process book

SCAD CAPOEIRA PERFORMANCE CENTER MAITHAM ALMUBARAK DSGN 224 FUNDAMENTALS STUDIO III. PROFESSOR WOODS. SPRING 2012.

I DON’T WANT TO BE INTERESTING. I WANT TO BE GOOD. - MIES VAN DER ROHE

CONTENT

COURSE EXERCISES. SITE/

SITE SKETCHES, AND PERCEPTION AND SPATIAL QUALITY EXERCISE.

DESIGN CONCEPT/

CONCEPT STATEMENT.

CAPOEIRA/

PERFORMANCE DEFINITION.

MOVEMENT/

BUTTERFLY KICK DEFINITION, MOVEMENT STUDIES.

BODY MESURMENTS/

MESURMENT DEVICES STUDIES. DEVELOPMENT OF DESIGN.

DESIGN PROCESS/ MIDTERM/

THE DESIGN DEVELOPED UNTIL WEEK FIVE.

FINAL DESIGN/

THE DESIGN AS IT WAS PRESENTED AT THE END OF THE COURS.

CASE STUDIES

THAT AFFECTED THE DESIGN.

QUESTION AND ANSWER/ TWO Q&A EXERCISES. PROJECT CENTERING/

CENTERING Q&A.

INCLUDED: STUCTURE STUDIES/ SITE ANALYSIS/

IN GROUP OF THREE. IN A GROUP OF FOUR.

SITE

SCAD MUSEUM OF ART RUINS AREA

THE SITE IS AN EXTENSION BEHIND THE SCAD MUSEUM. IT OFFERS A UNIQUELY VISUAL LOCATION AS WELL AS A VERY DENSE FABRIC TO PULL FROM; IT IS CURRENTLY AN AREA WITH ENORMOUS POTENTIAL FOR VISIBILITY. IN THAT IT SITES ALONG A MAJOR ROUTE (MLK BLVD.), IT IS THEREFOR ONE WHICH COULD ADD IMMENSE IMPACT TO AN INTERVENTION THAT EXPLOITS IT PROPERLY. IT ALLOWS FOR A NATURAL FLOW FROM THE SCAD MUSEUM TO THE MAGNIFICENT COURT YARD. IT IS ALSO ACROSS FROM THE SCAD ARCHITECTURE STUDIOS.

NOTE/ FORMAL SITE ANALYSIS AT THE END OF THIS PORTFOLIO

PERCEPTION AND SPATIAL QUALITY THIS PROJECT MEANT TO AFFORD US AN OPPORTUNITY TO THINK CRITICALLY ABOUT THE TYPES OF SPACES THAT RESONATE WITH YOU OR HAVE LEFT A DISTINCT IMPRESSION ON US. IT IS VITAL THAT YOU CONSIDER WHY THESE SPACES ARE SO SIGNIFICANT AND HOW THEY CREATED THE PERCEPTUAL LENS FROM WHICH WE EXPERIENCE THE WORLD AROUND US.

BLACK AND WHITE PRESENTATION BOARD.

CONCEPT

CONCEPT STATEMENT

THIS DESIGN SEEKS TO ATTACH THE STILLNESS OF THE DEAD (SITE RUINS) TO THE MOVING ALIVE NEW STRUCTURE, AND CREAT A RELATIONSHIP BETWEEN THE TWO LIKE THE RELATIONSHIP BETWEEN THE SNAIL’S ALIVE PART WITHIN ITS SHELL. LIKEWISE, THE IDEA OF BUILDING WITHIN A BUILDING IS REPRESENTED ON THE SMALLER SCALE IN THE OUTSIDE SKIN WITH THE SIMPLE CONCRETE STRUCTURE. THIS PREFOREMANCE SPACE IS INSPIRED THEORETICALLY BY THE PREFORMANCE NATURE IN THE WAY THE SPACE IS DEVIDED, AND A MORE LITERALLY IN THE SKIN MOVEMENT.

