ARCH 3553/352 - Design Studio II Portfolio by malakabdelnaby_

DESIGN PORTFOLIO

ARCH 3553/352 Design II Fall 19â&#x20AC;&#x2122; Dr. Magda Mostafa Dr. Alia Fadel

Malak Abdel Naby 900171333

Introduction: How did 3553 shape me as an architect? P. 05

TABLE OF CONTENT

Group Mapping

P. 28

Warm Up Exercise

P. 06

Individual Mapping

Materiality Module

P. 36

P. 40

P. 51

P. 08

Behavioral Choreography

P. 31

Conceptual Design

Threshold Review

Research Phase

Pre-Final Jury

P. 59

P. 33

Daylight Module

P. 47

Final Jury

P. 69

Coordinator: Dr. Magda Mostafa & Dr. Alia Fadel

DESCRIPTION & RUBRIC

Teaching assist.: Arch. Ezzat Ahmed, Arch. Soha Youssef, Arch. Zeina Lasheen, Arch. Hana Shaltout & Arch. Nada Talaat. Office: SSE, Rm. 1100 Office hours: by appointment Mondays, Tuesdays and Thursdays 2-3:30 Phone: 26152618 Research URL: www.autism.archi E-mail: m_most@aucegypt.edu afadel@aucegypt.edu taz@aucegypt.edu snassar92@aucegypt.edu sohaadel@ aucegypt.edu zeinalashen@aucegypt.edu h_shaltout@ aucegypt.edu Catalogue Description: Prerequisite: AENG 2512, AENG 2552. Six-hour studio period. Studio on form, space and composition. Students are required to think of architecture from the “outside-in” approach, with focus being placed on the form of architecture and its composition. An emphasis will be placed on the compositional aspects of spatial design- expression, language, intent, dynamics etc. and their use as tools of concept and functional accommodation. Three-dimensional models play an important role in design development and students will be encouraged to think spatially. Issues of meaning, message and symbolism will be discussed and applied. A critical method of working with architectural precedent through analysis of various works of architects, as well as contemporary design theory, will be reviewed and analyzed to be used as a premise for design. Prerequisites by topics: •- Architectural drawing. •- Fundamentals of architectural design. •- Influence of climatic factors on architectural design. •- Components of buildings. •- Behavioral analysis, activity mapping, and programming and their role in the architectural decision making process References: •- Mills, C., 2005 Designing with Models: A Studio Guide to Making and Using Architectural Design Models, 2nd edition, John Wiley and Sons - Clark, R., Pause, M., 2005 “Precedents in Architecture”, John Wiley and Sons, NJ •- Elam, K., 2011 “The Geometry of Design” Princeton Architectural Press •- Frederick, M., 2007 “101 Things I learned in Architecture School”, MIT Press, 2007 •- Ching, F.D.K., 2012 “Building Construction Illustrated”, Wiley Publishing

Readings: •- Pallasmaa, J., 2013, “The Eyes of the Skin”, John Wiley & Sons, NY. - Pallasmaa, J., 1994, “Six Themes for the New Millenium”, The Architectural Review, 194(1169), p. 74 •- Pallasmaa, J., 2006, “Eyes of the Skin- Architecture and the Senses”, Architecture : the AIA Journal, 95(3), pp.2829 •- Selected readings from Unwin, S. 2003 “Analysing Architecture”, NY: Routledge - Selected readings from Unwin, S., 2012 “Exercises in Architecture: Learning to Think Like an Architect”, NY: Routledge •- Tsukamoto, Y., Kaijima, M., “Behaviorology” in “Atelier Bow-Wow: Behaviorology” by Fujimori, T., Rizzoli •- Magda Mostafa. “Learning from Cairo: What Informal Settlements Can (and Should) Teach Us” 14 Mar 2014. ArchDaily. Accessed 07 Sep 2014. <http://www.archdaily. com/?p=486294> Course Objective: •Create an understanding of geometric and form generation principles and their role in accommodating functional needs within the multi-disciplinary, architectural context. •Foster form generation and geometric manipulation skills to best satisfy multi-disciplinary architectural requirements. Course Outcomes: After completing the course, students should be able to: 1. Appropriately develop abilities to use graphic skills, fundamental design skills, formal ordering systems and critical thinking skills as an individual within a collaborative environment as part of the architectural design process. (fulfillment of UIA objectives 1,3) 2. Analyze, understand and develop the ability to work appropriately within the framework of architectural precedents. (fulfillment of UIA objectives 2,6,12,16) 3. Understand and develop the ability to appropriately apply the study of human behavior, and users needs to the design process. (fulfillment of UIA objectives 6,7) 4.The ability to develop the role a building plays within its context and translate that role into functions and operations. (fulfillment of UIA objective 6) 5. Understand the impact of site conditions on the architectural decision making process and the ability to apply these criteria to building configuration and form generation. (fulfillment of UIA objective 4,5) 6. Have a preliminary understanding of simple structural systems, building materials and assemblages and their role in the form generation process, through experimentation with manual model making. (fulfillment of UIA objective 8)

