Thesis Project: Taqasim Music School

Freedom by Improvisation FINAL THESIS REVIEW SPRING 2014

Hashem Abdel-Hadi Student ID# 03241253 Academy of Art University Master of Architecture

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

TAQASIM ARABIC MUSIC SCHOOL FINAL THESIS REVIEW

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

Music and the Developing Brain Music education during the early childhood years promotes a rapid growth in efficient activity of a developing brain, and teaches the brain to be persistent and orderly. The element of freedom, or improvisation, especially enhances creative abilities such as singing, drawing, and dancing, which are skills that engage all five senses and both sides of the brain. This not only prepares the youth for successful learning, but it also has a positive impact on the child’s self-discipline.

Problem Music is essential for language development, as well as for the young brain’s commitment to work harder. Music education in elementary schools has declined dramatically in the last 50 years, especially in compact cities such as San Francisco.

Objective This proposal aims to create an Arabic Music School, which uses the structure of Arabic music to provide youth, of ages 18 and under, with a place they can be passionate and innovative with music. The multifaceted composition of Arabic music will not only act as a tool for the improvement of children’s intellectual ability, but it will also be the generator of the building’s structural geometry and spatial organization. The goals are to expose the youth to a highly sophisticated, yet free and tactile genre of music at an early age. This genre will give the youth a genuine understanding of freedom of expression through improvisation, it will help keep music alive as a primary subject in elementary education, it will raise an educational awareenss of Arabic culture that many locals can relate to, and it will provide a new anchor point that attracts visitors to the newly developed district of Hunter’s Point.

Site Objective Support Hunter Point’s development plan to create an exciting urban neighborhood that is both engaging and comfortable. This site will allow for convenient accessibility, it will optimize the waterfront setting, and it will reflect San Francisco’s built form and character in a contemporary way.

Why Arabic?

Arabic music displays a refinement and complexity in its composition in comparison to other types, and is distinguished by subtle yet intricate patterns and shades. Melodies involve micro-tones which allow for a more spontaneous outcome, and is more precise than the scale distribution used in Western music. This elaboration encompasses an extremely wide range of “maqamat” (scales) depicting specific emotions, and this allows the music student - once perfected through disciplinary practice - to have ultimate freedom of expression.

Arabic Music and the Improvising Brain Neurons are the body cells dedicated for transmitting nerve impulses, which help the brain evolve as a complex network system of pathways as it reacts to different life experiences. Gordon Shaw, author of Keeping Mozart in Mind (2004), and discoverer of the “Mozart effect,” believes that music uses the same higher brain functions as math and science and that training in music enhances these functions. These functions subconsciously practice multiple dimensions simultaneously, which are reading, writing, listening, and speaking. The more improvisation is in the equation, the more these functions are effective. The high flexibility in Arabic music, then, progresses the learner’s study habits, reading and comprehending mathematical concepts, and easily memorize facts.

Quit Hearing, Start Listening The ear is the first of the five sense organs to develop in the womb, making the auditory nerve the first sensorial nerve of the body to become functional. According to Campbell, a neuro-scientist specialising in the effects of music to the brain, this is the nerve responsible for transmitting information from the ear to the brain. At birth, the musical brain begins to operate and continues throughout life. In Arabic music, listening is the most important aspect as to truly experience the state of “tarab”, and developing a genuine understanding of musical composition is essential to playing an instrument. Tarab is the musical ecstasy caused by the harmony of the singer’s voice in relation with the played instruments, even though it is not a replication between the two. Arabic music, unlike western types, revolves necessarily around positive interactions which involve both the audience – known as the “samee’ah” – and the musicians – “a’zeefeh.” The key concept, then, is to have the ability of uplifting the listeners from their current state and take them to another place in their emotional journey.

A world where people live to listen to each other has yet to exist.

HASHEM ABDEL-HADI ID# 03241253

HASHEM ABDEL-HADI

SPRING 2014

SPRING 2013 TAQASIM ARABIC MUSIC SCHOOL ID#FINAL 03241253

THESIS REVIEW

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

MIDPOINT REVIEW

User Profile This project primarily targets children 10 years old and under, considering their brains are still in the early stages of development.

Music education during the early childhood years promotes a rapid growth in efficient activity of a developing brain, and teaches the brain to be persistent and orderly. Anybody, however, with an interest in music - whether they are professional instrument players or simply just read an article and are looking to learn about the tactile effects of music - will be welcome to spend time in this school. A collaboration of the public will be a part of the project where people can attend events to play live music and simply conversate with one another about music.

Current Situation In San Francisco Today, there is a big number of music school, in which most are concentrating on children’d education. Plenty of places dedicated to certain genres, as well as a few specialized in specific instruments. Only a small number of music schools, however, oriented around the culture in which the genre comes from. In Arabic music, the melodies are intertwined with the Arabic culture and one must understand the culture in order to play the music.

Goal The goal is to bring a new awareness of not only the composition of Arabic music, which will in turn provide an understanding of many other genres, but to provide a place that represents many of San Francisco’s population and bring the Arabic culture forward to be showcased to many to learn.

Blue Bear School of Music San Miguel-Wagner Vocal Studio Bird School of Music New School of Piano

Music In Schools Today

Sunset Youth Orchestra Music In Schools Today Drum Lessons - Jake Wood

Northern California Music & Art Culture Center Golden Gate Music Together Chinese Arts & Music Center

Guitar Lessons with Jay Skyler

San Francisco Conservatory of Music

John Scott School of Voice Charles A Tindley Academy of Music Wickham Voice Studio

Mr. Natural's Music School

Horus School of Music Zambaleta

OpenVoice Studios Adda Clevenger Jr. Preparatory & Theater School FOR CHILDREN Amabile School of Music California Summer Music

San Francisco Institute of Music

The Walden School

THE CLIENT: Located in Oakland and featuring events among the entire Bay Area, ASWAT is the Bay Area’s Premier Arab Music Ensemble.

True to Zawaya’s commitment to pluralism and inclusion, Aswat is a multi-ethnic and multi-racial music ensemble that reaches out to the diverse Bay Area community with folkloric, classical, and contemporary Arabic music. Aswat’s doors remain open to all who want to participate in the exciting, enriching exchange between Arab Americans and other communities through the universal language of music.

Harmonica & Rock Blues Piano Gymboree Play and Music

<www.zawaya.org>

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

HASHEM ABDEL-HADI

TAQASIM ARABIC MUSIC SCHOOL SPRING 2013 FINAL THESIS REVIEW

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

STRETTO HOUSE Steven Holl

TX, United States 1991 PROGRAM: private residence for art collectors CLIENT: withheld SIZE: 7,500 sf STATUS: completed

THE MUSIC OF STRETTO HOUSE Bela Bartok was one of the most important composers of the 20th century, and was one of the founders of ethnomusicology. This is the musical study that encompasses various approaches which emphasize the culture, social, material, cognitive, biological, and other dimentions of music instead of just the sound. This connection between the traditional and the modern was important to Steven Holl, and it became the essance of the Stretto House.

Like Bartok’s music, the Stretto House encompasses an aqueous space with traditional materials, is built with polished concrete blocks, and metal structure taken from Texas’s vernacular architecture. The house is divided into four sections, in which each is divided into two units. This resembles the composition of Bartok’s song’s (Stretto) notes (shown above). Each of four spaces is diverse in program, but enveloped in a unifying fasion according to the surrounding site features. For instance, the first rectangular heavy masonry makes a referene to the concrete dams adjacent to the site. The overall plan shows the adjacency to the existing three ponds divided by the dams. Like the overlapping in the musical piece Stretto, the house essentially reflects the site through a series of concrete “spatial dams” with metal framed “aqueous space” flowing through them.

Additionally, the “Stretto” composition enabled Holl to create a space in a way where each segment is important for the next. The flow between the spaces was important, while still keeping an evident separation. For example, the floor surface overlaps the next level, the roof overlaps walls and the mcurvilear walls pull the dayligh down into the interior space. The water also symbolized the overlapping of the stretto form by flowing over the dams as it creates a landscae overlapping with the interios spaces.

This project is important to my research because it resembles a careful consideration to senses. Steven Holl plays upon artistic perception and a genuine understanding of site conditions, and he allows the archtiecture to be an experience of not only space, but also a light sequence, different textures, smells, and sounds.

HASHEM ABDEL-HADI ID# 03241253

HASHEM ABDEL-HADI

SPRING 2014

TAQASIM ARABIC MUSIC SCHOOL SPRING 2013 FINAL ID# 03241253 THESIS

REVIEW

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

PHILIPS PAVILION Le Corbusier & Iannis Xenakis Brussels, Belgium 1958

Engineer: Hoyte Duyster Photographs: Wouter Hagens

In 1958, the Philips Pavilion was designed by Le Corbusier for the World’s Fair in Brussels, Belgium. The building was names after its commisioner, the electronics company based in Netherlands: Philips. The building housed a multimedia spectacle which celebrated the technological progress after the war. The Musical influence came greatly from Iannis Xenakis, an experimental composer, who handled most of the project management given that Corbusier was busy with other work.

Made up of nine uneven hyperbolic paraboloids, the shape was dynamic and introduced something unseen in that time. The most impressive aspect to me is the curvilinearity created by only straight lines, using a manner shown in the sketches. This was inspired, as Xenakis mentions, by his musical composition Metastasis, premiered in 1955. The contours were constructed out of prestressed concrete, a hard material in which was used in a new way. The overall look was known by the tention cables on the exterior, which resembled the order of Xenakis’s Metastasis. composed musical peace. This building is an illustration of how fluidity can have a specific system, in which does not take away from the continuity ofthe form.

Expressed as the “stomach” of the building, the plan is entered through a curby corridor. The visitor then stands in the central chamber for eight minutes and watches a presentation, then exits through the other side.

This short journey is intended to showcase an audio-video combination of a show. Visual elements included multiple projections, ambient lighting, and two physical objects suspended down from the ceiling: a female mannequin and a cubical mathematics object. Additionally, a series of photographs were projected as a film onto the walls of the interior, in which the timing of this film synchronized the various aspects of the installation.