CAPOEIRA

THE PERFORMANCE CAPOEIRA IS A BRAZILIAN MARTIAL ART THAT COMBINES ELEMENTS OF DANCE AND MUSIC. IT WAS CREATED IN BRAZIL MAINLY BY DESCENDANTS OF AFRICAN SLAVES WITH BRAZILIAN NATIVE INFLUENCES, PROBABLY BEGINNING IN THE 16TH CENTURY. IT IS KNOWN BY QUICK AND COMPLEX MOVES, USING MAINLY POWER, SPEED, AND LEVERAGE FOR LEG SWEEPS. CAPOEIRA IS USUALLY DONE IN A RODA. RODA, MEANING “WHEEL” OR, MORE APPROPRIATELY IN THIS CASE, “CIRCLE” IN PORTUGUESE, IS THE CIRCULAR FORMATION WITHIN WHICH PARTICIPANTS PERFORM IN ANY OF SEVERAL AFRO-BRAZILIAN DANCE ART FORMS, SUCH AS CAPOEIRA, MACULELÊ AND SAMBA DE RODA. BY EXTENSION, THE WHOLE EVENT MAY BE CALLED A RODA (AS IN “WE WILL HAVE A RODA NEXT SATURDAY”). LIKEWISE, SOMETIMES A RODA MAY NOT TAKE THE SHAPE OF A CIRCLE; IT MAY BE, FOR EXAMPLE, A HALF-CIRCLE IF THE EVENT IS A PUBLIC PERFORMANCE, IN ORDER FOR THE PUBLIC TO BE ABLE TO SEE THE PERFORMERS EASILY. THIS PERFORMANCE SPACE IS DESIGNED TO HOST THIS ACTIVITY. BESIDES THE ADMINISTRATION SPACE, AND THE PRIVATE RESIDENCE, IT HAS A 54-SEAT AUDITORIUM, AND MOST IMPORTANTLY THE OUTDOOR PREFORMANCE SPACE, OR THE “RODA”. THE RODA SPECTATORS COULD INFORMALLY STAND UP AND WATCH OR SIT DIRECTLY ON THE STRUCTURE.

MOVEMENT

BUTTERFLY KICK

A BUTTERFLY KICK OR HORSE KICK (XUÀNZI) IS A JUMPING KICK IN MARTIAL ARTS SUCH AS MODERN WUSHU AND TAEKWONDO AND CAPOEIRA. ALTHOUGH THE SPECIFIC NATURE OF THE KICK VARIES, IT IS GENERALLY COMPOSED OF A TWIST OF THE BODY WHILE BOTH LEGS ARE LIFTED FROM THE GROUND AND SWUNG AROUND, WHILE THE TORSO REMAINS AS HORIZONTAL AS POSSIBLE. IN ACTION CINEMA IT IS OFTEN SEEN AS A KICK USED TO “CUT A SWATHE” THROUGH MULTIPLE OPPONENTS. IN TRADITIONAL CHINESE LONGFIST, IT IS USED DEFENSIVELY TO EVADE AN OPPONENT’S FLOOR SWEEP AND LAND ON THE ENEMY’S VULNERABLE SIDE. THERE ARE MANY VARIATIONS, AND DIFFERENT MOVEMENTS MAY BE CAPTURED UNDER THE SAME NAME OR LIKEWISE SIMILAR MOVEMENTS GIVEN UNDER A DIFFERENT NAME DEPENDING ON THE MARTIAL ARTS SCHOOL OR STYLE. IT CAN BE EXECUTED EITHER FROM STANDING OR FROM A STEP UP RUN. THE NAME “BUTTERFLY KICK” IS DUE TO THE LEGS REACHING THE APEX OF THEIR ARC THE ARMS ARE STRETCHED OUT, LEAVING ALL LIMBS EXTENDED IN A POSITION SIMILAR TO THAT OF A BUTTERFLY’S WINGS IN-FLIGHT (HOWEVER, NOTE THAT THE ORIGINAL CHINESE WORD FOR THIS TECHNIQUE CONTAINS NO REFERENCES TO BUTTERFLIES OR KICKS).

MOVE BY ALFRED HSING.

