Arabella Crafts Village- Graduation thesis

JORDAN UNIVERSITY OF SCIENCE AND TECHNOLOGY

COLLEGE OF ARCHITECTURE & DESIGN

DEPARTMENT OF ARCHITECTURE

ARABELLA CRAFTS VILLAGE

GRADUATION PROJECT 1 (ARCH 591)

Fall 2022

Prepared by: Lama Shorman 131371

Feb, 5th, 2023

Abstract

The Arabella Crafts Village is a whole cultural complex, specialize with the interactive craft workshops. The whole experience of the village is evolving around user contribution in cultural activities, to turn this crafts village into a place with memory and feelings, rather than being a space with function. The Arabella Crafts Village reflects traditional and cultural spirit on the users’ experience, activities, and visual image of the buildings.

The design implements modern-designed traditional ventilation technique, to reduces running cost of the project.

List of Figures

1 INTRODUCTION

The Hashemite Kingdom of Jordan is just a two-hundred-thousand-year journey through the history of humankind. More than a country, Jordan is one of the world’s epic stories.

The smoke of Bedouin campfires has drifted into the Arabian nights for over nine millennia. Prophets wandered these mountains and deserts, receiving visions that shaped three of the world’s great faiths. Greek, Roman, Crusader and Arab armies have thundered across these sandy plains, leaving their mark at thousands of archaeological sites, and in every fiber of Jordan’s cultural DNA.

This rich overlapped history shaped the substantial Jordanian culture. A foremost part of this culture is handmade crafts. Jordan's tradition of handicrafts is impressive and rich in history. Jordan has been impacted bynumerous ancient civilizations overtheyears. Majorprehistorictrade routes that were established more than 5,000 years ago cross Jordan from north to south, and they were also used as main and crucial routes along the Silk Road, facilitating the exchange of information, culture, art, and religion between the major civilizational centers of Europe, Africa, and Asia.

This crafts village creates an extraordinary opportunity to experience and learn several carefully selected crafts, to create deeper and better experience of the Jordanian culture, with a distinctive special experience that reflects the spirit of the traditional architecture in Jordan.

Figure 1: Historical Jordan

1.1 What is the project

Arabella Craft Village is a complex that represent the rooter Jordanian culture, through various activities that evolve around visitor contribution rather that show the culture as a display item. This contribution ensures a better experience and understanding of Jordanian culture and crafts to both visitors from local community and tourists.

1.2 Significance of the project

The project will provide a true cultural experience by the contribution of visitors in the activities around the village (food making, traditional crafts, and Jordanian folklore shows). It is intended to be a “must visit" tourist destination Alongside being an economical support for both local community and the project itself (running cost).

1.3 Local need of the project

The Jordanian culture is an extremely rich culture; however, it is not well known as it should be, especially with the technological development that comparatively led to lack of awareness of the tradition culture among locals rather than foreign tourists. This village gives a chance to revive the traditional Jordanian culture and practice many aspects of it as old times.

The project will be an incubator for local made products, a safe place for women and producing families to sell their goods (pickles, pastries, spices, soap, jewelry, etc.) which provides financial support to the local community.

1.4 Location of the project

The project will be located in Irbid, Jordan. This location was selected due to the lack of cultural and community facilities in Irbid, although the city is very important for tourism.

Another main factor of selecting Irbid city is the towns and villages in the Irbid Governorate With a large number of villages around it, estimated at approximately “499” villages and towns. (Wikipedia 2023)

This special factor makes the city a very special location for convergence of people from different villages, in a unique contrast between the common culture between those villages and the variation among them. This contrast made Irbid city The capital of Arab culture for the year 2022.

1.5 The main units of the project

The project contains many activities, that can be recapitulated as:

1.5.1.1 Interactive crafts zone

This zone provides visitors and tourists with a distinctive range of culturally based craftrelated activities and programs. It is promoted as a must-visit tourist attraction. Visitors will learn about Jordanian culture and handicraft in this village through craft demonstrations and interactive hands-on activities.

1.5.2 The Bazaar

The Bazaar will provide an economical benefit for the project itself, for maintenance purposes, as well as financial support for local community members by providing a chance to sell local products (food, crafts, agricultural goods, etc..).

Another main purpose for the commercial pavilion is to be an opportunity where seasonal agricultural festivals could take a place in.

Figure 2: Irbid towns

1.5.3 The Exhibitions

A series of exhibitions that show the Jordanian culture and history, as well as shoeing the growth of Jordanian crafts. The exhibitions’ extensive collection of handcraft goods and artifacts is on exhibit, and it is based on long-standing Jordanian craft traditions. The Craft Gallery's core principle is education, and it emphasizes Jordan's craft heritage and regional handcraft production methods.

1.5.4 The Shows Area

This area includes indoor and outdoor shows area with a main outdoor amphitheater which could be used for seasonal festivals, folklore shows, and natural shaded seating area.

1.6 Goals and Objectives

The project has a group of goals which all contribute to achieve The Meta Goal which is: “To be an attraction point for various group of users to experience the real Jordanian culture”.

• financial support for local community by selling local-made products.

• sequence of interactive crafts station to encourage users’ involvement.

• cultural influenced design in a modern way, to reflect cultural spirit.

• connected functions to the existing cultural center with more outdoor experience.

1.7 Vision

Give full Jordanian cultural experience through practicing and learning traditional crafts, alongside other recreational facilities introducing Jordanian culture. this project is an extension to the surrounding buildings (Cultural center, youth house, and training school) to enrich the cultural experience.

1.8 Methodology

The methodology of this thesis book is a combination of two research methods which are literature review and observation.

Literature review was basically for the philosophic aspect ofthedesign that includes sustainability and resilient techniques in include in the design, as well as case study stage where similar projects were studied and analyzed from different aspects.

Observation research was used for site selection and analysis, which was based on a series of site visits and criteria to proceed with the analysis and design.

