Transparent & Opaque: The Neo-Industrial Movement by Hassan.Kobeissi

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Content CONCEPTS ABOUT INDUSTRIAL STYLE

DEFINITIONS CASE STUDIES FEATURES OF INDUSTRIAL STYLE THE INDUSTRIAL MOVEMENT

10 26 37 57

PRE-INDUSTRIAL STYLE – MODERN DAY INDUSTRIAL STYLE

FROM FACTORY TO ARCHITECTURE INTERIORS AND ARCHITECTURE

64 65

ART MOVEMENTS

IMPRESSIONISM POST-IMPRESSIONISM CUBISM PURISM SURREALISM EXPRESSIONISM SUPREMATISM RUSSIAN CONSTRUCTIVISM DE STIJL PIXELATISM

68 69 70 71 72 73 74 75 78 81

LEBANESE TYPOLOGY

GENERAL LEBANESE TYPOLOGY SOUTH OF LEBANON TYPOLOGY

88 96

LEBANESE RE-DESIGNED TYPOLOGY

BUILDING TYPOLOGY DESIGN PLANNING VOLUMETRY SUSTAINABILITY ON-SITE TREATMENTS

100 101 102 103 104

MATERIALS COMPOSITION

105

PROJECTS AND CASE STUDIES STEEL (TRUSS, HOLLOW BEAMS, I-BEAMS) CONCRETE (VERTICAL AND HORIZONTAL PLANES) GLASS (SKYLIGHTS, PLANAR OPENINGS, CLERESTORY WINDOWS) MATERIAL COMBINATION AND IMPLEMENTATION

106 107 109 111 113

INDUSTRIAL DESIGN PROJECTS

115

RESIDENTIAL VILLA PROJECT DETAILS PLANNING AND DESIGN SUSTAINABILITY MATERIALITY RESIDENTIAL HOUSING PROJECT PROJECT DETAILS PLANNING AND DESIGN UNITS DRAWINGS SUSTAINABILITY PROJECT AXONOMETRIC COMPOSITION PROJECT DRAWINGS MULTIFUNCTIONAL OFFICE BUILDING PROJECT DETAILS PLANNING AND DESIGN PROJECT DRAWINGS PROJECT VISUALS ECO-VILLAGE SUSTAINABLE CRAFTSMAN CENTER PROJECT DETAILS PROJECT CONCEPT PLANNING AND DESIGN

116 116 119 122 123 124 124 125 128 130 130 131 135 135 136 138 144 145 145 146 147 4

SUSTAINABILITY & MATERIALITY PROJECT VISUALS

153 155

ARCHITECTURE COMPOSITION REVIVAL

156

PLANS AND LAYOUTS MASTER PLANS AND URBAN LAYOUTS

157 159

CONCLUSION

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REFERENCES

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“Let’s take buildings into Motion Architecture…” ~Hassan Kobeissi

Concepts about Industrial Style

Definitions Architecture is not about styles, or beautiful, or bad building, shapes connected to each other in the notion of connected blocks, it’s the idea how the building functions, circulate, adapt and reflects the surrounding, fit and being site specific. The idea of the style is being throughout history as the terms or typologies in architecture are being used, introduced or dropped out, as well as the way building functions and being integrated and not forced or foreign for the people, yet being responsive to nature and eco-friendly not industrializing the nature, however the idea of the style is not about trending architecture, architecture is not a trend, it’s about time advancement, in technologies, ways of construction, people’s mindset, new functions that emerge architecture to introduce new typologies in order to keep the way of people’s lives ordered and moving with the flow of time, as time goes on, the fluidity of architecture moves to serve the people’s needs and not eyes.

Figure 1: Brief Introduction of Postmodern Concept by Chinun Boonroungrut

However, the idea of styles may be revolutionary in the term or notion of not changing or creating a new architecture rather than updating and reconsidering new changes and introducing new ideas in architecture and playing with the typologies, that’s what a new feature will rise and show up as revolutionary and new to the people before they get used to it. How the typology will function is what people will accept and by not forcing the architecture and implement new un-welcomed notions and ideas to the original typology however the idea of changing is not by force or direct, nor sudden, it’s through the flow of time, needs, and introducing new functions and drop the un-used or outdated functions from the typology. 10

So, the question is the term style so called, come before or after the new implementations? What will be the new implementations and how will they function? Implementation can be in many ways, through many notions, new ideas and materials as well, introducing combinations, chopping and adding, or removing and introducing new functions, yet it can and must be more efficient, functional and not overwhelmed by nonbeneficial elements and decorations, and must be pure and sustainable. The introduction of new materials must not be random, and must be coherent and following the same logic and notion of the new implementation, like the combination of steel reinforcement and concrete, and was combined through logic, that the concrete is strong in compression and steel is strong in tension, and their combination was a revolutionary one until nowadays usage of steel reinforcement and concrete. Bricks are another material, introduced thousands of years ago, the original brick represents the abstract notion of closure and partitioning, before the usage and introduction of clay bricks and stone bricks and concrete blocks so called CMU. The idea of the masonry works and the way and usage of masonry throughout history until nowadays.

Bricks:

The brick is very popular used material from ancient times until now, and it’s very useful and good material for partition, closure, fencing, fortifications…etc. Listing the bricks historically starting from the ancient Mud-Brick of Mesopotamia until nowadays concrete blocks and clay masonry. 1.

Mud-Bricks:

A mudbrick or mud-brick is an air-dried brick, made of a mixture of loam, mud, sand and water mixed with a binding material such as rice husks or straw. Mudbricks are known from 9000 BCE, though since 4000 BC, bricks have also been fired, to increase their strength and durability.

Figure 2: Mud-Brick - Ancient Mesopotamia

The history of mudbrick production and construction in the southern Levant may be dated as far back to the Pre-Pottery Neolithic Age. These sun-dried mudbricks, also known 11

as adobe or just mudbrick, were made from a mixture of sand, clay, water and frequently temper, and were the most common method/material for constructing earthen buildings throughout the ancient Near East for millennia. Unfired mud-brick is still made throughout the world today, using both modern and traditional methods. The Mesopotamians used sun-dried bricks in their city construction, typically, these bricks were flat on the bottom and curved on the top, called plano-convex mud bricks. Some were formed in a square mold and rounded so that the middle was thicker than the ends. Some walls had a few courses of fired bricks from their bases up to the splash line to extend the life of the building.

Figure 3: Mud-Brick House - Wall Section Detail

2. Egyptian Sandstone: The Nubian Sandstone is a variety of sedimentary rock deposited on the Precambrian basement in the eastern Sahara, north-east Africa and Arabian Peninsula. It consists of continental sandstone with thin beds of marine limestones, and marls. The Nubian Sandstone was deposited between the lower Paleozoic and upper Cretaceous, with marine beds dating from the Carboniferous to lower Cretaceous.

Figure 4: Sandstone

The term Nubian Sandstone was first introduced to the Egyptian stratigraphy by Joseph Rü ssegger in 1837, who used the term "Sandstein von Nubien" to designate nonfossiliferous sandstone sections of Paleozoic or Mesozoic age. Rü ssegger followed and studied this series of sandstone formations from the Sudan, Egypt, Libya.

Figure 5: Wall-Section of Sandstone Wall

3. Greek Stone: From prehistoric Cycladic figurines to the Parthenon Marbles and beyond, marble has been used time and again in Greek art and architecture to honor the gods, celebrate beauty and impress the public.

Figure 6: Orthostat. Facing of a Greek Wall

Figure 7: Construction of Stone Wall

4. Roman Brick: Roman brick can refer either to a type of brick used in Ancient Roman architecture and spread by the Romans to the lands they conquered; or to a modern type inspired by the ancient prototypes. In both cases, it characteristically has longer and flatter dimensions than those of standard modern bricks.

Figure 8: The Roman Brick - Texture and Layout

The Romans only developed fired clay bricks under the Empire, but had previously used mudbrick, dried only by the sun and therefore much weaker and only suitable for smaller buildings. Development began under Augustus, using techniques developed by the Greeks, who had been using fired bricks much longer, and the earliest dated building in Rome to make use of fired brick is the Theatre of Marcellus, completed in 13 BC. The process of drying bricks in a kiln made it so these bricks would not have cracks in them when they dried. The mudbrick took a very long time to dry and limited brick creation to certain seasons. The fire

Figure 9: Roman Wall Axonometric Cut Section, Wall Filling and Construction

dried brick allowed the brick production to increase significantly, which created a mass production of bricks in Rome. Roman brick was almost invariably of a lesser height than modern brick, but was made in a variety of different shapes and sizes. Shapes included square, rectangular, triangular and round, and the largest bricks found have measured over three feet in length. Ancient Roman bricks had a general size of 1½ Roman feet by 1 Roman foot, but common variations up to 15 inches existed. Other brick sizes in Ancient Rome included 24" x 12" x 4", and 15" x 8" x 10". Ancient Roman bricks found in France measured 8" x 8" x 3". The Constantine Basilica in Trier is constructed from Roman bricks 15" square by 1½" thick. There is often little obvious difference (particularly when only fragments survive) between Roman bricks used for walls on the one hand, and tiles used for roofing or flooring on the other, and so archaeologists sometimes prefer to employ the generic term Ceramic Building Material (or CBM). 5. Bricks / Masonry Works: Brickwork is masonry produced by a bricklayer, using bricks and mortar. Typically, rows of bricks called courses are laid on top of one another to build up a structure such as a brick wall. Bricks may be differentiated from blocks by size. For example, in the UK a brick is defined as a unit having dimensions less than 337.5 mm × 225 mm × 112.5 mm (13.3 in × 8.9 in × 4.4 in) and a block is defined as a unit having one or more dimensions greater than the largest possible brick.

