Performance Art Center by Mahmoud Bekai

Performance Art Center

BEIRUT ARAB UNIVERSITY_ TRIPOLI CAMPUS FACULTY OF ARCHITECTURAL ENGINEERING

ARCH 539 // Project Programming // FALL 2015 -2016 NAME OF STUDENT: Mahmoud Bikai ID # 201203550 Instructor: Dr.Eslam Elsamahy

1|Page

2|Page

DEDICATION I would like to dedicate this work to my loving family and all friends that always encouraged me, believed in my capabilities and invested in me to shape me as the person I grew to be. Moreover, I dedicate this work to Beirut Arab University, especially to the faculty of Architectural Engineering, with all its professors and workers, and above all to the Dean, they combined their efforts so I could reach to this stage. Also to all the persons who are truly interested in our culture and its promotion.

3|Page

ACKNOWLEDGEMENT I would like to acknowledge the Dr.Eslam Elsamahy for his encouragement and for giving us the best thing he owes << His Knowledge>> In Addition to Dr. Nabil Mohareb , Dr. Karim Galal, Dr. Mustafa Khalifa, Arch. Jenan Diab Moreover, Special Thanks to Dr. Muhammad Assem Hanafi .

4|Page

Table of Content

Project Definition + Needs

Project Statement 1.1 1.2 1.3 1.4

1 2 Background

Theoretical

Introduction

What - Project Definition + Needs Why - Significance of the Project Where â&#x20AC;&#x201C; Site Location Who - Stakeholders

2.1 2.2 2.3 2.4

14 15 16 17

Form Function Economy Time

Historical Background Project Values 2.1 2.3 2.4 2.5

Human Environment Culture Technological

2.6 2.7 2.8 2.9

19 22 Temporal Economic Aesthetic Safety

Architectural Design Problems 3.1

Needs

3.1. Place constraints 0 3.1.1 Natural Environment Geography , Topographic , 3.1.2 Analysis and Conclusion

Site Selection

13 14

Goals & Objectives

Context â&#x20AC;&#x201C; External constraints

12 13

Geology , Climate , Resources

3.1.3

Build Environment Urban fabric , Urban space , Architectural components

2.0

Man constraints 2.1.1 2.1.2 2.1.3

Civilization Community Economic 5|Page

37 38 40

4.1

Case study 1: Sejong Art Center Winning Proposal 53

4.3

Case study 3: Seoul Performing Arts Center

4.4

Conclusion

1-Table Of Area

1-Bubble diagram1

3-Large theater diagram

82 83 85

4-Conclusion

# Design Requirement

Analysis and Conclusion Zoning and Bubble Diagram

Case study 2: Sejong Art Center Competition Entry / H Architecture + Haeahn Architecture

Space Program

4.2

Functional Diagrams

Case Studies

DMP Partners

2-Bubble diagram2

References

86 6|Page

Table of figure Figure 1: Keith C. and Elaine Johnson Wold Performing Arts Center ................................................................... 11 Figure 2: project site location ............................................................................................................................... 13 Figure 3: Abstraction form .................................................................................................................................... 15 Figure 4: Auditorium Plan ..................................................................................................................................... 15 Figure 5: Circulation, Zoning diagrams. ................................................................................................................. 15 Figure 6: Relationship Diagrams. .......................................................................................................................... 16 Figure 7: Relationship Diagrams. .......................................................................................................................... 16 Figure 8: Abstraction Time ................................................................................................................................... 17 Figure 9: Sophocles, as depicted in the Nordisk familjebok. ................................................................................ 19 Figure 10: Painting of a showing of Commedia dell'arte - dated 1657 ................................................................. 19 Figure 11: Isadora Duncan, one of the developers of free dance. ........................................................................ 21 Figure 12: Modern street theatre performance in La Chaux-de-Fonds ................................................................ 21 Figure 13: Human value ........................................................................................................................................ 22 Figure 14: Social interaction .................................................................................................................................. 22 Figure 15: google location map of the site............................................................................................................ 23 Figure 16: http://www.climate-zone.cm/climate/lebanon/................................................................................. 23 Figure 17: relationship between contexts, users, content. .................................................................................. 24 Figure 18: South Bend's Morris Performing Arts Center wins national honor ..................................................... 25 Figure 19: The Rufus M. and Loraine Hall Todd Performing Arts Center .............................................................. 26 Figure 20: the city of Orlando will finally be getting a world class center for the performing arts ..................... 26 Figure 21: section diagram performance art center ............................................................................................. 26 Figure22 Material and texture: http://momadesignstudio.org/Material-Lab ..................................................... 27 Figure 23: Tech building system control ............................................................................................................... 27 Figure22 : Smart Building ...................................................................................................................................... 28 Figure 25: the Burnsville Performing Arts Center ................................................................................................. 28 Figure 26: Construction Theater ........................................................................................................................... 29 Figure 27: New Amsterdam Theatre ..................................................................................................................... 29 Figure 28: American Airlines Theatre .................................................................................................................... 30 Figure 29: Richmond Center Stage, Carpenter Theater ........................................................................................ 30 Figure 30: active solar energy ............................................................................................................................... 31 Figure 31: dynamic form ....................................................................................................................................... 32 Figure 32: Olivier Theatre, Royal National Theatre, London, UK ......................................................................... 32 Figure 33: color value ............................................................................................................................................ 33 Figure 34: art and music ........................................................................................................................................ 33 Figure 35: structure auditorium ........................................................................................................................... 34 Figure 36: Fire door exit ........................................................................................................................................ 35 Figure 37: the fire triangle..................................................................................................................................... 35 Figure 38: fire sketch diagram............................................................................................................................... 36 Figure 39: Six sigma can improve the human safety performance ....................................................................... 36 Figure 40: client and user ...................................................................................................................................... 37 7|Page

Figure 41: define user ........................................................................................................................................... 37 Figure 42: seating dimension ................................................................................................................................ 39 Figure24 : Tripoli zoning of area ........................................................................................................................... 40 Figure 44: Tripoli Location Map ............................................................................................................................ 43 Figure 45: Temperatures in Lebanon .................................................................................................................... 44 Figure 46: Map 2 district map .............................................................................................................................. 45 Figure 47: Map 1 from google earth, Tripol location ............................................................................................ 45 Figure 48: Map 1 from Google earth, Tripoli location .......................................................................................... 47 Figure 49: from google earth; wind, sun, and north direction.............................................................................. 48 Figure 50: sun direction ........................................................................................................................................ 49 Figure 51: annual sun direction............................................................................................................................. 49 Figure 52: month path sun direction .................................................................................................................... 49 Figure 53: Photovoltaic Payback ........................................................................................................................... 50 Figure 54: constructions surround the site ........................................................................................................... 50 Figure 55: Zoning map .......................................................................................................................................... 51 Figure 56: Road Map ............................................................................................................................................. 51 Figure 57: site analysis for the second proposer .................................................................................................. 52 Figure 58: sun direction ........................................................................................................................................ 53 Figure 59: annual sun direction............................................................................................................................. 53 Figure 60: month path sun direction .................................................................................................................... 53 Figure 61: Sejong Art Center Winning Proposal .................................................................................................... 55 Figure 62: Sejong Art Center Winning Proposal .................................................................................................... 56 Figure 63:Sejong Art Center Winning Proposal..................................................................................................... 56 Figure 64:Urban+Plaza-scape ................................................................................................................................ 57 Figure 65: Architecture-scape ............................................................................................................................... 57 Figure 66:Theater-scape ....................................................................................................................................... 58 Figure 67: Ground-scape , Public-scape ................................................................................................................ 58 Figure 68: Civic-scape ............................................................................................................................................ 58 Figure 69: diagrme Civic-scape.............................................................................................................................. 61 Figure 70: parking plan .......................................................................................................................................... 62 Figure 71: Access plan ........................................................................................................................................... 62 Figure 72: BOH PLAN ............................................................................................................................................. 63 Figure 73: public plan ............................................................................................................................................ 63 Figure 74: Theater and public SECTIONS............................................................................................................... 64 Figure 75:Sejong Art Center Competition Entry / H Architecture + Haeahn Architecture ................................... 65 Figure 76: Sejong Art Center Competition Entry / H Architecture + Haeahn Architecture .................................. 66 Figure 77: Sejong Art Center Competition Entry / H Architecture + Haeahn Architecture .................................. 66 Figure 78: Sejong Art Center Competition Entry / H Architecture + Haeahn Architecture .................................. 67 Figure 79: site plan Courtesy of H Architecture + Haeahn Architecture ............................................................... 68 Figure 80: plans Courtesy of H Architecture + Haeahn Architecture .................................................................... 69 Figure 81: Elevations Sejong Art Center Winning Proposal ................................................................................. 70 Figure 82: section Sejong Art Center Winning Proposal ....................................................................................... 71 Figure 83: Diagram Sejong Art Center Winning Proposal ..................................................................................... 72 8|Page

