ARCH 3553 DESIGN STUDIO II 2022 MAGDA MOSTAFA TUREITECSENS+ SENSORY SCAPE AS A STRATEGY OF INCLUSION
ACT III + DESIGN
“In seeking appropriate contemporary architecture for the complexity of the Egyptian context, how can multi-sensory design be deployed to facilitate better learning and community social engagement?”.
ACT II + MULTISENSORY MAPPING MultiSensory Manifesto: “How can the sensory design of my spaces facilitate learning? Social engagement? What should those spaces look/feel/sound like?”
SENSITECTUREINTRODUCTIONCONTRIBUTORS
CONTENTS
ACT I + RESEARCH MultiSensory Manifesto: “How can the multi-sensory understanding of the spatial experience constructively inform the architectural design process and consequently the functions it seeks to serve?”
ACTS +
STUDIO CULTURE
CONTRIBUTORS
the 2021 Venice Architecture Biennale in an exhibit titled “Autistic Imaginaries of Architectural Space”, as well as at the 2021 Chicago Architecture Biennale as part of the Shaping the City program. Information about her work can be found at http://www. Sheautism.archi.hasrecently joined the New Yorkbased think-tank and inclusive practice MIXDesign as Autism Design lead (https:// www.mixdesign.online), where she brings the lens of autism and neurodiversity to their intersectional practices. Her other field of research looks at another form of marginalization through the study of informal settlements, and in 2015 she published the Juxtopolis© Pedagogy, a studio-based research/design methodology. The Juxtopolis© Pedagogy’s resultant work has been presented and exhibited worldwide, including at Columbia University’s GSAPP; Durban, South Africa; the 2016 and 2018 Venice Biennales as well as a recent publication titled “The Informal City and the Future of our Cities: Towards a Manifesto” which outlines the product of her 2017 RIBA Masterclass on the subject. She is co-author of the book “Learning from Cairo” and her Juxtopolis Pedagogy was featured in Columbia University’s book series on Architecture and the City “The Arab City: Architecture and Representation”. MOSTAFA, PHD + COURSE COORDINATOR Magda Mostafa is an Associate Professor of Design at the American University in Cairo and a practicing architect. She researches broadly in the field of marginalized populations, with work spanning urban informality and inclusion of Autism and Neurodiversity. Through her Cairo-based practice, Progressive Architects she specializes in autism inclusive design and is the author of the Autism ASPECTSSTM design guidelines, the world’s first research-based design framework for autism worldwide. ASPECTSSTM has been presented at the United Nations as a framework for international autism design policy, as well as showcased in lectures and keynotes at Yale University, Harvard’s GSD, the National Autistic Society in the UK, Ireland’s AsIAM, Google Zurich and the World Autism Organization. It was awarded the UIA International Research Award in 2014 and was the subject if her well- received TedxTalk in 2015. Through various consultancies ASPECTSSTM has been used to design projects spanning five continents and ranging in scale from interior classroom retrofits to urbanscale neighborhoods in Europe, the US, Egypt, Saudi Arabia, Australia, Ireland and the UAE. Her body of work was recently showcased at
NOOR MARWASAFYMARIAMKENZYMONICAHANIATAHERSAMEHMAGDYABDELWADOODFODAALLAMHEGAZY + GROUP I YARA SARAHSOHAILAMOUNETZEINAZEINAYOUSRYHELALSOROURRAMYASHRAF + GROUP II HEBA YASMINEKARIMALIAHABIBAMALAKMOHAMEDELHARMILRIZKGALALAMRELMEADAWY + GROUP III + SPRING 2022 DESIGN II STUDIO LIST MONICA MAGDY KENZY ZEINAZEINAYARAMARIAMABDELWADOODFODAYOUSRYHELALSOROUR + SAMPLE PROJECTS’ DESIGNERS MAHINOUR AWAD + SENIOR TEACHING ASSISTANT + SENSITECTURE BOOK EDITOR MAGDA
INTRODUCTION
In 2019, the Venice Architecture Biennale announced its curator, Hashim Sarkis, and with him came a curatorial statement that would soon become prophetic with the sweeping Covid-19 Pandemic. Sarkis posited the question “How Will We Live Together?”, around which he ultimately framed a powerful collection of works investigating the built environment as a stage for exclusions and discriminations, but also a latent resource for salvations from those constructs. Following that zeitgeist, the Chicago Architectural Biennale and its curator, David Brown echoed the sentiments of its European counterpart, announcing their curation framed around the concept of the “Available City”. Although framed by Brown from a utilitarian lens, the term “availability” resonated with those working with marginalized populations and presented an alternative to concepts of inclusion, accessibility and accommodation. Freed from the latter terms’ sense of othering, “availability” seems more democratic, presenting the city, and the spaces within it as a spatial resource to be tapped, ideally by anyone, through the diverse lenses that such entails. But these lenses are only inclusive if defined from all the senses through which bodies experience space. All too often our architectures, to their detriment, are distilled down to their visual qualities- instagrammable snapshots of momentary views, stripped of the potential authenticity of experience. Yet people experience space, even if they can’t see it, and even if it is not conventionally beautifuland that experience is reliant on the full spectrum of the senses. Our best architects understand, and are fluent in, that sensory language, molding space with intent and knowledge of how it will look, sound, feel and even smell or in some cases taste. Our best forms of built experience are informed by this process, and it is this multi-sensory lens that allows for the broad inclusion of the diverse human fabric of users- children and the elderly; the ambulatory and the wheelchair user; males and females; the hearing and the deaf; the seeing and the blind; the poor and the wealthy; the neurotypical and the neurodiverse; and the spectrums and intersections that lie within and between these groups. This studio is framed around this ethos. Structured in 3 acts, it strives to answer the framing question “How can the multi-sensory understanding of the spatial experience constructively inform the architectural design process and consequently the functions it seeks to serve?”.This semester that question will be specifically explored through the Community Center typology and its core functions of learning and community social engagement, with a subquestion, “In seeking appropriate contemporary architecture for the complexity of the Egyptian context, how can multi-sensory design be deployed to facilitate better learning and community social engagement?”.
