social space by luma

Yarmouk University Hijjawi Faculty for Engineering Technology Architectural Engineering Department Fall Semester 2018/2017

By Lama Akmeel 2013989035

Supervisor : Arch.Salwa Alawneh

III

“The holes in your heart can make you nay”

Acknowledgement I would like to express my gratitude for everyone who helped me during the graduation project 1 starting with endless thanks for our supervisor Arch.Salwa Alawnah who didnâ&#x20AC;&#x2122;t keep any effort in encouraging me to do a great job. Thanks for the continuous support and kind communication which had a great effect regarding to feel interesting about what we are working on.

Finally , Nobody has been more important to me in the pursuit of this project than

the

members of my family. I would like to thank my parents, whose love and guidance

are with me in whatever I pursue. Lama AKmeel

CONTEXT -

Abstract ………………………………………………………………………………. VI

Introduction ………………………………………………………………………….VIII

Chapter 1 -

Literature review …………………………………………………………..(1-24)

Social platform (Peace)……………………………………..(1-17)

Jordan culture/social life ……………………………………..2

Human behavior in social and interaction space…..6

Fallout shelter (emergency) ……………………………..(13-20)

Human behavior in risk ……………………………………..13

Underground architecture ………………………………..16

Conservation-restoration of cultural heritage....(20-23)

conclusion ……………………………………………………………….24

Chapter 2 -

Case Study ..................................................................(25-107)

Connections Between Ground-Level Public Space and Below-Ground

Buildings.................................................................................... 26

Litterfall Social and Cultural Center..................................68

Villers Abbey Visitor Center.............................................88

Riveira Social Center / Carlos Seoane.................................104

CONTEXT Chapter 3 -

program …………………………………………………………..(110-137)

tabels and details ……………………………………..114

conclusion...................................................…..136

Chapter 4 -

Site analysis ..................................................................(138-185)

Chapter 5 -

Concept ............................................................(186-199)

Chapter 6 -

Appendix.........................................................(200-211)

References

VII

‘‘Behavior is a function of a person and his environment .’’ (Lewins equation )

VIII

ABSTRACT

What motivates human behavior?? The hierarchy of needs (Maslow1 pyramid) is one of the

best-known theories which considered our actions are motivated in order to achieve certain needs. This hierarchy_ with five stage_ suggests that people are motivated to fulfill basic needs before moving on to other, more advanced needs. This five stage model can be divided into deficiency needs and growth needs. The first four levels_ physiological, security, social and respect needs_ are often referred to as deficiency needs, and the top level is known as growth or being needs which do not stem from a lack of something, but rather from a desire to grow as a person. So, do our cities achieve the basic needs for us? If I am going to answer about my city _ Irbid, Jordan _ the answer will be no, because it suffers neglect in the socio-cultural and security aspects, for example we have 23 cultural foundation which are ineffective and inactive, also city have 76 protection shelters all closed !

It is important to take care about protection shelters in urban design in our cities, specifically

in the current situation of instability in neighboring countries, so why are they closed in our city? And what can we do to re-open this spaces and rehabilitate it? And how to integrate them with safety culture and social behaviors and activities?

The new project that is proposal in downtown areas targeted local people to enhance and pro-

tect live of them. A flexible project within urban content is social shelter that can deliver protection in emergency and interactive society in peace. Itâ&#x20AC;&#x2122;s a gathering spaces linked with old refuge in city.

1: Abraham Harold Maslow ( April 1, 1908 â&#x20AC;&#x201C; June 8, 1970) was an American psychologist who was best known for creating Maslowâ&#x20AC;&#x2122;s hierarchy of needs

Introduction

Social platform and fallout shelter, proposed project in two different proposed sites in Irbid city, a

flexible project within urban context _which suffers neglect in the socio-cultural and security aspects_ is social shelter that can deliver protection in emergency and interactive society in peace. Itâ&#x20AC;&#x2122;s a gathering spaces linked with old refuge in city.

The main aim of this project is to enhance and protect live of people and integrating the culture of

security into social and cultural activity. Project targeted local people in different levels in city to make their place and sense of space outdoor and indoor figure (0-0)

Figure 0-0 by Author

Chapter 1 - Literature review Section 1: Social platform (Peace) Jordan culture

o About Jordan:

Jordan has an area of about 35,475 square miles

(91,900 square kilometers). It lies in the center of the Middle East, sharing its northern border with Syria, eastern border with Iraq, its southern and eastern borders with Saudi Arabia, and western border with the Jordan River, the Dead Sea, and Palestine , figure (1-1 ) explain surrounding country which suffer from wars and conflicts.

Figure 1-1 / Jordan surrounding - by Author

Jordan can be regarded for a typically Arab country for its people are very warm, friendly and hospita-

ble, Joining local people for a cup of tea or coffee can be a wonderful way to learn more about local culture.

Many families, particularly in rural areas, are very traditional and if you visit their house, you may well

find it is divided between the men and women. Local women in Jordan enjoy considerable freedom when compared with many other countries in the region. Women are entitled to a full education, they can vote, they can drive cars, and they often play significant roles in business and politics.

-Urbanism, Architecture, and the Use of Space

Most people live in one- or two-room apartments or houses. Affluent urban families live in larger

apartments or individual homes. Buildings and homes are made of concrete, and some are made of mud and stone, with a design that allows more floors to be added, to create apartments for married sons. Privacy is very important, and many homes and other buildings open into private courtyards with concrete walls.

o Irbid city

Irbid known in ancient times as Arabella or Arbela, is the capital and largest city of the Irbid Gover-

norate. It also has the second largest metropolitan population in Jordan after Amman, with a population of around 1,700,000, and is located about 70 km north of Amman. Itâ&#x20AC;&#x2122;s 20 km south of the Syrian border. It is a group of villages. 02

In this section I would like to shed light on the cultural and social aspects of the city - Cultural heritage :

It can easily be argued that intangible heritage in Jordan has yet to receive adequate attention from

academic scholars, professionals and officials. Most of its elements have remained unsearched, undocumented, and thus marginalized. In light of this, there is an urgent need to rethink both the applications and implications of the notion of cultural heritage (figure 2-1)

Figure 2-1 / culture heritage by Author

so that it can include national traditions, values, and memories (i.e. intangible elements), in addition

to the tangible elements - figure (4-1) . Given that Jordan cultural heritage, both tangible and intangible, is under imminent threat of destruction and loss, appropriate measures need to be taken.

