sound and Image

600 sqm

Community kitchen

500 sqm

Auditorium

760 sqm

Offices

300 sqm

Restaurant and Cafeteria

800 sqm.

Car Parking (50 places)

656.25 sqm

Services, Technical and circulation spaces

500 sqm.

Total area

8096.25 sqm

Figure 155 Proposed program and areas (Researcher)

6.6.

Arabic architecture

Arabic architecture is considered a sustainable architecture because actually it was an adaptation method through buildings , because of the hard environment of the middle eastâ&#x20AC;&#x2122;s climate , Arabic architects or builders designed and built the traditional Arab building to use the maximum use of lands area with a strong consideration of privacy based of the function of the building and also to protect the residents and users from the harsh environment of the Arab world and to use a fair amount of air, ventilation and sun , in another word the created a microclimate inside the house, and also the use of local materials.

Figure 156 Arabic old houses design (Researcher)

For an example the traditional Arab house has been replace by a western house design, Especially on the Arabian Peninsula, the traditional courtyard has been replaced by an unusable outdoor space that neither provides the necessary shade and air circulation, which is the primary function of the courtyard, nor ensures the privacy on which Arab everyday life in general is based.

Figure 157 Difference between old Arabic houses and modern houses design when it comes to open gardens and open courtyards in section

As a conclusion we can learn from the traditional Arabic architecture, of course with developing the materiality, insulation, the treatment of glass and privacy , because everything changed now so we need a modern Arabic house that is developed from the traditional one with its wholistic approach because it is also a life style

6.7.

Site considerations

Figure 158 site consideration sketch plan (Researcher)

Figure 160 site consideration sketch plan (Researcher)

Figure 159 site consideration sketch section (Researcher)

7. References 1. Agha khan (2013) Institut du Monde Arabe Project Brief. Compiled by the Aga Khan Award for Architecture. Geneva: Aga Khan Award for Architecture, 2013. Available at: https://archnet.org/authorities/371/publications/8597

2. alarabiya (n.d.). A trailblazer in Arabic letters technique. [online]

Enawafeth.alarabiya.net. Available at: http://enawafeth.alarabiya.net/content/trailblazer-arabic-letters-technique [Accessed 24 Nov. 2017]. Amandolare, S. (2010). Arab culture and language in danger: Qatar and the UAE. [online] Arabizi‫العربية‬ ‫اللغة‬. Available at: https://arabizi.wordpress.com/2010/06/23/arab-culture-and-language-indanger-qatar-and-the-uae/ [Accessed 12 Oct. 2017].

4. ArchDaily. (2017). Sheikh Nahyan Centre for Arabic Studies &

Intercultural Dialogue / Fouad Samara Architects. [online] Available at: https://www.archdaily.com/878278/sheikh-nahyan-centre-for-arabicstudies-and-intercultural-dialogue-fouad-samara-architects [Accessed 14 Dec. 2017].

5. ArchDaily. (2017). Sheikh Nahyan Centre for Arabic Studies & Intercultural

6. Architizer. (n.d.). THE SHEIKH NAHYAN CENTER OF ARABIC STUDIES &

INTERCULTURAL DIALOGUE (CASID). [online] Available at: https://architizer.com/projects/the-sheikh-nahyan-center-of-arabicstudies-intercultural-dialogue-casid/ [Accessed 14 Dec. 2017].

7. Atelieritalia (2008) available at:

https://www.youtube.com/watch?v=5DEEjTlJl8E

8. Bakali, M. (2017). ‫ الرسم بالحروف‬..‫الخط العربي‬. [online] Aljazeera.net. Available at:

http://www.aljazeera.net/knowledgegate/magazine/2016/11/3/%D8%A7%D9% 84%D8%AE%D8%B7-%D8%A7%D9%84%D8%B9%D8%B1%D8%A8%D9%8A%D8%A7%D9%84%D8%B1%D8%B3%D9%85%D8%A8%D8%A7%D9%84%D8%AD%D8%B1%D9%88%D9%81#slide2#5 [Accessed 18 Nov. 2017]. 9. Boroditsky, L. (2009). HOW DOES OUR LANGUAGE SHAPE THE WAY WE THINK? | Edge.org. [online] Edge.org. Available at: https://www.edge.org/conversation/how-does-our-language-shape-the-waywe-think [Accessed 6 Nov. 2017]. 10. Bustami L. (2017) avalible at: https://web.facebook.com/profile.php?id=100018465574589 11. Commons.wikimedia.org. (2007). File:Inscription-Esfahan.JPG - Wikimedia Commons. [online] Available at: https://commons.wikimedia.org/wiki/File:Inscription-Esfahan.JPG [Accessed 12 Nov. 2017].

12. Elkoussy, M. (2016). ‫ عبقرية اللغة العربية‬The geniusity of the Arabic language. Publications of the Islamic Educational, Scientific and Cultural Organization (ISESCO) p. 17-22

13. Floorwalker, M. (2014). 5 Surprising Ways Your Language Affects How You Think.

[online] Cracked.com. Available at: http://www.cracked.com/article_20744_5surprising-ways-your-language-affects-how-you-think.html [Accessed 20 Dec. 2017]. 14. Ghazalh (2013). [online] Available at: http://www.antiessays.com/freeessays/The-Importance-Of-Arabic-404921.html [Accessed 14 Oct. 2017]. 15. Greatthoughtstreasury.com. (2018). Henry Miller, aka Henry Valentine Miller | Great Thoughts Treasury. [online] Available at: http://www.greatthoughtstreasury.com/author/henry-miller-aka-henryvalentine-miller [Accessed 27 Jan. 2018].