> Magda Mostafa, 2022 “ “
> MULTISENSORY MANIFESTO IACT+ RESEARCH How can the multi-sensory understanding of the spatial experience constructively inform the architectural design process and consequently the functions it seeks to serve? > Magda Mostafa, 2022 “ “
READINGSREFLECTIONSQUESTIONS
AN ARCHITECT DESIGN FOR USERS AND CREATE A SPACE THAT SUITS THE SENSORYASPECTSPSYCHOLOGICALDIVERSEOFUSERS,PREFERENCESANDREFERENCESOFEXPERIENCES?
CUSTOMIZABILITYFLEXIBILITYCHOICEAGILIITYDESIGNING
HOW CAN AN ARCHITECT DESIGN FOR USERS AND CREATE A SPACE THAT SUITS THE SENSORYASPECTSPSYCHOLOGICALDIVERSEOFUSERS,PREFERENCESANDREFERENCESOFEXPERIENCES?
THEALLOWINGINCOMPLETENESS:FORDESIGNTOCHANGEALONGWITHCHANGINGNEEDSANDDIVERSEPSYCHOLOGICALBACKGROUNDS
OUR NEURO-TYPICAL MINDS HAVE THIS MECHANISM TO FILTER OUT THE UNNECESSARY ACOUSTICS IS AN EXAMPLE OF THAT EX: WE NOTICE BACKGROUND NOISE THE MINUTE THAT NOISE STOPS CONDITIONINGBEHAVIORAL PAVLOVIAN(THETHEORY) WHEN YOU ATTACH ONE SENSE LIKE THE SENSE OF SOUND TO A CERTAIN REACTION IT WILL TRIGGER THE OTHEREVERYTIMESENSES (RINGING A BELL BEFORE FEEDING A DOG, OPERATES)DIGESTIVETIMEEVERY-HISSYSTEM
THEALLOWINGINCOMPLETENESS:FORDESIGNTOCHANGEALONGWITHCHANGINGNEEDSANDDIVERSEPSYCHOLOGICALBACKGROUNDSHOWCAN
CUSTOMIZABILITYFLEXIBILITYCHOICEAGILIITYDESIGNING
PREFERENCEHEALTHAGE
PREFERENCEHEALTHAGE
THEALLOWINGINCOMPLETENESS:FORDESIGNTOCHANGEALONGWITHCHANGINGNEEDSANDDIVERSEPSYCHOLOGICALBACKGROUNDSHOW CAN AN ARCHITECT DESIGN FOR USERS AND CREATE A SPACE THAT SUITS THE SENSORYASPECTSPSYCHOLOGICALDIVERSEOFUSERS,PREFERENCESANDREFERENCESOFEXPERIENCES?
PREFERENCEHEALTHAGE
CUSTOMIZABILITYFLEXIBILITYCHOICEAGILIITYDESIGNING
POSSIBLE?DESIGNUNIVERSALIS
There is still a huge under representation of mental health issues and dis abilities as they are not treated as physical disabilities. Diseases of the mind can easily affect the body. Building design can affect people on the outside as much as on the inside. Therefore, an architect cannot be one-track mind ed when designing and has to think of everyone, using the building and the surroundings.