“The aesthetic embraces mythology, folklore figure (3-1) , art, oral traditions, as well as basic philo-

sophical understandings. Within this context, Yengoyan (1997) explains that Boas made a sharp distinction between those aspects of culture which are directly related to the environment, diffusion and history, and those aspects which contain the Geist (i.e. the soul or the spirit) of a particular people. The aesthetics and philosophy serve as the hallmark which gives a particular flavor to a group of people.”1 -Diversity

Figure 5-1 /diversity - by Author

Irbid is not a very multicultural city. People here have not been exposed to people of other cultural

backgrounds such as those from Asian or African countries. Diversity comes from the influence of Palestinian and Syrian refugees – figure 5-1

1: Cultural Heritage and Collective Identity: The Status of Intangible Heritage in Jordan from an Anthropological Perspective/ Mahmoud M. Na’amneh

Figure 3-1 /folklore - http://wonderstourism.com

Men and women lead more separate lives than

Figure 4-1 / Old Town Hall - draj festival

Male and Female Relations:

in the west. Public displays of affection â&#x20AC;&#x201C; kissing, hand holding are not the norm. You need to be respectful of the more traditional and Islamic religion within Jordan. The role of women has changed to a large extent in recent years, so that gender has no effect on the workplace. Females are becoming more powerful; as such there have been several female ministers and elected members of parliament in recent years.

Figure6-1 /Male and Female Relations

Human behavior in social and interaction space

Social architecture is the conscious design of an environment that encourages a desired range of so-

cial behaviors leading towards some goal or set of goals. We can define social space as physical space which gathering people to interaction together in different ways within it (human â&#x20AC;&#x201C; human) or interaction design which use digital or physical object interact with human ( human â&#x20AC;&#x201C; object ) â&#x20AC;&#x201C; figure (7-1).

Figure 7-1 - Social space / By author

How we can apply in architecture? Figure(8-1) explain the social human activity and architecture

elements/features . Every element in architecture can become a social link between humans ,the steps and slabs become a contact way or celebration space ,landmarks can play as a gathering area , architecture spaces play a greater role in social communication .

Figure 8-1 -linking between architecture and social / By author 06

Much of research conducted on the human environment relationship has based on four major theory

–figure 9-11

Figure 9-1 the human environment relationship / By author

“The integration theory maintains that combination of design features will influence people behave and act in the most appropriate manners. “ 2– figure( 10-1) In architecture, light, materials, space, color, and much more are thoughtfully considered and carefully decided. Every single decision affects human behavior

Figure 10-1 / The integration theory - by Author

1,2 : environmental psychology for design /Dak kopec

Control, behavior setting and stimulation theory are

overlapping – figure 11-1, how? Most built environment have controls –some of which more than others; for example, prisons. Design that support behavior setting also establish behavior controls.

For example, in library, automatically being quiet and

refraining from other potentially disturbing behaviors. the control of the spatial experiance such as gallary , museum which control the movement , mood , and the action

Figure 11-1 / overlapping of theories-

of users . other example in social space , How seating is ar-

by Author

ranged in seating areas this control the behavior of people in an attempt to communicate with new individuals and deal with them . Figure 12-1 is an example of human and object interaction (INTERACTION DESIGN) in addition to behavior controls especially in the user’s movement

Figure 12-1/ INTERACTION DESIGN - Salone del Mobile | The Social Cave by the Faculty of Architecture of Columbia University 08

So, what make a great social place? Figure 12-1

Figure 13-1 / great place principles - by Author

“Place-making is the art of creating public ‘places of the soul,’ that uplift and help us connect to

each other.”1

Place-making is “making a Public Space a Living Space.”1

“The concept of place-making originated in the 1960’s when urban visionaries like Jane Jacobs and

William H. Whyte espoused what were then (and may still be) radical ideas about designing cities that catered to people, not just to cars and shopping centers. Jacobs and Whyte felt it was important to create and support lively neighborhoods and inviting public spaces. In particular, Jacobs advocated residents taking ownership of their streets through the now-famous idea of “eyes on the street.” Whyte focused on seemingly minor details of urban spaces (such as movable chairs, water, and food) as important to creating vibrant public spaces.”2

1: https://www.pps.org/reference/what_is_placemaking/ 2: Yuri Artibise / Urban Engagement & Digital Communications

Figure 14-1 / make place - by Author

At its most basic, place-making is making livable places by thinking through (figure 14-1)

“The word “place” is defined as a specific point on

the earth identifiable for a location in which human values were formed and grown”1 “Place is part of space with specific value and meaning”2

So, place is the result of interaction of the three components- figure 15-1:

1) Human behaviors 2) Concepts 3) Physical features

Figure 15-1 / place components - by Author

streets , plaza , outdoor gathering spaces , city stairs and others which make the idintity of city they

can form living spaces for local people who interact with components of space , figure 16-1 explain various activities can occur in public spaces and transform it from a normal place to Livable space .

1: Oxford Dictionary of Geography 2: (MadaniPoor, 2000).

Figure 16-1 / Livable space - by author

Architecting responsibility is to change a space into a place which means to turn potential content

into actual content. “Place is a combination of human and natural order, in which identity, home, and community are the basic concepts1.

According to Relph’s view, the spirit of a place depends on the perception of deep space due to

the occurrence and formation of memories during specific time. The spirit of a place is something beyond physical structure of a place and individuals understand it because of conceptual, individual, and collective memories and also associations which have been created for them2

There are three main principles about place and its formed mental picture creating meaning and

sense in a place : figure 17-1

Figure 17-1 / constitutive element of place - by author

1: (Relph, 1996) 2: (Habibi, 2008).”( THE CONCEPT AND SENSE OF PLACE IN ARCHITECTURE FROM PHENOMENOLOGICAL APPROACH)

Section2: Fallout shelter (emergency)

Human behavior in risk

According to studies conducted at the Psychological Training Laboratory at the University of Wiscon-

sin; human brain need between 8-10 second in normal case to identify the complex information and send signs to deal with. It is known that this process slow down in a large group of people in times of distress and stress, which means that the brain slows down in fear, because of slow in the receipt of information and adaptation.

Researchers divide people into three groups

according to their behavior in risk case as followsFigure 18-1 : 1.