The element of interaction in the Philips Pavilion is extremely important, and makes the experience unique. For example, Xenakis composed a piece spicifically for the installtion which was played as an interlude as the visitors entered and exited the pavilion.

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

HASHEM ABDEL-HADI

TAQASIM ARABIC MUSIC SCHOOL SPRING 2013

FINAL THESIS REVIEW

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

MAIZIERES MUSIC CONSERVATORY Dominique Coulon & AssociĂŠs Maizieres-les-Metz, France 2009

Area: 3,400 sqm Photographs: Eugeni Pons, Guillaume Wittmann

The Maizieres music conservatory is a monolithis block, yet incorporates a variety of uses. The music school is 100 metres long and 40 metres wide. Set against a forest of giant sequoias, the building reflects upon nature while also aligned perpendicular to the main road forming a doorway marking the entrance to the town.

The building houses a mixed programme, including premises for local teenagers, an extra-curricular centre for schoolchildren, a community hall, an auditorium, and a music school.

These functions are brought together in a single entity, creating an inevitable collaboration. The programming complexity is managed on the inside through the use of careful interior design. The juxtaposition of the combined programmes greatly enriches the building, with each entity standing out in contrast to the others.

This building is a great example of architecture as a tool for creating an atmosphere for people to interact and exchange ideas, which is an important element to an elementary music school.

HASHEM ABDEL-HADI ID# 03241253

HASHEM ABDEL-HADI

SPRING 2014

TAQASIM ARABIC MUSIC SCHOOL SPRING 2013 FINAL THESIS REVIEW ID# 03241253

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

MONASTERY OF LA TOURETTE LE CORBUSIER

Eveux-sur-Arbresle, France 1957 - 1960

Construction System: concrete Climate: temperate Context: rural

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Pantry Refectory Chapter-room Atrium Cloister

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Lower Church High Altar Sacristy Courtyard

Le Corbusier had many buildings that experimented with musical theory, and always seeked different outcomes. In the Monastery of La Tourette, he proved a significant approach to be successful in which he considered a more general problem than just looking at each single note or element. He replaced the concept of rhythm with density, where what mattered is the number of events per time or unit. This means instead of looking at each note, he would look at the the zones where higher or lower number of casings would be required without a careful transition in between.

In Eastern Music, each instrument may be playing on a different scale, or a different pitch, however as long as they are all tuned similarly the overall outcome is acceptable.

After drawing up a table with progressions of rectangles with increasing widths in golden sections, a vertical polyphony in a triple-layered arrangement was established. This became a “detailed polyrhythmic study of light and shade.”

HASHEM ABDEL-HADI ID# 03241253

HASHEM ABDEL-HADI

SPRING 2014

TAQASIM ARABIC MUSIC SCHOOL SPRING 2013

FINAL THESIS REVIEW

ID# 03241253

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

MIDPOINT REVIEW PRESENTATION

CHAMBER MUSIC HALL Zaha Hadid Architects Manchester, United Kingdom 2009

CLIENT: Manchester International Festival PROGRAMME: Chamber Music Hall DESIGN TEAM (Zaha Hadid Architects): Melodie Leung, Gerhild Orthacker ACOUSTIC CONSULTANT: Sandy Brown Associates FABRICATOR: Base Structures TENSILE STRUCTURAL ENGINEER: Tony Hogg Design Ltd SITE: Manchester Art Gallery, T1 Gallery SITE AREA: 17m x 25m

Zaha Hadid Architects has always been the best with fluidity, and once again blew it out of the park with the Chamber Music Hall. This project is simple, yet extremely effective for the enhancing the life of music in a small room. The form is essentially a suspended continuos ribben supported by flexible steel structure. The relationship between the varyingsized of structure and the lightweight translucent white fabric articulatesBach’s harmonies into a far more interesting archtiectural space than the small room originally was.

“The design of the music hall enhances the multiplicity of Bach’s work through a coherent integration of formal and structural logic. A single continuous ribbon of fabric swirls around itself, creating layered spaces to cocoon the performers and audience with in an intimate fluid space,” explained Hadid. “The ribbon wraps around the stage, the audience and itself, creating different layered conditions by “alternately compressing to the size of a handrail then stretching to enclose the full height of the room.”

It was extremely important to ensure that the reverberation time is not too long, which causes the individual notes of msic to blur, nor too short, which causes the sound to be dry. Therefore, various materials were investigated including fabrics, metals, and plastics, until the right ones were chosen to create the perfect combination of archtiectural atmosphereand harmonious musical experience.

CAD models because important in order to conduct spatial and acoustic studies based on different materials and ribbon formations. ZHA and Sandy Brown Associates worked together on various studies, including one shown on bottom left, and used the modelling software to conclude the best option.

ZHA, once again, makes a strong spatial statement that also reflects upon the importance of how sound travels. This language is important to my project, is it pushes the emphasis on the relationship between the performer and the audience.

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

HASHEM ABDEL-HADI

TAQASIM ARABIC MUSIC SCHOOL SPRING 2013 FINAL THESIS REVIEW ID# 03241253

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

SF JAZZ Mark Cavagnero San Francisco, CA 2012

The SFJAZZ Center is a newly finished project, and it is America’s first stand-alone structure dedicated for the music of Jazz in the world.

It is designed by Mark Cavagnero, and is located at the corner of Franklin and Fell streets in San Francisco’s Hayes Valley neighborhood. During a tour at SFJazz, I got a chance to understand some interesting components and use of materials of the building in compliance with the California building code, innovative approaches for the main theater, and interesting elements of the building such as the enty feature staircase.

THEATER SFJAZZ’s main idea is flexibility, which is why the theater is equipped with tools that allow changing the amount of seating capacity and comforting different size parties, such as folding platforms and dividing banners. Two platforms on both sides and one in center, which collapse and become floor level, and chairs can be dismissed to open up as a dance floor or any other use. The stage can also be pulled out to allow space for a bigger band. Finally, the air delivery of the theater is carefully considered, where the ventilation ducts flow the air under the floor, towards the back, and up the vents surrounding the back rows.

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FRONT CURTAIN WALL SMALLER PERFORMANCE ROOM MAIN THEATRE BACK STAGE VERTICAL CIRCULATION

SPRING 2013

HASHEM ABDEL-HADI

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

ID# 03241253

TAQASIM MIDPOINT ARABIC MUSIC SCHOOL REVIEW PRESENTATION

FINAL THESIS REVIEW

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

CHORD TYPES

AJNAS: BUILDING BLOCKS OF A MAQAM [NAME - MOOD] Ajam - Cheerful

Bayati - Vitality

Hijaz - Distant Desert

1-1

3/4 - 3/4 - 1

1/2 - 1 1/2 - 1/2

Kurd - Free Nahawand - Dramatic

MAJOR

Nikriz - Dreamy

1 - 1 - 1/2 - 1 - 1 - 1 - 1/2

MINOR

1/2 - 1 - 1

1 - 1/2 - 1

1 - 1/2 - 1 1/2 - 1/2

Rast - Pride

Saba - Pain

Sikah - Love

3/4 - 3/4 - 1/2

3/4 - 1

1 - 1/2 - 1 - 1 - 1/2 - 1 - 1 1 - 3/4 - 3/4

G MAJOR SCALE

G

A 1 -

1

MAQAM RAHAT AL-ARWAH

B

C

D

E

F

G

- 1/2

- 1

- 1

- 1

- 1/2

B

C 3/4 - 1

= -1/2 (Flat)

D

E

#F

G

A

- 1/2 - 1 1/2 - 1/2 - 1 -

B 1/2

= -1/4 (Quarter Flat) = -1/2 (Flat) = -3/4 (Three Quarters Flat)

= +1/2 (Sharp)

= +1/4 (Quarter Sharp) = +1/2 (Sharp) = +3/4 (Three Quarters Sharp)

ARABIC MUSIC IS CHARACTERIZED BY THE WAY it repeatedly plays around the notes in slight variations, without the musician losing sight of the keynote. THE TWO THINGS ALL ARABIC MUSIC GENRES HAVE IN COMMON are a delight in improvisation, and the predominance of melodic forms.

The basis of Arabic music is the Maqam (scale or mode). The term maqam originally means ‘pedestal’, ‘step’, or simply ‘location’.

AS SCALES USING A VARIATION OF QUARTERLY DIVIDED NOTES, Arabic music allows to make far smaller tonal steps in which depicts precise moods.

Arabic music is not measured in terms of technical perfection, but by the degree of intensity and emotion in the tone, feeling, ornamentation, performance and singing. The Arabic musician is only able to access the music through its ‘soul’ and what it stimulates within him or her. Here, then, a great deal of personal initiative is required from the interpreter. He or she improvises, not sticking to the basic form of the piece of music but varying it according to the time of day or the occasion.

ORNAMENTATION: SLUR BEND FORTE/PIANO FADE IN/OUT RING

--> --> --> --> --> -->

BLEND/MERGE BEND EMPHASIS/DE-EMPHASIS - HIERARCHY BLEND WITH LANDSCAPE ALTERNATE BETWEEN UPPER/LOWER REPEATEDLY UPPER - NOTE - LOWER - NOTE SPRING 2013

HASHEM ABDEL-HADI

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

TAQASIM ARABIC MUSIC SCHOOL

ID# 03241253

FINAL THESIS REVIEW

MIDPOINT REVIEW

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

TRANSLATION OF MOOD INTO MUSICAL DIALOGUE CLASSICAL MUSIC SCORE - DVORAK

INSTRUMENT

SYMPHONY NO. 9 - “NEW WORLD”

FLUTES

TROMBONES PERCUSSION

VIOLINS

VERSE EMPHASIS

MEASURE

CLIMAX TIME

DIP: SUDDEN ALTERATION

DISTANT: MYSTERIOUS

SWAY: SETTLE TRANSITION

UPLIFTING: UNISON AND EMERGENCE

MOODS / CONDITIONS ARABIC MUSIC SCORE - UM KALTHOUM ALF LEILA WA LEILA (A THOUSAND NIGHTS)

Maksoum

A

VIOLIN VIOLIN 2 ELECTRIC GUITAR

Baladi

B

Solo Second time to D

C

To B

RIQ DARBUKA

INDEPENDENT: MELODIC, SOLO MELODY: DYNAMIC

BRANCH: ABRUPT TRANSITION

BEAT: CONSISTENCY, STRUCTURE VERES: DIALOGUE BETWEEN INSTRUMENTS BASS: SUPPORT

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

RHYTHM: QUARTER NOTE DIVISION

TAQASIM ARABIC MUSIC SCHOOL FINAL THESIS REVIEW

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

of intensity and emotion in the

Arabic music does not measure itself in terms of technical perfection, but by the degree

tone, feeling, ornamentation, performance and singing.