ON A MANIFESTO FOR KINETIC CITIES ITAI PALTI AND MOSHE BAR /
> MONICA MAGDY “ “
AUTISM FRIENDLY DESIGN, INTERVIEW WITH MAGDA MOSTAFA
HOW DO VISUAL?BEYONDTHATARCHITECTUREWITHTOTRIGGERWEUSERSINTERACTTHEISTHE
ON THE EYES OF THE SKIN, JUHANI PALLASMAA Architecture can have the power to make you feel included or excluded. Being physically in a place doesn’t mean that you are existing in it, to actually exist, you have to use your senses and feel every thing around you. This is the role of architecture. > NOOR TAHER “ “
DESIGNINGDOES FOR THE EXTREMES OF ENVIRONMENTSBETTERNEEDSSENSORYCREATE FOR THE PROFILES?«TYPICAL»MORESENSORY
Architect-ing is like acting, you need to master the role of your design and understand its characteris tics, and our script is our senses. When we design for the extremes , this serves everyone in the mid dle. This is inclusive design.
> MARIAM FODA “ “
ON THE EYES OF THE SKIN, JUHANI PALLASMAA
NEUTRALBECANNOTSPACE
the fish, teach how to fish“ is a life time experience. It is nev er easy to put yourself in people’s shoes, but an architect is the only one who is capable to design for everyone. It’s a matter of perceiving and understanding their perspective towards experiences. “We shape our buildings and afterwards our buildings shape us”; our activities shape the spaces we live in. If a neighborhood road has a traditional Arab coffee shop, dominated by men , and has a mosque at the of it, I don’t believe a woman would feel safe walking in this street, even if it was designed perfectly from a user’s point of view. Why? Because the activities are what shaped the road.
ZEINA
ON RETHINKING SOCIAL INCLUSION IN ARCHITECTURE, ZACHOU/ DEAFSPACE, BAUMAN/ DESIGN WITH THE BLIND IN MIND, DOWNEY/ WHAT HAPPENS WHEN YOU ARE DISABLED AND NO ONE CAN TELL, “Don’tSOLOMUNgive
It's a matter of perceiving wardsunderstandingandpeople'sperspectiveto-acertainexperience.
> HELAL “ “
A world created, while thinking about the disabled experience is a world that has its own pat tern where it encourages its users.
ON BEHAVIORLOGY, TSUKAMOTO / A PATTERN LANGUAGE,
“Things cannot be built in isolation. Everything is in pattern”... I believe that creative design will not force a specific pattern or language on its user. Each user should have the chance to create and develop their own pattern to fully engage. This can be done by ensuring the flow, freedom and flexibil ity of the design.
ALEXANDER
> YARA YOUSRY “ “
HOW DOES THIS INFORM SERVE?ITTHEPROCESSDESIGNARCHITECTURALTHEANDFUNCTIONSEEKSTO
BY LOOKING INTO THE WORKS OF DIFFERENT ARCHITECTS AND ANALYZING HOW MULTISENSORY DESIGN IS DEPLOYED IN THEIR PROJECTS TO CREATE A MORE INCLUSIVE COMMUNITY, THE RESULTS OF THE RESEARCH CAN BE CATEGORIZED ALONG THE FOLLOWING -FRAMEWORK:INTEGRATINGNATURE AND SUNLIGHT - EMBRACING CULTURAL DIVERSITY - ALLOWING THE MATERIALITY AND SPATIALITY OF THE SURROUNDINGS GUIDE THE DESIGN - TOYING WITH THE ENVIRONMENTAL ASPECTS IN ORDER TO EVOKE THE VARIETY OF SENSES LAYING BENEATH THE EXTRACTED WORDS. > GROUP I “ “
BY IDENTIFYING 10 DISCRETE SENSORY MOMENTS, EXPLORING THE INTENT AND ANALYZING HOW ARCHITECTS INTEGRATE THE HUMAN SENSE WITH THE SURROUNDING ENVIRONMENT TO PROVIDE A MULTISENSORY EXPERIENCE, THE RESULTS OF THE RESEARCH CAN BE CATEGORIZED ALONG THE FOLLOWING FRAMEWORK: - INTEGRATING OUTDOOR SPACES INSIDE - INCLUDING ACOUSTIC, VISUAL AND CHEMICAL -FACTORSEMBRACING THE SURROUNDING CONTEXT - IMPLEMENTING FEATURES USING TOUCH, VISION, HEARING AND SMELLING - ROOTING ALL THE SENSES TO THE CULTURE - CREATIVELY CHOOSING DIVERSE RANGE OF MATERIALS TO DELIVER A VARIETY OF EXPERIENCE> GROUP II “ “