Grading Policy: Grade 1. Project 1A 5% Research, 25% Project Made In Egypt- The Global Village: Thinking Big, Building Small: The objective of this first project is to expand students conceptualization of design beyond functionality and form-making, to include the deeper values of the role architecture can play in society. Through the investigation of contemporary regional architectural language, in the context of the current socially conscious architectural movement worldwide, students will work to develop an understanding of the intersection of these languages. These intersections will form the conceptual underpinning of the design phase of the project, which begins with a comprehensive and inter-disciplinary understanding of the forces influencing architectural decision making on a given site within the city of Cairo. Students will work in groups for the research phase of the project, and individually for the design phase. Grade 2. Project 1B: 10% Experiential Architecture of the Elements: This project aims at investigating the inter-relationship between materiality and form, and form and the elements- light, air, volume, space and user, as applied to the design created by students in part A of their project. Based on the anti-visio-centric theory that architecture is to be experienced in a multi-sensory way, students work with a single material to create structures and forms, and develop a deeper understanding of the qualities of space and experience. This helps pave the way qualitatively for future investigations of the more quantitative performance of these natural elements. The project is primarily through physical modeling and photography in studio in light of a series of guided experimentations and discussions. Grade 3 Design Portfolio and Comprehensive Final Presentation 15% Grade 4. Mid term project 10% Grade 5. Class participation and reflection 5% Grade 6 Overall COP assessment as represented by and assessed through the portfolio 30% All assignments and projects will be discussed in studio and the students will be graded according to their attendance, participation, and generation of new ideas. The majority of the project grade will be placed on the student’s ability to develop his ideas from concept to finished product, integrating information and critiques at each stage. Students are expected to refer to relevant issues from their discussions, readings and lectures during critiques and throughout assignments.

They must also receive a minimum of 60% in their overall Course Outcome Proficiency assessment as well as 60% of each outcome criteria individually to pass the course. Rubrics are included at the end of this document. The grades will be assigned according to the following criteria. Grade F: student failed to complete the work for the course and/or failed to meet the minimum required competency in all the required course outcomes Grade D: student completed the work for the course at a passing level of competency in all required course outcomes Grade C: student completed the work for the course and illustrated basic acceptable competencies in all required course outcomes Grade B: student completed the work for the course at a high quality and mastered new skills. Many literal issues from discussions, readings and lectures were applied. Grade A: student exceeded expectations of the course and applied many of the design issues from their discussions, readings and lectures to their course work. Grade R: As part of the Architectural Department’s assessment policy, each piece of design work submitted at any point by a student must fulfill the basic threshold pass requirements of that level. Failure to pass this threshold will result in the reward of an “R” grade and a request to resubmit the work until threshold performance is met. Work receiving an “R” grade will not be reviewed at that time until it is resubmitted at a satisfactory level of fulfillment of the design threshold rubric of that level. (see end of document for the threshold rubric. Attendance Policy: Students in all courses at the Department of Architecture are required to abide by the University approved Attendance Policy. The following specifics pertain to the course: - Students shall attend and participate in all classes except for a pre-authorized excuse from the instructor. - Students who have a pre-authorized excuse from the instructor shall coordinate with the instructor the time and place of submitting any missing assignment or taking an in-class missed quiz, test and/or exam. It is the sole responsibility of the student to follow-up with the instructor in this regard. Students who miss more than the maximum three-week equivalent of absences without an authorized approval of the instructor or not in compliance with the University Attendance Policy shall receive an F in the course.