Finally, identifying the main guidelines and program to come up with concept and further details of the architectural project.

Figure 3: Research methodology- illustrated by Author.

2 HISTORICAL BACKGROOUND

Peaceful modern country filled with sights and sounds as old as time, in Jordan you can step in the very place where Jesus was baptized, wander one of the world's great wonders, float in the Dead Sea and dine with friends under desert stars.

From the Red Sea in the south to the desert East, Jordan River West, Amman, and Irbid in the north. it is easy to follow your own path in thishistoric and biblical land,so many already have.

In Jordan, every step forward takes you back, back in time to the people and places of antiquity, its where you can follow your feet to wherever your heart leads.

Figure 4: Jordan historical timeline (worldhistory.org 2023)- illustrated by author.

2.1 What Is Culture

The term culture is varied in its definition, as such, it cannot be limited to one singular explanation. Instead, a few definitions that captured a sociological understanding of the term will be briefly presented.

Culture refers to the sum total of social life. It includes language, beliefs, customs, norms, food, dress, andmusic.Itisasetofnormalsheldbyagroupofpeople, this group of people may live in the same geographical place, share nationality, ethnicity, or beliefs. (Hofstede 2003)

Sir EdwardBurnett Tylordefined cultureas “that complex whole which includes knowledge, belief, art, morals,law, custom,and anyothercapabilitiesandhabits acquired by man as a member of society.”

For symbolic interactionists, culture refer to systems of human meaning, in other words cultures created by human interactions it is a structured and organized framework upon which human beings attach meanings and understandings to symbols and their interactions.

culture may also refer to the shared knowledge beliefs, and values of members of society andmaybepassedonfromgenerationtogenerationthroughtheprocessofsocialization. (Hofstede 2003)

So, it necessitates a lot of effort to study culture, and social scientists like anthropologists and sociologists undertake it to better understand human behavior patterns. Social scientists have defined two essential categories to define objects produced by a society, despite the fact that there are an infinite number of ways that individuals can express their culture. (Eagleton 2016)

Figure 5: Jordanian cultureillustrated by author.

2.1.1 Tangible culture

Tangible culture is physical things that are created by a society. In Jordan we have a strong materialculturebasedon productionofcertainitemsfood,crafts,andagriculturalproduct. Culture does not mean that it is an object that is bought and sold it can also be something we all make for instance, different handicrafts art is a common thing we all experienced, it is something that is common enough to unite us and therefore part of our tangible culture. (Spencer-Oatey 2012)

2.1.2 Intangible culture

The intangible aspects of culture, or the elements of culture that are not perceptible by touch, taste, or hold. Common examples include social rules, ethics, beliefs, or even language. (Spencer-Oatey 2012)

2.2 Jordanian Culture

Jordanian culture is one of the richest cultures in history, it’s the result of centuries of cultures overlapped to form the current culture. Arabic and Islamic cultures have a significant impact on Jordan's culture. The culture of Jordan blends elements from the past and the present, as well as elements from the Islamic history and contemporary culture. In addition to being a continuation of the local Arabian culture, including its cuisine, even if it has its own distinctive features, it also accepts both eastern and western civilizations.

2.2.1 Music

Patriotic songs, which honor the nation and the king and are heavily influenced by Bedouin culture, are arguably the most well-liked genre of music in Jordan.

Additionally, there is a style of Bedouin music that mostly utilizes the rebab or Al-Rababa (a stringed instrument), and sporadically the Mijwiz (reed pipe). Songs of this genre frequently have a sad mood and focus on topics like raids, wars, and kindness.

Figure 6: Jordanian music.

The Dabke or Dabka, a group dance that involves stomping one's feet, is Jordan's most well-known traditional dance. Both men and women can perform this dance, which uses a number of regionally specific steps.

2.2.2 Traditional arts

Islamic motifs are used in Jordan's traditional ceramics and famed mosaics, which are exclusively handcrafted. Some ceramics feature calligraphy that represents Umayyad and Mamluk art.

Another well-known traditional Jordanian art form is embroidery. Traditional embroidered garments are created by women of Palestinian descent utilizing a variety of colors and patterns that are primarily based on geometric designs.

2.2.3 Food

Since there is evidence of human activity there dating back to the Paleolithic era, the history of Jordanian food may be established. It has changed through decades of social and political advancement (c. 90,000 BC).

In addition to its historical significance, Jordanian cuisine is highly valued for its preparation methods and experiences. The majority of traditional recipes need group effort to prepare, which provides an opportunity for interaction.

2.2.4 Handicrafts

Jordan is renowned for its handicrafts, which include weaving carpets, manufacturing rugs, baskets, pottery, and ceramics. Traditional crafts made in the nation have been handed down through the generations. Jordanian crafts have been influenced by Islamic and cultural influences, particularly in terms of pottery and ceramic ornamentation. Sand bottles with decorations, sculptures, and individually made silver jewelry are examples of crafts done on a smaller scale.

Figure 7: Jordanian food.

2.3 Selected handicrafts

The crafts activities in the project were carefully selected based on specific criteria to be safe for unprofessional users, easily learnt, and the final product could be kept as a souvenir.

These crafts include sand bottles, calligraphy, jewelry making, soap making, weaving, embroidery, and straw crafts. Another main experience is a cultural kitchen where users can participate in food making experience for traditional Jordanian dishes. Some of the crafts can take place outdoor such as pottery making.

3 LITERATURE REVIEW

2.4 Philosophy of the project

Humans have had an emotional urge for connection from the beginning of time. This has never been more evident in our lifetimes than it was during the Covid-19 pandemic, when we truly realized how important social connection and community are to our health and wellbeing.