THE RESULTS OF THE RESEARCH CAN BE CATEGORIZED ALONG THE FOLLOWING INTEGRATIONTHROUGH:------FRAMEWORK:SENSEOFINSPIRATIONSENSEOFSAFETYSENSEOFINTEGRATIONSENSEOFBELONGINGSENSEOFPRIVACYSENSEOFRELAXATIONOFDAYLIGHT WITH THE SENSES USING LOCAL RESOURCES/ DIFFERENT MATERIALS CREATING DIFFERENT SPATIAL SHAPES>GROUP III “ “
> MULTISENSORY MANIFESTO IIACT+ SENSORY MAPPING How can the sensory design of my spaces facilitate learning? Social engagement? What should those spaces look/feel/ sound like? > Magda Mostafa, 2022 “ “
ALHASSANSULTAN ELMAGRAEYOON EL FUSTAT نسح ناطلسلا نويعلا يرجم طاطسفلا MAP OF CAIRO | EGYPT | mangomaps.com2022
ALHASSANSULTAN نسح ناطلسلا mangomaps.com MAP OF CAIRO | EGYPT | 2022
نسح ناطلسلا HASSANALMAPPINGSULTAN
*CLICK THE IMAGE OR SCAN THE QR CODE TO WATCH VIDEO
THE SACRED SPACE *CLICK THE IMAGE OR SCAN THE QR CODE TO WATCH VIDEO
WE LEARNED THAT OUR SITE IS VERY CULTURALLY RICH AND TAKES THE FORM OF A DENSE NETWORK OF STREETS AND BUILDINGS.>GROUP I “ “ THE MAIN MAP
WE STARTED OUT WITH THREE SCENARIOS FOR OUR JOURNEY THROUGH THE SITE. THERE WERE 3 ROUTES IN TOTAL THAT WE TOOK TO GET TO DIFFERENT LOCATIONS. THOSE ROUTES LED US TO : A LOCAL CAFE, THE SULTAN HASSAN MOSQUEMADRASA AND THE BUILDING SITE ITSELF. WE COLOR CODED EACH OF THE THREE PATHS WE TOOK ON OUR JOURNEY, WHICH HELPED US TO MAP THE DIFFERENT EXPERIENCES IN OUR SITE. > GROUP I “ “ THE THREE ROUTES
WE COLOR CODED EACH OF THE THREE PATHS WE TOOK ON OUR JOURNEY, WHICH HELPED US TO MAP THE DIFFERENT EXPERIENCES IN OUR SITE. > GROUP I “ “
ROUTE I THROUGH THE RESIDENTIAL STREETS WE DOCUMENTED THINGS LIKE DISTINCT FOODS/ SNACKS OF THE PLACE SUCH AS THE COFFEE, AND TRIED TO CREATE INTERACTIVE POP-UPS WHICH CAN REVEAL THE DEEPER LAYERS WITHIN THE COMMUNITY. > GROUP I “ “
THROUGH THE SITE HERE WE DOCUMENTED THE SAYINGS OF DIFFERENT PEOPLE ON THE SITE AND THE DIFFERENT TEXTURES AND MATERIALS THAT WERE THERE SUCH AS STONE, DUST AND PAPER. > GROUP I “ “ ROUTE II
THROUGH THE HISTORICAL STREETS/ MOSQUE THIS PART FOCUSES ON THE HISTORY OF THE PLACE AND ISLAMIC ARCHITECTURE LANGUAGE PRESENT WITHIN THE NEARBY MUSEUM AND MANY OF THE PRESENT BUILDINGS > GROUP I “ “ ROUTE III
ELMAGRAEYOON نويعلا يرجم MAP OF CAIRO | EGYPT | mangomaps.com2022
نويعلا يرجم ALSOORMAPPINGMAGRAEYOON
MAP OF CAIRO | EGYPT | mangomaps.com2022
THE MAIN MAP WE STARTED SKETCHING WHAT WE HAVE VISIONED AND WHAT WE HAVE SEEN, HEARD, TOUCHED OVER THERE. IT WAS A NEW EXPERIENCE, LOOKING AT A SITE FROM NOT JUST A USER 'S POINT OF VIEW BUT AN ARCHITECT’S POINT OF VIEW. THE MODEL AND THE MAP SKETCH SHOW VISUALS OF THE PLACE AS WELL AS THE SMELL AND THE SOUNDS, MAKING THE PROJECT A 3 DIMENSIONAL EXPERIENCE.>GROUP II “ “
OBSERVATION SKETCHES
SITE ANALYSIS
EL FUSTAT طاطسفلا MAP OF CAIRO | EGYPT | mangomaps.com2022
طاطسفلا ALMAPPINGFUSTAT
MAP OF CAIRO | EGYPT | mangomaps.com2022
THE MAIN MAP COMBINING ALL SITE MAPPING INTO A SKETCH THAT HELPS IN THE ILLUSTRATION OF THE BEHAVIOR OF ITS RESIDENTS, HEIGHTS, MATERIALITY OF BUILDINGS, AND DIFFERENT LAND USE BY THE CHANGE IN TOPOGRAPHY.>GROUP III “ “
LAYERS OBSERVATIONANALYSIS MATRICES USERS/ACTIVITIES ANALYSIS
LAND USE
> Magda Mostafa, 2022 “ “
> MULTISENSORY MANIFESTO III+ACT DESIGN
“In seeking appropriate contemporary architecture for the complexity of the Egyptian context, how can multi-sensory design be deployed to facilitate better learning and community social engagement?”