Figure 10: Brick Construction System Diagram

Brick is a popular medium for constructing buildings, and examples of brickwork are found through history as far back as the Bronze Age. The firedbrick faces of the ziggurat of ancient Dur-Kurigalzu in Iraq date from around Figure 11: Common Bricks Layout 1400 BC, and the brick buildings of ancient Mohenjo-daro in Pakistan were built around 2600 BC. Much older examples of brickwork made with dried (but not fired) bricks may be found in such ancient locations as Jericho in Palestine, Çatal Hö yü k in Anatolia, and Mehrgarh in Pakistan. These structures have survived from the Stone Age to the present day. 6. CMU Blocks: A concrete masonry unit (CMU) is a standard size rectangular block used in building construction. CMUs are some of the most versatile building products available because of the wide variety of appearances that can be achieved using them. Concrete blocks are made from cast concrete (e.g., Portland cement and Figure 12: CMU Blocks Lay outing - Generic aggregate, usually sand and fine gravel, for high-density blocks). Lower density blocks may use industrial wastes, such as fly ash or bottom ash, as an aggregate. Recycled materials, such as post-consumer glass, slag cement, or recycled aggregate, are often used in the composition of the blocks. Use of recycled materials within blocks can create different appearances in the block, such as a terrazzo finish, and may help the finished structure earn LEED certification. Lightweight blocks can also be produced using autoclaved aerated concrete. The use of blockwork allows structures to be built in the traditional masonry style with layers (or courses) of staggered blocks. Concrete blocks may be produced with hollow centers (cores) to reduce weight, improve insulation and provide an interconnected void into which concrete can be poured to solidify the entire wall after it is built. Blocks come in modular sizes, 17

with the most popular typically referred to (by their thickness) as "4-inch", "6-inch", "8-inch", and "12-inch". In the US, CMU blocks are nominally 16 in (410 mm) long and 8 in (200 mm) wide. Their actual dimensions are 3⁄8 inch (9.5 mm) less than the nominal dimensions (to allow for 3⁄8-inch mortar joints between blocks in any orientation). In Ireland and the UK, blocks are usually 440 mm × 215 mm × 100 mm (17.3 in × 8.5 in × 3.9 in) excluding mortar joints. Figure 13: CMU Construction Diagram

7. Gabion Wall: A gabion (from Italian gabbione meaning "big cage"; from Italian gabbia and Latin cavea meaning "cage") is a cage, cylinder or box filled with rocks, concrete, or sometimes sand and soil for use in civil engineering, road building, military applications and landscaping. For erosion control, caged riprap is used. For dams or in foundation construction, cylindrical metal structures are used. In a military context, earth- or sand-filled gabions are used to protect sappers, infantry, and artillerymen from enemy fire.

Figure 14: Gabion Wall Section

Leonardo da Vinci designed a type of gabion called a Corbeille Leonard ("Leonard basket") for the foundations of the San Marco Castle in Milan. Figure 15: Gabion Wall

II. 1.

Steel: Wrought Iron:

Wrought iron is an iron alloy with a very low carbon content (less than 0.08%) in contrast to that of cast iron (2.1% to 4%). It is a semi-fused mass of iron with fibrous slag inclusions (up to 2% by weight), which gives it a "grain" resembling wood that is visible when it is etched or bent to the point of failure. Wrought iron is tough, malleable, ductile, corrosion resistant, and easily welded. Before the development of effective methods of steelmaking and the availability of large quantities of steel, wrought iron was the most common form of malleable iron. It was given the name wrought because it was hammered, rolled or otherwise worked while hot enough to expel molten slag. The modern functional equivalent of wrought iron is mild steel, also called low-carbon steel. Neither wrought iron nor mild steel contain enough carbon to be hard enable by heating and quenching.

Figure 16: Wrought Iron Ornaments - Gate

Wrought iron is highly refined, with a small amount of slag forged out into fibers. It consists of around 99.4% iron by mass. The presence of slag is beneficial for blacksmithing operations, and gives the material its unique fibrous structure. The silicate filaments of the slag also protect the iron from corrosion and diminish the effect of fatigue caused by shock and vibration. 2. Cast Iron: Cast iron is a group of iron-carbon alloys with a carbon content more than 2%. Its usefulness derives from its relatively low melting temperature. The alloy constituents affect its color when fractured: white cast iron has carbide impurities which allow cracks to pass straight through, grey cast iron has graphite flakes which deflect a passing crack and initiate countless new cracks as the material breaks, and ductile cast iron has spherical graphite "nodules" which stop the crack from further progressing.

Carbon (C) ranging from 1.8 to 4 wt.%, and silicon (Si) 1–3 wt.%, are the main alloying elements of cast iron. Iron alloys with lower carbon content are known as steel. Cast iron tends to be brittle, except for malleable cast irons. With its relatively low melting point, good fluidity, castability, excellent machinability, resistance to deformation and wear resistance, cast irons have become an engineering material with a wide range of applications and are used in pipes, machines and automotive industry parts, such as cylinder heads, cylinder blocks and gearbox cases. It is resistant to damage by oxidation. The earliest cast-iron artefacts date to the 5th century BC, and were discovered by archaeologists in what is now Jiangsu in China. Cast iron was used in ancient China for warfare, agriculture, and architecture. During the 15th century, cast iron became utilized for cannon in Burgundy, France, and in England during the Reformation. The amounts of cast iron used for cannon required large scale production. The first cast-iron bridge was built during the 1770s by Abraham Darby III, and is known as The Iron Bridge in Shropshire, England. Cast iron was also used in the construction of buildings.

Figure 17: Cast Iron Trusses used as structural element in La Gare d'Austerlitz

3. Steel Iron: Steel is an alloy made up of iron with typically a few tenths of a percent of carbon to improve its strength and fracture resistance compared to iron. Many other elements may be present or added. Stainless steels that are corrosion- and oxidation-resistant need typically an additional 11% chromium. Because of its high tensile strength and low cost, steel is used in buildings, infrastructure, tools, ships, trains, cars, machines, electrical appliances, and weapons. Iron is the base metal of steel. Depending on the temperature, it can take two crystalline forms (allotropic forms): body-centered cubic and face-centered cubic. The interaction of the allotropes of iron with the alloying elements, primarily carbon, gives steel and cast iron their range of unique properties. 20

The carbon in typical steel alloys may contribute up to 2.14% of its weight. Varying the amount of carbon and many other alloying elements, as well as controlling their chemical and physical makeup in the final steel (either as solute elements, or as precipitated phases), slows the movement of those dislocations that make pure iron ductile, and thus controls and enhances its qualities. These qualities include the hardness, quenching behavior, need for annealing, tempering behavior, yield strength, and tensile strength of the resulting steel. The increase in steel's strength compared to pure iron is possible only by reducing iron's ductility. Steel was produced in bloomery furnaces for thousands of years, but its large-scale, industrial use began only after more efficient production methods were devised in the 17th century, with the introduction of the blast furnace and production of crucible steel. This was followed by the open-hearth furnace and then the Bessemer process in England in the mid19th century. With the invention of the Bessemer process, a new era of mass-produced steel began. Mild steel replaced wrought iron. The German states saw major steel prowess over Europe in the 19th century.

Figure 18: Steel Iron Products

III. 1.

Concrete: Roman Invention of Concrete:

Roman concrete, also called Opus Caementicium, was a material used in construction in Ancient Rome. Roman concrete was based on a hydraulic-setting cement. It is durable due to its incorporation of pozzolanic ash, which prevents cracks from spreading. By the middle of the 1st century, the Figure 19: Concrete Block from Roman Empire material was used frequently, often brick-faced, although variations in aggregate allowed different arrangements of materials. Further innovative developments in the material, called the concrete revolution, contributed to structurally complicated forms, such as the Pantheon dome, the world's largest and oldest unreinforced concrete dome. Roman concrete was normally faced with stone or brick, and interiors might be further decorated by stucco, fresco paintings, or thin slabs of fancy-colored marbles. Made up of aggregate and a two-part cementitious system it differs significantly from modern concrete. The aggregates were typically far larger than in modern concrete as well, often amounting to rubble,

Figure 20: The Pantheon - Rome

and as a result it was laid rather than poured. Some Roman concretes were able to be set underwater, which was useful for bridges and other waterside construction. Vitruvius, writing around 25 BC in his Ten Books on Architecture, distinguished types of aggregate appropriate for the preparation of lime mortars. For structural mortars, he recommended pozzolana (Pulvis Puteolanus in Latin), the volcanic sand from the beds of Pozzuoli, which are brownish-yellow-gray in color in that area around Naples, and reddishbrown near Rome. Vitruvius specifies a ratio of 1 part lime to 3 parts pozzolana for cement used in buildings and a 1:2 ratio of lime to pozzolana for underwater work, essentially the same ratio mixed today for concrete used in marine locations. 2. Portland Cement Portland cement is the most common type of cement in general use around the world as a basic ingredient of concrete, mortar, stucco, and non-specialty grout. It was developed from other types of hydraulic lime in England in the early 19th century by Joseph Aspdin, and is usually made from limestone. It is a fine powder, produced by heating limestone and clay minerals in a kiln to form clinker, grinding the clinker, and adding 2 to 3 percent of gypsum. Several types of Portland cement are available. The most common, Figure 21: Cement Bag called ordinary Portland cement (OPC), is grey, but white Portland cement is also available. Its name is derived from its resemblance to Portland stone which was quarried on the Isle of Portland in Dorset, England. It was named by Joseph Aspdin who obtained a patent for it in 1824. However, his son William Aspdin is regarded as the inventor of "modern" Portland cement due to his developments in the 1840s. The low cost and widespread availability of the limestone, shales, and other naturallyoccurring materials used in Portland cement make it one of the lowest-cost materials widely