Public spaces are an essential part of everyday life. Recreational areas, social gathering spots, educational venues, detoxification hotspots, sports venues, pet-friendly strolling areas, and getaway spots from the hustle and bustle of city life are all included here. In other words, public spaces are the living room without walls where people may gather, have fun, and rest up. These public areas are crucial for social and commercial interaction.

2.3.1 Public spaces

Public spaces are an essential component of daily living. Recreational areas, social gathering spots, educational venues, detoxification hotspots, sports venues, pet-friendly strolling areas, and getaway spots from the hustle and bustle of city life are all included here. In other words, public spaces are the living room without walls where people may gather, have fun, and rest up. These public areas are crucial for social and commercial interaction. A city is made up of several new public places depending on various activities, various age groups, and various interest groups.

Figure 8: Public spaces (pps.org 2023)

Overall, humans are a very social species, and social interaction appears to be essential to oursenseofselfandidentity (Shaftoe2015) Thefoundationofthehumanbodyandtheinhabitants of a city are cells, and for these cells to develop, they must be able to see and feel their surroundings. For the people, society, and city, public areas are crucial. They are critical to good health, happiness, education, resolving disputes, tolerance, and solidarity.

2.3.2 Place-making

There is a concept of “Space” vs. “Place” in anthropology, geography, and other disciplines. Space is geography, physical space, and location. While place it what gives the space a meaning, "personality," and relationship to a cultural or personal identity. (Shaftoe 2015)

Designing is to strengthen and support communities, and it is all about creating places that bring people together. A key approach to achieve this is through placemaking, which is to create quality places that spark an emotional attachment for people, and that thrive when users have a range of reasons to be there. It happens when a space is intentionally designed to impact people in a positive way.

Figure 9: Place (pps.org 2023)

2.3.2.1 Principles of place-making

(pps.org, 2023)

2.3.2.1.1 The community is the expert.

Any effective atmosphere must be created by identifying and utilizing people's abilities. It is important to involve persons who have an interest in the region, such as those who live or work there, when deciding what will bedoneto develop orimprove alocation.Theyprovide perspective and practical insights into how a certain area functions; altogether, they have a unique understanding of the pressing issues. Using this information at the outset of the process will foster a sense of belonging.

2.3.2.1.2 You are creating a place not just a design.

When characterizing a place they like, people frequently use words like "safe," "fun," "beautiful," and "welcoming." These descriptions represent a genuine place's intangible qualities the sort of place people speak about and visit.

Priority will be given to the requirements of the local populace over design concerns. The goal is to create a place that has a strong sense of community, a friendly vibe, a setting, activities, and uses that are more than the sum of their parts.

2.3.2.1.3 Vision

The vision of a public area largely focuses on the future activities that will occur there. As a result, it should be largely decided by individuals who will live there, work there, and use the region, rather than being designed by specialists or government agencies.

2.3.2.1.4 Form supports function.

The best locations are those that comprehend what has to be done to an area so that people may utilize it. By paying attention to and incorporating the community's stated needs, a designer may create a place that is both visually beautiful and pleasant.

2.3.3 What makes a great place?

(Dale, Anne, Dushenko 2012)

2.3.3.1 Uses and activities.

Activities are the most important pieces of the puzzle when it comes to a location. When there is something to do somewhere, people have a reason to go there and return. When there is nothing to do, a place will be empty, and it typically means there is a problem.

2.3.3.2 Sociability

This is a challenging aspect for a location to develop, but once it does, it shines out. When people visit friends, meet and greet their neighbors, and feel comfortableconversingwith strangers,theytendto experienceastrongersense of place or loyalty to their community and the location that supports these sorts of social activities.

Figure 10 : What makes a great place? (pps.org 2023)

2.5 Architectural Case Studies

2.2.1 Al-Shafa pavilion

2.2.1.1 General information

Location: Alshafa, Taif, Saudi-Arabia

Architect: Mohammad Jirody

The land is situated at the edge of Al-Shafa in Taif, which is known as a popular summer destination in the western region of Saudi Arabia for its cool weather, fruit gardens, and dramatic views, and is surrounded by the summits of the Sarawat mountain range at an altitude of roughly 2,300 meters above sea level.

2.2.1.2 Concept and main ideas

-The concept is to create a storytelling experience by pedestrian path in the project

- The functions were distributed as a series of stations along the main path in every node

- In every node there is a main function

- The final destination is the biggest function of the pavilion (multi-purpose hall)

Figure 11: Al-Shafa pavilion (araburbanism 2023)

Figure 12: Al-Shafa pavilion (araburbanism 2023)- illustrated by author.

2.2.1.3 Why this project

Themain goal of this project is to study circulation experience (indoor-outdoorcirculation) with traditional spirit in the project

2.2.1.4 Topography and views

-The hilly topography of Taif city was shown clearly in the design, which respects the natural topography of the site

- The natural slope gave a great view of the natural surroundings around the project which enhance indoor-outdoor connectivity of the project.

2.2.1.5 Experience and storytelling

The pedestrian experience of the site is based on an emotion of suspense because the user will not be able to see the next node until they continue in the path.

The interior experience is carefully designed as well, using traditional design tells a story of old times,

The path itself tells the story of development and dedication of old people to achieve the modern status of the country.

Figure 13: Al-Shafa pavilion (araburbanism 2023)- illustrated by author.

2.2.1.6 Circulation

The pedestrian circulation in the project isn’t forced with on path, but there are many other minor paths connecting indoor and outdoor activities to give more options and freedom to the user, as well as creating a whole new experience each time you choose a new path.

Figure 14: Al-Shafa pavilion (araburbanism 2023)- illustrated by author.

Figure 15: Al-Shafa pavilion (araburbanism 2023)- illustrated by author.

2.2.1.7 Cultural architectural impact

The traditional architecture is very strongly shown in the interior of each room in the project, using traditional building techniques as arches, windows, doors, and furniture.

Lighting sources are also traditional (natural and artificial lighting). Used cross vault roofing system.