Figure 84: Diagram Sejong Art Center Winning Proposal ..................................................................................... 73 Figure 85: Diagram Sejong Art Center Winning Proposal ..................................................................................... 74 Figure 86:Diagram Sejong Art Center Winning Proposal ...................................................................................... 75 Figure 87: Seoul Performing Arts Center .............................................................................................................. 76 Figure 88: Diagram Seoul Performing Arts Center ................................................................................................ 76 Figure 89: Diagram Seoul Performing Arts Center ................................................................................................ 77

9|Page

01 Introduction Project Definition +

1 Project Statement 1.1 1.2 1.3 1.4

What - Project Definition + Needs Why - Significance of the Project Where â&#x20AC;&#x201C; Site Location Who - Stakeholders

Goals & Objectives 2.1 2.2 2.3 2.4

Form Function Economy Time

Needs

10 | P a g e

1.0 Introduction Tripoli, is the second large city in Lebanon, it is been neglected in proportion to the rest of other cities. In fact, it suffers from several problems at the social, culture, economic, artistic and environmental level. From this point, came the idea of creating a sustainable performance art center focused on sustainable development, as looking for solutions to all problems, and to accommodate the number of musicians that have different talents from Lebanon, and the world. Moreover, the sustainable performance art center presents and supports local, national and international artists and serves as a center for community and youth events through its accessible and affordable programming. In addition, that should lead to the growth of the city and therefore affect positively on its future by increasing

the

development

economic and tourism projects. Performing arts center refers:

Figure 1: Keith C. and Elaine Johnson Wold Performing Arts Center

A multi-use performance space that is intended for use by various types of the performing arts, including dance, music and theatre, place that help the society to interact with this field of culture. A performance art center focused on sustainable development and prepared to meet the needs of most popular and famous artistic from a period immediately following World War II until now. In addition, it includes the design strategy of this center and the functions to be provided. In order, public awareness, education, and training are the key to moving society toward sustainability which may be able to reduce the environment problems, so Music, Dance, Theater, and Arts Education are also the key to moving society toward economic - social - cultural development which maybe to increase the improvement of human life.

11 | P a g e

Project Statement 1.1 What - Project Definition + Needs Performing arts center is a cluster of performance spaces, usually but not always under one roof, each possibly designed for a specific purpose such as symphonic or chamber music or theatre, but multipurpose as a whole. The modern version of this came into being only in the 1960s.

The Need for This Project 1) Lebanon level Since the independence Lebanese, society continuously worked to make Lebanon the cultural center of the Middle East (art galleries, show room, technology galleries, literature, architecture, art). But some reason, a performance art center; which is very required to be classified among the leaders culture wise. In order: 1- To unlock the Hermitage. 2- The performance art center is a mid-level, Renaissance-era building which increases a city's culture. 3- Specialist lot for the Culture-oriented empires. 4- Establishing new forms of partnership. 5- Making up for the loss of arts education at every level. 6- Improving the quality and quantity of teaching artists. 7- Involving new audiences by developing new, nontraditional places. While we have dramatically added to our academic, residential, and athletic space during Campaign for the Colleges, opera house remains the one area in which our current facilities are at all lacking. Prospective artists are looking for state-of-the-art facilities â&#x20AC;&#x201C; and seeing them at all of our competitors. Our artists come to us from everywhere with better facilities.

Tripoli level We get more and more confirmation from different people that this project is of great actuality for Lebanon. And it has been recommended for a long time by different people that are working to accomplish this dream.

12 | P a g e

1.2 Why To achieve this vision, one of the objectives of the management of the Paradise Performing Arts Center is to encourage and assist local businesses and government to work together in a three-way partnership to promote economic development in the area. This specifically accomplished by: • Creating a venue that draws people together who would otherwise not be engaged in constructive social activity. • Fostering trust between participants and thereby increasing their generalized trust of others • Providing an experience of collective efficacy and civic engagement, which spurs participants to further collective action • Arts events may be a source of pride for residents (participants and nonParticipants alike) in their community, increasing their sense of connection to that community. • Providing an experience for participants to learn technical and interpersonal skills important for collective organizing

1.3 Where: Tripoli – Site Location

Figure 2: project site location

The site is located in Tripoli-street “dam w farez “near the exhibition of Oscar Niemeyer, Rachid Karameh exhibition fair

Properties: 13 | P a g e



Distance between the site and train station is approximately 2.5 km.



Distance between the site and the port is approximately 3km.



Distance between the site and the Rachid Karameh Pavilion is approximately 100m.



Distance between the site and the capital of Lebanon, Beirut is approximately 80km.

1.4 Who - Stakeholders Who can use the performance arts center? Community Access The citizens, approved organized youth groups, farmers’ organizations, school-community advisory councils, senior citizens’ organizations, clubs and associations formed for recreational, educational, political, economic, artistic or moral activities where they may engage in supervised activities, and where they may meet and discuss, from time to time, as they may desire, any subjects and questions . The District may also authorize the use, by citizens and organizations, of any other properties under its control, for supervised recreational activities. Any use which is discriminatory in the legal sense. Any use which involved the unlawful possession, consumption or sale of alcoholic beverages or any restricted substances on college property. Artists, performance organizations, singer.

Goals & Objectives 2.0 Goals: 2.1 form This thesis makes special emphasis on the need to develop Tripoli city culture, and to show the Lebanese cultural heritage to the world; throughout the Performance Art center that would promote this culture locally and internationally. A critical issue facing decision makers and conservation professionals is how to accommodate change to places with historical heritage and adding new layers to the remarkable urban environment in ways that recognize, interpret, and sustain their heritage values. The Work of Artists from diverse cultural and artistic perspectives forms the basis of our programming. Artistic excellence

14 | P a g e

and authenticity of expression must be germane in each artistâ&#x20AC;&#x2122;s approach in the creation of their work, so as to inspire and engage audiences in stimulating discourse on the human condition. a) Performance arts center is dedicated to displaying and developing local creative, visual and performing artists. b) Making a musical texture refers to layers of sounds and rhythms produced by different instruments architectural texture appears in different materials. Figure 3: Abstraction form

C) Analytically speaking, rhythm generates some regularity, simplicity, balance, and order of composition that allows the design to develop a nature of consistency This resulting Strategic Plan builds on the past achievements of the Art Center and identifies areas for further work that will strengthen the ability of the Art Center to serve the region in the most effective and resourceful ways.

2.2 function: A performance art center is a theatre building used for performances arts that consist of a stage, an orchestra pit, audience seating, and backstage facilities for costumes and set

Figure 4: Auditorium Plan

building, exhibition and multipurpose room outdoor and indoor landscape. The Performing Arts Center is a modern state-of-the-art facility. The theatre can be contains 800 comfortable theatre seats mounted on a sloping floor with excellent sight lines to the stage from every location. We feature the latest in comprehensive lighting and sound systems. The floor plan illustration shows the backstage area consisting of men's and women's dressing rooms, each complete with rest room facilities and a shower. There is a large shared makeup room with two mirrored walls and makeup lighting. The hallway leading to the dressing rooms contains refrigerated drinking fountains.

Figure 5: diagrams.

Circulation,

Zoning

15 | P a g e

There is a large carpeted prop/rehearsal room with entrances from the hallway and from the adjacent loading dock. The loading dock is truck accessible with two large roll-up doors, one leading into the hallway and the second directly across from it leading onto the stage. The dock is at a height to accommodate most semi-trailers. The large stage, see technical information, has been designed with a cushioned floor to accommodate dancers Normal position is at audience floor level. All areas of the facility are disabled accessible. There is an electric lift from stage level to floor level and another from floor level to pit level. These lifts only accommodate standard sized wheelchairs with occupants. They will not handle oversized transport devices safely.

2.3 Economy: a) Promoting artistic taste and achievement. Arts Are often viewed as a luxury for communities with sufficient resources to support art and performing art. b) Encouraging innovation. The Art Center will retain the excellence of its traditional Class programs for children and adults while also developing new programs to serve the evolving needs and interests of the community. An area of focused growth will be in the creation of family programs that are informal, spontaneous, and social in nature. The organization will also seek to expand its program offerings for seniors and teenagers. An ongoing priority will be in evaluating programs to ensure desired impact and fiscal sustainability.