BODY

CORRELATIONS

BODY MEASUREMENTS EXERCISE

FROM FLOOR TO KNEE FROM FLOOR TO HIP FROM KNEE TO HIP FROM FLOOR TO WAIST LENGTH OF ARM FROM ELBOW TO FINGER TIP YOUR HEIGHT YOUR HEIGHT WITH ARM FULLY EXTENDED OVER HEAD FLOOR TO SHOULDER LENGTH OF FOOT

19” 37” 18” 39” 19” 69” 87” 60” 10”

1. THE DESTANCE BETWEEN THE FLOOR AND THE KNEE IS ABOUT THE SAME HIGHT AS THE HIGHT OF THE SOFA SEAT SO THE FEET REST EASILY ON THE FLOOR WHILE SOMEONE IS SITTING. 2. THE DESTANCE FROM THE FLOOR TO THE HIP IS ABOUT THE SAME AS THE KITCHEN COUNTER HIGHT SO ONE CAN EASILY REST THEIR BODY AGAINST THE KITCHEN COUNTER AND STILL BE ABLE TO MOVE THEIR ARMS EASILY. 3. THE DOOR OPENING HIGHT IS ABOUT ONE FOOT TALLER THAN A TYPICAL BODY HIGHT WHICH GIVES THE BODY SOME SORT OF SECURITY PASSING THROUGH THE DOOR WITHOUT WORRING ABOUT HITTING THEIR HEAD.

19”

BODY MEASUREMENTS. HEIGHT OF KITCHEN COUNTER HEIGHT OF TOP KITCHEN CABINETS HEIGHT OF DINING TABLE HEIGHT OF DESK DEPTH OF KITCHEN COUNTER HEIGHT OF CEILING HEIGHT OF FRONT DOOR OPENING STAIR TREAD DEPTH HEIGHT OF MATTRESS AND BOX HEIGHT OF SOFA SEAT DEPTH OF SOFA SEAT FURNITURE AND ARCHITECTURAL ELEMENTS MEASURMENTS.

69” 36”

60”

54”

18”

29” 32” 24”

5. THE DESTANCE FROM THE KNEE TO THE HIP IS ABOUT THE SAME AS THE DEPTH OF THE SOFA SEAT TO ALLOW THE BODY TO REST ON THE SEAT AND FOR THE LEG TO BEND AROUND THE SEAT END.

37”

96” 84”

19”

10” 43”

6. THE HIGHT OF THE DINING TABLE IS ABOUT TEN INCHES HIGHER THAN THE DESTANCE FROM THE FLOOR TO THE KNEE, WHICH ALLOWS ONE TO EASILY SLIDE UNDER THE TABLE AND HAVE ENOUGH SPACE TO MOVE THE UPPER BODY PART ON TOP OF IT. 7. THE LENGTH OF THE FOOT IS ABOUT THE SAME AS THE STAIR TREAD DEPTH WHICH GIVES THE FOOT ENOUGH SPACE TO REST ON THE STEP.

18” 18”

4. THE TOTAL BODY HIGHT WITH THE ARM FULLY EXTENDED OVER HEAD IS STILL ABOUT ONE FOOT SHORTER THAT THE CEILING HIGHT WHICH ALLOWS FOR A FREE MOVEMENT IN THE SPACE.

10”

GOLDEN RATIO OF THE HUMAN BODY THE GOLDEN RATIO, ALSO KNOWN AS THE DIVINE PROPORTION, GOLDEN MEAN, OR GOLDEN SECTION, IS A NUMBER OFTEN ENCOUNTERED WHEN TAKING THE RATIOS OF DISTANCES IN SIMPLE GEOMETRIC FIGURES SUCH AS THE PENTAGON, PENTAGRAM, DECAGON AND DODECAHEDRON. IT IS A RATIO OR PROPORTION DEFINED BY THE NUMBER PHI ( = 1.618033988749895... ).