MEASURING CRITERIA RESPONDS TO SUN AND WIND

ST BL RE EN ET D GR S ID S

TO Y DS PH ON RA SP G RE PO TO

EXPRESSES MUSIC NOTATION

INTERACTS WITH ART COMMUNITY

ST ST CL

ST ST CL

ST ST CONF

OFFICE OFFICE ST ST

CL ST

ST CL

ST

OFFICE

OFFICE

ST

ST

ST

CAFETERIA

ST ST

ST

KITCHEN

ST ST CL

STAFF LOUNGE

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LIBRARY

CL

OFFICE

LECTURE

15’ 0’

ST

PUBLIC EVENT HALL

ST ST CL

PRINCIPAL AND SECR

CL

CL ST ST CL ST ST

CAFE

ES T IZ EN AS EM PH OV EM E M E FR

PROMOTES COLLABORATION

M RA ITY G O BIL PR IGA EL

PLAZA

ST

STORE

COLLAB SPACE

STUDENT COMMON ROOM CL

HASHEM ABDEL-HADI SAND TUNES ARABIC

SPRING 2014

CL

CAFE

CAFETERIA

LIBRARY

HASHEM ABDEL-HADI ID# 03241253

CL

PUBLIC EVENT HALL

ST ST

ST

LECTURE

CL

CL

STAFF LOUNGE

ST ST

ST ST

CL

ST OFFICE

CL

PLAZA

OFFICE

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CL

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OFFICE

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CL

ST ST

CL

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KITCHEN

CONF

OFFICE

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PRINCIPAL AND SECR

ST

TAQASIM ARABIC MUSIC SCHOOL SPRING 2014 HASHEM ABDEL-HADI

MUSIC SCHOOL ID# 03241253 FINAL THESIS REVIEW

FIRST SEMESTER THESIS

FALL 2013 ADVISOR: LETICIALETICIA SOOHOO SOOHOO DIRECTOR:

ACADEMY OF ART UNIVERSITY

The classical Arabic musician is only able to access the music through its ‘soul’ and what it stimulates within him or her.

Here, then, a great deal of personal initiative is required from the interpreter. He or she improvises, not sticking to the basic form of the piece of music but varying it according to the time of day or the occasion.

ST CL

ST ST ST

ST

ST

ST

ST ST ST

ST CL

ST

ST

ST ST

CL

LECTURE

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ST ST

LIBRARY

T EN N UD ST MMO CO OOM R

CA FE

ERI A

CA FET KI

TC H

EN

CONF

PUBLIC EVENT HALL OFFICE OFFICE

STAFF LOUNGE

OFFICE OFFICE CONF

PRINCIPAL AND SECR

MEASURING CRITERIA RESPONDS TO SUN AND WIND

ST BL RE EN ET D GR S ID S

O S T HY ND P O RA SP G RE PO TO

EXPRESSES MUSIC NOTATION

INTERACTS WITH ART COMMUNITY

ES T IZ EN AS EM PH OV EM E M E FR

PROMOTES COLLABORATION

M RA ITY G O BIL PR IGA EL

STORE

CL

ST

ST

ST

ST

ST

ST

CL

CL

CL

CAFETERIA

STUDENT COMMON ROOM

KITCHEN

15’ 0’

CAFE

CONF

CL ST ST CL ST ST

PRINCIPAL AND SECR

LEC TURE

OFFICE

OFFICE

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OFFICE

OFFICE

OFFICE

OFFICE

PUBLIC EVENT HALL

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OFFICE

LIBRARY

STORE

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CL

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PUBLIC EVENT HALL

CT LE

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PRINCIPAL AND SECR

ST ST ST ST

T ST S CL

T ST S CL

IT C

ST ST

T ST S CL

T ST S CL

ST

LIBRARY

HASHEM ABDEL-HADI ID# 03241253

HASHEM ABDEL-HADI SAND TUNES ARABIC

SPRING 2014

TAQASIM ARABIC MUSIC SCHOOL SPRING 2014 HASHEM ABDEL-HADI

MUSIC SCHOOL ID# 03241253 FINAL THESIS REVIEW

FIRST SEMESTER THESIS

FALL 2013 ADVISOR: LETICIALETICIA SOOHOO SOOHOO DIRECTOR:

ACADEMY OF ART UNIVERSITY

One of the most important classical music forms in the Arab world is the

Wasla.

series of compositions and improvised instrumental and vocal pieces, which are all played in one and the same maqam series.

A Wasla consists of a

MEASURING CRITERIA RESPONDS TO SUN AND WIND

ST BL RE EN ET D GR S ID S

TO Y DS PH ON RA SP G RE PO TO

EXPRESSES MUSIC NOTATION

INTERARCTS WITH ART COMMUNITY

ST ST CL

OFFICE

CONF

ST

ST

ST

OFFICE

OFFICE ST

ST

ST

OFFICE

OFFICE

LECTURE

15’ 0’

PUBLIC EVENT HALL

PRINCIPAL AND SECR

CL

LIBRARY

CAFE

ST ST CL ST ST

CAFETERIA

CL

COLLAB SPACE

ST ST CL ST ST

KITCHEN

ES T IZ EN AS EM PH OV EM E M E FR

PROMOTES COLLABORATION

AM TY R I OG BIL R P IGA EL

STUDENT COMMON ROOM

LIBRARY

PUBLIC EVENT HALL

ST

CAFE

PUBLIC EVENT HALL

ST

CAFE

STORE

ST

MEN

ST

ST

WOMEN

STAFF LOUNGE

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OFFICE

ST

CL

OFFICE

OFFICE

CL

HASHEM ABDEL-HADI ID# 03241253

CL ST ST CL ST ST

CL ST ST CL

CAFE

ST ST CL ST

CAFETERIA

ST

MEN

KITCHEN

COLLAB SPACE

ST

LIBRARY

OFFICE

LECTURE

STUDENT OFFICE COMMON ROOM

CONF

PRINCIPAL AND SECR

ST

WOMEN

PUBLIC EVENT HALL

(CHOSEN)

ST

CAFETERIA

LIBRARY

COL AB SPACE

ST ST CL ST ST

ST ST CL

KITCHEN

CL

CL

CAFETERIA

COL AB SPACE

KITCHEN

ST ST CL ST ST

SPRING 2014 TAQASIM ARABIC MUSIC SCHOOL HASHEM ABDEL-HADI

HASHEM ABDEL-HADI 03241253THESIS SAND TUNES ARABIC ID# MUSIC SCHOOL SPRING 2014 FINAL REVIEW

FIRST SEMESTER THESIS

FINAL BOOKLET

FALL 2013 ADVISOR: LETICIALETICIA SOOHOO SOOHOO DIRECTOR:

ACADEMY OF ART UNIVERSITY

FUTURE RESIDENTIAL

10

1

SITE

PEDESTRIAN

PARKING

VEHICULAR

FUTURE BUS LINE ER

SUMM

HIGH NOISE LEVEL / ACCESSIBILITY TREES

WIN

TER

4

WI

1 2

NTE R

3

SU

M ME R

WIND INTENSITY

VERY HIGH HIGH MEDIUM LOW

1234-

CONCERT HALL RESTROOMS LOCKERS OFFICES CLASSROOMS RECORDING PRACTICE ROOMS LANDSCAPE CAFE COMMUNITY AREA

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

HIGH SUN, HIGH WIND HIGH SUN, LOW WIND LOW SUN, LOW WIND LOW SUN, LOW WIND NEED FOR LIGHT

NEED FOR WIND

LOW LOW MODERATE MODERATE HIGH HIGH HIGH HIGH HIGH HIGH

LOW HIGH LOW HIGH MODERATE LOW LOW MODERATE HIGH HIGH

SUN INTENSITY

SUNRISE MORNING AFTERNOON SUNSET - MAGIC HOUR EVENING

TAQASIM ARABIC MUSIC SCHOOL FINAL THESIS REVIEW

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

1800 12

5

11

7

11

6

10

3

11

GA TE

5

10

4

1850

HP

CO M CE MU NT N ER ITY

10 1

110

HP COMMUNITY CENTER

1938

HP MAIN ART STUDIOS

103

117

GATE

116

104

ART COMMUNITY

1970

125 101

101

CITY REDEVELOPMENT PLAN

EXISTING SITE PLAN

3RD ST

HUNTERS POINT SHIPYARD AREA PLAN HUNTERS POINT SHIPYARD AREA PLAN

Map 03 LAND USE

Map 03 LAND USE

CURRENT LAND USE

HP LOADING CRANE

*Multi-Use (HPS South) includes Stadium use, R&D and Open Space, or if the stadium is not constructed, Mixed Use including Residential, R&D and Open Space, the restrictions *Multi-Use (HPS South) includes Stadium use, R&D andsubject OpentoSpace, or if the in the Hunters Point Shipyard Redevelopment Plan. stadium is not constructed, Mixed Use including Residential, R&D and Open Space, subject to the restrictions in the Hunters Point Shipyard Redevelopment Plan.

As part of the first phase of the Hunter’s Point Redevelopment Plan, the community center was created to promote the evolvement. Situated on the edge of the bay facing San Francisco’s iconic skyline, the LEED certified facility serves as a demonstration space for a range of community-oriented uses, including public meetings and events, art education, job training, and recreation. Several hunder artists are involved within the HP art community, and often host open studio shows inviting the public to the area.