Quiet people

Afraid people

Frozen people

Figure 18-1 / people behavior in risk - by author

Figure19-1 Shows percentages of

peopleâ&#x20AC;&#x2122;s classification in case of danger , figure 20-1 Explains these situations

Figure 19-1 /percentages of peopleâ&#x20AC;&#x2122;s classification in case of danger - by author

Figure 20-1 /human behavior in risk - by author 14

According to the results of research conducted by Gordon the shock and froze state generally over-

whelm people who are not ready to face the danger, this means that the brains of these people are not ready to receive emergency information and make rational response to adapt to it. It should be noted that this particular category may sometimes be characterized by reckless behaviors or reactions that overwhelmed by the speed of emotion and scream which causes the destruction of its members.

Researcher said that â&#x20AC;&#x153;Psychological preparation raises the level of the mind to keep up with the

rhythm of the event, and thus dealing with its course as quickly as required.â&#x20AC;? So what we need to pass the shock and froze state?

The solution is social behavioral rehabilitation, in my project indirect rehabilitation by Spatial experi-

ence and movement , action and reaction And raising awareness by direct way .

underground architecture

o Definition : What is underground architecture?

“” You tend to overestimate things which you don’t fully understand” truly said, we have a tendency of overestimating things we don’t see, feel or understand. Which is usually the case with underground architecture. When we say underground architecture people relate it to the much obviously seen basement. Is it or is it not underground the basement are? Yes they are underground, but is it architecture? Is it a designed space? If not what is actually underground architecture? “ “So putting a structure underground simply doesn’t mean it is design underground space”1

So underground architecture is an attitude.

o THE IMAGE OF THE UNDERGROUND :

“People feel a certain aversion towards descending into the underground as it provokes negative associations of cramped and dark conditions. These connotations may stem from previous experiences or as Von Meijenfeldt and Geluk explain “they can be culturally determined, connected with language and language use, or even traceable back to the subconscious” (2003, p. 168), seeing them become a result of a wider set of hidden factors. In addition to this attitude, the inhabitant’s feelings, opinions and ideas all play a significant role in forming images of underground spaces. The underground therefore holds the potential of a myriad of experiences, as Sack identifies in his explorative writing, Messages from the Bowels of Earth, “where else can one find reality and myth, banality and mystery, refuge and menace as close to each other as under the earth?” (1993, p.9). For there is nowhere else that such powerful moods can be held”. 2 -

Archetypes of underground architecture- figure 21-1 :

Caves and Caverns

Dungeons and Cellars

Bunkers

Grottoes Crypotporticus

1: Underground designing of an Urban Space- Thesis(B.Arch)-Preyan Mehta

2: UNDERGROUND ARCHITECTURE / Connections Between Ground-Level Public Space and Below-Ground Buildings- AIMEEWRIGHT

Typical Cave. (Source: Monarch’s Cave, 2002)

Dungeon. (Source: Old Exchange Dungeons,2005)

Grotto. (Source: Jeita, 2010)

Cryptoporticus. (Source: Neros History,2009)

Figure 21-1/ Archetypes of underground architecture “The Bunker, designed to protect its inhabitant’s from incoming bombs, flying shrapnel and other attacks was extensively used in World War I and World War II. Its ‘aerostatic’ form was purely concerned with survival; it provided “shelter for man in a crucial period, the place where he buries himself to subsist” (Virilio, 1994, p.46). Its characteristics, a monolith shell constructed from heavily fortified concrete walls with only a narrow slit for the observer to spot the enemy were all adopted to ensure survival. It was partially submerged into the landscape allowing the earth to conceal the main portion of the structure while offering a sense of stability and assurance. The camouflage potential of the Bunker “ nestles in the uninterrupted expanse of the landscape and disappears from our perception” (Virilio, 1994, p.44), the structure becomes linked to the surrounding earth providing the inhabitant with a sense of fortification and concealment. Yet the Bunker is also a physical manifestation of “our own power over death, the power of our mode of destruction, of the industry of war” (Virilio, 1994, p.46), for it is the actions of human kind that have created the need for such a pivotal structure.

The powerful notions of War, and therefore the Bunker also reversed the associated connotations of light and shadow, for being in the path of light means that you could be seen and exposed to possible attack. It was not until you were concealed in shadow that you were protected and sheltered. However, shadow only protects the inhabitant to a certain degree. It only acts as a partial screen, for you were only screened from The inhabitant taking refuge inside the Bunker.â&#x20AC;?1

o fallout shelter / bunkers in Irbid :

We have 76 underground shelters 40 in Irbid city, all closed and no one is responsible for them

These shelters exist from the 1960s, its situation between good and bad

o Instructions for setting up public and private shelters for the year 1961

Figure 22-1/ protection shelters types- by author

Figure 23-1/Services - by author 18

1: UNDERGROUND ARCHITECTURE / Connections Between Ground-Level Public Space and Below-Ground Buildings- AIMEE WRIGHT

Figure 24-1/Dimensions and area - by author

Figure 25-1/Doors - by author

o Advantage and disadvantage of underground architecture: figure 26-1

Figure 26-1/Advantage and disadvantage of underground architecture - by author 20

Section3: conservation-restoration of cultural heritage

What is conservation?

Conservation encompasses all the processes of looking after a place so as to retain its cultural sig-

nificance. It includes maintenance and according to circumstances may include preservation, restoration, reconstruction and adaption, or even a combination of more than one of these approaches. 1

What is revitalization? - figure 27-1

To conserve existing (sometimes historic) buildings or districts by putting them to good contemporary

use. This approach gives historic buildings and districts a â&#x20AC;&#x2DC;second lifeâ&#x20AC;&#x2122; by reconnecting them with society. 2

Figure 27-1/Revitalization - by author

1: Australia ICOMOS. The Burra Charter: The Australia ICOMOS Charter for Places of Cultural Significance. Burwood: Australia International Council of Monuments and Sites. 1999.) 2:(Conservation & Revitalization of Historic Buildings [Teacher notes])

What is the methods of building conservation? According to the Burra Charter, there are 5 main strat-

egies in conservation (figure 28-1) (figure 29-1):

Figure 28-1/ the methods of building conservation - by author

Figure 29-1/ the methods of building conservation - by author 23

Section 4: conclusion o

The project is linkage between two situation (peace and emergency).

Social architecture is the conscious design of an environment that encourages a desired range of

social behaviors leading towards some goal or set of goals , in this study we can say that social architecture can integrate human with space by two term “sense make “ and “place make”. o

70% of humans need psychological rehabilitation to deal with emergencies, architecture plays an

important role in this process. o

The image of underground architecture linked to culture and it can be changed by influencing the

sense of users, link the ground architecture with underground architecture and indoor with outdoor, its morphology.