Figure 22: Pile of Cement

used over the last century. Concrete produced from Portland cement is one of the world's most versatile construction materials. Portland cement was developed from natural cements made in Britain beginning in the middle of the 18th century. Its name is derived from its similarity to Portland stone, a type of building stone quarried on the Isle of Portland in Dorset, England. The development of modern Portland cement (sometimes called ordinary or normal Portland cement) began in 1756, when John Smeaton experimented with combinations of different limestones and additives, including trass and pozzolanas, relating to the planned construction of a lighthouse, now known as Smeaton's Tower. In the late 18th century, Roman cement was developed and patented in 1796 by James Parker. Roman cement quickly became popular, but was largely replaced by Portland cement in the 1850s. In 1811, James Frost produced a cement he called British cement. James Frost is reported to have erected a manufactory for making of an artificial cement in 1826. In 1811 Edgar Dobbs of Southwark patented a cement of the kind invented 7 years later by the French engineer Louis Vicat. Vicat's cement is an artificial hydraulic lime, and is considered the 'principal forerunner' of Portland cement. The name Portland cement is recorded in a directory published in 1823 being associated with a William Lockwood and possibly others. In his 1824 cement patent, Joseph Aspdin called his invention "Portland cement" because of its resemblance to Portland stone. However, Aspdin's cement was nothing like modern Portland cement, but was a first step in the development of modern Portland cement, and has been called a 'proto-Portland cement'. William Aspdin had left his father's company, to form his own cement manufactory. In the 1840s William Aspdin, apparently accidentally, produced calcium silicates which are a middle step in the development of Portland cement. In 1848, William Aspdin further improved his cement. Then, in 1853, he moved to Germany, where he was involved in cement making. William Aspdin made what could be called 'meso-Portland cement' (a mix of Portland cement and hydraulic lime). Isaac Charles Johnson further refined the production of 'meso-Portland cement' (middle stage of development), and claimed to be the real father of Portland cement. In 1859, John Grant of the Metropolitan Board of Works, set out requirements for cement to be used in the London sewer project. This became a specification for Portland cement. The next development in the manufacture of Portland cement was the introduction of the rotary kiln, patented by Frederick Ransome in 1885 (U.K.) and 1886 (U.S.); which allowed

a stronger, more homogeneous mixture and a continuous manufacturing process. The Hoffmann 'endless' kiln which was said to give 'perfect control over combustion' was tested in 1860, and showed the process produced a better grade of cement. This cement was made at the Portland Cement Fabrik Stern at Stettin, which was the first to use a Hoffmann kiln. The Association of German Cement Manufacturers issued a standard on Portland cement in 1878. Portland cement had been imported into the United States from Germany and England, and in the 1870s and 1880s, it was being produced by Eagle Portland cement near Kalamazoo, Michigan. In 1875, the first Portland cement was produced in the Coplay Cement Company Kilns under the direction of David O. Saylor in Coplay, Pennsylvania. By the early 20th century, American-made Portland cement had displaced most of the imported Portland cement. 3. Reinforced Concrete: Reinforced concrete (RC), also called reinforced cement concrete (RCC), is a composite material in which concrete's relatively low tensile strength and ductility are compensated for by the inclusion of reinforcement having higher tensile strength or ductility. The reinforcement is usually, though not necessarily, steel bars (rebar) and is usually embedded passively in the concrete before the concrete sets.

Figure 23: Reinforced Concrete Diagram

Reinforcing schemes are generally designed to resist tensile stresses in particular regions of the concrete that might cause unacceptable cracking and/or structural failure. Modern reinforced concrete can contain varied reinforcing materials made of steel, polymers or alternate composite material in conjunction with rebar or not. Reinforced concrete may also be permanently stressed (concrete in compression, reinforcement in tension), so as to improve the behavior of the final structure under working loads. In the United States, the most common methods of doing this are known as pre-tensioning and post-tensioning.

Case Studies Best way to understand this architecture is by studying its features, main elements, concepts and building systems as well as materials and color composition. Looking at case studies, projects that the main elements of the industrialism and new implementation are used in are best examples to look on and use them as case studies in order to understand these elements. The main features of this architecture are: -

Clerestory windows Splits levels High ceiling Multi usage of materials Pitched roof Color’s composition Chimney’s Louvres Green roof Square based Steel usage and trusses Skylights

Each new element is implemented on the project for different reason, functional, sustainable, design wise and not decorative element, the usefulness is divided into various parts and various reasons, and showcasing some projects that includes these features can provide clear and important vision to what resemblance could be done for the new style. Combining various architectural elements will rehabilitate the new style and provide new functions and creative methods in designing building using these functions. For example, using clerestory windows in residential houses will increase the sustainable approach in natural ventilation, as well as skylights, is a new introduction to common buildings, being skylight, a common feature will increase the amount of its usage as well as natural lighting as a sustainable approach. Combination of different materials to create a composition not only in the matter of colors, but to experience more about the combination of multiple materials to create a full-fledged building composed of different features since each element requires specific material that is suitable for building or constructing this feature. Using these features will create a revolutionary approach in new notions in design. Experiencing them will increase the effectiveness of this notions and make it more common and used. 26

Lunchroom Industrial Facility Architects: Taller de Arquitectura Miguel Montor Area: 4,350 sqm Location: Mexico Built in 2021 Function: Dining Space Features: - Usage of Light concrete plane as roof - Use of steel beams (I-Beams) as structural elements - Interior wood partitioning - Light concrete exterior partitioning - Composition in the colors (Grey, Light Brown, Black) - Good orientation glazing - Horizontal louvres - Natural centralized garden - Flexible circulation - Modulation in Plan

___________________________________________________________________________________________________________________________________ Source: Montor M. (2021), ArchDaily “https://www.archdaily.com/963819/lunchrooms-industrial-facility-taller-de-arquitectura-miguelmontor?ad_medium=gallery”

Figure 24: Lunchroom Facility - Frontal View - Image by Onnis Luque

2. WELL Living Lab Architects: Superimpose Architecture Area: 2400 sqm Location: Beijing, China Built in 2021 Function: Labs and Office Building Features: - Massive Units with minimalist windows - Wireframe Architecture - Protruded and exposed circulation elements - Vertical and Horizontal Louvres - Composition in the colors (Grey, Red, Steel) - Four entrances (Centralized) - Multi-façade - Multiple usage of materials (Steel, Concrete, Aluminum) - Free Standing

___________________________________________________________________________________________________________________________________ Source: Superimpose Architecture, (2021), ArchDaily “https://www.archdaily.com/963760/well-living-lab-superimposearchitecture?ad_medium=gallery”

Figure 25: Exterior View of WELL Building – Image by Create AR Images, Valentí n Račko

3. Zimmerlistrasse Office Architects: Weber Hofer Partner AG and Architekten ETH/SIA Location: Zurich, Switzerland Client: Dr. Thomas Raible, Rapperswil Built in 2017 Function: Commercial Building Features: - Natural lighting during day - Northlight 25-90° skylight - Pitched roof modulations (Repetition) - Monochromatic color (White) - Use of steel and concrete - Use of solar panels - High ceiling - Free open floor plan - Contrasting with the site

___________________________________________________________________________________________________________________________________ Source: Weber Hofer Partner AG and Architekten ETH/SIA, (2017), ArchDaily “https://www.archdaily.com/catalog/us/products/25754/modular-skylights-in-atelier-zimmerlistrasse-office-veluxcommercial?ad_source=search&ad_medium=search_result_all”

Figure 26: Zimmerlistrasse Office - Skylights

VELUX Modular Skylights in Nørrebro Library Architects: Superimpose Architecture Location: Nørrebro, Copenhagen, Denmark Built in 2019 Function: Modular roof light Features: - The use of linear architecture in ceiling - Wireframe Architecture - The use of Skylight - Passive lighting during day - Composition in the colors (Grey, Black, Steel) - False ceiling dropping from the ceiling downward - Material wise usage in design - Multiple usage of materials (Steel, Concrete, Aluminum, Gray Bricks) - High Ceiling - The use of Trusses

___________________________________________________________________________________________________________________________________ Source: VELUX Commercial, (2019), ArchDaily “https://www.archdaily.com/catalog/us/products/20520/velux-modular-skylights-innorrebro-library-velux-commercial?ad_name=related-products-bottom”

Figure 27: VELUX Ceiling

North Zone Silk Factory Architects: OLI Architecture PLLC Location: JIAXING, CHINA Built in 2016 Function: Factory – Industrial Building Features: - Vertical Louvres - Monotonic Building (Simple Cube Form) - Pitched roof - Site Specific (Context wise) - Monochrome color building - The use of trusses - Light, thin and smooth as silk - Multi-functional spaces - High Ceiling - Coherent interiors

___________________________________________________________________________________________________________________________________ Source: OLI Architecture PLLC, (2016), ArchDaily “https://www.archdaily.com/961439/north-zone-silk-factory-oli-architecturepllc?ad_medium=gallery”

Figure 28: North Zone Silk Factory Exterior + Interior View

Features of Industrial Style Clerestory windows o Definition: Clerestory window is type of openings, its main characteristic is that it’s constructed on high ceiling (high from the ground more than 2m) as well as it’s small vertical length and wider width. At first, they were used in industrial building as vents, lately these vents were upgraded and used as windows, these windows were more common in 1943 after the increase of number of factories and this element

Figure 29: Clerestory Windows

was more used in industrial buildings. After that this window started to be more common in commercial and residential building due to its positive effectiveness in light innovation and sustainable approach in design, these windows became more and more used in many buildings regardless of their functions. The window has many types also, the Sliding Clerestory Window, the Fixed Clerestory Window, the Hinged Clerestory Window, these types have also many usefulness, from ventilation, to design innovation…etc. these windows also are used differently, like one for direct sunlight, one for ventilation…etc. these windows are very important for the future usage of new openings and introduce them more in design field for each project and make it more common as main elements beside the sliding window. o Types / Usage: As mentioning above, there are three types of clerestory windows: 1.

Sliding Clerestory Windows:

The Sliding Clerestory Window is type of opening similar to the Normal Sliding Windows but have less vertical height and regular width, the importance of this window is that it keeps the space ventilated by keeping the wind flow by opening the sliding slashes of the windows that enable wind flow inside the building. This important notion will allow and open a sustainable approach in design as well as new innovation and creativity in how to develop this space according to orientation, design innovation and architectural distribution of functions.

Figure 30: Sliding Clerestory Window

•

Technical Detailing:

Figure 31: Sliding Clerestory Window Technical Detailing

Fixed Clerestory Windows:

The Fixed Clerestory Window is type of opening same to the Normal Fixed Sashes but have less vertical height and regular width, the importance of this window is that it keeps the space lit with natural sunlight through the opening. This important notion will allow and open a sustainable approach in providing natural lighting into the space.

Figure 32: Fixed Clerestory Windows

•

Technical Drawing:

Figure 33: Fixed Clerestory Window Technical Detailing

Hinged Clerestory Windows:

Figure 34: Hinged Clerestory Windows

•

Technical Drawing:

Figure 35: Hinged Clerestory Window Technical Detailing

Sustainable Approach:

High ceiling

Sustainable Approach:

Green roof Using green roof provide an excellent approach in sustainable design which provide healthy environment, as well as great acoustics in design and coherency in urban planning and environmental design which improve the well-being of living habitants and life environment.