The crane structure is a symbol of the Point’s important Naval history, and remains standing peacfully dominating the coastline.

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

SITE FAST TRAFFIC MEDIUM SPEED TRAFFIC SLOW TRAFFIC ACCESSIBILITY PATH ACCORDINGTO CITY PLAN 1 MILE WALKING DISTANCE HIGHWAYS MUSIC RELATED VENUES

TAQASIM ARABIC MUSIC SCHOOL FINAL THESIS REVIEW

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

1 2 3 7 6 5 4 3 2 1

4

5 6 7

1 2 7 3

6 5

15’ 0’

4 4

5

3 2 1

6 7

0’

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

100’ 200’ 300’ 400’ 500’ 600’ 700’ 800’

TAQASIM ARABIC MUSIC SCHOOL FINAL THESIS REVIEW

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

SAND TUNES

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

HASHEM ABDEL-HADI FIRST SEMESTER THESIS

FALL 2013 ADVISOR: LETICIA SOOHOO

TAQASIM ARABIC MUSIC SCHOOL ARABIC MUSIC SCHOOL FINAL THESIS REVIEW

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

SUMMER WINTER 2

SOLAR ORIENTATION: 90% OF THE BUILDING EXPOSED TO THE SOUTH TO TAKE FULL ADVANTAGE OF THE SUN

3

BUILDING INTEGRATED PHOTOVOLTAICS: PROVIDE SOLAR POWER AND HEAT WATER, WITH SUPPORT OF RADIANT SYSTEM

SOLAR PHOTOVOLTAIC ARRAY

SOUTH

RAIN CATCHMENT

GREYWATER REUSE: ANY WATER NOT COLLECTED ON ROOFTOP IS COLLECTED BY A CISTERN UNDERGROUD, AND WATER IS THEN PUMPED UP AND USED FOR FLUSHING THE TOILETSV

1

NORTH

DAYLIGHTING: OVERLAPPING STEEL RIBBONS ACT AS LOUVERS, ALLOWING INDIRECT SUNLIGHT THROUGH THE ENTIRE BUILDING ROOF GARDENS: MINIMIZE STORMWATER RUNOFF INTO THE SEWER SYSTEM, INSULATE THE BUILDING, AND PROMOTE A HEALTHY ENVIRONMENT

1

SCALE: 3” = 1’

2

SCALE: 3/4” = 1’

3

SCALE: 3” = 1’

NATURAL VENTILATION: SHIFTING DOUBLE SKIN SYSTEM ALLOWS FORNATURAL VENTILATION THROUGHOUT THE ENTIRE BUIDLING

CLASSROOM

OFFICE

ATRIUM

LOBBY

MAIN CIRCULATION

MEETING AREA MAIN LOBBY

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

TAQASIM ARABIC MUSIC SCHOOL FINAL THESIS REVIEW

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

DAYLIGHTING: OVERLAPPING STEEL RIBBONS ACT AS LOUVERS, ALLOWING INDIRECT SUNLIGHT THROUGH THE ENTIRE BUILDING

EVAROPATIVE PONDS: MAINTAIN A COOL ENVIRONMENT, DISPOSE OF PRINE FROM DISALINATION PLANTS, EVAOPORATE PERCIPITATION FALLING ONTO THE SITE, AND PROVIDE A SOUND BUFFER INDICATING A TRANSITIONAL SPACE

TREES: PROVIDE SHADING AND MAINTAIN A NON-POLLUTED ENVIRONMENT

NATURAL VENTILATION: SHIFTING DOUBLE SKIN SYSTEM ALLOWS FORNATURAL VENTILATION THROUGHOUT THE ENTIRE BUIDLING

ROOF GARDENS: MINIMIZE STORMWATER RUNOFF INTO THE SEWER SYSTEM, INSULATE THE BUILDING, AND PROMOTE A HEALTHY ENVIRONMENT

IMPROV

ATRIUM

LIBRARY

COMPUTER LAB

SHOP

MECHANICAL

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

TAQASIM ARABIC MUSIC SCHOOL FINAL THESIS REVIEW

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

CONCERT HALL

RECESSION

RECORDING STUDIOS

POETRY BRIDGE

COMMUNITY

IMPROV

ADMINISTRATION EDUCATION

PERFORM

REST

PRACTICE RECORD SELL

COLLABORATE COMMUNICATE

COLLABORATE COMMUNICATE SHARE

IMPROVISE OBSERVE GET INVOLVED

LEARN

RE-ESTABLISHED TRANSFORMED FAMILIAR HIERARCHAL

PARK

REPEATING ISOLATED VOLNERABLE

TRANSITION: STRETCH TO PIERCE

INTERTWINE STITCH CAPTIVATING

TRANSITION: RIPPING

TRANSFORM SOLID

OPAQUE

NONE

SEMI-OPAQUE

TRANSPARENT

TRANSLUCENT

TRANSPARENT

TRANSLUCENT

CLIMAX

PAUSE

SOLO / RHYTHM

BUILD-UP BRIDGE

QARAR / JAWAB (DIALOGUE)

INTRODUCTION BRIDGE

TAQASIM (SCALE IMPROVISATION)

PROGRAM STUDENT FORM MATERIALITY SONG

The waslat (plural) always begin with an instrumental piece, played by the entire orchestra and in one of various forms but different rhythms. Between the individual intrumental verses, Taqasim are played: these are solo pieces for only one instrument at a time, which enables individual soloists to demonstrate the full FUTU RE element of song, closely intertwined in dialogue range of their improvisational skill. Finally comes in the dominating

with the instruments and backup CONCERT HALL choir. The key starting point for Arabic music is song. In Arabic musical tradition there is hardly any music without song. Music and poetry are so closely woven PER FO RM together that to this day it is difficult to discover the names of the composers of classical Arabic music, we often only know the names of the singers and poets.

VIE

W

ER

AR

EA

FAM MA ILIAR X/ / RE REI MIN NC ICE OR N PO RAT T ION

ITH

The musicians are influenced to start composing and recording PRA REP their own work.

ITIT CTI ION CE and can / RHshows, Holds public events such as concerts and talent SO Y TH LO M/ /M BRE also act as a grand lecture hall.

AX IMU AK FRE MS E KIL taught Series of semi-open concept rooms where students are L different concepts of Arabic music.

Student getherings, idea and music exchange, and spaces for visitors to spend time with students and staff.

Areas designated for students to discuss things they learned and to practice their instruments in acoustic capsules.

Public park that offers niches to have picnics, walkways for excercise, and areas to enjoy the views of downtown SF. Food and drinks will be prepared for the students according to Middle Eastern recipes.

Offices adjacent to learning facilities in order to encourage the students to stop in at any time.

Large compartments for instruments and other student belongings.

WO

ME

ME

N

N

C ST OL

RE

CONF

O L

E FIC OF E F E FIC F OF A G E T N FIC S U

OF

ST ST S S STTSSTT T ST STST ST ST ST S S SS T T STTT ST S ST T ST

LIBRARY

LEC

WOMEN

KITCHEN

CENTRAL COURTYARD

AL CIP R PRIN D SEC AN

MEN

(LECTURE)

CAFETERIA

ST

TU

COLLAB SPACE

CONCERT HALL

PERFORM

LEARN

DISCUSS

PUBLIC EVENT HALL

CL

PRACTICE

CL

STUDENT COMMON ROOM

LEC

CL

INSTRUMENT SHOP

ADMINISTRATIVE

CAFE

CRITIQUE

CAFE

COMMUNITY AREA

3

4

LANDSCAPE 5 22 49 38 6 7 39OUTDOOR 8 46 9 41 10 44 42 45 43 48 47 (CAMPING)

EAT

RE

PO

ETR YG

CLASSROOMS

AR

SMALL MEDIUM LARGE LOCKERS RESTROOMS

DE

N REA AR DING EA

SMALL MEDIUM CO LLA LARGE BRA B N OR LOCKERS C DIA ATE LOG H OU T/ UE INT RESTROOMS /N E EW

AR

TB

RCO TRU NNEC T ME CAFETERIA NTS

INS

UIL

DIN

CAFE EXTERIOR SEATING PUBLIC EVENT HALL FUTURE RESTROOMS CONCERT HALL LANDSCAPE

ADMINISTRATIVE PE

RFO F PRINCIPAL’S OFFICE CLI AMILI R M MA AR SECRETARY

PERFORMANCE 1

CL

WO

ME

ME

N

N

CONF

C ST OL

RE

ST

TU

O L

E FIC OF E F E FIC F OF A G E T N FIC S U

OF

LEC

AL CIP R PRIN D SEC AN

IMPROVISATION SPACE

CAFE

FIRE EXITS AND ELEVATORS

COMMUNITY

RESTROOMS

= = = = =

1500 3600 4800 400 900

SF SF SF SF SF

9,940 SF

x x x x x

(10) (6) (2) (1) (2)

= = = = =

640 900 2400 1200 900

SF SF SF SF SF

40‘X60’

x

(1)

=

2400

SF

20‘X30’ 15’X30’

x x

(1) (2)

= =

600 900

SF SF

LEA

RN (INTERACT) S LOW INT RO 20‘X30’ DU

/B x (1) CTO ASIC RY / SC x ALE(1)

50‘X50’ 15’X30’

x

VIE

W

-

-

600

DE NT = 2500 SF WA EXP ERI SF =SLA / 900 EN A S

(2)

RCH

AR

x x x x x x x

SF

STU

CE, PRO GC OM CTU CES PO RE, S S ITIO FO RM N

ITE

(STAFF)

20’X20’ 20’X20’ 8’X8’ 10’X15’ 40’X60’ 10’X30’ 15‘X30’

4,000 SF

=

EA

BALLROOM (AFTER PARTY) MINATURE CONCERT HALLS HALLS STORAGE

(10) (6) (2) (1) (2)

SF

DO

ON

6,264

(1) (1) (1) (10) (1) (2) (2)