Figure 30-1/PEACE AND EMERGENCY

Chapter 2: Cases Study

Connections Between Ground-Level Public Space and Be-

low-Ground Buildings

Litterfall Social and Cultural Center.

Villers Abbey Visitor Center

Riveira Social Center / Carlos Seoane

Connections Between Ground-Level Public Space and Below-Ground Buildings 26

Project Introduction Quick information Architect :AIMEE WRIGHT Location : Wellington/ New zealand Area : 11890 sqm Project year: 2012 Target group: local and tourism

Why this place ? Becouse the historical area in wellingtons lakes some of the basic urban design principles in ensuring successful public spaces , also the project search abot how to extend the old museum of wellington and link Between Ground-Level Public Space and Below-Ground Buildings

Why this case? Underground Architecture / preservation Because this project Head to link an old building with new consruction to restore the importance of old building in old site

Figure 1-2 /concept -by author

Design concept

High buildings are a problem for the definition of space and its historical significance, so the project concept is how How to revive a historic site ? Wellington 2040 plan outlines drivers towards creating Post Office Square as a more successful open public space. The drivers seek to â&#x20AC;&#x2DC;improve connections to the waterfront and other civic spaces, create more quality cultural and performance spaces, and revitalise parts of the city (Wellington City Council, 2011, p.129). These drivers include: Improving the physical connection between waterfront and CBD. Enhancing sightlines from Post Office Square to Queens Wharf. Redeveloping the existing kiosk building to make it more sheltered. Creating a more defined and enclosed public space by creating a buffer zone between the site and traffic intensive Jervois Quay.

Site analysis

The site chosen for the design case study is Post Office Square ( figure 3-2 ) located in Wellington.

Description of Post Office Square: Post Office Square is essentially defined by roads that surround each side of its triangular shape, while the area itself is defined by the buildings which surround it. Much of Post Office Square is open space, with only a small kiosk (figure 2-2) , known as the Clarrie Gibbons building located in the centre.

Figure 2-2 /Food kiosks at Post Office Square.

Figure 3-2 / Post Office Square

Location

Figure 4-2 /Location - by author 29

Boundary , landmark and area area

Figure 5-2 /Boundary , landmark and area area - by author Site specific framwork

Locate the entrance node as the con-

Retain the current pedestrian ac-

vergence point of the surrounding

cess along the western and south-

streets to enhance activity along the

ern edges of the site to ensure easy

major pedestrian movement chan-

access from surrounding footpaths

nel, ensuring easy access to the un-

to the open public space.

derground building

Ensure the connection between existing museum and extension is visible as to increase the visual presence of the Museum on the waterfront,yet create a connection that is respectful of the Category One Historic Bond Store Building. Ensure a direct pedestrian connection between this combined water-

Figure 6-2 /Site specific framwork - by author 30

front entrance and the Post Office Square entrance.

Figure 7-2 /skyline - by author

Retain and improve the current city

Ensure the primary underground

Retain existing vehicle movement

to sea pedestrian movement path

movement runs from city to the sea,

along the southern end of the site

on the southern end of the site by

bridging the gap created by Jervois

to retain wider traffic circulation

Quay. Secondary movement routes

patterns around the site, but de-

linking

southern

velop this lane into a shared space

routes should also connect to this

between pedestrians and vehicle

underground pedestrian network.

to minimise the impact of vehicle

defining the procession towards Queens Wharf to ensure a continuous link along Grey Street to the harbour. Ensure a direct pedestrian connection between this combined waterfront entrance and the Post Office Square entrance.

northern

and

movement along this edge of the site. 31

Figure 8-2 /view - by author

City to Sea Urban Section: Queens Wharf Harbour once has a seamless connection to the shore, creating a fluid connection from city to sea. However, with the construction of the TSB Arena a partially submerged basement was constructed a the base of Queens Wharf creating a subtle incline from Post Office Square to the top of the Queens Wharf public plaza ( Figure9-2) . This incline, although subtle, further disconnects the city to the sea. Possible site lines are obstructed and the transition from the city to the sea, or vice versa, is made more apparent through the sense of inclining and declining as you move across the space.

Figure 9-2 /City to Sea Urban Section

Current Progrme The Museum of Wellington City and Sea exhibition spaces are currently split across three levels (Figure 10-2 ), each level telling a unique story about Wellington. The first floor exhibits Wellington 20th century history, exploring its significance as a city today. The second floor exhibits Wellington’s maritime history, telling the story of Wellington’s close connection to the harbour. The third floor exhibits Wellington’s early history, documenting how Wellington has changed since its foundation from early Maori and European settlement. A large screen extends between these floors, screening films about early Wellington. Offices for staff, curators, Museum Wellington staff and public and private meeting and function rooms are located on the upper two levels, while the ground level houses the museum shop, entrance, reception and service entrance.

Figure 10-2/Zoning 34

This layout of the museum (Figure11-2 ) sees visitors recall the history of Wellington as they circulate through the exhibition spaces, where each level speaks of important events that have shaped Wellington. Visitors are first presented with Wellington as it is today, and by ascending through the three levels of the buildings interactive exhibits, various forms of media, whether it is visual, audio or interaction, reveal the history of Wellington. The circulation through the museum spaces occurs as a loop on each floor where the main staircase acts as the both the beginning and end of that loop, increasing orientation within the building. This sees circulation through the building act as a timeline, where each ascent goes travels back in time, revealing Wellingtonâ&#x20AC;&#x2122;s earlier history.

Figure 11-2/circulation 35

Figure12-2 /zoning

The Museum of Wellington entrances Museum Visibility: The museum currently suffers from a lack of visibility (Figure 13-2) as the entrance to the museum is located along the Eastern side of the building and not from the Northern â&#x20AC;&#x2DC;frontâ&#x20AC;&#x2122; door of the Bond Store. Although the building itself is highly visible, it is offers few views into the interior, meaning the museum programme is largely visually inaccessible.