Studio Culture: The design studio is the core of the architectural academic process. The experiences in the studio should be the primary mode of exploration and learning. All projects will be presented and discussed as a group/s at every stage and comments resulting from these discussions will be incorporated into the students work through one:one design development sessions with the academic team. This process will be supported with a series of lectures, guest speakers, video presentations, and readings- all within the studio environment to ensure integration of the presented information into the design processes being learnt. Studio time is to be used efficiently and effectively for independent development of projects, peer review, class assignments and group discussionsnot for waiting to have your project reviewed only. During design development stages students will have their work reviewed on a rotating basis, with equal distribution of time for each student. Many of these discussions will be across the entire class, and all students are expected to attend, assess and discuss each others work. Students not engaged in such in-class activity will not be allowed to have this time compensated for individually outside of class. Office hours are available for questions and outside class support. Please email for an appointment. Students are encouraged to apply all the content and skills learnt thus far from his/her other courses into the design process in studio. This will be supported with lectures and possible external reviews of the students work from the related faculty members. Such integration, participation in discussions and design development sessions are a major factor in the students overall assessment. Process, rather than product, is to be focused on, where product is viewed as a cumulative reflection of that process. This multi-disciplinary, comprehensive process will be required to be documented through a design journal, online and physical journal, to be submitted and graded throughout semester. Academic Integrity Issues: For full definition of standards of academic integrity please refer to the University’s Code of Academic Ethics www. aucegypt.edu/resources/acadintegrity/EthicsofAcadInteg. html

PROFILE DEVELOPMENT AFTER ARCH 3553.

OVERALL COURSE REFLECTION ESSAY The design process is an intertwining process between the understanding of what is inside out and what is outside in. Also, the behavior choreography was a solid starting point to turn my site findings and observation into spaces presented through schematic sections which pushed me to study the behavior of the users and deeply question myself on the nature of the activity happening in each room and what are the spatial qualities that would complement that experience. The transition from conceptual phase to actual design to generate plans was challenging as I started by having unfurnished spaces and non-ventilated ones. It took me sometimes to be able to adapt but the end result was a dynamic plan that is lively, responsive and contextual. The last step Is the project branding that relies entirely on post production was a rather challenging phase that pushed me to explore Photoshop on a large horizon to be able to graphically communicate all I had to say and to have self-explanatory boards.

The starting point of the course was the research phase that allowed us to properly analyze what is Contemporary Egyptian Architecture by looking in local and international precedents. From this research phase, we concluded that it is a Native Narrative and that narrative is composed of five chapters; user, context, heritage, sustainability and sensory. Being able to work within the framework of architectural precedents and the most challenging part of it was to be able to create outstanding detailed studies for all the chosen architect that follows good standards of what Design Studio II allowed me to develop my critical is classified as effective graphical representation. and conceptual thinking, and grow both as an architect in the making and a citizen of the world. This was followed by the mapping phase, which was very exciting as we went to explore the site there, get to know its people and the context we are designing for. The main design factors that were picked up from the site were; the sense of belonging of the people to the place, the juxtaposition of the activities happening in the street, the site being placed in a very rich historical context.

EMBRACING THE ARCHITECTURE IS A BUILDING’S STRUCTURE SOCIAL RESPONISIBILICAN BE OF GREAT ARTY; WE BUILD IN, FOR & CHITECTURAL & AESWITH THE PEOPLE THETIC IMAPACT.

POST PRODUCTION & PROJECT BRANDING IS A CRUTIAL PART IN THE PROJECTS’ SUCCESS.

BEAUTY IS THE WELL DOING OF WHAT NEEDS DOING.

Research Phase

The worst part about the research and mapping phase was that we worked in groups of six and I was finding a hard time sometimes to find a common ground with my group, also we don’t all share the sense same work ethics and share the same sense of responsibility, which resulted in us not producing a mapping installation that does not exceed expectation.

EMBRACING THE BUILDING’S STRUCTURE CAN BE OF GREAT ARCHITECTURAL & AESTHETIC IMAPACT. Contemporary Egyptian Architeture is a Native Narative

The past fifteen weeks were one of the most challenging periods in my university, in which I was only competing with myself to push myself to my limit. On and all, I feel like ARCH 3553/352 is a one of kind design studio that allows us to juggle between what is technical research, physical model experimentations, drafting and post production. Thus, the course made us (or me at least) feel like we are architects ready to be put in real life situation and analyze it in a critical way.