Figure 6: Relationship Diagrams.

c) High quality in presenting a broad repertoire of opera (defined to include musical theater works from opera to operetta and musicals) and dance of the highest artistic standards. d) Providing opportunities for all types of emerging operatic and dance talent, local and national performers, creators, technicians and administrators.

Figure 7: Relationship Diagrams.

16 | P a g e

2.4 Time: The first phase of the planning process consisted of confidential interviews and a visioning workshop with Board, staff, and representatives from the community to determine the core issues facing the Art Center: a) To serve as an excellent home for Theatre. b) To provide a state-of-the-art venue for the production and presentation of opera house. c) To create an atmosphere that enriches lives and fosters creativity through programming, Partnerships and educational initiatives. To maintain an ambiance, through quality service and amenities, this is inclusive, Accessible and enjoyable. this resulting Strategic Plan builds on the past achievements of the Art Center and identifies areas for further work that will strengthen the ability of the Art Center to serve the region in the most effective

Figure 8: Abstraction Time

and resourceful ways.

Objectives Based on a comprehensive space needs analysis, the Art Center will carry out a Master Plan to optimize its facility in support of programs and administration. Facilities improvements will make the building more visible and welcoming, make better use of classroom studios and other spaces, improve circulation, and ensure that the facility is safe and well maintained. Maintaining an organizational culture in which all staff and volunteers are respected, valued, and recognized ď&#x201A;ˇ

Ensuring fiscal responsibility and financial sustainability

ď&#x201A;ˇ

Providing a welcoming environment for people of all ages and backgrounds to share in the making of art

ď&#x201A;ˇ

Promoting art experiences as essential components of individual growth and community life.

17 | P a g e

Background

Theoretical

1 Historical Background 2 Project Values 2.1 2.2 2.3 2.4

Human Environment Culture Technological

2.5 2.6 2.7 2.8

19 22 Temporal Economic Aesthetic Safety

3 Architectural Design Problems 3.1

Needs

37 38

18 | P a g e

Theoretical Background 1. Historical Background Performance is a genre in which art is presented "live," usually by the artist but sometimes with collaborators or performers. It has had a role in avant-garde art throughout the 20th century, playing an important part in anarchic movements such as Futurism and Dada. Indeed, whenever artists have become discontent with conventional forms of art, such as painting and traditional modes of sculpture, they have often turned to performance as a means to rejuvenate their work.

History of Western performing arts Figure 9: Sophocles, as depicted in the Nordisk familjebok.

Starting in the 6th century BC, the Classical period of performing art began in Greece, ushered in by the tragic poets such as Sophocles. These poets wrote plays which, in some cases, incorporated dance. The Hellenistic period began the widespread use of comedy. However, by the 6th century AD, Western performing arts had been largely ended, as the Dark Ages began. Between the 9th century and 14th century, performing art in the West was limited to religious historical enactments and morality plays, organized by the Church in celebration of holy days and other important events.

Renaissance In the 15th century performing arts, along with the arts in general, saw a revival as the Renaissance began in Italy and spread throughout Europeplays, some of which incorporated dance, which were performed and Domenico da Piacenza credited with the first use of the term ballo (in De Arte Saltandi et Choreas Ducendi) instead of danza (dance) for his baletti or balli. The term eventually

Figure 10: Painting of a showing of Commedia dell'arte - dated 1657

became Ballet. The first Ballet per se is thought to be Balthasar de Beaujoyeulx's Ballet Comique de la Reine (1581).

19 | P a g e

By the mid-16th century Commedia Dell'arte became popular in Europe, introducing the use of improvisation. This period also introduced theElizabethan masque, featuring music, dance and elaborate costumes as well as professional theatrical companies in England. William Shakespeare's plays in the late 16th century developed from this new class of professional performance. In 1597, the first opera, Dafne was performed and throughout the 17th century, opera would rapidly become the entertainment of choice for thearistocracy in most of Europe, and eventually for large numbers of people living in cities and towns throughout Europe.

Modern era The introduction of the proscenium arch in Italy during the 17th century established the traditional theatre form that persists to this day. Meanwhile, in England, the Puritans forbade acting, bringing a halt to performing arts that lasted until 1660. After that, women began to appear in both French and English plays. The French introduced a formal dance instruction in the late 17th century. It is also during this time that the first plays were performed in the American Colonies. During the 18th century, the introduction of the popular opera buffa brought opera to the masses as an accessible form of performance. Mozartâ&#x20AC;&#x2122;s The and Don Giovanni are landmarks of the late 18th century opera. At the turn of the 19th century, Beethoven and the Romantic movement ushered in a new era that led first to the spectacles of grand opera and then to the musical dramas of Giuseppe Verdi and the Gesamtkunstwerk (total work of art) of the operas of Richard Wagner leading directly to the music of the 20th century. The 19th century was a period of growth for the performing arts for all social classes, technical advances such as the introduction of gaslight to theatres, burlesque, minstrel dancing, and variety theatre. In ballet, women make great progress in the previously male-dominated art.

20 | P a g e

Modern dance began in the late 19th century and early 20th century in response to the restrictions of traditional ballet. Konstantin Stanislavski's "System" revolutionized acting in the early 20th century, and continues to have a major influence on actors of stage and screen to the current day. Both impressionism and modern realism were introduced to the stage during this period. The arrival of Sergei Diaghilev's Ballets Russes (1909â&#x20AC;&#x201C;1929) revolutionized ballet and the performing arts generally throughout the Western world, most

Figure 11: Isadora Duncan, one of the developers of free dance.

importantly through Diaghilev's emphasis on collaboration, which brought choreographers, dancers, set designers/artists, composers and musicians together to revitalize and revolutionize ballet. It is extremely complex. With the invention of the motion picture in the late 19th century by Thomas Edison, and the growth of the motion picture industry in Hollywood. In the early 20th century, film became a dominant performance medium throughout the 20th and 21st centuries. Rhythm and blues, a cultural phenomenon of black America, became to prominence in the early 20th century; influencing a range of later popular music styles internationally. In the 1930s Jean Rosenthal introduced what would become modern stage lighting, changing the nature of the stage as the Broadway musical became a phenomenon in the United States.

Post-War performance Post-World War II performing arts were highlighted by the resurgence of both ballet and opera in the Western world

History of Eastern performing arts Middle East The earliest recorded theatrical event dates back to 2000 BC with the passion plays of Ancient Egypt. This story

Figure 12: Modern street theatre performance in La Chaux-de-Fonds

of the god Osiris was performed annually at festivals

21 | P a g e

throughout the civilization, marking the known beginning of a long relationship between theatre and religion. The most popular forms of theater in the medieval Islamic world were puppet theatre (which included hand puppets, shadow playsand marionette productions) and live passion plays known as ta'ziya, where actors re-enact episodes from Muslim history. In particular, Shia Islamic plays revolved around the shaheed (martyrdom) of Ali's sons Hasan ibn Ali and Husayn ibn Ali. Live secular plays were known as akhraja, recorded in medieval adab literature, though they were less common than puppetry and Taâ&#x20AC;&#x2122;ziya Theater.

2. Project Values: a) Human Values: 1. Functional:

The foremost purpose of performance art has usually been to challenge the conventions of traditional forms of visual art such as music and dance. When these modes no longer seem to answer artists' needs When they seem too conservative, or too enmeshed in the traditional art world and too distant from ordinary people - artists have often turned to performance in order to find new audiences and test new ideas.

Figure 13: Human value

Since the time of ancient Greece, the size and proportion of the human body have affected the design of theatres. 2. Social: Social centers provide a place to socialize in a bar, cafe or music venue. They also provide access to alternative, hard to access information through projects such as libraries, info shops, film nights and talks.