Figure 13-2 /entrances to old museum

Having established how the site specific objectives can be achieved, the following discusses the space components of the design case study. The overall form of the building developed in response to the site specific design framework can be divided into the following six spatial components ( Figure 14-2 ) :

Figure 14-2 /six spatial components - by author

NEW plans - zoning

Figure 15-2 /zoning

Grey Street Corridor: (12: Pedestrian and Vehicle Movement) The portion of Grey Street adjacent to Post Office Square has been developed into a shared pedestrian and vehicle space. The bend in the lane, defined on either side by its surrounding buildings, represents where Queens Wharf used to define the shoreline. Through preserving and defining this bend the historic procession towards Queens Wharf is clearly articulated above-ground. The development retains the current one-way vehicle movement but develops into a shared movement space. However, pedestrian only footpaths, defined by planting and seating are situated along the buildings edge creating an active edge. The pedestrian only footpaths are further defined by Flat Apertures which are flush with the ground plane. These flat apertures create sight lines into the exhibition spaces below, allowing the general public above to see into the museumâ&#x20AC;&#x2122;s exhibition spaces below. 41

Museum Entrance: The Site Specific Framework identified that the museums main entrance node should be located on the most active corner of Post Office Square, this being the South Western Corner. The elevated ground plane manipulation of the entrance is the most pronounced, allowing it to be easily identified. By locating the entrance at an Earth Covered Depth the building is entered horizontally, allowing decent to occur once inside the building. Glazing along the entire entrance and retail edges not only creates a visible connection between interior and exterior environments but also gives the ground manipulation a sense of elegance and lightness, an aspect successfully achieved in the initial cardboard models

Figure 16-2 /zoning 2

Stepped Plaza: The building creates an inhabitable ground plane through using a Covered Sloped Cavity Ground Plane Manipulation, where the depressed sloped ground plane forms a terraced courtyard that descends into the museums interior. This terracing creates a gradual descent from the public ground plane to the Submerged underground pedestrian connection and museum spaces. The opening created between the difference of the ground plane and the pushed terrace allows Stepped Apertures to be used, establishing sightlines between interior and exterior spaces. These sightlines allow the general public to view the exhibition spaces from the exterior terrace without having to physically enter the building. This ground level space, which is mostly used as exterior Cafe space, creates a level connection to Customhouse Quay allowing the public space to be easily accessible. At ground level people can ascend up the gradual sides of the Earth Covered Ground Plane to the grassed public roof, or descend through the terracing to the underground pedestrian connection. The use of a gradual transition between ground level and the extruded ground plane creates a distinct edge between the public space and Jervois Quay. This distinct edge acts as a buffer zone along the Eastern edge of the site creating a sheltered public space.

Figure 17-2 /Stepped Plaza

Circulation and experiance

Figure 18-2 /Circulation and experiance

Under-Quay Pedestrian Link: (Underground Pedestrian Network) The Site Specific Framework identified a need to re-establish the pedestrian route across Jervois Quay, re-connecting the significant Grey Street city to sea link. The pedestrian link is Submerged underneath Jervois Quay to ensure no figure 19-2/Grey Street Secondary Pedestrian Link Entrance.

disruption to the existing vehicle network, nor any interference with ground level public space. By locating the pedestrian network at this level, it limits pedestrian descent to only one level below-ground, making it more accessible and allowing a gradual transition between levels. This depth also allows the pedestrian network to have a physically close connection to ground plane, ensuring that pedestrians are not significantly detached from the above-ground environment.

figure 20-2/Primary Entrance to the Museum and Underground Pedestrian

figure 21-2/ Underground Pedestrian Link- Queens Wharf Access

Figure 22-2 /Circulation

Figure 23-2 /Underground Pedestrian Link.

3d form Museums Connection: (Connection between Extension and Existin Museum)

Initially the connection between the museums was located underneath the current Museum of City and Sea to ensure a seamless connection between museum spaces. However, placing the connection underneath the Bond Store could have severely compromised the structure of the foundations supporting the Category One Historical Building. It would have also meant that the extension did not address the significant issue of the museums lack of visibility. Therefore the connection between the existing museum and its extension is situated at ground level, creating a new combined entrance on the Northern Eastern corner of the Bond Store. This combined entrance not only creates an obvious entrance node, but also creates a distinct transition between the two buildings, clearly articulating the original and new areas of the museum. The combined entrance is mostly glass, respecting the significance of the Category One Historic Building by allowing it to be visible from the exterior (Figure 24-2). Through locating the combined entrance aboveground and on the exterior of the current museum, it has little impact on its historic facade and existing interior configuration, while simultaneously increasing the visual permeability of the museum from Queens Wharf.

Figure (24-2) : New Combined Entrance- Bond Store.

Lighting Historic Seawall Voids: Two historic seawall voids run longitudinally through the building, following the 1863 and 1889 brick seawalls (Figure 25-2 ) which reclaimed a significant portion of land. Initially the design of the voids within the building explored the concept of framing the historic seawall structure, as it is believed that the historic seawall still remains underneath the site today. This would have allowed inhabitants to physically interact with the historic wharf. However, for feasibility purposes this idea was discarded as it would have required a significant amount of conservation, where the seawall would have initially been removed, the building structure built, then the seawall placed back to its original position. Having also been underground for such prolonged period of time meant that the condition of the seawall would have not been known. Therefore the position of the historical seawalls has been replaced by expansive voids figure (26-2) , inverting the notion of the seawalls structural ability by using naturally illuminated voids. These voids only gesture towards the significance of the space. It is not until the inhabitant circulates through the building and recounts the development of the waterfront that their significance is revealed.

Figure (10-1) : the pedestrian seawall V

Figure25-2/Location of Historic Seawall Voids.

Figure 27-2/The pedestrian seawall Voids.

Figure 26-2/ seawall Voids.

The two historic seawall voids cut through the pedestrian connection at the ends of the link way, acting as thresholds which define the process above the museumâ&#x20AC;&#x2122;s exhibition spaces figure (10-1) . These voids heighten the pedestrians movement through the museum, defining their experience of the museum as they proceedacross the link way.

Voids.

Figure 28-2/ Historic Seawall Void.

Historic Wharf Piles:

Figure 29-2/ Flat Apertures

Flat Apertures located between the columns allow natural light to illuminate the historic column Figure (30-2) , figure (31-2) . The use of Flat Apertures means that above-ground activities influence the degree of natural light entering the spaces below, creating a dynamic interior environment which is directly affected by aboveground activity

Figure 30-2/ Flat Apertures

Figure (31-2) : Flat Apertures and atrium spatial

Underground Atrium: The interior configuration of the museum is principally arranged around an Atrium Spatial Structure, where various exhibition spaces surround the central exhibition space situated at the lowest level within the building (Figure 31-2) (Figure 32-1). This spatial structure allows sightlines to extend to the deeper spaces of the building as well as creating sightlines to adjacent floors increasing orientation within the building. As the central atrium space is visible from every level, it acts as landmark within the building, further enhancing orientation and way finding (Figure 33-2 ) . Situated beneath the public terrace the central atrium space is illuminated by Stepped Apertures created through the depression of the ground plane. The use of an Atrium Spatial Structure allows natural light to extend to the deeper levels within the museum, providing all exhibition spaces with a degree of natural illumination.