Figure 36: Green Roof - On Flat and Slanted Roof

Pitched roof

Technical Detailing & Sustainable Approach:

Color’s Composition

Figure 37: De Stijl Composition by Piet Mondrian

Decodify the Composition:

I. II. III. IV. V.

Red Represent: Bricks Yellow Represent: Concrete Blue Represent: Steel and Structure Black Represent: Framing and Lightness White Represent: Natural Stone and Greenery Table of De-codification of De Stijl Composition of Colors

Color

Name

Representation

Red

Bricks

Yellow

Concrete

Blue

Steel and Structure

Black

Framing and Lightness

White

Natural Stone & Greenery 45

Louvres Vertical shading elements are important sustainable tool as well as playful idea and notion in designing sun light direct or indirect to space, it provides great acoustic in design and holistic intervention in the exterior volumetry and coherency with all elements mentioned above like slanted roof and clerestory windows. Figure 38: Vertical Shading Elements

Usage:

The Vertical Shading Devices industrially represented in using brutalist concrete morphology in order to form the coherency in the vertical elements and horizontal elements as well as composing the corresponding materials as composite architecture composed of Bricks, Steel, Concrete, Greenery…etc.

Figure 39: Vertical Shading Devices - Square Shaped embedded in horizontal slabs

Case Studies:

Villa CM Architect: Gianugo Polesello Location: Rive D'Arcano Built in 1972 Function: Villa – Residential Building Features: - Linearity in Design - Vertical Louvres as Shading Devices - Plain - Abstract - Composite Design

___________________________________________________________________________________________________________________________________ Source: Ale Caracola, (1972), Pinterest “https://www.pinterest.com/pin/549439223260181755/”

Sustainable Approach:

Sun Shading Perpendicular to Shading Element

Figure 40: Diagram Shows Sun Diagram Applied on Louvres

Steel usage and trusses When we say trusses and steel of course we mean structure and stability, but the combination of concrete, stone, plaster, wood and steel create a composite material initiative in order to make architecture perform more lightly visually, functionally, and structurally.

Figure 41: Meis Van Der Rohe national theater Mannheim

Technical Detailing:

Case Studies:

Chalet Blanche Architect: ACDF Architecture Location: La Malbaie, Canada Built in 2017 Function: Villa – Residential Building Features: - Minimalism - Bulkiness in Structure - Steel Structure - Self-holding architecture - Material choice - Openness in exterior - Open plan

___________________________________________________________________________________________________________________________________ Source: ACDF Architecture (2019), Architizer “https://architizer.com/blog/inspiration/collections/truss-houses/”

Gabion Wall Gabion as partition, exterior treatment, landscaping, and cladding is very sustainable, effective new theme to be used in architecture, yet, it’s importance structurally as it relies on caging the rocks.

Figure 42: Villa Design using horizontal Louvres and Gabion Wall

Usage:

Figure 43: Gabion wall used as retaining wall

Figure 44: Villa used Gabion wall as exterior treatment

Technical Detailing & Functionality:

Figure 45: Section Shows how Gabion Walls can be used in different ways

Skylights Skylights are glass openings that are fixed on the roof/ceiling, they are used to lit up the space naturally at day, it’s a sustainable approach in design in which it keeps lighting up the space without relying on electrical energy.

Figure 46: Skylight lighting interior

Sustainable Approach:

Figure 47: Section shows sustainable hut with green roof and skylight

Technical Detailing:

Figure 48: Section shows sun light lighting the space

Figure 49: Detailed section drawing

The Industrial Movement I.

Arts and Crafts Movements

UK: Viollet Le Duc: •

The first architect who tried to deviate from historicism was influenced by gothic rational structural solutions and wanted to implement them using new technologies.

•

He talked about the abstraction of organic nature principles in design.

•

His theories influenced different architects including Frank Lloyd Wright and others, however, those theories were followed with different interpretations and meanings.

Three Main Figures Augustus Pugin

John Ruskin

William Morris

1812 - 1852

1819 - 1900

1834 - 1896

Early Victorian gothic

High Victorian Gothic

Associated with Arts and Crafts Movement

Spiritual Approach in Design Secular and more interested in Influenced by Pugin’s theories by pure and monumentality Ornaments “Ornaments is regarding the importance of what makes architecture” handmade architecture Both Pugin and Ruskin were Faced the industrial revolution totally against the industrial by adapting technology to revolution and escaped back mass-produce into the past. US: Domestic Revival Old English | Queen Anne and the Shingle Style

Domestic Revival

Old English Style

Queen Anne Style

Low Profile

Cozy

More Formal

Asymmetrical

Picturesque

Less Picturesque

Uniform

Irregular

More Regular

Anti-Classical Picturesque Spacious Closed to Nature

English Planning

American Planning

Compartmentalization due to heavyweight and More opened spatially fluid spaces the need for more load-bearing walls Restricted mass planning due to structural Freedom of massing and planning with the use of restrictions wood Conservative society with separation between Liberal society with no social separation between men and women, children and adults different genders and ages The colder climate required compartmentalization Hot climate in summer needed more openness for in order to keep the room warm ventilation with the use of central heating systems in winter

II. Early Modernism A. The Chicago School Precedence Figure: Henry Hobson Richardson

Reasons contributed to the emergence of the Chicago School •

Advancement in construction and building technologies

•

Chicago fire 1871

•

The civic structure atmosphere of Chicago is full of scholars and scientist

•

Economic growth in Chicago being a transportation center

•

Demographic growth in Chicago being a transportation Center

•

The presence of talented architects and figures such as Frank Lloyd Wright

•

The emergence of the elevator as a new vertical circulation element

•

Maximizing Exploitation Factor

III. Early and High Modernism 1900 - 1950 10 Major Factors that brought out modernism Modernization The scientific and intellectual revolution Darwin’s philosophy of evolutionist Intervention and invention of new materials Art movements as De Stijl Architecture theories of figures as Violet Le Duc New Structural and construction systems New transportation systems Arts and Crafts movements Socio Political Movements

Direct Modernism Factors

Indirect Modernism Factors

The invention of Cast Iron - Wrought Iron - Rise of new philosophers: Bergson - Einstein Steel Nietzsche Portland Cement

Important architects: Frank Lloyd Wright - Le Corbusier - Mies van der Rohe

New building functions and types

New Styles: Machine Style

Reinforced Concrete

Industrial Revolution

The invention of vertical circulation elements

Architecture and Art Movements

B. 1. 2. 3. 4.

Early Modernism - Architecture Movements Art Nouveau Vienna School – Secession Movement German Expressionism Italian Futurism

C. 1. 2. 3. 4. 5. 6.

High Modernism - Architecture Movements Machine Style – Early Industrial Style The Bauhaus De Stijl Frank Lloyd Wright Le Corbusier Mies Van Der Rohe

Arts and Crafts Movement

Art Nouveau

Bauhaus

Art Deco

Post-Modernism

Industrial Design Movement

De Stijl

Pop

Late-Modernism

Pre-Industrial Style – Modern Day Industrial Style

From Factory to Architecture Machine Style and Factories (German Werkbund-International Style)

Peter Behrens

Walter Gropius

Turbinenfabrik 1909 •

1st full-fledged factory built

•

3 huge arched-vault spaces

•

Floating like curtain wall

•

Rationalist

Fagus Factory 1911 •

Post slab beams construction

•

Curtain wall facade

The Workshop Wing 1925 •

Creates the point of transition into high modernism

•

Glazed continues facade

Interiors and Architecture As mentioned before the usage of innovations and materials commonly and compositly, also in interior design the industrial style reflects interior to exterior and exterior to interior to form one coherent architecture entity.

Main features in the interior industrial style: -

The compositional treatment in materials. The multi-functional/usage of materials. Treatment in colors as functional and not decorative. Spatial volumetry, high ceiling and horizontal spacing. Interior/Exterior coherency in opening treatments.

Art Movements

Impressionism Impressionism is a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, inclusion of movement as a crucial element of human perception and experience, and unusual visual angles. Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s. The Impressionists faced harsh opposition from the conventional art community in France. The name of the style derives from the title of a Claude Monet work, Impression, soleil levant (Impression, Sunrise), which provoked the critic Louis Leroy to coin the term in a satirical review published in the Parisian newspaper Le Charivari. The development of Impressionism in the visual arts was soon followed by analogous styles in other media that became known as impressionist music and impressionist literature. Radicals in their time, early Impressionists violated the rules of academic painting. They constructed their pictures from freely brushed colors that took precedence over lines and contours, following the example of painters such as Eugè ne Delacroix and J. M. W. Turner. They also painted realistic scenes of modern life, and often painted outdoors. The Impressionists found that they could capture the momentary and transient effects of sunlight by painting outdoors or en plein air. They portrayed overall visual effects instead of details, and used short "broken" brush strokes of mixed and pure unmixed color—not blended smoothly or shaded, as was customary—to achieve an effect of intense color vibration.

Figure 50: Claude Monet, Impression, soleil levant (Impression, Sunrise), 1872, oil on canvas, Musé e Marmottan Monet, Paris. This painting became the source of the movement's name

Post-Impressionism Post-Impressionism is a predominantly French art movement that developed roughly between 1886 and 1905, from the last Impressionist exhibition to the birth of Fauvism. PostImpressionism emerged as a reaction against Impressionists' concern for the naturalistic depiction of light and color. Due to its broad emphasis on abstract qualities or symbolic content, post-Impressionism encompasses Les Nabis, Neo-Impressionism, Symbolism, Cloisonnism, Pont-Aven School, and Synthetism, along with some later Impressionists' work. The movement was led by Paul Cé zanne (known as father of Post-impressionism), Paul Gauguin, Vincent van Gogh, and Georges Seurat. The term post-Impressionism was first used by art critic Roger Fry in 1906. Critic Frank Rutter in a review of the Salon d'Automne published in Art News, 15 October 1910, described Othon Friesz as a "post-impressionist leader"; there was also an advert for the show The Post-Impressionists of France. Three weeks later, Roger Fry used the term again when he organized the 1910 exhibition, Manet and the Post-Impressionists, defining it as the development of French art since Manet. Post-Impressionists extended Impressionism while rejecting its limitations: they continued using vivid colors, often thick application of paint, and real-life subject matter, but were more inclined to emphasize geometric forms, distort form for expressive effect, and use unnatural or arbitrary color.