“SOME OF THE GREATEST MATHEMATICAL MINDS OF ALL AGES, FROM PYTHAGORAS AND EUCLID IN ANCIENT GREECE, THROUGH THE MEDIEVAL ITALIAN MATHEMATICIAN LEONARDO OF PISA AND THE RENAISSANCE ASTRONOMER JOHANNES KEPLER, TO PRESENT-DAY SCIENTIFIC FIGURES SUCH AS OXFORD PHYSICIST ROGER PENROSE, HAVE SPENT ENDLESS HOURS OVER THIS SIMPLE RATIO AND ITS PROPERTIES. BUT THE FASCINATION WITH THE GOLDEN RATIO IS NOT CONFINED JUST TO MATHEMATICIANS. BIOLOGISTS, ARTISTS, MUSICIANS, HISTORIANS, ARCHITECTS, PSYCHOLOGISTS, AND EVEN MYSTICS HAVE PONDERED AND DEBATED THE BASIS OF ITS UBIQUITY AND APPEAL. IN FACT, IT IS PROBABLY FAIR TO SAY THAT THE GOLDEN RATIO HAS INSPIRED THINKERS OF ALL DISCIPLINES LIKE NO OTHER NUMBER IN THE HISTORY OF MATHEMATICS.” -MARIO LIVIO THE GOLDEN SECTION WAS USED IN THE DESIGN OF NOTRE DAME IN PARIS, AND CONTINUES TODAY IN MANY EXAMPLES OF ART, ARCHITECTURE AND DESIGN. IT ALSO APPEARS IN THE PHYSICAL PROPORTIONS OF THE HUMAN BODY, MOVEMENTS IN THE STOCK MARKET AND MANY OTHER ASPECTS OF LIFE AND THE UNIVERSE. DR. STEPHEN MARQUARDT HAS DISCOVERED A TEMPLATE FOR HUMAN BEAUTY USING THE GOLDEN SECTION, WITH OBVIOUS RELEVANCE IN THE PLASTIC SURGERY INDUSTRY. MARQUARDT’S ANALYSIS TAKES ETHNICITY INTO ACCOUNT, AND ILLUSTRATES VARIATIONS THAT ARE ARE BOTH NUMEROUS AND SUBTLE, AND CLEARLY IMPORTANT IN A PLASTIC SURGERY GUIDE. ANOTHER EXAMPLE IS THE GREAT MOSQUE OF KAIROUAN, A GEOMETRICAL ANALYSIS OF IT REVEALS A CONSISTENT APPLICATION OF THE GOLDEN RATIO THROUGHOUT THE DESIGN, ACCORDING TO BOUSSORA AND MAZOUZ. IT IS FOUND IN THE OVERALL PROPORTION OF THE PLAN AND IN THE DIMENSIONING OF THE PRAYER SPACE, THE COURT, AND THE MINARET. BOUSSORA AND MAZOUZ ALSO EXAMINED EARLIER ARCHAEOLOGICAL THEORIES ABOUT THE MOSQUE, AND DEMONSTRATE THE GEOMETRIC CONSTRUCTIONS BASED ON THE GOLDEN RATIO BY APPLYING THESE CONSTRUCTIONS TO THE PLAN OF THE MOSQUE TO TEST THEIR HYPOTHESIS. FIBONACCI SEQUENCE ARE THE NUMBERS IN THE FOLLOWING INTEGER SEQUENCE: 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, ... AND THEY ARE INTIMATELY CONNECTED WITH THE GOLDEN RATIO, FOR EXAMPLE THE CLOSEST RATIONAL APPROXIMATIONS TO THE RATIO ARE 2/1, 3/2, 5/3, 8/5, ... . APPLICATIONS INCLUDE COMPUTER ALGORITHMS SUCH AS THE FIBONACCI SEARCH TECHNIQUE AND THE FIBONACCI HEAP DATA STRUCTURE, AND GRAPHS CALLED FIBONACCI CUBES USED FOR INTERCONNECTING PARALLEL AND DISTRIBUTED SYSTEMS. THEY ALSO APPEAR IN BIOLOGICAL SETTINGS, SUCH AS BRANCHING IN TREES, ARRANGEMENT OF LEAVES ON A STEM, THE FRUIT SPOUTS OF A PINEAPPLE, THE FLOWERING OF ARTICHOKE, AN UNCURLING FERN AND THE ARRANGEMENT OF A PINE CONE.

GOLDEN RATIO IN ART/ MANY ARTIST USE THE GOLDEN SECTION TO FORTMAT THEIR WORK.

GOLDEN RATIO IN NATURE/ ONE OF SO MANY EXAMPLES FOR THE GOLDEN RATION THAT WE CAN FIND IN NATURE ALL AROUND US.

GOLDEN RATIO IN ARCHITECTURE/ ONE OF THE MOST COMMON USES OF THE GOLDEN SECTION IS IN ARCHITECTURE.