Figure 16: Al-Shafa pavilion (araburbanism 2023)- illustrated by author.

Figure 17: Al-Shafa pavilion (araburbanism 2023)

The building material used in this project is a combination of natural stone and traditional red brick, which gave the project a strong traditional cultural appearance.

Figure 18: Al-Shafa pavilion (araburbanism 2023)- illustrated by author.

2.2.2 King Abdullah II House of Culture & Art

2.2.2.1 General information

Architect: Zaha Hdid

Location: Amman, Jordan

Project Year: 2008

Area: 32371 m2

Theancient cityofPetra, with its interactionwith nature and the erosional processes that have changed its outlines, served as inspiration for the design of a new performing arts facility. In this new structure, performance spaces are contained inside the residual masses, with erosion serving as the only way of defining public areas.

2.2.2.2 Concept and main idea

Inspiration for the King Abdullah II House of Culture and Art came from the ancient city of Petra, an oasis and sanctuary of great beauty, providing a perfect analogy for a performing arts center that aspires to be an oasis and sanctuary for contemporary culture.

This is a difficult aspect for a location to create, but once it does, it shines out. When people visit friends, meet, and greet their neighbors, and feel comfortable conversing with strangers, they tend to experience a stronger sense of place or loyalty to their community and the location that supports these sorts of social activities.

2.2.2.3 Why this project

This case shows the modern form and elevations inspired by ancient design that still has the same spirit and effect of the old ruins.

Figure 20: Petra

Figure 19: King Abdullah II House of Culture & Art (zaha-hadid.com 2008)

2.2.2.4 Context and site analysis

The building is accessible from Omar Matar Street and Ali bin Abi Talib Street, it is easy for the citizens to reach. Roads are designed for pedestrian and cars path. The main entrance door is located on the outer west-south road.

2.2.2.5 Elevation analysis

The elevation is composed of three materials which are stone, concrete, and glass, Zaha Hadid wanted to express the temporality and the forces of nature. reflected by applying the principle of fluid erosion and carving to the mass of the building for the performing arts center that inspired from the ancient city of Petra.

Figure 22: King Abdullah II House of Culture & Art-elevation (zaha-hadid.com 2008)- illustrated by author.

Figure 21: : King Abdullah II House of Culture & Art- site plan (zaha-hadid.com 2008)- illustrated by author.

2.2.2.6 Structural analysis

By approaching the building's external volume as a "fluid" rather than rigid box, more subtle variations are created. The volume of the structure gently swells, evoking Petra's ancient columns, and its ground level surfaces slope and rise between deeper erosions to provide natural amphitheaters. At the conclusion of the open space, the large Concert Theater is visible.

At the entrance of the building, where the public plaza and foyer area merge, the Small Theater is visible overhead. The support functions are then enclosed within these two easily identifiable volumes, which house the main event areas, to provide the outer cubic volume.

2.2.2.7 Zoning

The plaza ground outside receives the underpass thus creates an amphitheater-like valley. The big Concert Theater is exposed at the end of the public void. The Small Theater is exposed overhead at the front of the building where the public foyer space fuses with the public plaza.

Figure 24: King Abdullah II House of Culture & Art (zaha-hadid.com 2008)- illustrated by author.

Figure 23: King Abdullah II House of Culture & Art (zaha-hadid.com 2008)

2.2.2.8 Section analysis

The shape of the eroded space reveals the two main performance spaces as the figurative parts of the eroded mass. The big Concert Theater is exposed at the end of the public void. The Small Theater is exposed overhead at the front of the building

2.2.2.9 Psychological aspect

These quasi-topographic manipulations of ground surfaces are both evocative and communicative, helping to orientate visitors and encourage them to congregate in at all levels. At the second, elevated foyer level which provides wonderful views.

Figure 26: King Abdullah II House of Culture & Art (zaha-hadid.com 2008)

Figure 25:King Abdullah II House of Culture & Art (zaha-hadid.com 2008)- illustrated by author.

2.2.2.10 Circulation

The circulation was inspired from the principles of fluid erosion. Indeed, erosion provided the sole means of articulating, all public spaces in and around the new performing arts center.

2.2.2.11 Conclusion

Contemporaryarchitecturestrivestoemulatenatureandlearnfromtheintricatecomplexity and elegance of its forms. However, the circulation might feel like a maze, the parking is too small.

Figure 27:King Abdullah II House of Culture & Art (zaha-hadid.com 2008)

2.2.3 Cultural center in Guadalajara

2.2.3.1 General information

Location: Guadalajara, MEXICO

Year: 2013

Designers: PM2G Architects

Program Area: 5,000 Sqm

Guadalajara is known as the 2nd most populous municipality in Mexico and the wellknown vertical architectural route of the Guggenheim Museum in New York is reinterpreted here in the new Chapultepec Cultural Center project.

In addition to creating a new attraction for the city, the iconic idea for a new cultural center in Guadalajara embraces and catalyzes the cultural scene along Chapultepec Avenue. Three alternative solids are blended with translucent and concave voids in a succession throughout the design. The building's dynamic and stunning force is provided by the rotation of the volumes toward the sky.

Figure 28: Guadalajara location

2.2.3.2 Concept and main ideas

A monumental staircase, "part of the tradition of Mexican pre-Hispanic architecture" evokes the ascension into heaven, allowing to wander the building and at the same time serving as a podium and terrace to display certain works of art; this possibility extends from the inside out, becoming an external tour and concluding with a panoramic terrace, the stair as a magical space to exhibit, contemplate and communicate, a walk in the pleasant climate of Guadalajara.

2.2.3.3 Why this project

The integration of modern architecture and cultural spirit and identity of a city, and the reflection of traditional experience with a modern design.