The people involved, who are neither charity workers nor social workers, usually run the projects for voluntary

Figure 14: Social interaction

basis. The projects are running in the spirit of cooperation, solidarity and mutual aid. Other activities organized include events, meetings, exhibitions, classes and workshops on a range of topics. 22 | P a g e

b) Environmental Values: 1. Site: Since the site location is surrounded my many facilities

(commercial, health, residential) it is the most welcoming for this project. The presence of prominent building landmarks, that punctuate the Project area and which constitute visual attractions and identity nodes. There is also ample scope for creating new landmarks associated with prominent development sites. Properties: 

Distance between the site

and train station is

approximately 2.5 km 

Distance between the site and the port is approximately

Figure 15: google location map of the site

3km 

Distance between the site and the Rachid karami Pavilion is approximately 100m



Distance between the site and the capital of Lebanon , Beirut is approximately 80km

2. Climate:

Lebanon has a Mediterranean climate characterized by a long, hot, and dry summer, and cool, rainy winter. Fall is a transitional season with a gradual lowering of temperature and little rain; spring occurs when the winter rains cause the vegetation to revive. Topographical variation creates local modifications of the basic climatic pattern. Along the coast, summers are hot and humid, with little or no rain. Heavy dews form, which are beneficial to agriculture. The daily range of temperature is not wide, although temperatures may reach above 38° C in the daytime and below 16° C at night. A west wind provides relief during the afternoon and evening; at night, the wind direction had

Figure 16: http://www.climatezone.cm/climate/lebanon/

reversed, blowing from the land out to sea. 23 | P a g e

3. Context:

The nature of site is sandy with no rocks. The type of sand is good for agricultural and planting. The water surface content is near the surface and it Height from sea level is 3 m, it is nearby Hospital Al Salam, and it is surrounded by residential building with high quality income. The presence of the seafront cornice al Mina over the entire length of the project area from the Tripoli Olympic stadium to north mina the potential offered for its exploitation for recreational and

Figure 17: relationship between contexts, users, content.

leisure activities. 4. Resources:

With respect to flora, many types exist in this area: a- Deciduous trees: This type of trees exist widely in this area and they have many characteristics. These types of trees grow very fast and there ecological lifetime is so short and they spread randomly. B-Evergreen Trees: This tree is widely available in the Lebanese territories, its growth is slow but its canopy is green all over the year and its age is very long. 24 | P a g e

With respect to fauna, there are different types of animals that exist in this place permanently or temporarily: A-There are the birds like pigeons, sparrows, etcâ&#x20AC;Ś. In addition, they play an important ecological role in preserving the flora. b-The pets held out by the people like dogs, kitties, bunnies and they are a sign of vitality of the place. C-There are the insects, which is majorly not harmful like butterflies, ants, bees, and etc. D-There are harmful small lizards, which exits widely in this place. The natural constrains contain more issues, such as geology of site, topography, climate, flora and fauna of the site project. Waste management is rarely a primary issue in the design of buildings, managing waste is nevertheless an important issue and should be valued by anyone not wishing to be unpleasantly surprised by its impact on architecture or the surrounding com-munity.

c) Cultural Values: 1. Historical:

Performance art is a performance presented to an

audience

within

fine

art

context,

traditionally interdisciplinary. Performa`nce may be either scripted or unscripted, random or carefully orchestrated; spontaneous or otherwise carefully planned with or without audience

Figure 18: South Bend's Morris Performing Arts Center wins national honor

participation. The performance can be live or via media; the performer can be present or absent. It can be any situation that involves four basic elements: Time, space, the performer's body, or presence in a medium, and a relationship between performer and audience. Performance art can happen anywhere, in any type of venue or setting and for any length of time. The actions of an individual or a group at a particular place and in a particular time constitute the work.

25 | P a g e

2. Institutional:

Performance art is a term usually reserved to refer to a conceptual art, which is conveys a content-based meaning in a more drama-related sense, rather than being simple performance for its own sake for entertainment purposes. It largely refers to a performance presented to an audience, but which does not seek to present a conventional theatricals play or a formal linear narrative,

Figure 19: The Rufus M. and Loraine Hall Todd Performing Arts Center

or which alternately does not seek to depict a set of fictitious characters in formal scripted interactions. It therefore can include action or spoken word as a communication between the artist and audience, or even ignore expectations of an audience, rather than following a script written beforehand. 3. Political: 

 



This site location contain very high quality of income, especially the residential building since it is located in classic environment. There is no sound noise around the environment its quiet. The presence of this center in Tripoli will stimulate the Economics institutions in this city (markets, hotels…), and therefore will effect on the tourism; as Tripoli has a lot of landmark travel. It is contain different category of religion and it is composed. Figure 20: the city of Orlando will finally be However, it does not influence the project in any way, or getting a world class center for the performing arts the surrounding. Identify the various community ordinances and procedures that will affect the design of a facility. Supporting a group of local musicians Most communities determine the kind of place they want to be through political processes.

4. Legal: Design buildings that will protect the public health, safety, and welfare. This, of course, has had an effect on both who can practice architecture and the overall quality of the built environment. Legal cultures can be examined by reference to fundamentally different legal systems. However, such cultures can also be differentiated

Figure 21: section diagram performance art center

26 | P a g e

between systems with a shared history and basis which are now otherwise influenced by factors that encourage cultural change.

d) Temporal Values: 1. Materials:

Use of new construction materials: acoustic panel, glass photovoltaic cell to save energy... Plaster & gypsum board. Cement render. Ceramic tile, quarry tile, pavers, mosaic. Dropped ceiling, coffered ceiling. Flooring – wide plank, terrazzo, carpet. Wall covering, wallpaper, acoustic. Paint, wood stain, faux finishing. Staff – a type of artificial stone. Wood finishing. Adobe, brick and brickwork, glass brick, terra cotta. Artificial stone. Cinder block or concrete block. Stone dry stacked or mortar set. Urbanite – broken-up concrete. 2. Systems:

Figure22 Material and texture: http://momadesignstudio.org/Material-Lab

Building systems and structural features are a combination of automated control of various building functions, fast and flexible telecommunication systems, and time saving conveniences for building occupants Fiber Optics Capability. ♦ Fiber-Optics Capability ♦ Built-in writing for internet access ♦ Wiring for High speed networks ♦ LAN & WAN Connectivity ♦ Redundant Power Source ♦ High-tech, energy-efficient HVAC system. Figure 23: Tech building system control

27 | P a g e

Processes: The Building Systems Control concept

emerged in the early 1950’s and has since changed dramatically both in scope and system configuration, as Mechanical & Electrical systems in modern Buildings increased in complexity. Figure22 : Smart Building

♦ Automatic sensors installed in faucets/toilets ♦ Satellite accessibility ♦

Satellite accessibility

♦ Computerized/interactive building directory

e) Temporal Values: 1. Growth: Building sustainable, high-growth companies,

Organizational departments,

structure key

hires,

(roles incentive

responsibilities, system),

channel

management and enterprise sales (viral, bottom-up user adoption, lead generation, enterprise learning, support). And especially how to ensure sustainable growth (business model, retention strategies, excellence)Source: Scalar, Building

Figure 25: the Burnsville Performing Arts Center

Sustainable High-Growth Startup Companies: Management Systems as an Accelerator, by Antonio Davila, George Foster. Most design commissions are for buildings will be expanded in the future to reflect natural growth in the organization.

2. Change: -

It is crucial for communities for find a company or nongovernmental organization that reflect the philosophy of tourism.

Even this form of tourism may require forging investment for promotion or start up.

- There is a great multiplier effect on the economy, because local products, material, and labor are used In general, cultural stereotypes present great resistance to change and to their own redefinition. Culture, often appears fixed to the observer at any one point in time 28 | P a g e

because cultural mutations occur incrementally he cultural change is a long-lasting process. Policymakers need to make a great effort to improve some basics aspects of a societyâ&#x20AC;&#x2122;s cultural traits. However, the improvement of economic and political institutions may help this procedure.

Figure 26: Construction Theater

F) Economic Values: 1. Finance: -

The financial analysis must then establish an acceptable project cost, given current costs of construction, the cost of financing, comparable property costs/rental rates, expected profitability. Project financial feasibility analysis is an important pre-design service for most commercial, industrial, and housing facilities. It involves both market assessment and financial planning for the project. Performing Arts Center is a nonprofit innovator and steward of iconic venues, providing arts, entertainment, cultural, and educational experiences to the greater community. Market analysis must establish the appropriate size of the facility, the acceptable level of quality, and even the types of amenities.

2. construction: A building whose cost exceeds budget can be devastating to both the client and the architect. If discovered during programming, excessive building costs can be eliminated by reducing either the size of the project or the quality of materials

Figure 27: New Amsterdam Theatre

and systems. Steel &Concrete is used to support the project because of the long span, The main construction system used in eco-resort is concrete and brick, where we can use space frame and space trusses for curtain wall and skylight.