= = = = = = =

SF

400 400 64 1500 2400 600 900

SF SF SF SF SF SF SF

(PERFORM) R

20’X40’ x 8’X10’ x 20’X40’ x 140‘ x 100’ 20’X60’ 10’X60’ 10’X30’ 10’X10’

x x x x x

PR25,440 (1)TITIO =ACT800 IC N/ R= (1) 80E

SF

EPI

SO

(2)

LO /

(1) (1) (1) (1) (3)

HY TH

MA = M /1600 BRE XIM AK UM 16,400 FRE SKI E LL = 14,000 = 1200 = 600 = 300 = 300

CIRCULATION

SF SF SF SF

(1)

=

1500 4160

SF SF

-

40’X50’ 10’X8’

(2) (2)

= =

4000 160

SF SF

-

15’X30’ x

(2)

=

900

SF

x x

PO

ETR YG

AR

DE

RECORDING STUDIOS TOTAL BEFORE CIRCULATION: 56,844 SF

SAND TUNES Level 2 40' - 0"

ARABIC MUSIC SCHOOL

68，212

HASHEM ABDEL-HADI FIRST SEMESTER THESIS

(57,000 SF) （70，000 SF）

SPRING 2014 ADVISOR: LETICIA SOOHOO

PERFORMANCE

TAQASIM ARABIC MUSIC SCHOOL

FINAL THESIS REVIEW

N

A

SF SF SF SF SF

30’X50’ x

CIRCULATION（20%）

Level 3 55' - 0"

SPRING 2014

LIBRARY

MEN

x x x x x

11,200

PARKING

29

HASHEM ABDEL-HADI ID# 03241253

COLLAB SPACE

WOMEN

KITCHEN

27

M

HALL (SEATS) STAGE BACKSTAGE GREEN ROON STORAGE

CL

CLASSROOMS

PUBLIC EVENT HALL

ADMINISTRATION

CLASSROOMS 26

STUDENT COMMON ROOM

CL

Level 2 40' - 0"

ADMININSTRATION RECORDING

17

/ RE

INI NC WC CEN OR PO T R OFFICES ATI ON LOUNGE CONFERENCE RESTROOMS

LOBBY TICKETS RESTROOMS CONCERT HALL

CAFETERIA

COMMUNITY

Level 3 55' - 0"

INSTRUMENT SHOP

ST ST S S STTSSTT T ST STST ST ST ST S ST SSTT T S T SST ST TS T

PARKING

18

REI

PERFORMANCE

LEC

2

-

G

X/

3

10’X15’ 20X30’ 40’X60’ 5‘X80’ 15‘X30’

OR 8’X8’ STA GE 10’X15’ MAIN 30’X40’ - PLA15’X80’ ZA 15’X30’

EXTERIOR SEATING KITCHEN RESTROOMS -

COMMUNITY

Level 2 40' - 0"

4

-

(LEARN)

RECORDING STUDIOSOUT (PRACTICE)

Level 3 55' - 0"

43 45 42 44 10 41 9 46 8 39 6 7 38 49 22 5

C

WALKING TRAILS

AM P

PRACTICE ROOMS

Y

U

M

M CO

CLI

RECORDING STUDIOS

T NI

T EN

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

B

DIA

L

G

ROBIN

A

SON S T

L V

E

Z

SCHOOL STREET ENTRY

A V

E

R

HPS COMMUNITY CENTER D

CONNECTION TO COMMUNITY

H

IL

L

RESERVED PARKING

ADMIN ENTRANCE

LOADING DOCK PUBLIC PLAZA

E

PICK-UP / DROP-OFF

A V

MAIN ENTRANCE

H

O

AMPITHEATRE

R

N

E

PEDESTRIAN PATHWAY (EXISTING)

HPS ART STUDIOS

POETRY GARDEN

SHARED PARKING

DYNAMIC WATER FEATURE

TARAB PARK

N VA KE

SCHOOL STREET EXIT

E F IS

H

R

E AV

A V

E

EN UR

270° BAY VIEW

R A E

E V A

SP

0’15’30’

60’

120’

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

240’

TAQASIM ARABIC MUSIC SCHOOL FINAL THESIS REVIEW

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

2013 CALIFORNIA BUILDING CODE (CBC) WITH SAN FRANCISCO AMENDMENT 2008 CALIFORNIA ELECTRICAL CODE (CEC) 2013 CALIFORNIA PLUMBING CODE (CPC) WITH SAN FRANCISCO AMENDMENT

SEGMENT 4: CONCERT HALL

CODES

SEGMENT 3: RECORDING STUDIOS

SEGMENT 2: CAFE, LIBRARY, LAB, SHOP

SEGMENT 1:” OFFICES, CLASSROOMS

DETAILS

A&

: WET, DRY, COMBINATION. 200’

(CONCERT, MECHANICAL, FOUNDATION, STORAGE) A& HAVE SPRINKLES

2,300 200’ MAXIMUM, PER BUILDING SEGMENT PER BUILDING SEGMENT PER SEGMENT 150’

HASHEM ABDEL-HADI HASHEM ABDEL-HADI ID# ID# 03241253 03241253 SPRING SPRING 2014 2014

TAQASIM TAQASIM ARABIC ARABIC MUSIC MUSIC SCHOOL SCHOOL FINAL THESIS REVIEW

DIRECTOR: DIRECTOR: LETICIA LETICIA SOOHOO SOOHOO ACADEMY ACADEMY OF OF ART ART UNIVERSITY UNIVERSITY

STREET ENTRANCE

W OM EN S

OFFICE

S

S

ME NS

VENTILATION

OFFICE

OFFICE

LECTURE HALL MECHANICAL JANITORIAL CO NN EC TIO

N

DIRECTOR'S OFFICE ADMINISTRATION LOBBY

TO

CO MM UN IT Y

STAFF LOUNGE

DN

ADMINISTRATION ENTRANCE WAITING AREA

LOADING DOCK

MAIN PLAZA / OUTDOOR STAGE

EXIT

INSTRUMENT SHOP TOOLS

RA MP

WAITING AREA

CI RC UL AT IO N

STORAGE

INFO DESK

INSTRUMENT GALLERY

CO NN CE CT IO N

MAIN LOBBY

TO

AR T

S

MAIN ENTRANCE

CAFE DINING KITCHEN

BINS

ME NS

EXIT WALK-IN COOLER

PREP

VIDEO COLLAB SPACE

FE AT UR E W AT ER

W OM EN S

MECH

DY NA MI C

MEDIA ROOM

ELECTRICAL

DN

COMPUTER LAB

EXIT

UP

UP

STORAGE

OUTDOOR READING NICHES

DN

TECHNICIAN

OUTDOOR READING NICHES

DN

AMPITHEATRE

POETRY STAGE DYNAMIC WATER FEATURE

MEETING NOOKS

UP

POETRY GARDEN

EQUIPMENT / CHECKOUT

FE AT UR E

MECHANICAL

ELEV MECH

ME NS

W OM EN S

STORE

DY NA MI C

S

W AT ER

RECORDING LOBBY

SCALE: 1/16” = 1’ 0’

10’ 20’

40’

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

80’

160’

TAQASIM ARABIC MUSIC SCHOOL FINAL THESIS REVIEW

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

W OM EN S

S

ME NS

OPEN

S

LE OP CT EN UR T E O HA LL

ELECTRICAL

OUTDOOR PATIO STO

FIRE EXIT

OPEN TO LOBBY

VOCAL STUDIO STRING STUDIO PERCUSSION STUDIO

ENSEMBLE STUDIO FIRE EXIT

OP EN

OPEN TO ENTRANCE

CONFERENCE ATRIUM ASSEMBLY BRIDGE

IMPROVISATION SPACE / EVENT HALL DN

O EN PE TR N T AN O CE

FOLDABLE CUTAIN WALL SYSTEMS MANUFACTURED BY NANAWALL

BINS

S

RECEPTION

DI NI NG

STUDENT LOUNGE

OP EN

TO

OP LO EN BB TO Y

DN

ME NS

LOCKERS

EXIT

W OM EN S

EXIT

SEMI-OUTDOOR GARDEN

EMERGENCY EXIT

EXIT LIBRARIAN

LIBRARY

EXIT

DY NA FE MIC AT W UR AT E ER

FIRE EXIT

AMPITHEATRE

PO ET RY

GA RD EN

POETRY BRIDGE

POETRY GARDEN

RECITAL HALL

OPEN TO LOBBY

INSTRUM. STORAGE

S

FIRE EXIT

RECORDING STUDIOS

ME NS

W OM EN S

STO

FIRE EXIT

SCALE: 1/16” = 1’ 0’

10’ 20’

40’

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

80’

160’

TAQASIM ARABIC MUSIC SCHOOL FINAL THESIS REVIEW

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

1

OP RE EN CI TO TA L

7

a

C

b

c

RECITAL OBSERVATION N TO OPE

d

e

CE RAN ENT

D

F

ELECTRICAL

g E

W OM EN S

S

H i

f

ME NS

FIRE EXIT

G h

J

k

I

A B

FIRE EXIT

K

j

SCALE: 1/16” = 1’ 0’

10’ 20’

40’

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

80’

160’

TAQASIM ARABIC MUSIC SCHOOL FINAL THESIS REVIEW

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

1

4

17

9

MAWWAL COURTYARD

N TO OPE CTION -FUN PRE PACE S

UP

LOBBY

ENTRANCE

CHECK-IN

UP UP

STO

PHOTO VIEW (MAGIC HOUR)

4 17

THIRD LEVEL SCALE: 1/16” = 1’ 3

FOURTH LEVEL SCALE: 1/16” = 1’

CONCERT THIRD LEVEL 1/16" = 1'-0"

1

4

17

9

5

CONCERT ROOF 1/16" = 1'-0"

1

4

17

9

UP DN FIRE EXIT

ACCESS FROM PARKING

STO

MAWWAL GARDEN DN OPEN TO BELOW

UP

SERVICE LOBBY OPEN TO BELOW S S

S OPEN TO GREEN ROOM

WOMEN

S

DN

MEN

4 17

4 17

SECOND LEVEL SCALE: 1/16” = 1’ 2

1

4

17

9

ROOF PLAN SCALE: 1/16” = 1’