Figure 31: Guadalajara

Figure 29: Guadalajara culture

Figure 30: Guadalajara cultural center (Archdaily 2013)

2.2.3.4 Spatial experience

The building and at the same time serving as a podium and terrace to display certain works of art; this possibility extends from the inside out, becoming an external tour and concluding with a panoramic terrace, the stair as a magical space to exhibit,contemplateandcommunicate,awalkinthe pleasant climate of Guadalajara.

2.2.3.5 Circulation

The well-known vertical architectural route of the Guggenheim Museum in New York is reinterpreted here in the new Chapultepec Cultural Center project. In this case, however, unlike the Frank Lloyd Wright scheme, the route turns to the city and thus provides visitors a 360° view of the city of Guadalajara.

Figure 32: Guadalajara cultural center (Archdaily 2013)

Figure 33: Guadalajara cultural center (Archdaily 2013)

2.2.3.6 Zoning

The 360-degree view from the top of the building reflects their culture since it said once man become gods after climbing the Pyramid of the Moon along with the Avenue of the Dead, they can see everything as reach the gates of heavens, also the act of walking towards the top will purify the body into becoming divine creature.

2.2.3.7 Function analysis

The auditorium's layout is quite flexible and can accommodate a variety of activities. The retractable seating expands to provide optimal viewing for each of the 200 spectators and frees up spacewhenitretracts(disappears)inthebackoftheroom,makingittheperfectsettingforconcerts and other events.

Figure 35: Guadalajara cultural center (Archdaily 2013)- illustrated bu author

Figure 34: Guadalajara cultural center (Archdaily 2013)

The compact core is the backbone of the building and serves to effectively distribute the flow of people and cargo transportation. The entire structure works as a pole and terrace to display certain works of art; this possibility extends from the inside out, becoming an external tour and concluding with a panoramic terrace, the stair as a mystical space to exhibit, consider and connect, achieving.

2.2.3.8 Lighting and ventilation

The poetic facade of white concrete is made up of several ruled surfaces that have been perforated in an evolving pattern of dots; some of the holes serve as windows, others as mirrors, and others as glowing LED spots. In order to reflect the sky in a gradient fromtoptobottom,thefacade was designed, showing an evolving light play those changes throughout the day.

Figure 37: Guadalajara cultural center (Archdaily 2013)

Figure 36: Guadalajara cultural center (Archdaily 2013)- illustrated by author.

2.2.3.9 Conclusion

The architects have successfully incorporated the city's culture into the building through the spatial experience from the inside to the outside. They have also used this as an opportunity to connect the culture and the old art to the modern art, making both shine more, all whilemaintainingtheproject'sprimaryobjective of building a foundation for fostering intercultural understanding.

The project's exterior was designed to look contemporary while still serving its purpose of distributing natural light throughout the structure. It was also modified to draw attention to specific artwork or performance areas by using mirrors (a strategy for reflecting light), aid in ventilation, and be aesthetically pleasing.

Figure 38: Guadalajara cultural center (Archdaily 2013)

2.2.4 Community center for Al-Jawashreh village

2.2.4.1 General information

Qusayr Al-Jawasreh is a community center for the Al-Jawasreh Society led by a group of local ladies, located in South Shounah near the Dead Sea in Jordan. It is a public facility open to the local community, where educational and vocational programs are provided.

2.2.4.2 Concept and main ideas

Inside the structure, a passive solar energy system creates a pleasant climate that is warm in the winter and cool in the summer. Whole rooms are well-lit throughout the year thanks to a big opening in the south region. Deciduous trees mark the passing of the seasons, shield the building from intense sunlight in the summer, and let it in during the winter. Herbs and flowers of all colors flourish in pots placed in the garden.

2.2.4.3 Why this project

The project was selected to study the local community involvement in the project through the construction process, and through the running stage.

Figure 40: Concept sketch (earthbagbuilding 2023)

Figure 39: Community center for Al-Jawashreh village (earthbagbuilding 2023)

2.2.4.4 Master plan analysis

It contains three distinct architectural elements: an earthbag structure that stands out as ecological architecture, GARDEN, and a classic stone building seen in Jordan. These three elements work together to jog people's memories of former emotions and present aspirations.

Stone walls that are thick are highly insulating. Large, light opening sections and inventive roofdesignsaremadepossiblebyreinforcedconcrete.Anyonecanconstruct anearth-bagstructure using the ground, and it is both robust and environmentally beneficial.

2.2.4.5 Community participation

In order to guarantee that the final product satisfies their needs and is useful, participatory design, also known as co-design or cooperative design, actively involves all stakeholders (community) in the design process.

Figure 42: Community center for Al-Jawashreh village (earthbagbuilding 2023)

Figure 41: Community center for Al-Jawashreh village (earthbagbuilding 2023)

In order to guarantee that the final product satisfies their needs and is useful, participatory design, also known as co-design or cooperative design, actively involves all stakeholders (community) in the design process. The residents of the village took charge of the situation and built the structure utilizing traditional techniques that represent their history and future.

Figure 43: Community center for Al-Jawashreh village (earthbagbuilding 2023)

2.2.5 Concrete Cultural Hub

2.2.5.1 General information

The major objective is supporting local cultural projects. With twenty-five galleries and art spaces since then, it has developed into Dubai's most significant art center. The district's rising demand for a centrally placed public area that can accommodate a variety of programs is met by Concrete, a new venue.

2.2.5.2 Why this project

This project is selected to study the design of simple function and the structural details of sliding walls to create multi-function spaces.

2.2.5.3 Zoning

The project has very simple zoning with minimal functions and adaptable design

Figure 44:Concrete Cultural Hub (thespaces.com 2017)

Figure 45: Concrete Cultural Hub (thespaces.com 2017)- illustrated by author

2.2.5.4 Space configuration

To support the necessary program variation, the interior design includes a variable floor layout. Depending on the sort of event, four 8.10 m pivoting and sliding walls may generate various area arrangements. All of the key interior machinery has been incorporated into the ceiling to retain a flowing environment, keeping the walls and floors devoid of any fixtures.