Figure 32-2 /atrium spatial

Figure 33-2 / atrium spatial

figure 34-2 /Main Exhibition Space - Visual Exhibition.

Structural Expression:

The gravity loads on the underground museum, in places, are far greater than conventional above-ground buildings. These loads become even greater beneath the streets where not only the road, but several meters of road substrate are supported. Gravity loads from the above-ground environment are expressed through the significant amount of vertical structure within the building. Two meter thick and six meter long reinforced concrete walls, situated five meters a part line the west side of the museum. Located underneath Customhouse Quay they support the weight from the road above as well as providing a significant amount of weight within the building. The walls also divide the large museum interior into smaller spaces, housing many of the museums amenities, such as the meeting rooms and bathrooms. Large columns situated underneath Post Office Square lane and Jervois Quay also resist gravity loads from the above-ground road. These columns are differentiated from the Historic Wharf Piles which rely on their close spacing, rather than great mass for strength. Tapered at the top, the columns highlight the importance of the structural elements within the building, expressing the significant weight resisted from the above-ground environment.(figure 35-2)

Figure 37-2/ piles

Historic Wharf Piles: Three rows of historic whar piles run horizontally through the building, following the 1862 and 1878 Queens Wharf structure, they support the aboveground activity on Grey Street while also defining the historic procession towards the waterfront within the interior of the underground museum - figure 36-2

Figure 36-2/ piles

Figure 35-2/ structure

Conclusion

About Materials conservation by adding new materials respecting the significance of the Category One Historic Building by allowing it to be visible from the exterior About Lighting and Ventilation - using double volume and glass About Structure - Use of retaining walls

Figure 38-2/ Conclusion

Figure 38-2/Channels Cut into the Exterior Walls.

Project Introduction Quick information Architects : Ziya Imren Architects Location : Ä°stanbul, Turkey Project Year : 2013 Area : 10900 sqm builtup area : 1260sqm Target group: this is not a place for professional artists; this is a place for everyone Why this place ? To create a space and atmosphere where people come together to share their ideas, talk, sing, paint, dance and create a social and cultural life to illuminate their own daily life. Why this case?

Social platform

Because this project offers a comfortable place, where people can feel themselves at home and contribute to their own artworks.

Litterfall Social and Cultural Center 69

Figure 39-2/concept

The main idea of social and cultural center is to transfer the idea of the cultural accumulation, to architectural accumulation through one single modest recycled material and method of construction and create an atmosphere and spatial language with the tectonic meaning of recycling. Designed by Ziya Imren Architects, this small scale building typology is a very important to the culture of Istanbul, since it offers a comfortable place, where people can feel themselves at home and contribute to their own artworks. More images and architectsâ&#x20AC;&#x2122; description after the break. 70

3D Form The wooden pallet is also accumulated on top of each other to create the space, the mass, the shelter, the amphitheater and also its own context at the coast side of Ä°stanbul

Figure 40-2/3d form 71

Site analysis Location Located in a neighborhood in Ä°stanbul at the coast side between Caddebostan and Pendik, this is not a place for professional artists; this is a place for everyone, where the main idea is to bring people from different social and traditional strataâ&#x20AC;&#x2122;s, to share their life through the production of art and culture.

Figure 41-2/ location

climate

Figure 42-2/ climate 73

Figure 43-2/ micro scale analysis

Figure 44-2/ micro scale analysis

Figure 45-2/ micro scale analysis

Figure 46-2/ micro scale analysis 76

Figure 46-2/zoning

Figure 47-2/zoning and relationship

Figure 48-2/ spatial experience

The recycled material creates an effect of experience through its worn effect, instead of shinypacked, clear- cut inner and outer spaces.

Figure 49-2/function and sections 80

Elevations

Figure 50-2/elevations

Figure 51-2/proportion

The dynamic movement of upper shelter is also reflected to inner space.

Figure 52-2/elevation The idea of sustainable construction and recycled material, a unit, re-used wooden pallet, is the core of the design, which fulfills all the aspects of space as a whole

Since architecture is also a culture, which should be transferred or should be an area for transformation, recycled material as a wooden pallet, a module with a specific dimension and try to juxtapose with the whole idea. The wooden pallet is also accumulated on top of each other to create the space, the mass, the shelter, the amphitheatre and also its own context at the coast side of Ä°stanbul. The lightweight construction is a very simple mass and a sculptural social context at the same time.

Figure 53-2/wooden pallet

Sections

Figure 54-2/section

Figure 55-2/section

The tectonic language is also created through this idea of accumulation; the light is invited from the wooden recycled material inside the building, which creates a demand to touch the surfaces, or a demand to follow the diffused light. 84

The first architectural idea is accumulation-gathering for a space where collective artworks become the main actor of space, to be able to combine the different lives. The idea of accumulation has two meanings. First it has a symbolic reference, the accumulation of people around this small scale building, and also the accumulation of culture and art from time to time. Second it becomes a tool for architectural design and method of construction.

Conclusion

Figure 55-2/Conclusion

To summarize; the main idea of social and cultural center is to transfer the idea of the cultural accumulation, to architectural accumulation through one single modest recycled material and method of construction and create an atmosphere and spatial language with the tectonic meaning of recycling - figure 55-2 .

Project Introduction Quick information architects: binario architectes location: 1495 villers-la-ville, belgium area: 420.0 sqm project year: 2016 Target group: this is not a place for professional artists; this is a place for everyone Why this place ? The history of the Abbey of Villers-la-Ville dates back to the 12th century , the abbey site of Villers-la-Ville is savagely crossed by the National road, divided, loosing consistency and unity.binario architectes converted a former watermill and added a pathway to create a sequence along the visit Why this case?

preservation

Because this project is a new path, linked the visitor centre to all areas of the historical site to reunite the full cistercian composition plan.

Villers Abbey Visitor Center 89

Site analysis

Located in villers-la-ville in belgium, the villers abbey visitor center is a global intervention of the largest abbey ruins in europe.

Boundary

Figure 56-2/Boundary ZONING

Figure 57-2/zoning 90

Access

Figure 58-2/zone A binario architectes converted a former watermill and added a pathway to create a sequence along the visit. because the site has been crossed and split by a national road, the architectural intervention took into consideration both the landscape and the scenography fields, to try to reunite the full cistercian composition plan. the result is a complete sequence from the parking to the ruins, preparing the visitors for the exhibition spaces.

