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.

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.

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.

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)

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

5.5 Site analysis

5.5.1 Macro scale analysis

5.5.1.1 Context analysis

5.5.1.2 Landmarks

5.5.2 Micro scale analysis

5.5.2.1 Climate analysis

5.5.2.2 Approach

5.5.3 Site analysis conclusion

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.

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.

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.

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).

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.

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.

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.

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.

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.

7 References

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