29 | P a g e

3. Operations: Renovated spaces The long-term trend toward lower seating density can be seen in Theatre Projects’ renovations of early 20th century theatres. In addition to increased chair size and spacing, improved accessibility and egress require more floor area per seat. The decrease in seating capacity that occurs when a historic theatre is renovated has become commonplace. New Amsterdam Theatre, New York The New Amsterdam Theatre opened in 1903 with 1,702 seats – an auditorium area of 5.9 square feet per seat. The theatre was renovated and reopened in 1997 with 1,825 seats – 7.2 square feet per seat. Why did the seat count increase? Earlier studies had found that the existing auditorium could seat 1,600. However, seat count was so important to Disney that the auditorium was made bigger by pushing the orchestra level into

Figure 28: American Airlines Theatre

former lobby space. An adjoining property was acquired to replace the lobby space American Airlines Theatre, New York This theatre opened as the Selwyn Theatre in 1918 with 1,180 seats – 6.4 square feet per seat. The theatre was renovated for the Roundabout Theatre Company and reopened in 2000 with 740 seats – 10.2 square feet per seat. This is a high figure by Broadway standards, and is due to the Roundabout’s non-profit “regional theatre”

Figure 29: Richmond Center Stage, Carpenter Theater

business model. Carpenter Theatre, Richmond, VA The Carpenter Theatre opened in 1928 with 2,028 seats – 7.2 square feet per seat. It was renovated and reopened in 2009 with 1,750 seats, and 8.4 square feet per seat. http://theatreprojects.com/files/pdf/Resources_IdeasInfo_sizematters.pdf

30 | P a g e

4. Maintenance: -

Many materials and nearly all systems, initial costs are inversely related to maintenance costs. If inexpensive, low-quality materials or systems are used in design, they typically require greater maintenance and earlier replacement than higher quality products. The budget for property should be structured after careful consideration of final costs.

The maintenance of the green area and the services, also the elevation and skylight if there.

Maintenance, like operations, is often overlooked in programming because of the client's desire to obtain a building at the least initial cost.

5. Energy: Solar power harvests the energy of the sun through using collector panels to create conditions that can then be turned into a kind of power. Large solar panel fields are often used in desert to gather enough power to charge small substations, and many homes use solar systems to provide for hot water, cooling and supplement their electricity. The issue with solar is that while there is plentiful amounts of sun available, only

Figure 30: active solar energy

certain geographical ranges of the world get enough of the direct power of the sun for long enough to generate usable power from this source. Also, Wind power is becoming more and more common. The new innovations that are allowing wind farms to appear are making them a more common sight. By using large turbines to take available wind as the power to turn, the turbine can then turn a generator to produce electricity. While this seemed like an ideal solution to many, the reality of the wind farms is starting to reveal an unforeseen ecological impact that may not make it an ideal choice.

g) Aesthetic Values: ď&#x201A;ˇ

1. Form: Repetition in architecture could perhaps be divided along lines similar to those found in any musicale building: into a purely spatial, static form and a quasi-temporal, dynamic form. The latter, which roughly approximates modern notions of architectural rhythm, may be better understood by contrasting it with the former, which corresponds to

31 | P a g e

the older ideal of architectural harmony. Harmony as a principle of construction is typically thought to consist in the balance achieved between a buildingâ&#x20AC;&#x2122;s length, width, and height. Here, eurhythmic is essentially a homeostatic concept; its proper domain remains circumscribed within these three dimensions of space, excluding the dimension of time. Openings on facades relative to neighbouring land or buildings. Size, shape, colour, and location, parking is

Figure 31: dynamic form

similarly restricted in terms of location and requirements for lighting and screening. Landscape areas are sometimes specified in terms of size, location, and acceptable planting materials. Have ordinances quite specific in terms of the acceptable form of buildings, signs, parking, and landscape areas.

2. Space: There is no ideal size of a theatre. The scale of a theatre depends on the size of the staging

required by

the type of performance and the number of audience to be accommodated, with each variable influencing the other as they change. No one-size-fits-all formula works with that kind of nuance. Theatre is not simply a space for looking at or listening to a

Figure 32: Olivier Theatre, Royal National Theatre, London, UK

performance. A successful theatre for live performance supports the emotional exchange between the performer and the audience, and between members of the audience. All that said, we have outlined the typical theatre forms for different performance types. The design of various types of auditoriums has become a complex problem, because in addition to its various, sometimes conflicting, aesthetics, functional, technical, artistic and economical. Concert and recital halls are theatres for the performance of music. The requirements of acoustic (non-amplified) music determine the volume, shape, and even the architectural detailing of the hall. At the same time, the hall must support the visual presentation of the performance and provide an intimate patron experience. A universal characteristic of these buildings is that performers and audience share the same spaceâ&#x20AC;&#x201D;there is no architectural separation between stage and auditorium.

32 | P a g e

Today, concert halls arenâ&#x20AC;&#x2122;t used exclusively for acoustic music. A new hall must have enough flexibility to allow other uses, like popular (amplified) and ethnic music, dance, lectures, meetings, and film presentations. 3.

Color: The addition of color, Auditorium quickly grows more complicated: Some goals can only be filled with particles of a certain color. To fill those, you must direct the flow so that it first passes through a "color sphere" and changes color, and only then hits the goal. The visual perceptual property corresponding in humans to the categories called red, blue, yellow, etc. Color derives from the spectrum of light (distribution of light power

Figure 33: color value

versus wavelength) interacting in the eye with the spectral sensitivities of the light receptors. Color categories and physical specifications of color are also associated with objects or materials based on their physical properties such as light absorption, reflection, or emission spectra. By defining a color, space colors can be identified numerically by their coordinates. 4.

Meaning: Art is a human activity consisting in this, that one man consciously, by means of certain external signs, hands on to others feelings he has lived through, and that other people are infected by these feelings and also experience them." However, this definition is merely a starting point for his theory of art's value. To some extent, the value of art, for Tolstoy, is one with the value of empathy. However, sometimes empathy is not of value. In chapter fifteen of What Is Art, Tolstoy says

Figure 34: art and music

that some feelings are good, but others are bad, and so art is only valuable when it generates empathy or shared feeling for good feelings.

33 | P a g e

H) Safety Values: 1. Structural: 

Tensile structures: Members of tensile structures are subjects to pure tension under the action of external loads. Because the tensile stress is uniformly distributed over the cross-sectional area of members, the material of such a structure is utilized in the most efficient manner.



Compressive structures

structures

develop

Compression

mainly

compressive

stresses under the action of axial loads. Because

compressive

structures

are

susceptible to buckling or instability, the possibility of such a failure should be considered in their designs if necessary, adequate bracing must be provided to avoid

Figure 35: structure auditorium

such failures. 

Trusses: Trusses are composed of straight members connected at their ends by hinged connections to form a stable configuration. Because of their light weight and high strength, are among the most commonly used type of structure.



Shear structures: These are structures such as reinforced concrete shear walls, which are used in multistory buildings to reduce lateral movements due to wind loads and earthquake excitations. Shear structures develop mainly in-plane shear with relatively small bending stresses under the action of external loads.

34 | P a g e

2. Fire: 

Smoke pockets - are steel channels located at either side of the proscenium arch that the safety curtain travels within to create a physical barrier between the auditorium and the stage. The safety curtain is not intended to create an air seal but rather prevent material from falling from the stage house into the audience.



Fire doors- heavy, fireproof doors that are designed to automatically close any doorway onto the stage in the event of a fire. These doors are usually on a slightly pitched track, and are rigged in a way that causes them to automatically close

Figure 36: Fire door exit

when heated to a certain temperature. Smoke doors or stage lantern - vents above the stage which, when opened in case of fire, will draw smoke out of the auditorium and up out of the roof of the theatre, enabling safer evacuation of the audience. The vents are often attached to compressed springs, so that when activated, they will stay open.

3. Chemical: Identify sources of ignition You can identify the potential ignition sources in your premises by looking for possible sources of heat which could get hot enough to ignite material found in your premises. These sources could include: • faulty or misused electrical equipment (including projectors, lasers, rewinding machines), including equipment brought in by visiting companies; • luminaires and lighting equipment, e.g. halogen lamps, display

Figure 37: the fire triangle

lighting or projectors;

35 | P a g e

• hot surfaces and obstruction of equipment ventilation; • central heating boilers; • naked flames, e.g. candles or gas or liquid-fuelled open-flame equipment; • special effects, such as fireworks and pyrotechnics; • arson; •

Figure 38: fire sketch diagram

cooking and catering appliances and equipment including hot ducting flues and filters; • Smokers’ material: Cigarettes, matches and lighters; • electrical, gas or oil-fired heaters (fixed or portable), room heaters; and • hot processes, e.g. welding by contractors. Indications of ‘nearmisses’, such as scorch marks on furniture or fittings, discolored or charred electrical plugs and sockets, cigarette burns etc.,

Figure 39: Six sigma can improve the human safety performance

4. Personal: Evaluate, Remove, Reduce And Protect From Risk The management of the premises and the way people use it will have an effect on your evaluation of risk. Management may be your responsibility alone or there may be others, such as the building owners or managing agents, who also have responsibilities. In multi-occupied buildings, all those with some control must cooperate and you need to consider the risk generated by others in the building. 36 | P a g e

5. Criminal: Safety issue includes verbal abuse, sexual harassment and bullying. Workplace violence can lead to sick leave being taken, productivity falling and revenue lost to the company. It can also result in injury or even death to all workers. Offer employees counseling if they feel they are having a difficult time at work or at home. Do not ignore the warning signs of abuse or a possible physical attack. Encourage employees to report suspicious activity in other employees or in people on the property that do not work for the company. Do not rely on employee training alone. Managers need to get involved to help prevent workplace violence.