CONCERT SECOND LEVEL 1/16" = 1'-0"

4

CONCERT FOURTH LEVEL 1/16" = 1'-0"

UP FIRE EXIT

CONCERT VESTIBULE MECHANICAL ELECTRICAL PRE-FUNCTION SPACE UP

S ELEVATORS

S

MEN STAGE WOMEN BACKSTAGE GREEN ROOM

4 17 -

1

CONCERT FIRST LEVEL 1/16" = 1'-0"

APPROACHING ENTRANCE

FIRST LEVEL SCALE: 1/16” = 1’

SCALE: 1/16” = 1’ 0’

10’ 20’

40’

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

80’

160’

TAQASIM ARABIC MUSIC SCHOOL FINAL THESIS REVIEW

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

“TO WHAT DEGREE IS THE OBJECT YOU’RE CREATING CAPABLE OF DICTATING ITS OWN DESIGN?” - ROBERT VAN EMBRICQS

THE RISING CHAIR IS A TRANSFORMABLE STRUCTURE THAT USES ALTERNATING ELEMENTS TO CREATE BOTH STRUCTURAL FUNCTION AND AN ELEGANT LOOK. THE FORM IS EVIDENT OF ITS ADAPTIVE CAPABILITY EVEN WHEN IT IS STATIONARY AT ITS OPEN POSITION, WHICH ENSENUATES VISUAL WONDER AND WEIGHTLESSNESS.

BLUE AND RED ILLUSTRATE THE ALTERNATING SEQUENCE OF VERTICAL ELEMENTS, WHICH MAKES IT EASIER TO SUPPORT DOWNWARD FORCES EVENLY.

THE CURVED ARRAY CONSISTS OF A SMOOTH TRANSITION OF STRUCTURE. THE OUTSIDE ELEMENTS PROVIDE STRUCTURAL COMPRESSION, WHILE THE ELEMENTS IN THE CENTER ARE IN TENSION.

EQUILIBRIUM POINT

SOURCE: “RISING CHAIR” ROBERT VAN EMBRICQS ARCHITECTURAL AND FURNITURE DESIGNER

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

TAQASIM ARABIC MUSIC SCHOOL FINAL THESIS REVIEW

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

SKIN SYSTEM 6’X3” STAINLESS STEEL

THIRD FLOOR 12“ CIP CONCRETE SLAB JOISTS 18”X12” STEEL TUBING

GAMBREL TRUSSES 2’X2’ STEEL TUBING

SECOND FLOOR 12“ CIP CONCRETE SLAB STEEL JOISTS 8”X12” STEEL TUBING FIRST FLOOR 12” CIP CONCRETE SLAB BUILDING CORES 12“ CIP CONCRETE BUILDING PADS 12” CIP CONCRETE

“Space has always been the spiritual dimension of architecture. It is not the physical statement of the structure so much as what it contains that moves us. ” -Arthur Erickson

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

TAQASIM ARABIC MUSIC SCHOOL FINAL THESIS REVIEW

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

BUILDING INTERGRATED PHOTOVOLTAID STRIPS

RADIANT HEATING/ COOLING SYSTEM WITH GEOTHERMAL ASSIST

SKYLIGHTS

DYNAMIC WATER FEATURE, CONNECTED TO IRRIGATION SYSTEM

ELECTRICITY OUTPUT

MECHANICAL ROOM

HEAT EXCHANGER

WATER STORAGE WITH FILTRATION SYSTEM MECHANICAL ROOM

HYDRONIC HEATING/COOLING SYSTEM WITH GEOTHERMAL ASSIST:

MECHANICAL ROOM ELECTRICITY OUTPUT

ELECTRICITY OUTPUT

BAY WATER

S

S

NATURAL VENTILATION

HYDRONIC HEATING/COOLING NATURAL VENTILATION THROUGH VENTS

MIXED VENTILATION ADJUSTABLE SWIVEL GLASS CEILING SYSTEM: ALLOWS IMPROVISATION SPACE TO BE MORE FLEXIBLE IN TERMS OF PRIVACY AND TEMPERATURE.

DUCT SYSTEM: AIR SUPPLY AIR RETURN

S

HYDROLIC HEATING/COOLING AND NATURAL VENTILATION, DUCTED MECHANICAL ON LOWER FLOOR

MECHANICAL VENTILATION DUCTED MECHANICAL HEATING/COOLING

S

UP

S S

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

TAQASIM ARABIC MUSIC SCHOOL FINAL THESIS REVIEW

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

1

1/16" = 1'-0"

CONCERT THIRD LEVEL 75' - 0" TOP OF LEVEL 3 67' - 0"

CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

OUTDOOR PATIO

STAFF LOUNGE

THIRD LEVEL 55' - 0"

ENSEMBLE PERCUSSION STUDIO STUDIO STO STRING STUDIO VOCAL STUDIO

DIRECTOR'S OFFICE

OFFICE

OFFICE

ELECTRICAL SECOND LEVEL 40' - 0"

LECTURE HALL

OFFICE MECHANICAL

GROUND LEVEL 25' - 0"

SECTION Bb - ADMIN LOOKING TOWARDS PLAZA 2 1/16" = 1'-0"

SECTION Cc: ADMINISTRATION SCALE: 1/16” - 1’

14

13

12

TOP OF LEVEL 3 67' - 0"

11

THIRD LEVEL 55' - 0"

CONCERT THIRD LEVEL 75' - 0"

TOP OF LEVEL 3 SECOND LEVEL 67'40' - 0" - 0"

CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

LECTURE HALL JANITORIAL

ADMINISTRATION LOBBY IMPROVISATION SPACE

STUDENT LOUNGE

THIRD LEVEL 55'LEVEL - 0" GROUND

SEMI-OUTDOOR GARDEN

25' - 0" SECOND LEVEL 40' - 0"

SECTION Dd: ADMINISTRATION SECTION Aa - ADMIN LOOKING INWARD 1 SCALE: 1/16” - 1’ 1/16" = 1'-0"

INSTRUMENT SHOP

LOADING DOCK

MAIN LOBBY

DINING

KITCHEN TOP OF LEVEL LEVEL 3 GROUND - 0" 25'67' - 0" THIRD LEVEL 55' - 0" TOP OF LEVEL 3 67' - 0"

SECTION Cc - ATRUIM, LOUNGE, GARDEN 3 1/16" = 1'-0"

SECOND LEVEL THIRD LEVEL 40' - 0" 55' - 0"

LECTURE HALL JANITORIAL

CONCERT THIRD LEVEL 75' - 0"

ADMINISTRATION LOBBY

14 LECTURE HALL JANITORIAL

CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST SECTION Aa - ADMIN LOOKING INWARD 1 LEVEL 1/16" = 1'-0" 50' - 0" CONCERT ROOF 95' - 0" SECTION Aa - ADMIN LOOKING INWARD 1 1/16" = 1'-0" CONCERT FOURTH LEVEL 85' - 0" CONCERT THIRD LEVEL 75' - 0" CONCERT THIRD LEVEL SECTION Bb - ADMIN LOOKING CONCERT 75' - 0" LEVELTOWARDS PLAZA SECOND 2 60' - 0" 1/16" = 1'-0" CONCERT FIRST CONCERT CONCERT THIRD LEVEL SECOND LEVEL LEVEL 50' - 0" 60' - 0" 75' - 0" CONCERT FIRST LEVEL 50' - 0"CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

CONCERT THIRD LEVEL SECTION Dd - LIBRARY, WC, LOBBY 75' - 0" 4 1/16" = 1'-0" SECTION Bb - ADMIN LOOKING TOWARDS PLAZA 2 CONCERT 1/16" = 1'-0" SECOND LEVEL 60' - 0" CONCERT FIRST SECTION Bb - ADMIN LOOKING LEVEL TOWARDS PLAZA 2 50' - 0" 1/16" = 1'-0"

OUTDOOR PATIO

STAFF LOUNGE

OFFICE

OFFICE

12

13

GROUND LEVEL THIRD LEVEL 25' - 0" 55' - 0"

ENSEMBLE PERCUSSION STUDIO STUDIO STO STRING STUDIO VOCAL STUDIO

DIRECTOR'S OFFICE

11

ADMINISTRATION LOBBY

GROUND LEVEL SECOND LEVEL 25' - 0" 40' - 0" TOP OF LEVEL 3 67' - 0"

ELECTRICAL SECOND LEVEL 40' - 0"

LECTURE HALL

OFFICE MECHANICAL

GROUND LEVEL 25' - 0"

TOP OF LEVEL 3 67' - 0"

RECEPTION

LIBRARY

OUTDOOR PATIO

ENSEMBLE PERCUSSION OUTDOOR STUDIO STUDIO STRING STUDIO VOCAL STUDIO STO READING NICHES

ELECTRICAL

MEDIA ROOM

DIRECTOR'S STAFF LOUNGE OFFICE OFFICE OFFICE MECHANICAL ENSEMBLE PERCUSSION OFFICE STUDIO OUTDOOR PATIO 14STUDIO VOCAL 13 STRING STUDIO 12 STUDIOSTO 11

STAFF LOUNGE

DIRECTOR'S OFFICE

OFFICE

OFFICE

DINING

MAIN LOBBY

TOP OF LEVEL THIRD LEVEL 3 67'- -0"0" 55'

IMPROVISATION SPACE

INSTRUMENT SHOP

THIRD LEVEL 55' - 0" SECOND LEVEL TOP OF LEVEL 3 40' 0" 67' - 0"

STORAGE SECOND LEVEL THIRD LEVEL 40' - 0" GROUND LEVEL 55' - 0" 25' - 0"

LECTURE HALL ELECTRICAL

GROUND LEVEL SECOND LEVEL 25' - 0" 40' - 0"

LECTURE HALL

OFFICE MECHANICAL

GROUND LEVEL TOP OF LEVEL 25' -30" 67' - 0"

IMPROVISATION SPACE

STUDENT LOUNGE

THIRD LEVEL 55' - 0"