16. Grieco, L. (2012). sparano + mooney architecture: kimball art center.

[online] designboom | architecture & design magazine. Available at: https://www.designboom.com/architecture/sparano-mooneyarchitecture-kimball-art-center/ [Accessed 21 Dec. 2017].

17. Griffiths, A. (2017). Cantilevered concrete volume shelters entrance to

Lebanese university. [online] Dezeen. Available at: https://www.dezeen.com/2017/08/25/cantilevered-concrete-arabic-studiesbuilding-lebanese-university-architecture/ [Accessed 14 Dec. 2017] 18. Helmy, R. (2016). ‫ سكندرية تنحت أشعار "هشام الجخ" على النحاس‬..‫بالفيديو| حبيبة‬. [online] ‫مصر العربية‬. Available at: http://www.masralarabia.com/%D8%AA%D9%82%D8%A7%D8%B1%D9%8A%D8 %B1%D9%88%D8%AA%D8%AD%D9%82%D9%8A%D9%82%D8%A7%D8%AA/1232222%D8%A8%D8%A7%D9%84%D9%81%D9%8A%D8%AF%D9%8A%D9%88%D8%AD%D8%A8%D9%8A%D8%A8%D8%A9%D8%B3%D9%83%D9%86%D8%AF%D8%B1%D9%8A%D8%A9%D8%AA%D9%86%D8%AD%D8%AA-%D8%A3%D8%B4%D8%B9%D8%A7%D8%B1%D9%87%D8%B4%D8%A7%D9%85-%D8%A7%D9%84%D8%AC%D8%AE%D8%B9%D9%84%D9%89-%D8%A7%D9%84%D9%86%D8%AD%D8%A7%D8%B3 [Accessed 26 Nov. 2017]. 19. History of Communication. (2009). EssaysForStudent.com, from https://www.essaysforstudent.com/essays/History-ofCommunication/17216.html [Accessed 20 Oct. 2017]. 20. http://muslim-academy.com/importance-of-the-arabic-language/

21. http://www.iyadnaja.com/ 22. Institut du monde arabe. (n.d.). Architecture. [online] Available at:

https://www.imarabe.org/en/architecture [Accessed 8 Dec. 2017]. 23. Maher, N. (2015). Colloquial Arabic - a theat to the language?. [online] GulfNews. Available at: http://gulfnews.com/culture/heritage/colloquialarabic-a-theat-to-the-language-1.1566650 [Accessed 13 Nov. 2017]. 24. Philosophynow.org. (n.d.). What is Art? and/or What is Beauty? | Issue 108 | Philosophy Now. [online] Available at: https://philosophynow.org/issues/108/What_is_Art_and_or_What_is_Beauty [Accessed 28 Nov. 2017].

25. Richards, J. and Schmidt, R. (2002). Longman Dictionary of Language Teaching and Applied Linguistics, (3rd Edn.), Pearson: London

26. Sparano + Mooney Architecture. (n.d.). Kimball Art Center. [online] Available at: http://www.sparanomooney.com/kimball-art-center [Accessed 20 Dec. 2017]

27. STARR REVIEW (2013). Arabic Calligraphy in West Africa: Yelimane Fall at the

Krannert Art Museum. [online] Starr-review.blogspot.com. Available at: http://starr-review.blogspot.com/2013/08/arabic-calligraphy-in-west-africa.html [Accessed 26 Nov. 2017]. 28. Tarek Atrissi Design. (2007). Khan Murjan Calligraphy Experiments | Tarek Atrissi Design | The Netherlands. [online] Available at: http://www.atrissi.com/khanmurjan-calligraphy-experiments/ [Accessed 26 Nov. 2017]. 29. Testen, D. (2015). Semitic languages. [online] Encyclopedia Britannica. Available at: https://www.britannica.com/topic/Semitic-languages [Accessed 3 Nov. 2017]. 30. Tim Winstanley. (2011). AD Classics: Institut du Monde Arabe / Enrique Jan + Jean Nouvel + Architecture-Studio. [online] Available at: https://www.archdaily.com/162101/ad-classics-institut-du-monde-arabe-jeannouvel/ [Accessed 24 Oct. 2017]. 31. Vam.ac.uk. (2018). Calligraphy in Islamic art - Victoria and Albert Museum. [online] Available at: http://www.vam.ac.uk/content/articles/c/calligraphy-inislamic-art/ [Accessed 27 Nov. 2017]. 32. Vinnitskaya, I. (2012). Kimball Art Center / Sparano + Mooney Architecture. [online] ArchDaily. Available at: https://www.archdaily.com/199996/kimball-artcenter-sparano-mooney-architecture [Accessed 20 Dec. 2017] 33. Vinnitskaya, I. (2012). Kimball Art Center / Sparano + Mooney Architecture. [online] ArchDaily. Available at: https://www.archdaily.com/199996/kimball-artcenter-sparano-mooney-architecture [Accessed 24 Oct. 2017].

34. WikiArquitectura. (n.d.). Arab World Institute - Data, Photos & Plans -

WikiArquitectura. [online] Available at: https://en.wikiarquitectura.com/building/arab-world-institute/ [Accessed 8 Dec. 2017]. 35. Yasin Hamid Safadi,(1978) Islamic calligraphy, Great Britain-London, Thames and Hudson, page 40 -87

36. ‫ العمارة والبناء‬- ‫( بـــنــاة‬2011) available at: https://www.youtube.com/watch?v=QM5H2ytT7Jk

8.Appendix 8.1.

Survey questions\answers

8.2.

Thesis Poster

100

101