LESSONS LEARNED

Malak Abdel Naby

HOW DID ARCH 3553 SHAPE ME AS AN ARCHITECT?

WARM UP EXERCICE (JOURNEY FROM UNI TO HOME)

FROM

UNIVERSITY

DESCRIPTION For the first assignment of the semester we were asked to create a model or anything tangible that would allow take the instructors from our workspace at university to our workspace at home. The assignment was left very open ended to give us room to interpate it and respond to it in a creative way. The relevance of this assignment is that it is the ground line we use to refelect our understanding of what â&#x20AC;&#x153;mappingâ&#x20AC;? is and what is accurate and efficient visual representation.

Malak Abdel Naby

JOURNEY HOME

REFLECTION

After the discussion we had in class we came to the conclusion that most of our models where too abstract as they convay the workspace atmosphere at home rather than the jounrey itself. I on the other hand created something extremly functional that shows the route rather than the experience at both ends. The learnt lesson here is that we are the ones to decide what we want to map and how we want to map it. However, one needs to be very conscious of the amount of information that could be conveyed through one model in orer to be efficient.

Picture 1. Front view of the Model

Picture 2. Side view of the Model

GUIDING KEYWORDS FAST & VERY QUICK EXCITING

STRESS RELIEFING

Picture 3. Side view of the Model

Picture 4. Top view of the Model

Warm Up

A CAR RIDE THAT MAKES ME GENUILY HAPPY

This section contains the individula research conducted on the researched architect, the brainstorming process, the end result boards and a 400- words reflection paper on the research process.

RESEARCH PHASE GRADE: 93.25/100

MADE IN EGYPT: THE GLOBAL VILLAGE

DESCRIPTION & RUBRIC

THINKING BIG - BUILDING SMALL.

Building on the work of previous semesters, which focused on developing an appropriate vocabulary for contemporary Egyptian architecture, this semester expands that understanding to frame Egyptian vocabulary, not as something that is unique, but something that is part of a larger global language. This past decade has seen a surge worldwide in the questioning of the role of architecture in our society. Working beyond the “starchitect” model, contemporary practice has begun to witness a rise in the understanding of the wider, more immediate social role of architecture towards the communities it serves. The recent International Union of Architects’ World Congress titled “Otherwhere” is witness to that. Inspired by Andres Lepik’s “Small Scale- Big Change” at New York’s Museum of Modern Art in 2010 this semester looks at the power of socially conscious design to influence communities and people’s everyday lives in a comprehensive and responsible way. Reference will be taken from the work included in the curation of this exhibit, as well as its sister collection displayed in Lepik’s follow-up “Think Global- Build Social: Architectures for a Better World” displayed at the Townhouse Gallery in Cairo, 2015. The objective of this global framing is to draw inspiration for successful works, in the region and beyond, to address the current identity crisis of contemporary Egyptian architecture. The quality of the current Egyptian architectural context, one not uncommon across the globe, has reached a heterogeneous state of characterless mass housing, informal settlements, pluralistic neo-international styles of the corporate sector and increasingly superficial elite stylistic images of western architecture. Few examples exist that are comprehensively expressive of the identity and character of the Egyptian culture in all its varied sectors, nor facilitative of its social and environmental needs. The objective of this project is to address this dynamic through research and design. Beginning with the understanding of design as a complex, multi-disciplinary process, the works of various successful Egyptian, regional, and international architects of the past decades will be analysed. The objective of this analysis will be to ascertain the commonalities and differences in vocabulary and approach amongst these works, with the ultimate goal of discovering appropriate design criteria and form generation principles to aid in the design of a contemporary architecture appropriate to today’s Egypt. This analysis will look beyond the typical stylistic approaches of classifying architecture, and explore the “why” and “how” of architectural manifestations and organizations, rather than the “what”. In other words the analysis will be more process and philosophy driven rather than product oriented.