Figure 51: Paesaggio Nabi Paul Ranson, 1890

Cubism Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. In Cubist artwork, objects are analyzed, broken up and reassembled in an abstracted form—instead of depicting objects from a single viewpoint, the artist depicts the subject from a multitude of viewpoints to represent the subject in a greater context. Cubism has been considered the most influential art movement of the 20th century. The term is broadly used in association with a wide variety of art produced in Paris (Montmartre and Montparnasse) or near Paris (Puteaux) during the 1910s and throughout the 1920s. The movement was pioneered by Pablo Picasso and Georges Braque, and joined by Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Juan Gris, and Fernand Lé ger. One primary influence that led to Cubism was the representation of three-dimensional form in the late works of Paul Cé zanne. A retrospective of Cé zanne's paintings had been held at the Salon d'Automne of 1904, current works were displayed at the 1905 and 1906 Salon d'Automne, followed by two commemorative retrospectives after his death in 1907. In France, offshoots of Cubism developed, including Orphism, Abstract art and later Purism. The impact of Cubism was far-reaching and wide-ranging. In France and other countries Futurism, Suprematism, Dada, Constructivism, Vorticism, De Stijl and Art Deco developed in response to Cubism.

Figure 52: Pablo Picasso, 1910, Girl with a Mandolin (Fanny Tellier), Museum of Modern Art, New York

Pablo Ruiz Picasso (25 October 1881 – 8 April 1973) was a Spanish painter, sculptor, printmaker, ceramicist and theatre designer who spent most of his adult life in France. Regarded as one of the most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture, the co-invention of collage, and for the wide variety of styles that he helped develop and explore. 70

Purism Purism, referring to the arts, was a movement that took place between 1918 and 1925 that influenced French painting and architecture. Purism was led by Amé dé e Ozenfant and Charles Edouard Jeanneret (Le Corbusier). Ozenfant and Le Corbusier formulated an aesthetic doctrine born from a criticism of Cubism and called it Purism: where objects are represented as elementary forms devoid of detail. The main concepts were presented in their short essay Aprè s le Cubisme (After Cubism) published in 1918. Le Corbusier and Ozenfant were the creators of Purism. Fernand Lé ger was a principal associate. Purism was an attempt to restore regularity in a war-torn France post World War I. Unlike what they saw as 'decorative' fragmentation of objects in Cubism, Purism proposed a style of painting where elements were represented as robust simplified forms with minimal detail, while embracing technology and the machine. Purism culminated in Le Corbusier’s Pavillon de l'Esprit Nouveau (Pavilion of the New Spirit), constructed for the International Exhibition of Modern Decorative and Industrial Arts in 1925. This included the work of Cubists Juan Gris and Jacques Lipchitz. Following this exhibition, the relationship between Le Corbusier and Ozenfant declined.

Figure 53: Le Corbusier, 1921, Nature, Musé e National d'Art Moderne

Surrealism Surrealism was a cultural movement which developed in Europe in the aftermath of World War I and was largely influenced by Dada. The movement is best known for its visual artworks and writings and the juxtaposition of distant realities to activate the unconscious mind through the imagery. Artists painted unnerving, illogical scenes, sometimes with photographic precision, creating strange creatures from everyday objects, and developing painting techniques that allowed the unconscious to express itself. Its aim was, according to leader André Breton, to "resolve the previously contradictory conditions of dream and reality into an absolute reality, a super-reality", or Surreality. Works of Surrealism feature the element of surprise, unexpected juxtapositions and non sequitur. However, many Surrealist artists and writers regard their work as an expression of the philosophical movement first and foremost (for instance, of the "pure psychic automatism" Breton speaks of in the first Surrealist Manifesto), with the works themselves being secondary, i.e., artifacts of surrealist experimentation. Leader Breton was explicit in his assertion that Surrealism was, above all, a revolutionary movement. At the time, the movement was associated with political causes such as communism and anarchism. The term "Surrealism" is said to have been coined by Guillaume Apollinaire as early as 1917. However, the Surrealist movement was not officially established until October 15, 1924, when the French poet and critic André Breton published the Surrealist Manifesto in Paris. The most important center of the movement was Paris, France. From the 1920s onward, the movement spread around the globe, impacting the visual arts, literature, film, and music of many countries and languages, as well as political thought and practice, philosophy, and social theory.

Figure 54: Les Beaux Temps Art Piece

Expressionism Expressionism is a modernist movement, initially in poetry and painting, originating in Northern Europe around the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas. Expressionist artists have sought to express the meaning of emotional experience rather than physical reality. Expressionism developed as an avant-garde style before the First World War. It remained popular during the Weimar Republic, particularly in Berlin. The style extended to a wide range of the arts, including expressionist architecture, painting, literature, theatre, dance, film and music. The term is sometimes suggestive of angst. In a historical sense, much older painters such as Matthias Grü newald and El Greco are sometimes termed expressionist, though the term is applied mainly to 20th-century works. The Expressionist emphasis on individual and subjective perspective has been characterized as a reaction to positivism and other artistic styles such as Naturalism and Impressionism.

Figure 55: The Scream., 1893 by Edvard Munch

Suprematism Suprematism is an art movement focused on basic geometric forms, such as circles, squares, lines, and rectangles, painted in a limited range of colors. It was founded by Kazimir Malevich in Russia, and announced in Malevich's 1915 Last Futurist Exhibition of Paintings 0,10, in St. Petersburg, where he, alongside 13 other artists, exhibited 36 works in a similar style. The term suprematism refers to an abstract art based upon "the supremacy of pure artistic feeling" rather than on visual depiction of objects. Kazimir Malevich developed the concept of Suprematism when he was already an established painter, having exhibited in the Donkey's Tail and the Der Blaue Reiter (The Blue Rider) exhibitions of 1912 with cube-futurist works. The proliferation of new artistic forms in painting, poetry and theatre as well as a revival of interest in the traditional folk art of Russia provided a rich environment in which a Modernist culture was born. He created a suprematist "grammar" based on fundamental geometric forms; in particular, the square and the circle. In the 0.10 Exhibition in 1915, Malevich exhibited his early experiments in suprematist painting. The centerpiece of his show was the Black Square, placed in what is called the red/beautiful corner in Russian Orthodox tradition; the place of the main icon in a house. "Black Square" was painted in 1915 and was presented as a breakthrough in his career and in art in general. Malevich also painted White on White which was also heralded as a milestone. "White on White" marked a shift from polychrome to monochrome Suprematism.

Figure 56: Kazimir Malevich, Suprematism, 1916-17, Krasnodar Museum of Art

Russian Constructivism Constructivism was an artistic and architectural philosophy that originated in Russia beginning in 1915 by Vladimir Tatlin and Alexander Rodchenko. Abstract and austere, constructivist art aimed to reflect modern industrial society and urban space. The movement rejected decorative stylization in favor of the industrial assemblage of materials. Constructivists were in favor of art for propaganda and social purposes, and were associated with Soviet socialism, the Bolsheviks and the Russian avant-garde. Constructivist architecture and art had a great effect on modern art movements of the 20th century, influencing major trends such as the Bauhaus and De Stijl movements. Its influence was widespread, with major effects upon architecture, sculpture, graphic design, industrial design, theatre, film, dance, fashion and, to some extent, music.

Figure 57: Lá szló Moholy-Nagy, A. II (Construction A. II), 1924. Courtesy Guggenheim

The term Construction Art was first used as a derisive term by Kazimir Malevich to describe the work of Alexander Rodchenko in 1917. Constructivism first appears as a positive term in Naum Gabo's Realistic Manifesto of 1920. Aleksei Gan used the word as the title of his book Constructivism, printed in 1922. Constructivism was a post-World War I development of Russian Futurism, and particularly of the 'counter reliefs' of Vladimir Tatlin, which had been exhibited in 1915. The term itself would be invented by the sculptors Antoine Pevsner and Naum Gabo, who developed an industrial, angular style of work, while its geometric abstraction owed something to the Suprematism of Kazimir Malevich. Constructivism as theory and practice was derived largely from a series of debates at the Institute of Artistic Culture (INKhUK) in Moscow, from 1920 to 1922. After deposing its first chairman, Wassily Kandinsky, for his 'mysticism', The First Working Group of Constructivists (including Liubov Popova, Alexander Vesnin, Rodchenko, Varvara Stepanova, and the theorists Aleksei Gan, Boris Arvatov and Osip Brik) would develop a definition of Constructivism as the combination of faktura: the particular material properties of an object, and tektonika, its spatial presence. Initially the Constructivists worked on three-dimensional constructions as a means of participating in industry: the OBMOKhU (Society of Young Artists) exhibition showed these three-dimensional compositions, by Rodchenko, Stepanova, Karl Ioganson and the Stenberg brothers. Later the definition would be extended to designs for two-dimensional works such as books or posters, with montage and factography becoming important concepts.

Constructivism and Graphic Design The book designs of Rodchenko, El Lissitzky and others such as Solomon Telingater and Anton Lavinsky were a major inspiration for the work of radical designers in the West, particularly Jan Tschichold. Many Constructivists worked on the design of posters for everything from cinema to political propaganda: the former represented best by the brightly coloured, geometric posters of the Stenberg brothers (Georgii and Vladimir Stenberg), and the latter by the agitational photomontage work of Gustav Klutsis and Valentina Kulagina.

Figure 58: Proun Vrashchenia' by El Lissitzky, 1919

Constructivist architecture Constructivist architecture emerged from the wider constructivist art movement. After the Russian Revolution of 1917, it turned its attentions to the new social demands and industrial tasks required of the new regime. Two distinct threads emerged, the first was encapsulated in Antoine Pevsner's and Naum Gabo's Realist manifesto which was concerned with space and rhythm, the second represented a struggle within the Commissariat for Enlightenment between those who argued for pure art and the Productivists such as Alexander Rodchenko, Varvara Stepanova and Vladimir Tatlin, a more socially oriented group who wanted this art to be absorbed in industrial production. Figure 59: Yakov Chernikhov Art Work

Figure 60: Iakov Chernikhov architectural fantasy

De Stijl De Stijl, Dutch term for "The Style", also known as Neoplasticism, was a Dutch art movement founded in 1917 in Leiden. De Stijl consisted of artists and architects. In a narrower sense, the term De Stijl is used to refer to a body of work from 1917 to 1931 founded in the Netherlands. Proponents of De Stijl advocated pure abstraction and universality by a reduction to the essentials of form and color; they simplified visual compositions to vertical and horizontal, using only black, white and primary colors. De Stijl is also the name of a journal that was published by the Dutch painter, designer, writer, and critic Theo van Doesburg that served to propagate the group's theories. Along with van Doesburg, the group's principal members were the painters Piet Mondrian, Vilmos Huszá r, Bart van der Leck, and the architects Gerrit Rietveld, Robert van 't Hoff, and J. J. P. Oud. The artistic philosophy that formed a basis for the group's work is known as Neoplasticism—the new plastic art (or Nieuwe Beelding in Dutch). According to Theo van Doesburg in the introduction of the magazine De Stijl 1917 no.1, the "De Stijl"-movement was a reaction to the "Modern Baroque" of the Amsterdam School movement (Dutch expressionist architecture) with the magazine Wendingen (1918–1931).