SQUARE ROOT OF 2

THE MODULOR

KEN

ONE OF THE IMPORTANT PROPORTIONING SYSTEMS IS THE RATIO OF (SQUARE ROOT OF 2) : 1.THE SIMPLICITY OF THE DERIVATION (SQUARE ROOT OF 2 IS THE DIAGONAL THROUGH A SQUARE OF SIDE LENGTH 1) IS PARALLELED BY THE EASE OF MAINTAINING THE PROPORTION THROUGH DIVISION OR MULTIPLICATION OF THE PROPORTIONED RECTANGLES. THE SUM OF TWO RECTANGLES OF PROPORTION (SQUARE ROOT OF 2) : 1 LONG SIDE BY LONG SIDE IS (SQUARE ROOT OF 2) : 2.DIVIDED BY THE SQUARE ROOT OF TWO WE ARRIVE AT 1 : (SQUARE ROOT OF 2), THE SAME RATIO AS THE TWO RECTANGLES THAT WERE ADDED TOGETHER, ONLY WITH A CHANGE OF ORIENTATION.

THE MODULOR IS AN ANTHROPOMETRIC SCALE OF PROPORTIONS DEVISED BY THE SWISS-BORN FRENCH ARCHITECT LE CORBUSIER. LE CORBUSIER DEVELOPED THE MODULOR IN THE LONG TRADITION OF VITRUVIUS, LEONARDO DA VINCI’S VITRUVIAN MAN, THE WORK OF LEONE BATTISTA ALBERTI, AND OTHER ATTEMPTS TO DISCOVER MATHEMATICAL PROPORTIONS IN THE HUMAN BODY AND THEN TO USE THAT KNOWLEDGE TO IMPROVE BOTH THE APPEARANCE AND FUNCTION OF ARCHITECTURE.THE SYSTEM IS BASED ON HUMAN MEASUREMENTS, THE DOUBLE UNIT, THE FIBONACCI NUMBERS, AND THE GOLDEN RATIO. LE CORBUSIER DESCRIBED IT AS A “RANGE OF HARMONIOUS MEASUREMENTS TO SUIT THE HUMAN SCALE, UNIVERSALLY APPLICABLE TO ARCHITECTURE AND TO MECHANICAL THINGS.”

THE KEN WAS INTRODUCED IN THE LATTER HALF OF JAPAN’S MIDDLE AGES. ALTHOUGH IT WAS ORIGINALLY USED SIMPLY TO DESIGNATE THE INTERVAL BETWEEN TWO COLUMNS AND VARIED IN SIZE, THE KEN WAS SOON STANDARDIZED FOR RESIDENTIAL ARCHITECTURE. IT HAS TWO PRINCIPAL USES:

THE PREVALENT PAPER FORMATS IN GERMANY ARE DEFINED BY THE DIN 476 (DIN IS THE GERMAN INSITUTE FOR STANDARDIZATION, COMPARABLE TO ANSI IN THE U.S.A, ISO INTERNATIONALLY, ETC.). THE SEQUENCE A OF SIZES IS BASED ON THE RATIO (SQUARE ROOT OF 2) : 1. THIS OF COURSE MEANS THAT PASTING TWO DIN A PAGES TOGETHER AT THEIR LONG SIDES YIELDS THE NEXT LARGER DIN A FORMATTED PAGE. SIMILARLY, CUTTING A DIN A PAGE INTO HALVES BY DIVISION OF THE LONGER SIDE, YIELDS TWO PAGES OF THE NEXT SMALLER DIN A FORMATTED PAGE.

WITH THE MODULOR, LE CORBUSIER SOUGHT TO INTRODUCE A SCALE OF VISUAL MEASURES THAT WOULD UNITE TWO VIRTUALLY INCOMPATIBLE SYSTEMS: THE ANGLO SAXON FOOT AND INCH AND THE FRENCH METRIC SYSTEM. WHILST HE WAS INTRIGUED BY ANCIENT CIVILISATIONS WHO USED MEASURING SYSTEMS LINKED TO THE HUMAN BODY: ELBOW (CUBIT), FINGER (DIGIT), THUMB (INCH) ETC., HE WAS TROUBLED BY THE METRE AS A MEASURE THAT WAS A FORTY-MILLIONTH PART OF THE MERIDIAN OF THE EARTH. WHILST INITIALLY THE MODULOR MAN’S HEIGHT WAS BASED ON A FRENCH MAN’S HEIGHT OF 1.75M IT WAS CHANGED TO SIX FEET IN 1946 BECAUSE “IN ENGLISH DETECTIVE NOVELS, THE GOOD-LOOKING MEN, SUCH AS POLICEMEN, ARE ALWAYS SIX FEET TALL!”[6] THE DIMENSIONS WERE REFINED TO GIVE ROUND NUMBERS AND THE OVERALL HEIGHT OF THE RAISED ARM WAS SET AT 2.262M.