The aim of this project is to bridge the community gap through creating a sharing economy which improves the quality of life of all community members, enhances co-existence and acts as a showcasing vessel of the local craftsmanship.
THE BUILDING AS A CONTEMPORARY MAJAZ
SKETO + MARIAM FODA
The purpose of this project is to be a sensory refuge from the outside noise and pollution. This project does this by utilizing passive environmental techniques such as self shading and indirect evaporative cooling.
THE BUILDING AS A CONTEMPORARY MAJAZ
SANCTUARY + KENZY ABDELWADOOD
The purpose of this project is to be a sanctuary that stitches the community together. The building acts as a contemporary Majaz that transitions the users from the outside hustle and bustle to a sacred space, the heart of the building.
The building acts as an educator and a developer of the metal craft by the craftsmen of Soor Magra El Eyoon area.
AHL EL EYOON CENTER + ZEINA SEROUR
Inspired by the history of “Soor Magra El Eyoon” and how it was used to transfer water “a method of connection”, the aim of this project is to create a different type of connection between the users as well as the users and the surrounding environment.
THE BUILDING AS A DIALOGUE WITH THE HERITAGE
The aim of this project is to build for the needs of the people of the context of Soor Magra El Eyoon, specially women and children. The role of the building is to act as a communal supporter by providing opportunities for empowerment and economic boost.
THE BUILDING AS A DIALOGUE WITH THE HERITAGE
METANONIA + ZEINA HELAL
SULTAN CENTER + MONICA MAGDY
MAGRA EL EYOON CENTER + YARA YOUSRY
PROJECTS
THE BUILDING AS A PLATFORM FOR SHARING ECONOMY
The purpose of this project is to tackle the question: how can the innovation of an existing craft empower a craft-based community?
THE BUILDING AS A DIALOGUE WITH THE HERITAGE
رصاعم زاجم MAJAZCONTEMPORARYASBUILDINGTHEA لــخدي اــم لوأ وــه يدــيلقتلا يــبرعلا تــيبلا يــف زاــجملا نوــكي اــم اــبلاغ ،رــمم نــع ةراــبع وــهو ،عراــشلا نــم هــيلإ حــتفي اــم اــبلاغو نــحصلا ىــلإ يدؤــي ارــسكنم وأ اــجرعتم .ســلجملل باــب هــيف THE MAJAZ IN THE TRADITIONAL ARAB HOUSE IS A TRANSITION FROM THE STREET INTO THE HOUSE. IT IS A TYPE OF CORRIDOR, OFTEN WIND ING OR BROKEN, LEADING TO THE MAIN COURTYARD, AND IS USUALLY WHERE A DOOR TO THE MAJLES IS.
SULTAN CENTER + MONICA MAGDY يسأر زاجم A VERTICAL MAJAZ
SULTAN PROJECTCENTERSTATEMENT The purpose of this project is to be a sensory refuge from the outside noise and pollution. This project does this by utilizing passive environmental techniques such as self shading and indirect evaporative cooling. PROJECT DESCRIPTION Location: Sultan Hassan Project area: 882.63m^2 Target user: residents and tourists of all ages SITE MAP
SULTAN CENTER | PLANS
SULTAN CENTER | SECTION AA
SULTAN CENTER | SECTION BB
SULTAN CENTER | ELEVATION AA
SULTAN CENTER | ELEVATION BB
رصاعم زاجم A CONTEMPORARY MAJAZ SANCTUARY + KENZY ABDELWADOOD
PROJECT DESCRIPTION Location: Sultan Hassan SITE PLAN
The purpose of this project is to be a sanctuary that stitches the community together. The building acts as a contemporary Majaz that transitions the users from the outside hustle and bustle to a sacred space, the heart of the building.
SANCTUARYPROJECT
STATEMENT
SANCTUARY | PLANS
SANCTUARY | SECTIONS
ةصنم ةيداصتقا ةكراشم ECONOMYFORASBUILDINGTHEAPLATFORMSHARING ءاــنب هــيف مــتي يداــصتقا جذوــمن ةــيداصتقالا ةكراــشملا .دراوــملا ةكراــشم لوــح يداــصتقا يــعامتجا ماــظن SHARING ECONOMY IS AN ECONOMIC MODEL IN WHICH A SOCIO-ECONOMIC SYSTEM IS BUILT AROUND THE SHARING OF RESOURCES.