At the end of this research stage, students will be required to design a simple architectural project within a local Egyptian context for a specific user using the conclusive design criteria of the first stage of the project. Working in groups of 5 students, the works of the following regional architects will be studied as a start point: 1. Hassan Fathy 2. Ramsis Wissa Wassef 3. Abdelhalim Ibrahim Abdelhalim 4. Rami El Dahan and Soheir Farid 5. Rassem Badran

Assessment Criteria: The timeline for this stage of Project 1 is outlined in the course syllabus. This research stage will be graded according to the following rubric: • Content (20%) • Clarity and Communication- graphic, written and oral (40%) • Completeness (20%) • Comprehensiveness (20%)

This collection of works should be framed against a transactional comparison with the works included in Lepik’s collections. These can include but are not imited to: 1. Anna Heringer, Germany 2. Elemental, Allejandro Aravena, Chile 3. Teddy Cruz, USA and Mexico 4. Urban Think-Tank, Hubert Klumpner and Alfredo Brillembourg, South America 5. Peter Rich, South Africa 6. Carin Smuts, South Africa 7. Francis Kere, Germany, Burkina Faso References: Awan, N., Schneider, T., Till, J. 2011 “Spatial Agency: Other Ways of Doing Architecture”, Routledge, UK Lepik, A. 2010, “Small Scale, Big Change: New Architectures for Social Engagement”, MoMA, NY Lepik, A., 2015, “Think Global, Build Social: Architectures for a Better World”, Goethe Institute (catalogue), and Townhouse Gallery (exhibit) The archives and exhibition of the Rare Books library will also provide primary sources for much of this research. In addition a customized LibGuide is available at http://libguides.aucegypt.edu/AENG352. These are general references, and each group is responsible for developing their own bibliography of scholarly resources in addition to these. Format and Process: Students are required to submit their final research on A2 sheets using a combination of text, images and graphic analysis. Please refer to (Lin, 1993) from the syllabus reference list for guidance. The specific structure and organization of the analysis will be proposed in class, but each group is responsible for developing creative means to communicate their work. Students are responsible for all material presented and discussed in class and during studio. All work will be developed and discussed in studio and students will be graded based on their individual contributions and discussions in class. Any non-participating member of a group will receive zero credit for the assignment.

PRELIMINARY WORK (INDIVIDUAL RESEARCH)

THE CULTURAL PARK FOR THE CHILDREN (1983- 1992)

DESCRIPTION The Cultural Park for the Children is the first building analyzed by Architect Abdel Halim Abrihaim, the points tackeled mainly reveloved around the project being user driven, context driven and revives heritage. This example perfectly embodies Abdel Halim Ibrahimâ&#x20AC;&#x2122;s design philosphy in which he describes himself as an innovator in traditional architecture rather than a modern architect. In this project, his theory of the design process being an intertwining process between three factors; event, place and people. It also shows how human activity and behavior is of a great impact on the project.

Contemporary Egyptian Architeture is a Native Narative

The focus of this sheet is to study how Abdel Halim Ibrahimâ&#x20AC;&#x2122;s Park Contextual.

Malak Abdel Naby

ABDEL HALIM IBRAHIM (1941 - CURRENT)

Research Phase 11001

THE CULTURAL PARK FOR THE CHILDREN (1983- 1992)

Contemporary Egyptian Architeture is a Native Narative

The aim of this sheet is to study how the park is a user centric one.

Malak Abdel Naby

ABDEL HALIM IBRAHIM (1941 - CURRENT)

Research Phase 12

THE PALACE OF FINE ARTS (1992)

DESCRIPTION The Palace of FIne Arts is an example of the building that shows how Architect Abdel Halim Ibrahim integrates sensory qualities to enhance the user experience and revives heritage by mimicing the design process followed in the islamic monuments; specifically in mosques. This example perfectly embodies Abdel Halim Ibrahim’s design philosphy in which he describes himself as an innovator in traditional architecture rather than a modern architect. In this project, the architect shows how he can still implement his philosphy and approach on much smaller scale and through the length of interior spaces and materiality.

The aim of this sheet is to study uses the spatial qualities of the space and its effect on the user experience to have a sensory stimulant environment.

Contemporary Egyptian Architeture is a Native Narative

“ I want to point out that neither trandition al or modern design subsided. The traditional continues parallel with the modern and there is a give & take between them” once said on his interview conducted by Dr, Amr Abdel Kawi for Magaz Magazine.