Figure 46: Concrete Cultural Hub (thespaces.com 2017)

Figure 47: Concrete Cultural Hub (thespaces.com 2017)- illustrated by author.

2.2.5.5 Structural detail

A variety of public events can be held in the 1,250 m2 old warehouse, including exhibits, performances, talks, and fashion displays. Maximizing the event space was a key component of the planning approach. The building's entrance and event rooms may now be found closer to The Yard, the neighborhood's primary outdoor public plaza, thanks to the consolidation of all services on one end of the structure.

Figure 48: Concrete Cultural Hub (thespaces.com 2017)- illustrated by author.

2.2.6 Center for community and culture KCK

2.2.6.1 General information

This project places a lot of attention on Kansas City and its culture and community in order to make the city more well-known. Kansas City takes pleasure in its varied culture, but the city lacks areas to appreciate and bring various cultures together.

2.2.6.2 Why the project

This project recreates a heart (town center) for a culturally rich area based on the surrounding context.

2.2.6.3 Cultural background

Kansas City, Kansas has a rich and diverse culture and history. The citizens in the area fought hard for their territory to become an actual place, and this battle shapes who the citizens are and how honored they are to live in the place they do.

Figure 50: Kansas culture

Figure 49: 2.2.6 Center for community and culture (Dahl 2013) - illustrated by author

2.2.6.4 Final design

The roughly 34.5-acre property emphasizes recognizing the rich community and culture currently therewhilealso providing the public with a space to enjoy in the downtown area.

On-site amenities include an outdoor entertainment area and a community center. Additionally, it contains a water element that represents the link between the Kansas and Missouri rivers to the east, which is asignificant aspect of Kansas City's society and culture.

The facility has a variety of public and semi-private places to accommodate the demands of site visitors.

Figure 51: Center for community and culture- site plan (Dahl 2013)

Figure 52: Center for community and culture- site plan (Dahl 2013)- illustrated by author.

4.1 Project scope

The scope of the project will cover educational and recreational activities for a wide group of users (will be discussed later), with safe crafts learning activities, folklore shows, exhibitions, community kitchen, and bazaar. The project is meant to be a compliment to the surrounding craftsrelated institutions, to provide a full cultural experience.

4.2 Users’ analysis

The variety of activities targets a wide group of users according to their interest and needs.

4.2.1 Families with kids

This user’s group is considered extensive age group (4-50), however, the training activities especially the interactive crafts could be practiced by kids and adults at the same time, it could be practiced as individuals or together as a family activity.

4.2.2 School students

The activities are suitable for schools and educational institutions; the crafts workshops are safe and easily learnt. On the other hand, the project has a main amphitheater, indoor theater, and multi-purpose hall, where school activities and shows could be held there.

4.2.3 Working women (small business owners)

The Bazaar area and community kitchen serve as a business incubator for small business owners especially women, the project will provide a safe place and needed services to help selling their local or handmade goods and guarantees and attract possible clients for them.

4.2.4 Farmers and landowners

The amphitheater and Bazaar area will serve as a place for seasonal agricultural festivals to sell their crop of any other agricultural product. This users group is considered a temporary group.

4.2.5 Youth people (18-25)

The project has an educational department with certified trainers to tech professional crafts courses for youth to be able to practice it as a job. These trainers work with the Directorate of Vocational Training.

4.2.6 Tourists

The location of the project on the entrance of Irbid that connects it to the other cities is a key principle to attract tourists coming from other cities (or from Amman). The location is close to Darb Jordan (tourism path connecting all tourist sites from north to south), which is already guarantees tourist attraction to the project, for a true Jordanian experience.

4.2.7 Expected users

The project is expected to attract a wide group of users as shown in the figure below.

Figure 53: Expected user attraction- illustrated by author.

4.3 Zoning on site

The site is approached by two streets, because of that the project has two main entrances for easier access. Services are distributed around the main functions, for easy access.

4.4 Relationship between functions

The diagram below shows the relationship between main functions, services are distributed between main functions for comfortable experience.

Figure 55: Relationship between functions- illustrated by author.

Figure 54: Zoning on site- illustrated by author.

4.5 Privacy and services

Service distribution in the project is done based on standards and requirements for each function and its users.

Functions has different stage of privacy based on the nature of function and targeted users.

Figure 56: Service intensity triangle- illustrated by author.

Figure 57: Privacy triangle- illustrated by author.

Figure 58: Area schedule- illustrated by author.

5.1 Irbid

Irbid, often known to as Arabella or Arbela in the past, is the capital of the Irbid Governorate, which has an area of 1,572 km2 and has a population of over 1.137 million people. (Ministry of Interior 2023)

The Irbid Governorate is situated in the Hashemite Kingdom of Jordan's northwest; it is bordered to the north by the Syrian Arab Republic, to the west by Palestine, to the east by the Mafraq Governorate, and to the south by the governorates of Balqa, Ajloun, and Jerash. After Amman, it boasts Jordan's second-largest urban population. About 70 kilometers (43 miles) north of Amman is where you'll find Irbid. Irbid is the third largest city in terms of area after Amman and Az Zarqa, with a total area of 1,571 km2. (Ministry of Interior 2023)

The Governorate's significance stems from its strategic position as a hub for travel between neighboring nations as well as its historical and archaeological significance. Numerous historical and archeological sites may be found in the Irbid Governorate thanks to ancient civilizations. (Ministry of Interior 2023)

excessive urban development rates brought on by the significant population expansion in the city Irbid has developed into a significant commercial and administrative hub in the north of Jordan because of its distinctive geographic location; the city's core draws a variety of commercial activities that serve the residents of the larger city, the nearby towns, and the more than 300 surrounding villages. Additionally, the center offers an urban setting where a variety of social, economic, and cultural behaviors were practiced at various levels. (Ministry of Interior 2023)

5.1.1 Geographical analysis

Thearea in the region had extremely fertilesoil andmoderate climate, allowing the growing of high-quality grapes. the soil is endangered due to the irregular urban sprawl.