Figure 61: Piet Mondrian Art Work

Early history From the flurry of new art movements that followed the Impressionist revolutionary new perception of painting, Cubism arose in the early 20th century as an important and influential new direction. In the Netherlands, too, there was interest in this "new art". However, because the Netherlands remained neutral in World War I, Dutch artists were not able to leave the country after 1914 and were thus effectively isolated from the international art world—and in particular, from Paris, which was its center then. During that period, Theo van Doesburg started looking for other artists to set up a journal and start an art movement. Van Doesburg was also a writer, poet, and critic, who had been more successful writing about art than working as an independent artist. Quite adept at making new contacts due to his flamboyant personality and outgoing nature, he had many useful connections in the art world. Foundation of De Stijl Around 1915, Van Doesburg started meeting the artists who would eventually become the founders of the journal. He first met Piet Mondrian at an exhibition in Stedelijk Museum Amsterdam. Mondrian, who had moved to Paris in 1912 (and there, changed his name from "Mondriaan"), had been visiting the Netherlands when war broke out. He could not return to Paris, and was staying in the artists' community of Laren, where he met Bart van der Leck and regularly saw M. H. J. Schoenmaekers. In 1915, Schoenmaekers published Het nieuwe wereldbeeld ("The New Image of the World"), followed in 1916 by Beginselen der beeldende wiskunde ("Principles of Plastic Mathematics"). These two publications would greatly influence Mondrian and other members of De Stijl. Van Doesburg also knew J. J. P. Oud and the Hungarian artist Vilmos Huszá r. In 1917 the cooperation of these artists, together with the poet Antony Kok, resulted in the founding of De Stijl. The young architect Gerrit Rietveld joined the group in 1918. At its height De Stijl had 100 members and the journal had a circulation of 300. During those first few years, the group was still relatively homogeneous, although Van der Leck left in 1918 due to artistic differences of opinion. Manifestos were being published, signed by all members. The social and economic circumstances of the time formed an important source of inspiration for their theories, and their ideas about architecture were heavily influenced by Hendrik Petrus Berlage and Frank Lloyd Wright. The name Nieuwe Beelding was a term first coined in 1917 by Mondrian, who wrote a series of twelve articles called De Nieuwe Beelding in de schilderkunst ("Neo-Plasticism in Painting") that were published in the journal De Stijl. In 1920 he published a book titled Le Né o-Plasticisme.

Influence on architecture The De Stijl influence on architecture remained considerable long after its inception; Mies van der Rohe was among the most important proponents of its ideas. Between 1923 and 1924, Rietveld designed the Rietveld Schröder House, the only building to have been created completely according to De Stijl principles. Examples of Stijl-influenced works by J.J.P. Oud can be found in Rotterdam (Café De Unie) and Hook of Holland. Other examples include the Eames House by Charles and Ray Eames, and the interior decoration for the Aubette dance hall in Strasbourg, designed by Sophie Taeuber-Arp, Jean Arp and van Doesburg. Modern Day Works by De Stijl members are scattered all over the world, but De Stijl-themed exhibitions are organised regularly. Museums with large De Stijl collections include the Gemeentemuseum in The Hague (which owns the world's most extensive, although not exclusively De Stijl-related, Mondrian collection) and Amsterdam's Stedelijk Museum, where many works by Rietveld and Van Doesburg are on display. The Centraal Museum of Utrecht has the largest Rietveld collection worldwide; it also owns the Rietveld Schrö der House, Rietveld's adjacent "show house", and the Rietveld Schrö der Archives. The movement inspired the design aesthetics of Rumyantsevo and Salaryevo stations of Moscow Metro opened in 2016. De Stijl Figures

Pixelatism Pixelatism is a rising art movement can be related to NFT art works and it represents the abstract base of the digital world and the post-digital rendering. The idea of Pixelatism is to abstract the pigmentation of the natural elements and materials in order to represent it from its base atom and not from its manufactured form, this rising movement elaborate more on the soul of the material and not on the end product. Pixelatism from word Pixels in digital imaging, a pixel, or picture element is a smallest addressable element in a raster image, or the smallest addressable element in an all-points addressable display device; so, it is the smallest controllable element of a picture represented on the screen. Each pixel is a sample of an original image; more samples typically provide more accurate representations of the original. The intensity of each pixel is variable. In color imaging systems, a color is typically represented by three or four component intensities such as red, green, and blue, or cyan, magenta, yellow, and black.

Figure 62: Colors of Pixel CMYK

In some contexts (such as descriptions of camera sensors), pixel refers to a single scalar element of a multi-component representation (called a photo-site in the camera sensor context, although Sensel is sometimes used), while in yet other contexts it may refer to the set of component intensities for a spatial position. The word pixel is a combination of pix (from "pictures", shortened to "pics") and el (for "element"); similar formations with 'el' include the words voxel and texel. The word pix appeared in Variety magazine headlines in 1932, as an abbreviation for the word pictures, in reference to movies. By 1938, "pix" was being used in reference to still pictures by photojournalists.

The word "pixel" was first published in 1965 by Frederic C. Billingsley of JPL, to describe the picture elements of scanned images from space probes to the Moon and Mars. Billingsley had learned the word from Keith E. McFarland, at the Link Division of General Precision in Palo Alto, who in turn said he did not know where it originated. McFarland said simply it was "in use at the time”

Figure 63: Pixels in Screen (Zoom Out & Zoom in)

Reflecting the notion of materiality, color, functionality and returning to the soul of the entity, implementing these notions on architecture in terms of wall treatments and finishes as pixelating the treatment and zooming in to the very tiny atoms of these materials and representing the soul of it in pixels, showing some of the materials like Concrete, Granite, Wood, Stone…etc. Concrete

Granite

Sand | Sandstone

Marble

Wood

WOTHOUSE Architects: NSW AS Area: 248 sqm Location: Oslo, Norway Built in 2014 Function: Residential House Features: - Simple Cubic Shape - Clean Edged - Pixelated Exterior Treatment using Natural Stone Cladding - Non-coherency Interior-Exterior (Cladded Exterior vs White Plastered Interior)

___________________________________________________________________________________________________________________________________ Source: NSW AS. (2014), ArchDaily “https://www.archdaily.com/592298/wothouse-nsw-as”

Figure 64: WOTHOUSE, photograph by Einar Aslaksen

Lebanese Typology

General Lebanese Typology Returning to Lebanon after explaining the main features of the Neo-Industrial Movement and how the new implementation is applied on this type of architecture as well as general overview on Art and Crafts movements and historicist in order to continue this movement and to reach a satisfaction in a new architecture typology is to understand the local typology and discover the errors in order to correct it and implement new ideas on it in order to upgrade it and make it more functional The Old House Typology (1912 – 1976)

Figure 65: Batroun, Lebanon

The architecture of Lebanon embodies the historical, cultural and religious influences that have shaped Lebanon's built environment. It has been influenced by the Phoenicians, Romans, Byzantines, Umayyads, Crusaders, Mamluks, Ottomans and French. Additionally, Lebanon is home to many impressive examples of modern and contemporary architecture. Architecturally notable structures in Lebanon include ancient thermae and temples, castles, churches, mosques, hotels, museums, government buildings, souks, residences (including palaces) and towers. The old house typology of Lebanon was the so called “trending” architecture back in 1912 and became more famous and accommodated in 1930 during the French mandate. This architecture started by the local Lebanese settlers back in mid-19th century, when they used sandstone and rocky

stone in order to build their houses, as well as in the snowy parts in Lebanon we can see the brick pitched roof for snow covering it in snowy winter weather. As we can see later the introduction of the three arched entrances/terraces, that resemble the connection between local typology and the ottoman typology but more articulated, the country’s temperate climate, stunning topography and hospitable people make it an ideal holiday destination. What also makes the country unique is its rich blend of oriental culture with a multitude of influences ranging from East to West, which is perhaps best illustrated in the traditional Lebanese house with the three arches.

Figure 66: Makaad El Mir ruins by the rocky beach in Batroun, Lebanon

Found all over Lebanon, these resplendent traditional houses first flourished in the 19thcentury Ottoman era. The central hall house became the archetypal home of Lebanese middle-class families. It is made up of a single block topped with a pyramidal red-tiled roof. These homes typically have very high ceilings designed to keep the rooms cool during Lebanon’s generous summers months. You may also find interior arcades throughout, adding softness to the rooms. On the outside, houses are dressed in stone, with an ocher coating or other similar shades, and feature the trademark three windows in the shape of arches that welcome a world of sunshine and light to its interior. Some of these characteristic homes are also accompanied by an elegant wrought-iron balcony and a delicate colonnade, inspired by the opulent Venetian palaces and Ottoman architecture. The signature redtiled roof has no windows nor chimney stacks and is playfully referred to as the tarboosh (fez) of the house.

19th Century The Beit ed-Dine palace complex was built by Amir Bachir El-Chehab II in the early 19th century. The palace entrance leads through the gates into an open space. This area was originally used for cavalry practices and for celebrations, which were attended by the public, visitors and important people of that time. The palace complex is now a museum with pictures, transcripts and documents including a collection of ancient pottery. It also contains a collection of Romanian gold jewelry, Islamic glazed wares, ethnographic objects, and ancient and modern weapons.

20th century and Classical architecture to Modernism 20th century architecture in Lebanon included the period of the French Mandate (19181943) and independent periods. Lebanon and Beirut in particular has seen large scale developments in recent decades, especially after the civil war ended. Some historic sites have been lost as new buildings are erected. Swiss architect Addor et Juilliard designed the Central Bank building. Maurice Hindieh designed the Ministry of Defense building (1965) and Andre Wogenscky Lebanese University (1960s). The Museum of the Resistance is in Mleeta. Artisans House (1963) in AinMreisseh and Electricite du Liban headquarters in Beirut. Monastery of Unity in Yarze, School of Ain Najm, and SNA-Assurances headquarters (1970) in Beirut are other modernist examples.