SKETO + MARIAM FODA يكراشت داصتقا ربنم A PLATFORM FOR SHARING ECONOMY
SKETO PROJECT STATEMENT The aim of this project is to bridge the community gap through creating a sharing economy which improves the quality of life of all community members, enhances coexistence and acts as a showcasing vessel of the local craftsmanship. PROJECT DESCRIPTION Location: Sultan Hassan PROJECT MATRIX
HIERARCHY | SEQUENCE | PRIVACY FOOD SHAREDMARKETKITCHEN | EVENT SPACE SHOWCASED ARTISTRIES
SKETO | PLANS | LEVEL 1 MARKET • FAST PACED • FRUSTRATING TO OUTSIDERS • IT IS NOT OF FULL POTENTIAL FOR THE VENDORS • BUT SPEND A LONG TIME IN • INSPIRED BY KHAN KHALILI • FAMILIAR • HIGHLY INTERACTIVE • STEPPED • BIG RANGE OF FOOD RESOURCES • MAIN FOOD RESOURCE IN THE AREA • IN HIGH SERVICE OF THE RESIDENTIAL NEIGHBOR HOOD • LOUD INSTRUCTIVE ADVERTISING PEOPLE CHAT TERS TOK TOK CROWD • FROM MARKET TO FOOD AREA TO SELLING AREA Fast Fpaced rustrat ng to outs ders t s not of fu l potent al for he vendors But spend a ong time n nsp red by khan khal Fami ar H ghly nteract ve BStepped ig ange of food resources Ma n food resource n the area n h gh service of the es dent a neighbo hood Loud nstruc ive advert sing peop e chatters tok tok c owd From market to food a ea to se ing area Market L
big
SKETO | PLANS | LEVEL 2 MOSQUE • MEETING POINT • CENTER SHELTER • BIG PART OF THE COMMUNITY • HAS TRAITS OF A COMMUNITY CENTER KITCHEN • OVERLOOKING THE MARKET • MAIN MEETING AREA • HYDROPONIC SYSTEM
the
mosque meet ng point center shelter part of community
has traits of a community center Kitchen Overlooking the market Main meeting area hydroponic system
L open workspaces insp red by the characteristics of the ahwa open spaces that exhibits their work communa areas in c ose proximity to the workspaces ntroducing techno ogy attracting outsiders w thout osing dentity Carpentry Meta Tiles
The pattern language of the context includes locals: openly showcasing crafts and products, self promoting, saluting others, guiding outsiders, following curiosity, socializing as a form of entertainment, being protective over their personal matters and territory, having customer loyalty due to personal relationship between sellers and buyers, co-existing of different social classes due to their close relationship with the area, spending more time doing commercial activities and having strong connections with their homes and services - self sufficient.
APPROACH
METHOD
PATTERN LANGUAGE
The architecture includes a landmark (high component minaret), way finding circulation, manipulation of light, derived elements of Majaz, sound manipulation, materiality; contextual materials that is familiar to the context and manipulation of fast pace vs slow pace areas.
The aim of this project is achieved by creating architecture that inspires. This is through allowing learning through socialization, creating elements of curiosity that help people dwell over the place after they leave, offering sense of safety and belonging, and encouraging the formation of a relationship with their history and heritage.
ثارتلاراوحعم HERITAGEINTANGIBLETANGIBLEWITHASBUILDINGTHEADIALOGUETHEAND رــيغو ةــسوململا ةــيفاقثلا لوــصألا وــه يــفاقثلا ثارــتلا ةــيداملا لوــصألا لمــشي اذــهو .عــمتجملل ةــسوململا ،دــيلاقتلا لــثم ةــيونعملا و ،ةــيرثألا عــطقلا و يــنابملا لــثم .ةــفرعملا و تادــقتعملا CULTURAL HERITAGE IS THE TANGIBLE AND INTANGIBLE CULTURAL ASSETS OF A NATION'S SOCIETY. THIS INCLUDES BOTH PHYSICAL ASSETS SUCH AS BUILDINGS AND ARTI FACTS, AND NONPHYSICAL SUCH AS TRADITIONS, BELIEFS AND KNOWLEDGE.