1. AS A PROPORTION FOR INTERVALS BETWEEN THE PILLARS OF TRADITIONAL-STYLE BUILDINGS. THE WORD IS TRANSLATED IN THIS CASE IN ENGLISH AS “BAY”. TRADITIONAL BUILDINGS USUALLY MEASURE AN ODD NUMBER OF BAYS, FOR EXAMPLE 3×3 OR 5×5. A TYPE OF TEMPLE’S GATE CALLED RMON CAN HAVE DIMENSIONS GOING FROM 5×2 BAYS TO THE MORE COMMON 3×2 BAYS DOWN TO EVEN 1×1 BAY. THE ZEN BUTSUDEN IN THE ILLUSTRATION MEASURES 5×5 KEN ACROSS EXTERNALLY BECAUSE ITS 3×3 KEN CORE (MOYA) IS SURROUNDED BY A 1-KEN AISLE CALLED HISASHI. 2. AS A LENGTH, PART OF THE SHAKKAN-H TRADITIONAL SYSTEM OF MEASUREMENT, WHOSE VALUE VARIED IN HISTORY BUT WAS ALWAYS AROUND JUST UNDER 2 M (6.6 FT). A KEN IS DIVIDED INTO SIX SHAKU, EACH EQUIVALENT TO 10 SUN. ALTHOUGH MOSTLY SUPPLANTED BY THE METRIC SYSTEM, THIS UNIT IS STILL IN SOME USE IN CARPENTRY AND OTHER FIELDS. FOR EXAMPLE, THE STRAW MATS CALLED TATAMI THAT COVER THE FLOORS OF MOST JAPANESE HOUSES ARE 1-KEN LONG AND HALF KEN WIDE, AND FLOOR SURFACES ARE STILL MEASURED MOSTLY NOT IN SQUARE METERS BUT IN TATAMI (AS IN “A SIX-TATAMI ROOM”), AND THEREFORE INDIRECTLY IN KEN.

PROCESS

CONCEPTUAL SKETCH A/ A TOP VIEW FORM THAT IS MADE OUT OF TWO PIECES CONECTED BY A VERY STEEP SLOPE.

CONCEPTUAL SKETCH B/ A SHELL-LIKE FORM IN ELEVATION VIEW. THE FORM START AT A LOW POINT TO CREAT AN INTIMATE RELATIONSHIP WITH THE GROUND AND THE MAN AS WELL.

FIRST PROPOSAL

STEPS BEFORE THE DESIGN AS A DESIGN INSPIRED FROM THE BODY MOVEMENT, IT IS IMPORTANT TO UNDERSTAND HOW THE MUSCLES WORK. FROM THE MOVEMENT, AND AFTER ABSTRACTING IT, CAME THE FORM. DIFFERENT FORMS COULD HAVE BEEN CREATED FROM DIFFERENT WAYS OF ABSTRACTING. EACH FORM WOULD BE PUT TO THE TEST OF BEING IN THE SITE. THE SITE WOULD ALSO HAVE ITS INFLUENCE ON THE FORM TO CREAT THE ARCHITECTURE. THE CHOSEN FORM WOULD BE MANIPULATED TO BE ABLE TO CONTAIN USEABLE SPACES. FINALLY, DIFFERENT SYSTEMS WOULD BE TESTED TO CREAT A REPRESENTATION OF THE CHOSEN FORM. IN THE CASE OF THIS DESIGN, A SKIN MADE OUT OF CUSTOM MADE GLUELAM WOOD LOUVERS WOULD.

CONCEPTUAL SKETCH C/ A SKETCH OF A TOP VIEW FORM THAT SHOWS A TWIST IN AN ANGULAR FORM.

ADMIN

ENTRY BATH

OUTDOOR PREFORMING SPACE

CONCEPTUAL SKETCH D/ A SKETCH OF A SKELETON STRECTURE THAT HAVE TWO LOW POINTS, AND TWO HIGH ONES.