3. Architectural Design Problems

a) Needs (Problem Generators) I. Clients As the need for musician and uses of a community performing arts center expands, it is our intent to attract and provide high quality events to meet these needs; our vision is to expand cultural and social horizons and thereby enhance the quality of life in the greater Paradise area and surrounding communities. We seek to increase the culture of the community through theatrical experiences as well as community involvement in the performing arts. The project is introduced by the municipality of Tripoli being the first client

Figure 40: client and user

of the project supported from the Lebanese government and the governments of Kingdom of Saudi Arabia. II. ď&#x201A;ˇ ď&#x201A;ˇ ď&#x201A;ˇ

Users

User 1 : Musician and people of Tripoli User 2: cultural context and musicality. User 3: international artist users and people of art.

Figure 41: define user

37 | P a g e

a) Needs (Problem Generators) ď&#x192;&#x2DC; Physical human factor

Physical dimensions: example physical human dimensions

The seating in the large multipurpose theatres above is highly efficient. Their large size and high seat count mean many seats are served by the system of aisles and exits at each auditorium level. A survey of smaller drama theatres designed by Theatre Projects, recently opened or in the planning stages, gives a more typical picture of floor area per seat in current design practice. http://theatreprojects.com/files/pdf/Resources_IdeasInfo_sizematters.pdf

38 | P a g e

a) Needs (Problem Generators) Cognitive dimensions: Chair width and leg room An examination of recommended chair widths and row spacing (that is, leg room) from published sources and Theatre Projects’ American practice confirms that the increase in chair widths is accelerating. The charts on the next page illustrate the “standard” chair width and the minimum row spacing in design guides dating from 1896 forward. It took 100 years for the standard seat width to change from 19 inches to 21 inches. Yet in the last 20 years, it’s changed from 21 inches to 22 inches. Row spacing has also increased dramatically, but at a steadier pace.

Figure 42: seating dimension http://theatreprojects.com/files/pdf/Resources_IdeasInfo_sizematters.pdf

39 | P a g e

a) Needs (Problem Generators) I.

Designer

The needs of the Project Designer - Prepare a list of current performance art center attractions -Prepare a list of local attraction -Prepare budget, time frame Heritage Relationship

Community Relationship

Architecture Relationship

II.

Conservative approach –Traditional Revolutionary approach Development approach Egoist Assistance Pragmatist Advocate Facilitator Simplicity Mystery Complexity Symbolism Abstract Site imitation

Legislator

The needs of the Legislator The site is located in Tripoli-street “dam w farez Site Location

“near the exhibition of Oscar Niemeyer, Rachid Karameh exhibition fair

Building

Regulations / Law / Code

Site area: 13000m2 Foot print: 30% Built up area 50%

Floor numbers: Six floors Max height : Eighteen meter Set back three meter (Source: municipality of Tripoli)

Figure24 : Tripoli zoning of area

40 | P a g e

B Context â&#x20AC;&#x201C; External constraints 1 Place constraints a Natural Environment Geography , Topographic , Geology , Climate , Resources

b Build Environment Urban fabric , Urban space , Architectural components

2 Man constraints a Civilization b Community c Economic

Analysis and Conclusion

Site Selection

41 | P a g e

Context 1.1.

â&#x20AC;&#x201C; External constraints

Place constraints - Natural Environment

Geography, Topographic, Geology, Climate, Resources ď&#x201A;ˇ

Environmental :

It aims to reducing negative human impact and enhancing ecosystem services. It interfaces with economics through the social and ecological consequences of economic activity. It is also a social challenge that entails international and national law, urban planning and transport, local and individual. Ways of living more sustainably can take many forms from reorganizing living conditions, reappraising economic sectors (permaculture, sustainable agriculture), or work practices, using science to develop new technologies (green technologies, renewable energy), to adjustments in individual lifestyles that conserve natural resources. There is a variety of trees, flowers and plants that exist in this area. That gives a good impact for the Visitors of this area and break down the mass Development of the urban extension, which is occurring in this area. Moreover, there are also different types of animals and birds that also exit in this place and they play an important ecological role by preserving the flora from bacterial hazards and parasites. With respect to flora, many types exist in this area: a- Deciduous trees: This type of trees exist widely in this area and they have many characteristics. These types of trees grow very fast and there ecological lifetime is so short and they spread randomly. B-Evergreen Trees: This tree is widely available in the Lebanese territories, its growth is slow but its canopy is green all over the year and its age is very long. With respect to fauna, there are different types of animals that exist in this place permanently or temporarily: A-There are the birds like pigeons, sparrows, etcâ&#x20AC;Ś. In addition, they play an important ecological role in preserving the flora. b-The pets held out by the people like dogs, kitties, bunnies and they are a sign of vitality of the place. C-There are the insects, which is majorly not harmful like butterflies, ants, bees, and etc.. 42 | P a g e

D-There are harmful small lizards, which exits widely in this place. The natural constrains contain more issues, such as geology of site, topography, climate, flora and fauna of the site project. Geology: The nature of site is sandy with no rocks. The type of sand is good for agricultural and planting. The water surface content is near the surface and it Height from sea level is 3 m, it is nearby Hospital Al Salam, and it is surrounded by residential building with high quality income. The presence of the seafront cornice al Mina over the entire length of the project area from the Tripoli Olympic stadium to north mina the potential offered for its exploitation for recreational and leisure activities. Topography: The barrier effect created to the north of the project area by the International pavilion Rachid Karami, which is one of attraction point to the performance art center. The project is in the east of the international Olympic stadium, which is one of beautiful view and attraction point with peoples. -Height above sea level: 3m

Lebanese Topography:

Understanding the topographic characteristics of Lebanon is a pre-requisite to any climatic analysis. In general, Lebanon is topography can be divided into three features, a coastal strip, mountain ranges, and an inland plateau. The Western mountain range plays a key influencing role on the climatic pattern of the inland plateau. While the climatic pattern of the western side of the Western mountain range exhibits Maritime characteristics, the climatic pattern of the eastern side of the Western mountain range exhibits Continental characteristics. Continental climates are

Figure 44: Tripoli Location Map

typically marked by large annual or daily temperature amplitudes, low relative humidity, and moderate to low

http://www.climatezone.cm/climate/lebanon/

rainfall.

43 | P a g e

2.6.3- Climate (rain, wind, sun…): Lebanon has a Mediterranean climate characterized by a long, hot, and dry summer, and cool, rainy winter. Fall is a transitional season with a gradual lowering of temperature and little rain; spring occurs when the winter rains cause the vegetation to revive. Topographical variation creates local modifications of the basic climatic pattern. Along the coast, summers are hot and humid, with little or no rain. Heavy dews form, which are beneficial to agriculture. The daily range of temperature is not wide, although temperatures may reach above 38° C in the daytime and below 16° C at night. A west wind provides relief during the afternoon and evening; at night, the wind direction had reversed,

Figure 45: Temperatures in Lebanon

blowing from the land out to sea.

January February March April May June July August September October November December 16°C

17°C

19°C 22°C 24°C 27°C 29°C

30°C

29°C

27°C

23°C

19°C

10°C

11°C 14°C 17°C 21°C 23°C

24°C

23°C

20°C

16°C

12°C

Table of annual Temperatures in Lebanon

44 | P a g e

Context 1.2.

– External constraints

Place constraints - Build Environment

Urban fabric, urban space, Architectural components

Site Selection and Analysis Proposer 1:

Figure 47: Map 1 from google earth, Tripol location

Figure 46: Map 2 district map

… Site

Site-Topography The site is a flat area where there are no slopes.