MAGRA EL EYOON CENTER + YARA YOUSRY ثارتلا عم راوح DIALOGUE WITH THE HERITAGE
MAGRA EL EYOON CENTER PROJECT STATEMENT Inspired by the history of “Soor Magra El Eyoon” and how it was used to transfer water “a method of connection”, the aim of this project is to create a different type of connection between the users and the users and the surrounding environment. PROJECT DESCRIPTION Location: Soor Magra El Eyoon CONCEPTUAL BIRD’S EYE VIEW
MAGRA EL EYOON CENTER | PLANS
MAGRA EL EYOON CENTER | PLANS
MAGRA EL EYOON CENTER | SECTIONS | ELEVATIONS
METANONIA + ZEINA HELAL ثارتلا عم راوح DIALOGUE WITH THE HERITAGE
PLAN
STATEMENT
PROJECT DESCRIPTION Location:
METANONIAPROJECT The purpose of this project is to tackle the question: how can the innovation of an existing craft empower a craft-based community? The building acts as an educator and a developer of the metal craft by the craftsmen of Soor Magra El Eyoon area. Soor Magra El Eyoon SITE
METANONIA | ELEVATION
METANONIA | ELEVATION
METANONIA | SECTION
METANONIA | PLANS
AHL EL EYOON COMMUNITY CENTER + ZEINA SEROUR ثارتلا عم راوح DIALOGUE WITH THE HERITAGE
LAND USE OF IMMEDIATE CONTEXT
PROJECT DESCRIPTION Location: Soor Magra
The aim of this project is to build for the needs of the people of the context of Soor Magra El Eyoon, specially women and children. The role of the building is to act as a communal supporter by providing opportunities for empowerment and economic boost. El Eyoon
AHL EL EYOON CENTER PROJECT STATEMENT
AHL EL EYOON COMMUNITY CENTER | ELEVATIONS
AHL EL EYOON COMMUNITY CENTER | SENSORY MOMENTS
AHL EL EYOON COMMUNITY CENTER | ADA COMPLIANCE
STUDIO CULTURE + ARCH 3553
• Our space is the vessel for our learning and we want to celebrate it- we need to practice what we teach and maintain a beautiful and sensory respectful environment for everyone to learn in together.
> Magda Mostafa, 2022
STUDIO CULTURE
• Everyone learns, communicates in a different way, and all forms of expression are valid in this studio. Structure is provided for organization and guidance and to help you meet what is expected of you. Within those structures you are free to express your creative thoughts, opinions and constructs. The only parameters are safety, criticality and respect.
+ ARCH 3553
•Teachers are people too- we are here because we believe in your learning and dedicate all our time and creativity in class to that belief, but our resources- mental and physical are not limitless, just like
• Grading is not a judgment of you, but an effort to provide guideposts to where you are in the targets we would all like to reach and exceed in this experience. Grading will always have a rationale that is objective and not personal.
All experiences are valid experiences- of our users, and in our studios.
• Respect everyone’s time and effort.
• Individual creativity is our most valued resource, we must respect student creativity and it is our responsibility to guide it, support it, mold it.
• Be courageous- creativity takes courage. There are never wrong answers.
• Never apologize for wanting to learn, asking questions, only apologize authentically.
STUDIO GUIDING PRINCIPLES
•together.Speakrespectfully to one another.
The design studio is the core of the architectural academic process. The experiences in the studio are the primary mode of exploration and learning. All projects are presented and discussed as a group's at every stage and comments resulting from these discussions are incorporated into the students work through one:one design development sessions with the academic team. This process is supported by guest speakers, video presentations, and readings- all within the studio environment to ensure integration of the presented information into the design processes being learnt. Studio time is used efficiently and effectively for independent development of projects, peer review, class assignments and group Studentsdiscussions-areencouraged to apply all the content and skills learnt from their other courses into the design process in studio. This will be supported with lectures and possible external reviews of the students work from the related faculty members. Such integration, participation in discussions and design development sessions are a major factor in the students overall assessment. Process, rather than product, is focused on, where product is viewed as a yours. With respect of that in each other we will all succeed.
• Learn with intent to design with success.
• Work smarter not harder.
• Our mental health is just as important as our physical health, and one cannot exist without the other.
• Success begins with communication- ask questions, inquire, seek clarity.
• Mutual respect is the basis of our learning
cumulative reflection of that process. This multi-disciplinary, comprehensive process will be required to be documented through a design portfolio, online and physical, to capture the narrative of the students’ journeys throughout the course.
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> MARWA HEGAZY
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> MOUNET RAMY
ZEINA SEROUR
ALIA GALAL
I was enriched by many readings and in-class exercises that enabled me to visualize and have an overview of what could a community center to the people of the specific context look like according to their needs. I ended up with strong concept statement as well as well designed community center-filled with sen sory experiences.
The assignments of the course were very fruitful, they enriched my mind with very valu able information in regards to “inclusive ar chitecture”, made me recall many spaces that I have been to and pushed me to be more analytical in regards to sensory stimulation and its ability to reflect a huge impact on people.
During this course, I was able to develop my thinking and enhance my architecture skills not only the practical ones but also the con ceptual and the intellectual ones. We were introduced to different readings, got to work in groups, which actually benefited us, intro duced to new ways of tackling architecture and a new dimension of thinking was reached. In the end, we each came up with a project that can make us feel proud to call ours.
SAFY ALLAM
This course has actually been life changing! I can notice my mindset and approach chang ing, the way I deal with and understand people is different, my awareness of spaces and how they make me feel is different. I have learned so much from this course personally and academically. I learned that great architecture is not just about fancy good-looking designs, it's really about fixing people’s problems, and understanding the philosophical, psychologi cal, and economical factors affecting the de sign. One of the most important things that I’ll carry with me from this course is that “beauty is the well doing of what needs doing”.