Figure 59-2/zone B 91

ACCSESS

Figure 60-2/ACCSES 92

Spatial experience

Figure 61-2/Spatial experience 94

Plans and Sections Zoning

C D Figure 62-2/ ground floor - Zoning

Figure 63-2/ section c-c - Zoning 96

C D Figure 63-2/first floor - Zoning

C D

Figure 64-2/second floor - Zoning

the ground floor of the mill contains a shop and a reception area while the first floor features a large model of the abbey and a media room. the different spaces are connected by corten steel walkways, emerging from the mill and reaching the hill across the new footbridge. outside, the route features floor panels with dates recording the history of the abbey until the garden. there, a footbridge crosses over the national road and finally leads down into the ruins. 97

Circulation

C D

Figure 65-2/ground floor - Circulation with the new path, binario architectes linked the visitor centre to all areas of the site

C D Figure 66-2/Circulation

C D Figure 67-2/Circulation

Figure 68-2/ section d-d - Zoning 99

Figure 69-2/ preservation

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Figure 70-2/ materials

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Project Introduction Quick information Architects :Carlos Seoane Location :Praza de España, 15960 Ribeira, A Coruña, España Architect in Charge: Carlos Seoane Area : 440.0 sqm Project year: 2015 Target group: rural people Why this project ? this project serves to host various types of social events through the articulation of its volumes. That public dimension gives especial importance to a rural environment where the public is limited almost solely to the nature of the roads around and their intersections.

Why this case?

Social platform

Because this project create a building which will be able to host different events as well as be transformed during the time.

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sub- ca

ase

Riveira Social Center / Carlos Seoane 105

Figure 71-2/plan

Figure 72-2/details

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Figure 73-2/intirior

Sliding panels shall manage to turn the latter into smaller areas, and will be able to function as exhibition halls, an auditorium for conferences in addition to classrooms of different sizes according to the various activities. Within the understanding of a variable-function building whenever needed, all furniture has been designed to be easily stored in stacks

Figure 74-2/sliding wall

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Chapter 3: program

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Chapter 3 -Program

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Chapter 3 -Program

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Area 105sqm

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Staff

Administration

Descrpition : area for manage social space

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Area 62sqm

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ENTRANCE

Area 150sqm

Services

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Area 100 sqm

Social Platform

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Human Human

Exhibition

Descrpition : its a space for people to share their life through the production of art and culture.

Social Platform

Human Human

Workspace

Descrpition : its a space for people to share their life through the production of art and culture.

Area 100 sqm

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Area 207.5sqm

Social Platform

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Human Human

Filmmaking studio

Descrpition : art platform space and atmosphere where people come to learn how to make film and making memory

4 7

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Area 445 sqm

Social Platform

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Human Human

Art platform

Descrpition : art platform space and atmosphere where people come to share their ideas, talk, sing, paint and create a social and cultural life

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Area 436 sqm

Social Platform

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Human Human

Gatheranig space

Descrpition : outdoorspace people can interact toghather

3 3

5,5

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Area 90 sqm

Social Platform

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Human Object

Digital space

Descrpition : A place where people interact visually and technologically

interaction wall can be indoor and outdoor

wall

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Area 62sqm

Social Platform

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Human Object

Physical space

Descrpition : A place where people interact physically with objects or space

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Area 91.5sqm

Human Human

Cafe

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Descrpition :

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Area 436 sqm

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Emergency

Protection shelter

Descrpition : A bunker is a defensive military fortification designed to protect people from falling bombs or other attacks

1: Retaining walls 2: Entrance ( It should be at an angle of 90)

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Program conclusion Area 3100sqm

Figure 1-3 / conclusion

spaces will design as a multi-use spaces which allows people using it in different ways ensuring communication between users . street is a part of social interaction between local people so we must desgin it as a part of project .

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Figure 1-3 / conclusion

The spaces must be linked visually to achieve a kind of social communication. using light materials for simple architecture structure .

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Chapter 4:Site Analysis 138

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Chapter 4 - Site analysis About the location

figure (1-4) - Jordan location

About Jordan Jordan officially The Hashemite Kingdom of Jordan , is an Arab kingdom in Western Asia, on the East Bank of the Jordan River. Jordan is bordered by Saudi Arabia to the east and south; Iraq to the north-east; Syria to the north; Palestine and the Dead Sea to the west; and the Red Sea in its extreme south-west - figure (1-4) . Jordan is strategically located at the crossroads of Asia, Africa and Europe.The capital, Amman, is Jordanâ&#x20AC;&#x2122;s most populous city as well as the countryâ&#x20AC;&#x2122;s economic, political and cultural centre

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Irbid city

Jordanian city, the center of Irbid in northern Jordan and its largest city. Located 71 kilometers north of the capital, Amman, and lies about 20 km south of the Syrian border. The second largest city in the kingdom after the Jordanian capital for the population. Had its beginnings in Roman times was built in the average between the cities of Decapolis ten historic site, and later became a center of Islamic conquest centers, there is a library in the city is one of the largest libraries in the Middle East, a Husseiniya library at Yarmouk University. figure (2-4)

figure (2-4) - Location info.

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Chapter 4 - Site analysis

figure (3-4) - Location maps

Social platform project proposed in two site in Irbid/ Jordan , Depending on the set of criteria one was chosen , figure ( 3-4 ) show the location of proposed sites in MACRO scale .

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Site selection

figure (4-4) - Tal Irbid

Tal Irbid Located in the city of Irbid, northern Jordan, Irbid, a modern city center and occupies an area of 10 hectares, and is one of the biggest hills to the north west of the Jordan, rises 577 meters above sea level . The settlement dates back to the time of the 3200 BC - FIGURE (2-4)

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figure (5-4) - Al - Manara neighborhood

Al - Manara neighborhood

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Site selection criteria

figure (6-4) - Site selection criteria

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Macro scale

general info. - Zoom 1

figure (7-4) - General history

Artifacts and graves in the area show that Irbid has been inhabited since the Bronze Age. Pieces of pottery and wall stones found at Tell Irbid were estimated to be made in the year 3200 B.C. In the Hellenistic period, Irbid, then known as Arabella was a major trade center. Before the advent of Islam, Arabella was famous for producing some of the best wines in the ancient world. The area in the region had extremely fertile soil and moderate climate, allowing the growing of high quality grapes. After the Muslim conquests, it came under the rule of the Muslim Empire, the city became known as Irbid. figure (7-4).