The topography of the area is a mix of hilly and semi-flat. Irbid is best known for its reddish-brown fertile soil.

5.1.2 Climate analysis

the area is dominated by a semi-arid climate regime, with mean annual minimum and maximum temperature between 16 C and 25 C, respectively. The longterm analysis of rainfall showed that the area receives approximately 420 mm annually (280 mm minimumto560mmmaximumaverages)between SeptemberandMaywithamajorconcentration in December to February.

Irbid has a hot-summer Mediterranean climate, common in the Levant region. Summers are hot at days with warm nights while winters are cool and wet with two snowy days in average.

Figure 61: Irbid climate analysis

Figure 60: Irbid topography

5.1.3 Vegetation variation

Note that Irbid can be distinguished by its high biological diversity in Vegetation

Thus, the importance of agricultural education arises especially for Irbid folks it can be considered a part of their fading culture.

Figure 62: Irbid vegetation

Figure 63: Irbid natural features

5.1.4 Development of Irbid city

5.1.5 Land use

Urban land made up 58.3 km2 (18% of Irbid's total land area) in 2003. (Total Irbid land area is 324 km2). In 2015, the urban area, which covers 97.2 km2, accounted for 30% of the city's total land area. The urban area of Irbid land has grown by 66.7% since 2003, compared to the initial urban area. This transformation equates to 12%, or 39km2,ofIrbid'stotallandareabecominganurban region. In the previous 12 years (2003-2015), 1% (3.24 km2) of Irbid's land area had been turned into urban area on average per year.

Figure 66: Irbid land use

Figure 65: Percentage of Irbid land

Figure 64: Irbid development 1953-2017

5.1.6 Irbid analysis conclusion

As a conclusion for macro-scale analysis of Irbid, main features have direct impact on the project and should be taken into consideration while designing.

Figure 67: Irbid land use 2017

Figure 68: Irbid analysis conclusion- illustrated by author.

5.2 Site selection criteria

there are many points of criteria were taken into consideration when the site was chosen, because the site is a critical aspect when designing a cultural-friendly project.

5.2.1 Location

Location in an attraction area, to ensure easy access for public and would act as a better space.

5.2.2 Transportation

Better transportation linkage to the craft village, increases the number of regular visitors and new tourists. Traffic conditions should be kept in mind while designing.

5.2.3 Safety

Secluded spaces should be avoided in the public access areas. Secured feeling for all users especially women and children should be ensured.

Figure 69: Irbid analysis conclusion- illustrated by author.

5.2.4 Multi-user

spaces designed for all kind of users (children, teens, men, women, and elderly people). Special care for people with special needs.

5.2.5 Multi-activities

Multiple activities and function throughout the project, with a seasonal activity that changes from a season to another, which ensures a very active bustling successful space.

5.3 Proposed sites.

5.3.1 Downtown Irbid

The first proposed site is in the downtown (Tal Irbid) due to its high traditional value, with a lot of vernacular Jordanian architecture. The city center had cultural buildings, open areas, and a unique tapering topography.

The urban change is very noticeable between the two dates by 2000 the area is fully occupied by modern architecture distributed around the heritage buildings.

Figure 70: Irbid downtown

Figure 71: downtown skyline

Buildings with more floors are beginning to appear in the region that previously only had structures with one or, at most, two levels. This fact, especially because such history buildings are often characterized by lower altitudes in comparison to such new constructions, disrupts the visual equilibrium and deteriorates the heritage urban fabric.

5.3.2 Wasfi Al-Tal Street

The second proposed site is located near Wasfi Al-Tal Street, beside Shelter Café. The site has a very rapid developing lately and became an attraction points forall types ofusers dueto itsproximity to Amman bus station.

Figure 74: Wasfi Al-Tal street site- illustrated by author

Figure 73: Wasfi Al-Tal street site

Figure 72: Downtown elevations

5.3.3 Aydoun, near Irbid Cultural Center

The third site is located in Aydoun near Prince Rashid Bin AlHasan Military Hospital, bordering Irbid Cultural Center, Aydoun Youth House, and Vocational Training Corporation

The selected site is considered the gateway of Irbid because it is located nearby Irbid-Amman Highway which connects the city of Irbid to all the cities.The municipality of Irbid painted a huge mural depicting the poet Arar in his hometown, the city of Irbid.

Figure 75:Aydoun site

Figure 76:mural depicting the poet Arar

5.4 Site evaluation and selection

Based on site selection criteria, a comparison was made between those three sites to find the most suitable option.

Figure 77: Site evaluation and selection- illustrated by author

5.5 Site analysis

5.5.1 Macro scale analysis

5.5.1.1 Context analysis

5.5.1.2 Landmarks

Figure 79: Landmarks- illustrated by author.

Figure 78: Context analysis- illustrated by author.

5.5.1.3 Land use

5.5.1.4 Circulation

Figure 80: Land use- illustrated by author.

Figure 81: Circulation- illustrated by author.

5.5.2 Micro scale analysis

5.5.2.1 Climate analysis

5.5.2.2 Approach

Figure 82: Climate analysis- illustrated by author.

Figure 83: Approach- illustrated by author.

5.5.3 Site analysis conclusion

5.5.3.1 Macro scale

Figure 85: Macro scale analysis- illustrated by author.

Figure 84: Dimension- illustrated by author.

5.3.4 SWOT analysis

As a conclusion for the whole site analysis, a SWOT map was made to show strength, weakness, opportunities, and threats.

5.5.3.2 Micro scale

Figure 87: SWOT analysis- illustrated by author.

Figure 86: Micro scale analysis- illustrated by author.