Area of site: 145 000 m2 ……

45 | P a g e

EYES VSION Photography:

A K J I C

D E

F G

view

46 | P a g e

E view

F view

G view

Hview

I view

J view

K view

SITE

Figure 48: Map 1 from Google earth, Tripoli location

47 | P a g e

1.3

Micro-Climate & Orientation:

1) Average humidity is 62% 2) The prevailing winds are from the south-west direction and are mostly moderate winds (6-10m/sec). Some mild winds (2-5m/sec) also arrive from the east. 3) Average annual rainfall 661 m

N Open v

Open view

Prevailing wind

Closed view view

Figure 49: from google earth; wind, sun, and north direction

Illustration 1: Minimum and maximum relative Temperature

Illustration 1: Minimum and maximum relative humidity

48 | P a g e

1.4 Sun Direction

Figure 50: sun direction Source: (http://www.sunearthtools.com/)

Figure 52: month path sun direction

Figure 51: annual sun direction

Source: (http://www.sunearthtools.com/)

49 | P a g e

Figure 53: Photovoltaic Payback Source: (http://www.sunearthtools.com/)

Context 2.1.

– External constraints

Man constraints

Civilization, Community, Economic

……

Site

Figure 54: constructions surround the site

Around the site, there is not a specific architectural property due to absence of existing building. That is enforcing the idea to create sustainable building that should be an example to the future. 50 | P a g e

2.2 ZONING MAP

Maarad Rachid karami

AL NOUR ROUND ABOUT

BEIRUT ARAB UNIBERSITY SITE

Figure 55: Zoning map Source: (www.Open Street Map.com)

Figure 56: Road Map

51 | P a g e

 SECOND SITE PROPOSER:

Figure 57: site analysis for the second proposer

Properties: 

Distance between the site and train station is approximately 2.5 km.



Distance between the site and the port is approximately 3km.



Distance between the site and the Rachid Karameh Pavilion is approximately 100m.



Distance between the site and the al Safadi cultural center is approximately 100m.



Distance between the site and the capital of Lebanon, Beirut is approximately 80km.

52 | P a g e

ď ś

Sun Direction

Figure 58: sun direction

Figure 60: month path sun direction

Figure 59: annual sun direction

Source: (http://www.sunearthtools.com/)

53 | P a g e

Analysis and Conclusion

Case Studies

4.1

Case study 1: Sejong Art Center Winning 53 Proposal / DMP Partners

4.2

Case study 2: Sejong Art Center Competition Entry / H Architecture + Haeahn Architecture

4.3 4.4

Case study 3: Seoul Performing Arts Center Conclusion

74 78

54 | P a g e

4.1 Case study 2

Sejong Art Center Winning Proposal / DMP Partners

Figure 61: Sejong Art Center Winning Proposal

Architects: DMP Partners (designcamp moonpark) - Seunghong Park, Hokeun Oh Location: Naseong-dong, Seoul, South Korea Project Architect: Seungchul Han, Sehwan Park Project Manager: Jongin Park Project Team: Hyekyung Ju, HanJin Yoon, Sungwoo Moon, Junghyuk Seo, Sanghwan Jung, Junghwa Lee, Seungheon Kim, Minkyung Kim, Jinho Kim Acoustics: ad&c Structural Engineer: I’ST Mechanical Engineer: HIMEC Electricity / Telecommunication: Jung Woo Eng. Civil Engineer: Daekyo E&C CG: 201 studio Editorial Design: Godo Design Architectural Model: Daerim Total Floor Area: 15,360m2 (Gross) Site Area: 43,493 m2 Date: December 2012 – March 2013 55 | P a g e

Designed by DMP Partners, their winning proposal for the Sejong Art Center (SAC) is composed of two theaters, a main theater with more than 800 seats, a medium sized theater with 300 seats, a film theater with 250 seats, and an art gallery. Located in the international cultural area between nature-scape and urban-scape, the building combines nature and city through its straight, linear shape. This form is applied in accordance with the city and its curvature shape is in accordance with nature to create a comfortable feeling. More images and architectsâ&#x20AC;&#x2122; description after the break.

Figure 62: Sejong Art Center Winning Proposal

The building is designed for various performing arts such as musical, ballet, dancing and etc. The grand hall and two theaters are facing to the central park and there is open space of magnificent energy people can feel. It is originated from the nature (Central Park, Geum-gang (river) and Guewha-san (mountain)), and transforms into performing arts when it meets the urban.

Figure 63:Sejong Art Center Winning Proposal

56 | P a g e

The main theater of Sejong Art Center provides best sound quality to the audience by using SAR(Source Selective Absorption & Reflection) Structure wall and which is able to hold the performing arts wide range from normal type such as musical, opera and contemporary music to cross over performance.

Figure 64:Urban+Plaza-scape

Avenue park, located in the north area, Public square ‘Arrival plaza’ and cinema located in south area, is the most important place in city. There is open space to have fine view to the sky and landscape, where is joined end point of city and starting point of nature. Café is a part of the plaza and the resting space under the roof shadow.

Figure 65: Architecture-scape

There is Main entrance at the end of the passage between two theaters and visitors have open view to the central park. After entering into the SAC, visitors arrive Grand hall in-between halls of two theaters, which is connected with outdoor space through entrance and parking space on B1 level. Grand hall, Grand step and Hall of Main Theater are public space for citizens holding small event even though there is no performance.

57 | P a g e

Figure 66:Theater-scape

A three dimensional wall design gives best quality for sound and aesthetic. Specially, an amplified case, which needs large power speaker, that acoustic drapery and acoustic trap control reflected sound. Also lighting fixture and many type of equipments hidden inside of wall to make beauty and tidy.

Figure 67: Ground-scape , Public-scape

The space where is connecting theatre to waterside going to be meaningful place for Sejong city. This place will be very last place for public journey, where is started from public square and cinema to move through history park and public space. This journey is for everyone who comes to visit to sejong art center.

Figure 68: Civic-scape

The grand hall and two theaters are facing to the central park and there is open space of magnificent energy people can feel. It is originated from the nature (Central Park, Geum-gang (river) and Guewhasan (mountain)), and transforms into performing arts when it meets the urban. 58 | P a g e

59 | P a g e

Diagrame shot of the project art center:

60 | P a g e

Figure 69: diagrme Civic-scape

61 | P a g e

Figure 70: parking plan

Figure 71: Access plan

62 | P a g e

Figure 73: public plan

Figure 72: BOH PLAN

63 | P a g e

Figure 74: Theater and public SECTIONS

64 | P a g e

4.2 Case study 2 Sejong Art Center Competition Entry / H Architecture + Haeahn Architecture

Figure 75:Sejong Art Center Competition Entry / H Architecture + Haeahn Architecture

Architects: H Architecture + Haeahn Architecture Location: Sejong, Korea Client: Multifunctional Administrative City Construction Agency (MACCA) Program: Performing art center including a 700 seat theater for classical concert, ballet and musical, a 300 seat black box theater, a cinema, and gallery spaces, a 1,500 seat opera theater as an extension, a restaurant, a cafe and parking Gross Area: 11,138 mÂ˛ (119,888 sf) Status: Competition, submitted Year: 2013 The new cultural hub of Sejong city, the proposal for the Sejong Art Center features a 700 seat theater for classical concert, ballet and musical, a 300 seat black box theater, a cinema, gallery spaces, and a 1,500 seat opera theater as an extension. Designed by H Architecture+ Haeahn Architecture, the project aims to embrace the polarity of the city and nature. It was initiated from a scrupulous 65 | P a g e

speculation concerning the dichotomy between them since the site is located at the edge of the city. More images and architectsâ&#x20AC;&#x2122; description after the break.

Figure 76: Sejong Art Center Competition Entry / H Architecture + Haeahn Architecture

The complex is vibrantly open to the community with indoor and outdoor cultural venues for multipurpose performance activities. Since it is sited at the edge of the city, the contemporary complex is oriented toward its natural setting. Spaces between the individual programs actively bring nature into the complex, making way for sunlight, wind, and foliage to infiltrate.

Figure 77: Sejong Art Center Competition Entry / H Architecture + Haeahn Architecture

Gallery and cinema spaces located at the outer edge of the complex allow visitors to easily utilize the program. While gallery and cinema spaces are everyday facilities, theaters for performances are event facilities in which extraordinary experiences take place. These event facilities are located at the inner 66 | P a g e

layer of the complex, maximizing direct contact with the surrounding park, river, and hills. Intermission during a performance becomes an opportunity for people to enjoy nature while taking a break.