figure (8-4) - Context analysis 148

Architecture context style heritage buildings - â&#x20AC;&#x153;Shamiâ&#x20AC;? style

figure (9-4) - Dar Al-Saraya Museum plan

The buildings is closed from outside and open from the inside using court with small pool surrounded by trees and flowers use a circular archs for windows and doors

figure (12-4) - Buildings stones

figure (11-4) - Al-Nabulsi House 149

Macro scale

general info. - Zoom 1

figure (12-4) - Heritage ground

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Macro scale

Physical factors - Zoom 1

figure (13-4) - Figure and ground Areas are crowded with buildings and empty spaces are very few - Figure ( 13-4)

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figure (14-4) - Landmark

There are a large number of landmarks this gives importance to the site - Figure ( 14-4)

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Site approach The site location gives the project easy approach from more than one surrounding point and in a short period of time this - figure (15-4) , (16-4 )

figure (15-4) - site approach 154

figure (16-4) - site approach

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figure (17-4) - Macro scale maps

figure (17-4) shows name of the street in study region and around it. There are many famous street like Al-Hashmi Street. The famous and familiar street makes an easy accessibility to the region. figure (18-4) shows that secondary Street in the middle of Al-Tal hill has less traffic and main streets are overcrowding.

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figure (18-4) - Macro scale maps

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figure (19-4) - Macro scale maps

figure (19-7) shows the main services around the site . There are three secondary schools: o Irbid Secondary Comprehensive School for boys o Wasfi Altal Industrial Comprehensive School for boys o Hussan Alsbah school The three schools are the oldest schools in Irbid . figure (20-4) - land use - shows the current land use with function that contains (Government building, Residential building, Commercial building, Religion Building, Garden [open spaces].

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figure( 20-4) - Macro scale maps 159

Micro scale

Zoom 2

figure( 21-4) - site boundaries 160

figure( 22-4) - Vehicular and Pedestrian circulation 161

Climate analysis

figure( 23-4) - solar path

figure( 25-4) -shade and shadow 162

figure( 24-4) - solar orientation

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figure( 26-4) - wind 164

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Climate conclusion

figure( 27-4) -Climate conclusion

The air passing through a tunnel or a buried pipe at a depth of few meters gets cooled in summers and heated in winters - figure (28-4)

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figure( 28-4) -Earth air tunnel

figure( 29-4) -Solar chimney A solar chimney is a modern device that induces natural ventilation by the thermal-buoyancy effect. The structure of the chimney absorbs solar energy during the day, thereby heating the enclosed air within and causing it to rise. Thus air is drawn from the building into an open near the bottom of the chimney. The air exhausted from the house, through the chimney, is replaced by ambient air- figure (29-4) 167

Climate conclusion

Shading by overhangs, louvers and awnings etc. parts of a building or separately placed from a building facade, can dramatically reduce building peak

heat gain and cooling requirements and improve the natural lighting quality of building interiors. The design of effective shading devices will depend on the solar orientation of a particular building facade - figure (304),(31-4)

figure( 30-4) -shading system

figure(31-4) -shading system 168

figure( 32-4) -Tubular daylight device

figure (29-4) shows Tubular daylight device - the dome in the toproof collect daylight and direct it downword into the tubing which transfers the daylight from toproof to the diffuser which disperses daylight throughout a room Vegetation and trees in particular, very effectively shade and reduce heat gain. Trees can be used with advantage to shade roof, walls and windows - figure (30-4)

figure( 33-4) -shading system 169

Micro scale

figure( 34-4) -Human made feature

170

figure(

36-4) - nature

figure( 35-4) - Topography

figure( 37-4) - site section 171

Micro scale conclusion

figure( 38-4) - conclusion Different drainage problems, including pooling, saturated soil, and even undirected downspout water, can creates moisture and mold problems and can damage refuge foundations; drainage is a serious concern when there is a problem - figure (37-4) figure (38-4) shows a Proposed solution for drainage problem in the site

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figure( 39-4) - Proposed solution 173

Micro scale

figure( 40-4) - site access 174

figure( 41-4) - view blocking 175

Micro scale

figure( 42-4) - Sensory

figure( 45-4) - view number 176

figure( 43-4) - View

figure( 44-4) - Main* 177

Micro scale

conclusion

figure( 46-4) -conclusion

figure( 48-4) -conclusion 178

figure( 47-4) -conclusion

(48-4) .

Highlight the added part of the heritage building using modern building materials - figure (47-4) ,

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Micro scale

figure( 49-4) -Existing uses

figure( 51-4) -User 180

figure( 50-4) -User figure (50-4) shows the user movement in micro scale , different users use the stairs and different functions can occur in that space ( stairs ) -figure (51-4)

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Micro scale

conclusion

figure( 52-4) -conclusion 182

figure( 53-4) -conclusion

figure( 54-4) -SWOT analysis 183

Program and site conclusion

figure( 55-4) -conclusion

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Chapter 5 - Concept

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The weak points may turn to strength points as well as the holes may turn into a halls , the project

concept about how we can crossing from humans holes into living city which social support Is essential

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lines and zoning

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The Vision

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The original photo was taken by Moâ&#x20AC;&#x2122;men Malkawi

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References

- Abraham Harold Maslow ( April 1, 1908 – June 8, 1970) was an American psychologist who was

best known for creating Maslow’s hierarchy of needs

- Cultural Heritage and Collective Identity: The Status of Intangible Heritage in Jordan from an An-

thropological Perspective/ Mahmoud M. Na’amneh

- environmental psychology for design /Dak kopec

-https://www.pps.org/reference/what_is_placemaking/

- Yuri Artibise / Urban Engagement & Digital Communications

- Oxford Dictionary of Geography

- (MadaniPoor, 2000)

- (Relph, 1996)

- (Habibi, 2008).”( THE CONCEPT AND SENSE OF PLACE IN ARCHITECTURE FROM PHENOMENOLOGI-

CAL APPROACH)

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-Underground designing of an Urban Space- Thesis(B.Arch)-Preyan Mehta

-UNDERGROUND ARCHITECTURE / Connections Between Ground-Level Public Space and Blow-

Ground Buildings- AIMEEWRIGHT

-Australia ICOMOS. The Burra Charter: The Australia ICOMOS Charter for Places of Cultural Signifi-

cance. Burwood: Australia International Council of Monuments and Sites. 1999.)

-(Conservation & Revitalization of Historic Buildings [Teacher notes])

-”darj” festival archive

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