Different Variations of Lebanese General Typology 1. -

Variation 1 Ground floor sitting cubic unit Brick pitched roof Square openings

2. -

Variation 2 Two stories building Brick pitched roof Vertical rectangle openings

3. Variation 3 - Two stories building tapering upward - Brick pitched roof - Vertical rectangle openings - Arched openings on 1st floor

4. Variation 4 -

Two stories building tapering upward

Brick pitched roof

Square openings on Ground floor

Arched openings on 1st floor

Arched Logia

5. Variation 5 -

Two stories building tapering upward

Brick pitched roof

Square openings on Ground floor

Arched openings on 1st floor

Arched L-shape Logia

Vertical Rectangle openings

6. Variation 6 -

Three stories building tapering upward

Brick pitched roof

Square openings on Ground floor

Arched openings on 1st floor

Arched L-shape Logia 3rd floor

Vertical rectangle openings

7. Variation 7 -

Two stories building tapering upward

Brick pitched roof

Vertical rectangle openings

Arched openings on Ground floor

Protruded outward Entrance

8. Variation 8 -

Two stories building tapering upward

Brick pitched roof

Vertical rectangle openings

Arched openings on 1st floor

Protruded outward double height entrance

Extruded wing with logia on 1st floor

9. Variation 9 -

Three stories building tapering upward

Brick pitched roof

Vertical rectangle openings

Arched openings on 1st floor

Protruded outward double height entrance

Extruded wing with logia on 1st floor

Extruded wing with Terrace on 1st floor 93

The Modern Architecture of Beirut (1965 – 2000) Mid-20th century till late-20th century, Beirut faced many transitions, demographically, urbanistically, architecturally, politically…etc. as the start of the civil war in 1975 until the end of it in 1990 the architecture changed a lot, as so called between these times the early and mid-architecture decade and a half, the old architecture was barely surviving and the grounds were set to new architecture, more simplistic, clean from ornaments and decorative elements, functional and quickly buildable as new construction technologies and materials were introduced. Beirut’s Architecture in Mid-20th Century

Beirut’s Architecture in Late-20th Century

Mid & Late 20th Century Beirut’s Typology 1. -

Building Type 1 Famous Between Mid-20th century till 1980’s Consisted from 2 to 4 stories building Clustered verandas according to façade grid Chamfered corner Decorative elements and ornaments Commercial shops on ground floor

2. Building Type 2 - Famous Between Mid-20th century till 1990’s - Consisted from 3 to 6 stories building - Intruding logia - Protruding entrance - No decorative elements and ornaments - Commercial shops on ground floor

3. Building Type 3 - Famous Between Late-20th century - Consisted from 3 to 8 stories building - Protruding linear verandas - No decorative elements and ornaments - Protruding entrance - Pelote system & commercial shops on ground floor 95

South of Lebanon Typology Lebanese Village House Typology (Between North and South) South Lebanon typology is an updated version of the old Lebanese typology in terms of the overall view of the design it planning, interior/exterior as well as materiality which play a huge role in the viewing of the society into architecture and misunderstanding it in terms of “How beautiful this building is and not how functional could be”. In south a revolutionary transition in architecture happens between 4 dates, from 1890 till 1920, 1930 till 1975, 1990 till 2000, and 2000 till 2021, Lebanon, mainly south face many conflicts and transitions that shows and impacted architecture, as well as society in the south and the social changes that the south had, in terms of economy, social classes, work classes, and education and facilities.

Figure 67: Southern Residential Villa

To make a comparison between northern and southern Lebanese architecture we can find huge similarities in terms of planning, treatments but we can call it as evolution of the Lebanese house typology, since they were derived from one common architecture, but tweaking this architecture according to environment, social aspects, and economic demands results to different outcomes in designing buildings. As environmental aspects in articulating this architecture are the variation in topographic heights from sea level, since the south is less high than north, so the snow doesn’t cover many places, as well as it’s not mountainous area. 96

Analogy between Old Lebanese Typology vs New Southern Typology Old Lebanese Typology

Southern Typology

Differences

Similarities

Differences

Protruded three arches

Pitched Brick Roof

Only terraces

Embedment with nature

Openings treated same for all elevations

Protruding entrance

Embedded three arches Mix between terraces & verandas Each elevation has different treatment

Southern Lebanese House Typology

Old Lebanese House Typology 97

Lebanese South of Lebanon Typology (Era of Ottoman Empire) 1. -

Southern House during the Ottomans Ground floor house Exterior stair reaching the roof Intruded entrance Front yard front the house Small and functional Openings oriented according to wind (selfsufficient cooling and heating)

Lebanese South of Lebanon Typology (Era of French Mandate) 2. Southern House during the French Mandate - Two stories house - Three arches embedded with the exterior walls act as openings - Terrace - Impacts sense of old village typology features - Fancy and presence of ornaments - Intruded entrance

Lebanese South of Lebanon Typology (After year 1975) 3. -

Southern House during and after the civil war Two story building Pelote system on ground floor (Elevated plan) Vertical circulation element (scissor stair) Front yard front the house Apartment is elevated (not on ground floor) One longitudinal terrace on the main elevation Openings are not necessarily oriented according to wind nor view

Lebanese Re-designed Typology

Building Typology To change or redesign the building typology, we must understand and know the architectural elements of the original typology and to locate the issues to re-treat them in the right way, or change them completely, and by time and thanks to architecture, always find the best ways to upgrade and update the architecture product by introducing new functions based on the habitant’s needs and social upgrading of lifestyle. Time by time, the world is introducing new implementations to human’s life, as well as the situations also provide for the human new needs to create a function for them and for that architecture must serve the situation in updating many notions and can drop also many from the typology. Due to many current implementations, the new redesigned typology of the traditional Lebanese house is shown in the diagram in which it shows the direct editing on the morphology of the building and how it is changed due to many situations that doesn’t occur to be added only due to outdoor situations that directly implement on the habitant daily life and routine in which it must be edited, changed or redesigned. The importance of redesigning the typology is to provide flexibility between architecture and the habitant, it must simplify and aid his lifestyle, time and movement and not to harden it more, since architecture can change a lifestyle, aid it or damage it… 100

Design Planning Design planning comes as an important change in order to reconcile the importance of reconsidering new circulation and distribution of the functions of any type of building. Providing examples of typical Lebanese house plan and the updated version of the redistribution of the plan and functions more functional and cohesive manner in terms of circulation and functions. Creating a naturally lit corridor that connect two separated entities, the separated entities formed and function as one private and one public, the fully glazed corridor connects the two entities separating and connecting them together.

Figure 68: Typical Lebanese Plan

Figure 69: Updated Plan - Two Versions -

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Volumetry The cubical form that the Lebanese typology don’t attain the full stable circulation and doesn’t provide the needed functions for a full-fledged architecture product, yet it functions for a period of time according to era, number of needed functions, spatial entities and built area. As the functions of a residential building for example is increasing and become more important by time that the human needs must have like homeFigure 70: Lebanese Typical Cubic Volumetry office, storage room or pantry, mechanical room, gaming room or separate dining room…etc. many of these new introduced functions is being forced in the typical typology, by time these functions became needs, due to the pandemic, home-office became a need, flexible circulation became a must, gaming and entertainment room became much usable that normal bedroom and many functions that has been added by time due to daily additions to the society and community.

Human needs are identified by time and through the advancement of lifestyles and human daily routine in life treatment, yet architecture came to serve the needs of the habitant by providing him his needs, by upgrading and updating the typologies and designing volumetry that serves the functions and daily needs of the habitant.

Figure 71: Re-designed Volumetry

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Sustainability Sustainability is a very important property in this typology, and it performs and act as a regenerated power and power of reflection from the relying on incoming resources to a self-sufficient building that reflects outward not inward getting the usage and importance of sustainable designs and regenerated power from natural elements of the environment, that has been forgotten and must be reused and implement it on the neo-industrial designs.

Green roof is an important sustainable tool to keep the indoor warm in the cold weather and temperate in the hot weather

2- The solar energy provides 24/24 natural electricity from sunlight by day and stored power for the night 3- Rain water gathering underground tank is an important tool to use natural water storing and sustainable tool in treating rain water.

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On-Site Treatments On-site treatment of the architectural product is an important strategy, it defines the building’s location, orientation and footprint built-up area, topography, slanted hill or cliff, all these specifications included to know how to design best design and most significantly flexible design and site specific as well as not damaging the environment nor the urban fabric. In Lebanon, the topography is not a flat land, mostly slanted hills and cliffs, so the notion of treating the design on-site is a very important strategy, yet it can be very strong design tool or very destructive tool. Due to ignorant builder and traditions, the nature is slowly damaged and many old buildings and threaten to collapse due to buildings that were not built by good strategy and perfected calculations that were relied on human unskilled senses.

Figure 72: Traditional vs Studied site treatment

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Materials composition

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Projects and Case Studies As mentioned all above about re-designing the Lebanese typology to form more sustainable, suitable living habitat for individual that support all human needs naturally without relying on other nonenvironmental systems. As material composition will be playing huge role in choosing the right material wisely and in order to sustain the morphology and the industrial typology, yet the road to improvement will allow to introduce much more implementation on architecture and make it more sustained by time and used as main system and typology for future generation as using basic and easy to use materials, nonexaggerated, non-imported materials, and not hard to find, materials that are common in each country and used on daily basis and accessible for all people, if these materials are accessible, the only thing that needed is leading people to good architecture and the best sustainable use and best treatment in these materials in order to succeed in building there houses with the best treatments in order to keep the social, natural, and daily environment clean and sustainable. As global warming and rise in weather temperature as well as massive forests fire increases in many countries, it’s important to start founding and using many sustainable treatments in order to keep the community safe from harm. This new rising typology will create a new order to the architecture class in design, construction and advancement using only basic stuff without relying on technology.