SEMI-OUTDOOR GARDEN SECOND LEVEL 40' - 0"

INSTRUMENT SHOP

LOADING DOCK

CONCERT THIRD LEVEL SECTION Cc - ATRUIM, LOUNGE, 75' - 0" GARDEN 3 1/16" = 1'-0"

14

13

12

11

14

13

12

11

MAIN LOBBY

DINING

KITCHEN GROUND LEVEL 25' - 0"

TOP OF LEVEL 3 67' - 0"

CONCERT CONCERT THIRD SECOND LEVEL LEVEL 60' - 0" 75' - 0" CONCERT FIRST LEVEL 50' - 0"CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

IMPROVISATION SPACE

STUDENT LOUNGE

IMPROVISATION INSTRUMENT SPACE SHOP

LOADING DOCK

MAIN LOBBY

STUDENT LOUNGE

DINING

14

SEMI-OUTDOOR GARDEN

11

12

13

THIRD LEVEL 55' - 0" TOP OF LEVEL 3 67' - 0" SECOND LEVEL THIRD LEVEL 40' - 0" 55' - 0"

KITCHEN SEMI-OUTDOOR GARDEN GROUND LEVEL SECOND LEVEL 25' - 0" 40' - 0"

CONCERT ROOF 95' - 0" CONCERT FOURTH SECTION Cc - ATRUIM, LOUNGE, LEVEL GARDEN 85' - 0" 3 1/16" = 1'-0" CONCERT THIRD LEVEL 75' - 0" SECTION Cc - ATRUIM, LOUNGE, GARDEN 3 CONCERT1/16" = 1'-0" SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

INSTRUMENT SHOP

LOADING DOCK

MAIN LOBBY

DINING

KITCHEN GROUND LEVEL 25' - 0"

SECTION Ee: COMMUNITY SCALE: 1/16” - 1’ 14 11 RECEPTION

LIBRARY

OUTDOOR READING NICHES CONCERT ROOF 95' - 0" CONCERT FOURTH LEVEL 85' - 0" CONCERT THIRD ROOF 95' - 0" LEVEL 75' 0" CONCERT FOURTH LEVEL SECTION Dd - LIBRARY, WC, LOBBY 4 85' - 0" 1/16" = 1'-0" CONCERT CONCERT THIRD SECOND LEVEL LEVEL 60' - 0" 75' - 0" CONCERT FIRST LEVEL 50' - 0"CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

DINING

14

INSTRUMENT SHOP

12

13

SECOND LEVEL 40' - 0"

STORAGE GROUND LEVEL 25' - 0"

TOP OF LEVEL 3 67' - 0"

RECEPTION

LIBRARY

OUTDOOR READING NICHES

OUTDOOR READING NICHES

MEDIA ROOM LIBRARY

DINING

MAIN LOBBY RECEPTION

IMPROVISATION SPACE

INSTRUMENT IMPROVISATION STORAGE SHOP SPACE

THIRD LEVEL 55' - 0" TOP OF LEVEL 3 67' - 0" SECOND LEVEL THIRD LEVEL 40' - 0" 55' - 0"

GROUND LEVEL SECOND LEVEL 25' - 0" 40' - 0"

MEDIA ROOM

DINING

MAIN LOBBY

INSTRUMENT SHOP

STORAGE GROUND LEVEL 25' - 0"

SECTION Ff: COMMUNITY SECTION Dd - LIBRARY, WC, LOBBY 4 1/16" = 1'-0" SCALE: 1/16” - 1’ 4

MAIN LOBBY

THIRD LEVEL 55' - 0"

13

IMPROVISATION SPACE

11 MEDIA ROOM

12

TOP OF LEVEL 3 67' - 0"

SECTION Dd - LIBRARY, WC, LOBBY 1/16" = 1'-0"

SCALE: 1/16” = 1’ 0’

10’ 20’

40’

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

80’

160’

TAQASIM ARABIC MUSIC SCHOOL FINAL THESIS REVIEW

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

A

B

C

D

E

F

G

H

I

J

K CONCERT ROOF 95' - 0" CONCERT FOURTH LEVEL 85' - 0" CONCERT THIRD LEVEL 75' - 0"

TOP OF LEVEL 3 67' - 0"

CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

THIRD LEVEL 55' - 0"

SECOND LEVEL 40' - 0"

GROUND LEVEL 25' - 0" 1

ELEVATION NORTH WEST 1/16" = 1'-0"

NORTHWEST ELEVATION SCALE: 1/16” = 1’

CONCERT FOURTH LEVEL 85' - 0" CONCERT THIRD LEVEL 75' - 0"

TOP OF LEVEL 3 67' - 0" THIRD LEVEL 55' - 0"

CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

RECEPTION ATRIUM

SECOND LEVEL 40' - 0"

WAITING AREA

MAIN LOBBY

GROUND LEVEL 25' - 0"

LONGITUDINAL SECTION LONGITUDINAL SECTIONBb - LOOKING TO PLAZA 5 SCALE: 1/16” = 1’ 1/16" = 1'-0"

SCALE: 1/16” = 1’ CONCERT FOURTH LEVEL 85' - 0" CONCERT THIRD LEVEL 75' - 0"

0’

10’ 20’

40’

80’

160’

TOP OF LEVEL 3 67' - 0"

CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

THIRD LEVEL 55' - 0"

SECOND LEVEL 40' - 0"

SOUTHEAST ELEVATION: CONCERT SCALE: 1/16” = 1’

GROUND LEVEL 25' - 0"

K

3

J

I

H

G

F

E

D

C

B

A

ELEVATION SOUTH EAST - CONCERT 1/16" = 1'-0"

CONCERT ROOF 95' - 0" CONCERT FOURTH LEVEL 85' - 0" CONCERT THIRD LEVEL 75' - 0" TOP OF LEVEL 3 67' - 0"

CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

THIRD LEVEL 55' - 0"

SECOND LEVEL 40' - 0"

GROUND LEVEL 25' - 0"

2

SOUTHEAST ELEVATION ELEVATIONSCALE: SOUTH EAST 1/16” = 1’ 1/16" = 1'-0" CONCERT FOURTH LEVEL 85' - 0" CONCERT THIRD LEVEL 75' - 0" TOP OF LEVEL 3 67' - 0"

CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

THIRD LEVEL 55' - 0"

LIBRARY

SEMI-OUTDOOR GARDEN

OUTDOOR PATIO SECOND LEVEL 40' - 0"

RECORDING LOBBY

OUTDOOR READING NICHES

COMPUTER LAB

STAFF LOUNGE

MEDIA ROOM MECH

GROUND LEVEL 25' - 0"

LONGITUDINAL SECTION Aa SCALE: 1/16” = 1’

LONGITUDINAL SECTION - LOOKING DOWNTOWN 4 1/16" = 1'-0"

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

TAQASIM ARABIC MUSIC SCHOOL FINAL THESIS REVIEW

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

N

CONCERT ROOF 95' - 0" CONCERT FOURTH LEVEL 85' - 0" CONCERT THIRD LEVEL 75' - 0" CONCERT ROOF 95' - 0" CONCERT FOURTH LEVEL 85' - 0" CONCERT THIRD LEVEL 75' - 0"

1

2

3

4

5

6.

7

8 6

9

10

11

12

13

14

TOP OF LEVEL 3 67' - 0"

CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

THIRD LEVEL 55' - 0"

POETRY BRIDGE

CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

POETRY GARDEN

POETRY STAGE

SECOND LEVEL 40' - 0"

TOP OF LEVEL 3 67' - 0"

AMPITHEATRE

GROUND LEVEL 25' - 0"

THIRD LEVEL 55' - 0"

POETRY BRIDGE

SECOND LEVEL 40' - 0" SECTION Ff - POETRY GARDEN LOOKING POETRY GARDEN AT RECORDING STUDIOS 2 1/16" = 1'-0"

SECTION Ff - POETRY LOOKING GARDEN SECTION Gg: GARDEN POETRY AT RECORDING STUDIOS 2 1/16" = 1'-0" 1/16” = 1’ SCALE:

14

13

12

14

13

POETRY STAGE

AMPITHEATRE GROUND LEVEL 25' - 0"

12

11

CONCERT FOURTH LEVEL 85' - 0" CONCERT THIRD LEVEL 75' - 0"

11

TOP OF LEVEL 3 67' - 0" THIRD LEVEL 55' - 0"

CONCERT FOURTH LEVEL 85' - 0" CONCERT THIRD LEVEL 75' - 0"

POETRY BRIDGE

SECOND LEVEL 40' - 0"

TOP OF LEVEL 3 67' - 0"

CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

POETRY GARDEN

AMPITHEATRE GROUND LEVEL 25' - 0"

THIRD LEVEL 55' - 0"

POETRY BRIDGE

SECOND LEVEL 40' - 0"

SECTION Ee - POETRY GARDEN LOOKING TOWARDS PLAZA 1 1/16" = 1'-0"

AMPITHEATRE

CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

POETRY GARDEN

SCALE: 1/16” = 1’

GROUND LEVEL 25' - 0"

SECTION Hh: POETRY GARDEN SCALE: 1/16” = 1’

SECTION Ee - POETRY GARDEN LOOKING TOWARDS PLAZA 1 1/16" = 1'-0"

0’

10’ 20’

40’

80’

160’

CONCERT ROOF 95' - 0" CONCERT FOURTH LEVEL 85' - 0" CONCERT THIRD LEVEL 75' - 0" CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

TOP OF LEVEL 3 67' - 0"

RECITAL OBSERVATION

THIRD LEVEL 55' - 0"

RECITAL HALL

RECORDING LOBBY

RECITAL OBSERVATION

EQUIPMENT / CHECKOUT

SECOND LEVEL 40' - 0"

TOP OF LEVEL 3 67' - 0"

GROUND LEVEL 25' - 0"

THIRD LEVEL 55' - 0"

RECITAL HALL SECOND LEVEL 40' - 0"

SECTION Ii: RECORDING STUDIOS SCALE: 1/16” = 1’