In this class, I learned about multi-sensory spatial translations and how they are repre sented in architectural form. I, also, learned how to study human behavior in terms of architectural perspective, how to translate hu mans needs into architectural programs, and the most important thing I have learned is the ability to understand site conditions es pecially with our site because of its topogra phy which plays a vital role within the context in terms of function and form.>
> MARIAM FODA
In design studio 3553, we learned the impor tance of designing an inclusive space and when doing so everyone is included and the space is more efficient. We took a different approach to design, we learned to get out of the comfort zone and attempted to think in 3D rather than 2D zoning. We learned the importance of functionality and how every thing must have a purpose. This semester we got to design for a place that was very rich in context. This made this project more mean ingful, more restricting yet more realistic. I re ally enjoyed studying the context, getting to know what the people need and studying the language of the place. We, also, learned the importance of including the different senses in our design and how to engage the sens es which is very effective for the user expe rience.
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STUDIOSANDBOX
In 2019, the University launched a Learning Spaces Initiative, one of the results of which was the design and construction of an experimental teach ing space- the AUC ''Sandbox''. This is a space for pedagogical exploration and testing of new technologies. Coinciding with this experimental work, the university began investigating Post COVID new normals, and worked to incorporate agile, hybrid and remote pedagogies through the experimental classrooms of the Learning Spaces Initiative. This section presents vignettes into the application of these pedago gies in the Sandbox classroom as part of the ARCH 3553's Sensitecture stu dio, its spatial implications and learn ing impact.
*CLICK THE IMAGE OR SCAN THE QR CODE TO WATCH THE WORK IN THE SPACE OF SANDBOX
LECTURESGUEST |CAIRO-TIMEPM7:302MARCH2022TACKLEDQUESTIONS MAGDA ASPECTSSMOSTAFA LEADING INTERNATIONAL EXPERT ON DESIGNING FOR AUTISM AND AUTHOR OF THE WORLD'S FIRST CRITERIA FOR AUTISM DESIGN- THE AUTISM ASPECTSS DESIGN INDEX. TED AUTISMTALKFRIENDLY DESIGN INTERVIEW HTTPS://WWW.YOUTUBE.COM/W ATCH?V=0H6 IIYQ9BS HTTPS://CITIESPEOPLELOVE.CO/ ARTICLE/AUTISM-FRIENDLY-DESI GN-AN-INTERVIEW-WITH-MAGDAMOSTAFA CHRISArchDOWNEY4Blind ONE OF THE FEW PRACTICING BLIND ARCHITECTS IN THE WORLD, CONSULTS ON THE CREATION OF MORE HELPFUL ENVIRONMENTS FOR THE BLIND AND THE VISUALLY IMPAIRED. TED HEARINGTALK INTERVIEWARCHITECTURE HTTPS://WWW.BBC.CO.UK/SOUN DS/PLAY/M000K2LF HTTPS://WWW.TED.COM/TALKS/C HRIS_DOWNEY_DESIGN_WITH_T HE_BLIND_IN_MIND?LANGUAGE= EN HANSELDeafSpaceBAUMAN TED DEAFSPACETALK DESIGN GUIDLINES HTTPS://WWW.YOUTUBE.COM/W ATCH?V=NBBDQNNI9GO HTTPS://INFOGUIDES.RIT.EDU/LD. PHP?CONTENT_ID=59890829 GLOBAL THOUGHT LEADER ON DEAF DESIGN AND AUTHOR OF THE PROJECTDEAFSPACE DESIGN GUIDE-IN COLLABORATION WITH THE ASL DEAF STUDIES DEPARTMENT AT GALLAUDET UNIVERSITY. VIRTUAL DIALOGUE ON SENSORY DESIGN | ACCESS | INTERSECTIONS BETWEEN DEAF | BLIND | AUTISTIC LENSES aucegypt.zoom.us/j/92973526551 IS UNIVERSAL DESIGN POSSIBLE? CAN IT BE TRULY INCLUSIVE WITH SINGLE SOLUTIONS? WHERE AND HOW CAN WE EFFECTIVELY LAYER OVER ADA PRINCIPLES TO INCLUDE THE SENSORY NEEDS OF DEAF, BLIND AND AUTISTIC INDIVIDUALS? ARE THESE STRATEGIES STANDARDISABLE AND SCALABLE? WILL THERE BE CONFLICTING NEEDS WITH SOME OF THESE STRATEGIES? WHAT HAPPENS WHEN ACCOMMODATING ONE GROUP'S NEEDS CREATES A BARRIER FOR ANOTHER USER GROUP? HOW CAN WE RESOLVE THIS CONFLICT THROUGH DESIGN? *CLICK THE FLYER OR SCAN THE QR CODE TO WATCH THE VIRTUAL DIALOGUE