SECOND PROPOSAL

R

STAGE

AUDIENCE

OOMS

GREEN SPACE

GREEN SPACE

MIDTERM

MIDTERM CONCEPT STATEMENT THIS DESIGN SEEKS TO ATTACH THE STILLNESS OF THE DEAD (SITE RUINS) TO THE MOVING ALIVE NEW STRUCTURE, AND CREAT A RELATIONSHIP BETWEEN THE TWO LIKE THE RELATIONSHIP BETWEEN THE SNAIL’S SHELL AND ITS ALIVE PART. THE NEW STRUCTURE ALSO SEEKS TO EMPHASES THE RELATIONSHIP BETWEEN THE OPEN SPACE, AND THE CLOSE SPACE AS IT ATTACHES THEM USING THE SAME CONTINUOUS MOVEMENT. THE NEW STRUCTURE GOES ALL THE WAY DOWN TO THE GROUND TO CREAT A DIRECT RELATIONSHIP WITH THE BODY.

MIDTERM DESIGN/ AS IT WAS PRESENTED IN WEEK FIVE.

MIDTERM MODEL/ IN DIFFERENT VIEWS

CASE STUDIES

POLYMORPHIC TEN ARCHITECTURE STUDENTS FROM COLUMBIA UNIVERSITY.

LIVE ARCHITECTURE: CHARKHA. NURU KARIM.

A DI ALCANTARA. SERVETTO ARCHITETTI ASSOCIATI.

NORWEGIAN WILD REINDEER CENTRE PAVILION. SNØHETTA.

FINAL PRESENTATION PERSPECTIVE/ HYBRID IMAGE BREAKING THE DESIGN OPEN AT THE MAIN AXIS.

FINAL DESIGN

TRANSFORMATION DIAGRAM/ ILLUSTRATING HOW DID THE MOVEMENT INFLUENCED THE DESIGN.

T U R N E R

S T R E E T

SC AD MU SEU M OF AR T

S T R E E T

S ERVI C E COURT

EI C H BER G SH ED S

B O U L E V A R D

F A H M SC AD MOA C EN T R AL PL AZ A

M L K

KIAH HALL

SER VI C E C OU R T

EI C H BER G HALL

F AH M STREET

SITE PLAN AND SECTION/ SHOWING THE SURROUNDINGS, EGRESS DESIGN, AND ADA ACCESSIBILITY.

0

30

60

120FT

C

B

A

B

S C A D M U S E U M

E

O F

A B

1 OUTDOOR PERFORMANCE SPACE. 2 INDOOR AUDITORIUM. 3 LADIES’ RESTROOMS. 4 MEN’S RESTROOMS. 5 INFORMATION DESK. 6 WAITING AREA. 7 CAFE.

8 STORAGE. 9 EMPLOYEES RESTROOM. 10 OFFICES. 11 PRIVATE RESIDENCE. 12 PRIVATE PATIO. 13 SCULPTURES GARDEN.

FLOOR PLAN/ SHOWING THE DESIGN’S PROGRAM.

OUTDOOR PERFORMANCE SPACE. INDOOR AUDITORIUM. LADIES’ RESTROOMS. MEN’S RESTROOMS. INFORMATION DESK. WAITING AREA. CAFE. STORAGE. EMPLOYEES RESTROOM. OFFICES. PRIVATE RESIDENCE.

0

0

10

10

20

20

40FT

40FT

A R T

A

NORTH ELEVATION/ SHOWING THE DESIGN FROM TURNER STREET.

SOUTH ELEVATION/ SHOWING THE DESIGN FROM SCAD MUSEUM OF ART PLAZA.

0

10

20

40FT

0

10

20

40FT

SECTION A-A/ SHOWING THE DESIGN’S AUDITORIUM AND ACOUSTICS.

PERSPECTIVE D/ SHOWING A VIEW FROM THE WEST, AND BODY INTERACTION WITH THE STRUCTURE.

0

PERSPECTIVE E/ SHOWING THE SECTION CUT B-B, AND BODY INTERACTION WITH THE STRUCTURE.

10

20

40FT

STRUCTURE A

A

B

B

STRUCTURE LAYERING.

OUTDOOR PERFORMANCE FENCE.

TYPICAL WALL WITH LOUVERS.

MODEL

PERFORMANCE CENTER MAITHAM ALMUBARAK DSGN 224 FUNDAMENTALS STUDIO III. PROFESSOR WOODS. SPRING 2012.

Q&A

EXERCISE ONE IN THE READING (THE EYES OF THE SKIN) BY JUHANI PALLASMAA, HE SAYS: “CONSTRUCTION IN TRADITIONAL CULTURES IS GUIDED BY THE BODY IN THE SAME WAY THAT A BIRD SHAPES ITS NEST BY MOVEMENT OF ITS BODY”.