SECTION Gg - RECORDING STUDIOS LOOKING INWARD 3 1/16" = 1'-0"

RECORDING LOBBY

EQUIPMENT / CHECKOUT GROUND LEVEL 25' - 0"

CONCERT THIRD LEVEL 75' - 0" CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

RECITAL OBSERVATION

RECITAL HALL

RECITAL OBSERVATION

RECITAL HALL

SECTION Jj: RECORDING STUDIOS SCALE: 1/16” = 1’

SECTION Hh - RECORDING STUDIOS LOOKING TOWARDS POETRY GARDEN 4 1/16" = 1'-0"

TOP OF LEVEL 3 67' - 0"

ELECTRICAL THIRD LEVEL 55' - 0"

INSTRUM. STORAGE

MECHANICAL

SECOND LEVEL 40' - 0"

TOP OF LEVEL 3 67' - 0"

ELECTRICAL

GROUND LEVEL 25' - 0"

THIRD LEVEL 55' - 0"

INSTRUM. STORAGE

SECOND LEVEL 40' - 0"

MECHANICAL

GROUND LEVEL 25' - 0"

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

TAQASIM ARABIC MUSIC SCHOOL FINAL THESIS REVIEW

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

11

12

13

14

CONCERT ROOF 95' - 0" CONCERT FOURTH LEVEL 85' - 0" CONCERT THIRD LEVEL 75' - 0" TOP OF LEVEL 3 67' - 0"

CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

THIRD LEVEL 55' - 0"

SECOND LEVEL 40' - 0"

GROUND LEVEL 25' - 0"

NORTHEAST ELEVATION SCALE: 1/16” = 1’ ELEVATION NORTH EAST 1

1/16" = 1'-0"

11

12

13

14

CONCERT ROOF 95' - 0" CONCERT FOURTH LEVEL 85' - 0" CONCERT THIRD LEVEL 75' - 0" TOP OF LEVEL 3 67' - 0"

CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

THIRD LEVEL 55' - 0"

ASSEMBLY BRIDGE

MAIN PLAZA / OUTDOOR STAGE

ATRIUM

CONFERENCE

---

SECOND LEVEL 40' - 0"

GROUND LEVEL 25' - 0"

SECTION Ee: IMPROVISATION BRIDGE SCALE: 1/16” = 1’ TO IMPROV BRIDGE - LOOKING COMMUNITY 1/16" = 1'-0"

3

10

9

8 6

7

6.

5

4

3

2

1

CONCERT ROOF 95' - 0" CONCERT FOURTH LEVEL 85' - 0" CONCERT THIRD LEVEL 75' - 0" CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

2

ELEVATION SOUTH WEST - concert 1/16" = 1'-0"

CONCERT FOURTH LEVEL 85' - 0" CONCERT THIRD LEVEL 75' - 0" CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

SCALE: 1/16” = 1’ 0’

10’ 20’

40’ 4

CONCERT - HALL 1/16" = 1'-0"

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

80’

160’

TAQASIM ARABIC MUSIC SCHOOL FINAL THESIS REVIEW

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

50' - 0"

2

CONCERT - STAIRS 1/16" = 1'-0"

CONCERT FOURTH LEVEL 85' - 0" CONCERT THIRD LEVEL 75' - 0"

CONCERT ROOF 95' - 0" CONCERT FOURTH LEVEL 85' - 0" CONCERT THIRD LEVEL 75' - 0"

11

12

13

14

CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

10

9

8 6

SECTION Ll: CONCERT LOBBY / HALL SCALE: 1/16” = 1’

CONCERT - LONGITUDINAL AT LOBBY 3 1/16" = 1'-0"

7

6.

5

4

3

2

1

TOP OF LEVEL 3 67' - 0"

CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

THIRD LEVEL 55' - 0"

PERFORMANCE HALL SECOND LEVEL 40' - 0"

GROUND LEVEL 25' - 0"

1

CONCERT ROOF 95' - 0" CONCERT FOURTH LEVEL 85' - 0" CONCERT THIRD LEVEL 75' - 0"

CONCERT FOURTH LEVEL 85' - 0" CONCERT THIRD LEVEL 75' - 0"

ELEVATION NORTH EAST 1/16" = 1'-0"

CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

CONCERT ROOF 95' - 0" CONCERT FOURTH LEVEL 85' - 0" CONCERT THIRD LEVEL 75' - 0"

11

12

13

CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

14

SECTION Mm: GREEN ROOM SCALE: 1/16” = 1’

CONCERT - LONGITUDINAL AT RESTROOMS 4 1/16" = 1'-0"

2

ELEVATION SOUTH WEST - concert 1/16" = 1'-0"

TOP OF LEVEL 3 67' - 0"

MAGIC HOUR VIEW

CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

THIRD LEVEL 55' - 0"

ASSEMBLY BRIDGE

ATRIUM

CONFERENCE

---

SECOND LEVEL 40' - 0"

CONCERT FOURTH LEVEL 85' - 0" CONCERT THIRD LEVEL 75' - 0"

MAIN PLAZA / OUTDOOR STAGE

GROUND LEVEL 25' - 0"

CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

IMPROV BRIDGE - LOOKING TO COMMUNITY 3 1/16" = 1'-0"

SECTION Nn: CONCERT HALL SCALE: 1/16” = 1’ 4

CONCERT - HALL 1/16" = 1'-0"

CONCERT FOURTH LEVEL 85' - 0" CONCERT THIRD LEVEL 75' - 0" CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

1

SECTION Oo: CONCERT CIRCULATION SCALE: 1/16” = 1’

CONCERT - LOBBY 1/16" = 1'-0"

10

9

8 6

7

6.

5

4

3

2

1

CONCERT HALL FROM BAY SIDE, DAY AND NIGHT CONCERT FOURTH LEVEL 85' - 0" CONCERT THIRD LEVEL 75' - 0" CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

2

CONCERT - STAIRS 1/16" = 1'-0"

CONCERT ROOF 95' - 0" CONCERT FOURTH LEVEL 85' - 0" CONCERT THIRD LEVEL 75' - 0" CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

2

ELEVATION SOUTH WEST - concert SOUTHWEST ELEVATION AT CONCERT HALL 1/16" = 1'-0" SCALE: 1/16” = 1’

CONCERT FOURTH LEVEL 85' - 0" CONCERT THIRD LEVEL 75' - 0"

SCALE: 1/16” = 1’

3

0’

10’ 20’

CONCERT - LONGITUDINAL AT LOBBY 1/16" = 1'-0"

40’

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

80’

160’

CONCERT FOURTH LEVEL 85' - 0" CONCERT THIRD LEVEL 75' - 0"

CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

FIRST LEVEL: PRE-FUNCTION SPACE LOOKING UP AT ENTRANCE

CONCERT SECOND LEVEL 60' - 0" CONCERT FIRST LEVEL 50' - 0"

TAQASIM ARABIC MUSIC SCHOOL FINAL THESIS REVIEW

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

SCALE: 1/2” = 1’ 0’.5’1’ 2’

4’

8’

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

16’

SPACE:

MATERIALS:

MAIN ENTRANCE

STAINLESS STEEL SKIN SYSTEM

CAFE

STEEL TRUSS SYSTEM

PLAZA / OPEN STAGE

STEEL JOISTS

ADA RAMP

CURTAIN WALL SYSTEM

TAQASIM ARABIC MUSIC SCHOOL FINAL THESIS REVIEW

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HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

TAQASIM ARABIC MUSIC SCHOOL FINAL THESIS REVIEW

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

TAQASIM ARABIC MUSIC SCHOOL FINAL THESIS REVIEW

DIRECTOR: LETICIA SOOHOO ACADEMY OF ART UNIVERSITY

SYSTEM - STRIPS

A WAY TO TRANSLATE MUSICAL NOTATION INTO A 3-DIMENTIONAL ILLUSTRATION, SHOWING THE ESSENCE OF ARABIC MUSIC THROUGH A CONTROLLED PROGRESSION OF INTERVALS THAT PROVIDES A VARIETY OF SPATIAL EXPERIENCES. THE SYSTEM MUST TRANSLATE CONDITIONS SUCH AS NOTE INTENSITY, DURATION, ORNAMENTATION, AND EMOTION. APPLIED TO PROGRAM, THESE WILL BECOME A MANAGERIE OF SCENARIOS. ADDITIONALLY, THE SYSTEM SHALL INTERPRET FOUR DIFFERENT DIMENTIONS IN WHICH REPRESENT THE QUARTER-TONAL SYSTEM OF ARABIC MUSIC NOTATION. THE STRIP AND BEND SYSTEM IS A REPRESENTATION OF THE PREDOMINANT FLUIDITY IN THE MELODY, TRANSPOSED OVER A TYPICAL ARABIC MUSIC SCORE - WHICH IS A TIMELINE OF PRECISE FREQUENCIES. PINCHING

TRANSITION DUNE

SPIDER LEGS

CAVIT Y

SPIRAL NICHE

STITCHING

RIPPLING

MASSING MODEL

SPIDER LEGS

RIPPLING

WORKING MODEL

STITCHING

CAVIT Y

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

TRANSITION DUNE

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PUBLIC PLAZA AND OPEN STAGE

BACK ACCESS THROUGH COMMUNITY

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

TAQASIM ARABIC MUSIC SCHOOL FINAL THESIS REVIEW

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MAIN ENTRANCE THROUGH PLAZA

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

TAQASIM ARABIC MUSIC SCHOOL FINAL THESIS REVIEW

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COMMUNITY TO TARAB PARK CONNECTION

POETRY GARDEN HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

TAQASIM ARABIC MUSIC SCHOOL FINAL THESIS REVIEW

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VIEW GARDEN

STEEL SKIN

CIRCULATION

MAIN ENTRANCE

ATRIUM

LOBBY HALL

PRE-FUNCTION

SCHOOL TO CONCERT CONNECTION

HASHEM ABDEL-HADI ID# 03241253 SPRING 2014

TAQASIM ARABIC MUSIC SCHOOL FINAL THESIS REVIEW

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