Figure 73: Steel, Grey, and Brick Glass Composition by Hassan Kobeissi

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Steel (Truss, Hollow Beams, I-Beams) Renovation project of the former architecture school in Nanterre Architects: Shigeru Ban Architects Location: Nanterre, France Type: Architecture School Built in 2019 Features: -

High Ceiling Usage of steel (I-beams, and Trusses) Sustainable greenery Capped roof Wireframe architecture

___________________________________________________________________________________________________________________________________ Source: SBA, (2019), SBA “http://www.shigerubanarchitects.com/works/2019_nanterre/index.html”

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Concrete (Vertical and Horizontal Planes) House Boz Architects: Nico van der Meulen Architects Location: MooiKloof Heights, Pretoria, South Africa Type: Residential Villa Area: 777 sqm Features: -

Planar usage of concrete slabs Compositional treatment of spatial elements as 3D The use of steel structure (I-Beams) The use of glass and skylights Abstract usage of materials (No overlayed treatment) Usage of steel in the interior make it more into the industrial movement

___________________________________________________________________________________________________________________________________ Source: Nico van der Meulen Architects, Trendir, “https://www.trendir.com/geometric-concrete-and-steel-home-with-stone-and-waterelements/”

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Glass (Skylights, Planar Openings, Clerestory Windows) Flores Chalet Designer: Hassan Kobeissi Location: Buena Esperanza, Africa Type: Residential Chalet Designed in 2020 Features: -

Usage of skylights to provide passive daylight Treatment of the lighting for an angle The daylight innovation progress along the year Pure direct light Natural light is provided in the circulation space (Corridor) Subdivision of the skylights to break the light to prevent glass breakage

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Material Combination and Implementation Davis House Architects: Mercer and Mercer Architects Location: Auckland, New Zealand Type: Residential Villa Built in 2017 Features: -

Pure industrialism Usage of steel, concrete, wood and bricks Clerestory windows The use of glass and skylights Double height ceiling Compositional elevation Planar design method Playful materiality

___________________________________________________________________________________________________________________________________ Source: Mercer and Mercer, home world design, “https://homeworlddesign.com/double-height-living-spaces-add-drama-this-industrialstyle-house/”

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Industrial Design Projects

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Residential Villa Project Details Mr. Tohme Chalet House Designed: Hassan Kobeissi Location: Kounine, South Lebanon Type: Residential House Area: 156 sqm Features: -

Clerestory windows (Fixed) Slanted green roof Rain water saving tank Leveling in topography Embedded with the site Use of vertical louvres Use of gabion wall Skylight in entrance’s corridor

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117

118

Planning and Design

119

120

Concept Diagram

Splitting the old Lebanese house into two parts.

Forming is split into two parts with free space between them.

Roof become one-way pitched roof and no more pyramidical shape.

Connecting two elements with connection circulation element forming it as intruded entrance connecting two entities with one corridor.

Chopping the roof to form flat platform in order to be accessible and extend to be cantilevered.

Chopping part to create a buffer zone for the unit in order to form Lshape for legal and law reasons.

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Sustainability Design wise, using previous mentioned architectural and sustainable elements such as clerestory windows and green roof. These new implementations on the design form a great way in sustaining wind flow and natural sun lighting as well as green sustainable roof. Also using rain water collector tank that sustain water all over the days and storing water from rain flow on pitched roof to the water tank.

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Materiality Gabion Wall This project used gabion wall as exterior treatment of the project in which these walls were placed according to sides that was directly exposed to sunlight in order to decrease interior ambient temperature as well as create more sustainable approach than wet cladding and less costly.

Wooden Exterior Parquet Usage of exterior wooden parquet as treatment around the openings in order to form a wellcoordinated composition in materials, as well as wood beams usage for the entrance as well as using skylight in the entrance’s corridor that connects the two entities as natural lighting element.

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Residential Housing Project Project Details Tyre Residential Housing Project Designed: Hassan Kobeissi Project: Design Studio VI Location: El-Bus, Tyre, South Lebanon Type: Residential Complex Area: 3500 sqm Features: -

Wireframe Architecture Elevated plan system Site specific Integrated urbanistically Shading elements Color coding according to function Compositional planning

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Planning and Design

125

126

127

Units Drawings

128

129

Sustainability

Project Axonometric Composition

130

Project Drawings

131

132

133

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Multifunctional Office Building Project Details Tyre Multifunctional Office Building Designed: Hassan Kobeissi Project: Design Studio VI Location: El-Bus, Tyre, South Lebanon Type: Office | Commercial Complex Area: 5800 sqm Features: -

Industrial Architecture Factory like holistic approach Site specific Integrated urbanistically and corresponding to the housing project The use of Louvres Abstract in color Use of steel structure Use of clerestory windows Compositional design in section / elevation Coherent interior / exterior Base and tower system Vertical and horizontal interlocking elements Use of glass according to perfect orientation Compositional planning

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Planning and Design

136

137

Project Drawings Master Plan

138

Plans

139

140

141

Sections

142

Elevations

143

Project Visuals

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Eco-Village Sustainable Craftsman Center Project Details The Eco-Village Craftsman Center Designed: Hassan Kobeissi Project: Internship Location: Mjaydel, Saida, South Lebanon Type: Community Center Area: 1000 sqm Features: -

The use of louvres Pitched green roofs Site specific that organically placed on site following the topographical land The use of Gabion walls for stepping the land Red framing for openings The use of natural materials (Rock Stone) for exterior cladding Double height volumes Use of clerestory windows Stepped design as shown in section Compositional layout on site Three stories’ buildings Interlocking volumes

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Project Concept The Concept of the project is to compose the village urban morphology into the craftsman center, and that’s by distributing the units in a stepped manner in the site to keep the design site specific, functional to the surrounding and not alien to the space and place. The image below shows the Lebanese Village Urban Morphology

The image below shows diagram of Massing of units on the site

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Planning and Design

147

Master Plan

Site Plan

148

Plans

149

150

Section S-01

Elevation E-01

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Axonometric View

152

Sustainability & Materiality

153

154

Project Visuals

155

Architecture Composition Revival

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Plans and Layouts Architectural Composition: A Systematic Method to Define a List of Visual Attributes Composition has experienced multiple definitions over its centuries of background. Alberti defines composition as “the procedure in painting whereby the parts are composed together in the picture”. In architecture, Gaudet defines composition as “the combination of parts in a coherent whole”. Jon Brantingham, the composer of Hollywood, defines musical composition as “the process of making or forming a piece of music by combining the parts, or elements of music”. They generally emphasize the syntax of composition, which mostly concerns the orders and arrangements of the parts. From this perspective, a decent composition requires syntactical features. Despite considering various essential traits, the initial feature, as well as the final aim of composition, is mentioned deeply but concisely as “the achievement of unity”. As Blanc, Pontremoli, and Dews put it, the parts of good compositions are unified in such a way that any changes would not make it better, if not destroy it. From this viewpoint, composition is profoundly defined as “variety in unity”; “seeking variations within unification and seeking unity within varieties”. From another point of view, some theorists concern the semantic aspect of composition; they mostly concern the perception of a composition and focus more on content and artistic communication by visual elements. For example, Alberti defines “parts of a ‘history’ [painting] are the bodies, parts of the bodies are member, and part of member is the surface”. In an architectural plan as a composition, the rooms would be its parts; and for a building façade, the windows, roofs, railings and so on are their composition parts. Planning Composition in Golden Ratio In geometry, a golden spiral is a logarithmic spiral whose growth factor is φ, the golden ratio. That is, a golden spiral gets wider (or further from its origin) by a factor of φ for every quarter turn it makes. Fibonacci spiral, which is constructed slightly differently. A Fibonacci spiral starts with a rectangle partitioned into 2 squares. In each step, a square the length of the rectangle's longest side is added to the rectangle. Since the ratio between consecutive Fibonacci numbers approaches the golden ratio as the Fibonacci numbers approach infinity, so too does this spiral get more similar to the previous approximation the more squares are added, as illustrated by the image.

Figure 74: Fibonacci spiral

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Through connecting quadrants and centered point in the spiral that is connected approximately in the middle of the rectangle we can form a set of rotated rectangles. The connections are also connected to each other forming a compositional abstract image that can be planimetric formal layout of an architectural plan. Where as we can see the Figure 75: Compositional Implementation on Fibonacci Spiral rectangular shape taking the blue color, while the yellow is parts are big triangles while the red is irregular polygon and the black are defined small triangles by leftover forms.

Figure 76; Resultant Composition from the connections

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Master Plans and Urban Layouts

As briefly talking about planning on site or urban planning important notions comes from an urban scale in defining the notion of the planar composition and forming the industrial movement in being such fitting architecture, smooth and not forced and foreign, yet here comes on larger scale planning and designing how architecture fit and be site specific, this ensures the safe flow of the movement between the social classes and community.

As for specification of each urban morphology it’s important to know how time, location, scale and knowledge can affect the urban morphology and how economic classes play huge role on the living habitant in lifestyle, work, functional attributes in their architectural products. Thus, creating such excellent composition of urban fabric from the neo-industrial notions and properties that will accommodates a huge revolutionary architecture design in the architecture field.

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Conclusion As a conclusion for the book “Transparent & Opaque: The Neo-Industrial Movement” the idea of a revolutionary design principles that is inherited many previous design principles based on human needs, and added functions along the years it’s important to showcase many designs and case studies and to introduce new programs to advance this new rising movement and become more used and accommodated between societies. As for social classes this new movement enhance the lifestyle of the habitants and is not qualified for specific economic class, this movement is open to all habitants who support the ideas that the book showcases and talk about, thus knowing more about treating the architecture in the best way that the human can get useful from, yet many architectural elements by time become outdated and new functions and program is being introduced in order to sustain the architectural evolution by the worlds that’s growing fast, knowing that architecture is a slow process such that immediate decisions must be taken into consideration in adding or removing elements in order to keep environment, community, social and economic sustainability up going. The importance of the new movement is to flow smoothly with the flow of the social classes, not being in acceptable nor hard to be applied as well as fit and become more used in the society due to its important impact on growing the society. As for the morphology and the formality that plays role in the outcome design, its important to conceptualize the project according to architecture, social, site, and economic properties, knowing that the movement move with the formality that the used materials produce naturally and not by forcing the material to be applied, yet the flow of the composing materials used to form the outcome create an organic design in terms of naturally using materials without adding or implementing any foreign additives to it, as well as being site specific, following the site topography and the urban fabric and not overwhelming the space or foreign to it, yet not following the shallow term of organic as the shape of the building “Curvy form” which is not a main theme for the industrial movement.

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Transparent & Opaque: The Neo-Industrial Movement

Articles inside

Design and Planning

Industrial Design Projects

Lebanese Re-Designed Typology

Pixelatism