6.1 Concept introduction

6.1.1 Concept statement

Create a unique cultural experience through an interactive craft making experience for both locals and tourists.

6.1.2 Concept inspiration

The concept is inspired from the announcement of Irbid city as the Capital of Arabic Culture for the year of 2022. Since the city has more than 400 towns well known for crafts as part of the culture; the main function is crafts workshop.

6.2 Main components of the project

The project has some key components that serve a wide variety of users.

6.2.1 Interactive crafts workshop

The crafts activities in the project were carefully selected based on specific criteria to be safe for unprofessional users, easily learnt, and the final product could be kept as a souvenir.

These crafts include sand bottles, calligraphy, jewelry making, soap making, weaving, embroidery, and strawcrafts.Anothermainexperienceis a cultural kitchen where users can participate in food making experience for traditional Jordanian dishes. Some of the crafts can take place outdoor such as pottery making.

Figure 88: Jordanian crafts- illustrated by author.

6.2.2 The Bazaar

The bazaar is the main commercial function in the project, it provides financial returns for the project itself (running cost), as well as financial for local business owners who sell local products.

The bazaar is sheltered using tree structure made of recycled wood, which gives a great dynamic shading experience, due the change of sunlight direction and color through the day and the year.

6.2.3 The amphitheater

The amphitheater serves a multi-purpose outdoor function, used for seasonal festivals and celebrations. It could be used for folklore and school shows. These multiple scenarios and flexible function help serve more users all the time.

Figure 89: The Bazaar- illustrated by author.

Figure 90: Amphitheater scenario

6.3 Form development

The project layout is inspired by the circulation experience in ancient Jordanian villages, this experience was reflected on the circulation experience in the Arabella Crafts Village. The village shown in the sketch is (Samad) village in Irbid, this town was selected because it’s an organic developed village, which is the traditional urban expansion in Jordan. Other towns in Irbid follows the roman urban planning (grid city); due to their role during the roman empire, that is why there were not selected as a beginning of the inspiration.

The main masses’ enclosure creates a series of semi-courts (series of open spaces), where each of them has different purpose. Modern designed wind catchers were used to create natural ventilation throughout the entire project (indoor-outdoor ventilation).

The user can walk through the whole project through two main paths; and interior path between masses (black line), or an outdoor circulation through open spaces (green line).

Figure 91: Form development- illustrated by author.

6.4 Initial master plan

The initial masterplan shows both indoor and outdoor circulation, which was mentioned before. The design followed the natural topography of the site, as shown in the map, site levels differs between spaces.

Figure 92: Initial master plan- illustrated by author.

6.5 Zoning

The diagram shows the main zoning the project.

6.6 Initial floor plan

The initial floor plan shows detailed zoning and relationship between functions, and different types of exhibitions and shows area.

Figure 93: zoning diagram- illustrated by author.

Figure 94: Initial floor plan- illustrated by author.

6.7 Initial section

The section below shows the sequence of public spaces (semi-courts) in the project and stepping in the site due to the natural slope in the land.

6.8

Details

Further details in the project will be discussed.

6.8.1 Design layout

The design layout is oriented to face the prevailing wind (wind catchers), to ensure natural ventilation. The solid massed faces the sun, so it will shade the open spaces of the project.

Figure 96: Design layout- illustrated by author.

Figure 95: Initial section- illustrated by author.

6.8.2 Elevations

The elevation’s material will be a combination of traditional local material (stone) and modern material (glass), with arch-shaped openings that reflects the traditional spirit.

6.8.3 Wind catchers

Used modern-designed wind catchers, that serves as stairs too, enhance natural ventilation inside the building through a connecting it a distribution system in the false ceiling to ventilate indoor spaces.

Wind catchers also used to cool down temperature in outdoor spaces by creating openings at the bottom, which creates a natural ventilation outdoors as the wind tower in Masdar City.

Figure 97: elevation detail- illustrated by author.

Figure 98: wind tower ( Hassan 2015)

Figure 99: Wind Cather- illustrated by author.

6.8.4 Tree structure

At every intersection between massed, wooden tree structurewas used as a shading element fortheopenspaces. The tree structure is made of reused wooden structure, which creates a dynamic shading experience for the users, due to the constant change in direction and color of sunlight throughout the day, or among the four seasons.

6.8.5 Plant selection in the project

Used plants with specific characteristics in some places as wind/sun barrier for exposed outdoor community garden (facing both sun and wind), those plants are carefully selected to be local plants with minimum maintenance and easy care

6.8.5.1 Olive tree

Croptree,valuedforits ediblefruit andoil. Maxheight 14m and Spread 10m.

Rounded shape, not recommended to be planted around buildings, it ruins the infrastructure around. Not appropriate choice for shading due to its height.

6.8.5.2 Italian cypress

Evergreen tree with distinctive form. Spider mites are a serious pest problem, used as wind breaker or edging tree Planted in tight places Max height 15m and Spread 4m

6.8.5.3 Monterey Cypress

Evergreen tree Max height 15-25m and spread 6m

Easy to work with hand and machine tools, though areas around knots can be problematic. Utility lumber, fence posts, musical instruments (flamenco guitars), furniture, boatbuilding, and turned objects.

6.8.5.4 Chinaberry Tree

Max height 6-35m and spread 8m.

Valuable shade tree in its endemic regions due to its large, spreading canopy. Shallow root systems tend to clog drains and damage septic systems. Growing chinaberry trees have weak limbs too, which break easily during severe weather.

6.8.5.5 Washingtonian Palm

Crop tree, valued for its edible fruit and oil. Max height 15m and spread 6m.

Old leaves must be removed periodically.

6.8.5.6 Goldcrest Tree

Evergreen tree. Max height 10m and spread 4m.

One of the best coniferous shrubs to be planted near door fronts and could act as a beautiful hedge. Almost disease free and could be pruned to any desired shape.

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