Figure 78: Sejong Art Center Competition Entry / H Architecture + Haeahn Architecture

Panâ&#x20AC;?, a Korean expression for a place of public activity, embodies the spirit of each outdoor space and landscaped area. Each zone is carefully designed to accommodate numerous outdoor performances such as a concert in the forest, a traditional parade, or a summer night film festival. 2013

Courtesy of H Architecture + Haeahn Architecture

67 | P a g e

Site plan

Figure 79: site plan Courtesy of H Architecture + Haeahn Architecture

68 | P a g e

Figure 80: plans Courtesy of H Architecture + Haeahn Architecture

69 | P a g e

Figure 81: Elevations Sejong Art Center Winning Proposal

70 | P a g e

Figure 82: section Sejong Art Center Winning Proposal

71 | P a g e

Figure 83: Diagram Sejong Art Center Winning Proposal

72 | P a g e

Figure 84: Diagram Sejong Art Center Winning Proposal

73 | P a g e

Figure 85: Diagram Sejong Art Center Winning Proposal

74 | P a g e

Figure 86:Diagram Sejong Art Center Winning Proposal

75 | P a g e

4.3 Seoul Performing Arts Center Location: Seoul, Korea Client: Municipality of Seoul, Seoul Performing Arts Center Site Area: 13.7 acres / 5.5 hectares Size: 376,737 gross sq ft / 34,999 gross sq m Program: Opera theater and concert hall with supporting areas Design: 2008 - 2009 Type: Cultural Figure 87: Seoul Performing Arts Center

•

The new Performing Arts Center is poised to become the universally recognized icon for Seoul, one that is synonymous with Seoul’s dynamic identity. The Center serves as a powerful symbol—one that evokes an instantaneous and indelible impression of Seoul as a global steward of the environment and culture, with an optimistic vision and commitment to the future.

Figure 88: Diagram Seoul Performing Arts Center

76 | P a g e

Figure 89: Diagram Seoul Performing Arts Center

77 | P a g e

4.4 Conclusion: 

The Performing Arts Center will exhibit a higher level of environmental awareness through sustainable designs. These innovations promote the conservation of water, reduction of energy consumption



Use of sustainable building materials, and the offsetting of energy emissions through renewable energy credits.



Features: 800 seat theater for classical concert, ballet and musical, a 300 seat black box theater, gallery spaces, and a 800 seat approximately theater as an extension



To ensure design excellence in the public realm, dedicate resources to the analysis of what is working best and why in Tripoli current public space with regard to both the conventional definition of the arts and broader definitions of culture.



Support exterior spaces that offer the scale and freedom necessary for temporary cultural performances and exhibitions.

78 | P a g e

1.1

Projectâ&#x20AC;&#x2122;s Program

# Design Requirement

Space Program

79 | P a g e

1.2

Projectâ&#x20AC;&#x2122;s Program

80 | P a g e

81 | P a g e

1- Bubble Diagram 1

2- Bubble Diagram 2

3- Large theater Diagram

85 86

4- conclusion

Zoning and Bubble Diagram

Functional Diagrams

82 | P a g e

1- Bubble Diagram 1

83 | P a g e

2- Bubble Diagram 2

84 | P a g e

814 seats (maximum capacity of the house). » 18 places for persons with reduced mobility. » Adjacent areas: dressing rooms, foyer, technical production and ticketing. » A wall-mounted sound diffusion system (Nexo Géo). » One 30 kW basic lighting system mounted on gantries in the house. » Wooden backdrop or 15 m x 8 m cinema-type screen. » Technical staff: 3 technicians (stage, lighting, sound) for installation/operations/dismantling for 17hour periods. » Reception staff: 2 ticket inspectors and 4 usherettes. » House lights and foyer lights, air conditioning, cleaning. » Fire protection included during operations. » Security service on demand 85 | P a g e

4. Conclusion: •

This project was based on the idea of demonstrating leadership, innovation, and environmental direction when designing the Performing Arts Center.

•

The Performing Arts Center will exhibit a higher level of environmental awareness through sustainable designs. These innovations promote the conservation of water, reduction of energy consumption

•

Use of sustainable building materials, and the offsetting of energy emissions through renewable energy credits.

•

Features: 800 seat theater for classical concert, ballet and musical, a 300 seat black box theater, gallery spaces, and a 800 seat approximately theater as an extension

•

Support exterior spaces that offer the scale and freedom necessary for temporary cultural performances and exhibitions.

•

Architecture, landscape architecture, and urban design can and are shaping environments that accommodate and stimulate artistic expression and participation in Tripoli and elsewhere. However, the economic realities of the present moment are sobering, and they need to be acknowledged, analyzed, and responded to with a smart mixture of caution, ambition, and optimism. The current moment calls for carefully calibrating investments in facilities for the arts, so as not to overwhelm organizations with fixed costs that impair their capacity to carry out their missions and to present their work to a wide range of audiences.

•

This inquiry aims to stimulate a renewed dialogue about ways to foster and support cultural vitality in Lower Tripoli through architecture and urban design as they reflect a contemporary response to arts policy and programming. Observation and analysis suggest that there must be a balanced approach to supporting cultural production, presentation, and experience.

86 | P a g e

References

87 | P a g e

References A. Books 1.

Reference 1

B. Master & Ph.D. thesis 1.

Reference 1

C. Research Paper 1.

For background see John Ripley Freeman, On the Safeguarding of Life in Theaters, 1906, and the Board for Coordination of the Model Codes (BCMC) Report on Means of Egress, 1985. Associated Press wire story, February 15, 2003, (Last Visit in 23/10/2015 Site information: the website is a social media…………..)

Wolff, Steven A. (October 20, 2011). "The evolution of the performing arts center". AMS Planning & Research Corp. Retrieved 20 January 2014. (Last Visit in 23/10/2015 Site information: the website is a social

media…………..)

D. Internet Website 1.

http://www.mlive.com/entertainment/kalamazoo/index.ssf/2009/02/alvin_ailey_dancers_astound_mi.ht ml ( Last Visit in 23/10/2015 ) (Site information: the website is a social media…………..)

http://www.paradiseperformingarts.com/featuresandstatistics.php ( Last Visit in 23/10/2015 ) (Site information: the website is a home page of performance art center …..)

http://www.cdc.gov/obesity/data/trends.html#State ( Last Visit in 23/10/2015 ) (Site information: the website is a social media…………..)

5. 6. 7.

Richard H. Steckel, “Health, Nutrition, and Physical Well-Being” in chapter Bd of Historical Statistics of the United States, Earliest Times to the Present: Millennial Edition, edited by Susan B. Carter, Scott Sigmund Gartner, Michael R. Haines, Alan L. Olmstead, Richard Sutch, and Gavin Wright. New York: Cambridge University Press, 2006. http://dx.doi.org/10.1017/ISBN-9780511132971.Bd.ESS.01 3(Last Visit in 23/10/2015 Site information: the website is a social media…………..) http://www.cdc.gov/nchs/data/ad/ad347.pdf (Last Visit in 23/10/2015 Site information: the website is a social media…………..) http://news.google.com/newspapers?id=tNc_AAAAIBAJ&sjid=_SAGAAAAIBAJ&pg=1522%2C539 0007 Source materials include William Birkmire, The Planning and Construction of American Theatres (1896), The Architectural Forum (September 1932), Harold Burris-Meyer and Ed Cole, Theaters and 88 | P a g e

Auditoriums (1949, 1975), Eldon Elder, Will It Make a Theatre? (1979), Leslie Armstrong, Space for Dance (1984), Ian Appleton, Buildings for the Performing Arts, 2nd edition (2008), and Theatre Projects US practice standards (1990, 2010). 8. Iain Mackintosh, Architecture, Actor, and Audience (1993). Arthur Edwin Krows, Play Production in America (1916). 9. http://disney.go.com/theatre/marypoppins/broadway 10. http://www.promisespromisesbroadway.com 11. http://www.broadwayleague.com/assets/bway_demo_0809.pdf

Case study website: 12. http://www.archdaily.com/599263/construction-begins-on-open-s-pingshan-performing-arts-center-inshenzhen 13. http://www.archdaily.com/357995/sejong-art-center-winning-proposal-dmp-partners 14. http://www.archdaily.com/380542/sejong-art-center-competition-entry-h-architecture-haeahnarchitecture 15. http://www.archdaily.com/568188/designcamp-moonpark-dmp-wins-competition-for-ansan-culturalarts-center 16. http://www.archdaily.com/510587/the-star-andrew-bromberg-of-aedas

89 | P a g e