ANIMALS, UNLIKE HUMAN, THEIR ACTIONS CAN ALWAYS BE EXPLAIN BY GOING BACK TO THEIR NATIVITY, THIS IS WHY WE DO NOT SAY MUCH CHANGES IN THE WAY THEY GET THEIR JOBS DONE. FOR EXAMPLE, A LION WOULD TEACH HIS BABIES TO HUNT THE EXACT SAME WAY LIONS LONG TIME AGO USED TO. IN THE SAME WAY, BIRDS BUILD THEIR NESTS. A BIRD WOULD BUILD A PERFECT HOME JUST THE WAY BIRDS MANY GENERATIONS AGO USED TO DO IT, ITS WAY OF DOING THIS WOULD NOT BE EFFECTED BY ANY SORT OF CULTURAL OR SOCIAL ELEMENTS LIKE IT WOULD IN THE HUMAN WORLD. TO UNDERSTAND WHY THIS HOME IS PERFECT FOR THIS BIRD, WE COULD LOOK AT THE WAY THAT IT DOES IT. IN MOST SPECIES, THE MALE BIRD WOULD BE IN CHARGE OF MAKING THE NEST WHEN ITS EXPECTING BABIES, IT WOULD USE ITS WHOLE BODY AND ALL ITS SENSES FROM STEP ONE WHICH IS FINDING A SUITABLE SPOT, TO COLLECTING MATERIALS, AND FINALLY BUILDING. THE BIRD DOES NOT GIVE ONE SENSE MORE ATTENTION THAN THE OTHER, BUT IT TREATS THEM ALL EQUALLY THAT IS WHY ITS ARCHITECTURE IS PERFECTLY SUITABLE FOR IT. IMAGES: EVERYTHINGSPOSSIBLE.FILES.WORDPRESS.COM

EXERCISE TWO THE TEXT BEYOND THE BODY BOUNDARY STATES THAT: “IN MEDITERRANEAN CULTURES THE ARCH AND DOME WERE FAVORED. THE FORMS WERE ENDOWED WITH CELESTIAL SIGNIFICANCE (DOMUS IS THE WORD FOR HOUSE, AS WELL AS FOR THE DOME OF HEAVEN), SOMETIMES PAINTED BLUE INSIDE WITH STARS, AND ALWAYS CROWNING THE BUILDING.” WHAT IS THE SYMPOLIC VALUE THE DOMES HAVE IN PLACES OF WORKSHIP? MIDDLE BYZANTINE CHURCHES WERE DECORATED IN A SYSTEMATIC MANNER AND CAN BE SEEN AS HAVING THREE ZONES OF DECORATION, WITH THE HOLIEST AT THE TOP. THIS UPPERMOST ZONE CONTAINED THE DOME, DRUM AND APSE. LIKEWISE, MUSLIM ROYALTY BUILT PALATIAL PLEASURE DOMES IN CONTINUATION OF THE ROMAN AND PERSIAN IMPERIAL MODELS. IN THE EARLY CENTURIES OF ISLAM, DOMES WERE CLOSELY ASSOCIATED WITH ROYALTY. A DOME BUILT IN FRONT OF THE MIHRAB OF A MOSQUE, FOR EXAMPLE, WAS AT LEAST INITIALLY MEANT TO EMPHASIZE THE PLACE OF A PRINCE DURING ROYAL CEREMONIES. OVER TIME SUCH DOMES BECAME PRIMARILY FOCAL POINTS FOR DECORATION OR THE DIRECTION OF PRAYER. THE USE OF DOMES IN MAUSOLEUMS CAN LIKEWISE REFLECT ROYAL PATRONAGE OR BE SEEN AS REPRESENTING THE HONOR AND PRESTIGE WHICH DOMES SYMBOLIZED, RATHER THAN HAVING ANY SPECIFIC FUNERARY MEANING. THE PHENOMENON OF MUQARNAS DOMES, IN PARTICULAR, IS AN EXAMPLE. IT IS EXPLAINED THAT THE DEVELOPMENT AND SPREAD OF MUQARNAS DOMES THROUGHOUT THE ISLAMIC WORLD BEGINNING IN THE EARLY 11TH CENTURY AS THE VISUAL EXPRESSION OF A THEOLOGICAL IDEA.