Malak Abdel Naby

ABDEL HALIM IBRAHIM (1941 - CURRENT)

Research Phase 13

THE GRAND EGYPTIAN MUSEUM (CURRENT)

DESCRIPTION The Grand Egyptian Museum is one of the latest projects CDC took part of. This project helped Abdel Halim Ibrahim further push hisphilosphy forwarxd by using modern techinology (such as virtual simulation) to enhace the user experience.

Malak Abdel Naby

ABDEL HALIM IBRAHIM (1941 - CURRENT)

The aim of this sheet is to study how using technological advancement can add to the building being sensory stilument therefore, with an enriching & one of a kind user experience.

Contemporary Egyptian Architeture is a Native Narative Research Phase 14

GANDO PRIMARY SCHOOL (2001)

DESCRIPTION “Building for the people and by the people” the quote which perfeclty descibes Kere’s communal design approach. This one of Kere most rewarded projects and one of his earliest. Environmental and Spacial efficiency are the the two focal key words of this project.

Malak Abdel Naby

FRANCIS KERE (1965 - CURRENT)

The aim of this sheet is to deeply study the sustainable feautures in the project and who it enhances the overall efficiency of the school.

Contemporary Egyptian Architeture is a Native Narative Research Phase 15

CENTRE DE LA SANTE & LA PROMOTION SOCIALE CSPS (2014)

Malak Abdel Naby

FRANCIS KERE (1965 - CURRENT)

The aim of this sheet is to deeply study the sustainable feautures in the project and who it enhances the overall efficiency of the heatlth center.

Contemporary Egyptian Architeture is a Native Narative Research Phase 16

CENTRE DE LA SANTE & LA PROMOTION SOCIALE CSPS (2014)

Malak Abdel Naby

FRANCIS KERE (1965 - CURRENT)

The aim of this sheet is to deeply study how through the aim of serving the community Kere was able to create a user centric, sensory stimulent expereience for the users of CSPS.

Contemporary Egyptian Architeture is a Native Narative Research Phase 17

Having a round table discussion in order to assemble our research findings and try to create connections between the different architects was one of the most effcient decision that was taken by us as a group. Our conclusing statement and main divisions were the output of that discussion. Even though this discussion was very efficient and an eye opening one, I regretted the fact that each of us only did dig deep while researching only two architects.

Contemporary Egyptian Architeture is a Native Narative

During this discussion I suggested that we could try looking into both national and international architects whom are considered modern/ contemporary ones and not in the suggested list given to have a more genereic view on What is Contemporary Egyptian Architecture? However, the idea was disregarded by my group due to time constraints.

Malak Abdel Naby

THE PROCESS

REFLECTION

Research Phase 18

FINAL RESEARCH (GROUP SUBMISSION)

Malak Abdel Naby

PANELS OVERVIEW

Contemporary Egyptian Architeture is a Native Narative

Research Phase 20

Malak Abdel Naby

INTRODUCTION & DIALOGUE

Contemporary Egyptian Architeture is a Native Narative

Research Phase 21

Malak Abdel Naby

CHAPTER ONE: USER

Contemporary Egyptian Architeture is a Native Narative

Research Phase 22

Malak Abdel Naby

CHAPTER TWO: HERITAGE

Contemporary Egyptian Architeture is a Native Narative

Research Phase 23

Malak Abdel Naby

CHAPTER THREE: SUSTAINABILITY

Contemporary Egyptian Architeture is a Native Narative

Research Phase 24

Malak Abdel Naby

CHAPTER FOUR: CONTEXT

Contemporary Egyptian Architeture is a Native Narative

Research Phase 25

Malak Abdel Naby

CHAPTER FIVE: SENSORY

Contemporary Egyptian Architeture is a Native Narative

Research Phase 26

REFLECTION The research definitely did influence my perception of so many things around me; it helped me to have a more critical point of view on the gated communities being built and the development boom taking place in desert cities. Egyptian architecture lately lost its identity, through our research we aim to answer the question what is appropriate Egyptian contemporary architecture?

The chapters of our narrative are; User, Heritage, Sustainability, Context and Sensory. In order to create a smooth transition between the boards we placed buffer projects that illustrates aspects from the two boards. We noticed that each building is a narrative and that each element adds a layer to that narrative. From here we got the idea to juxtapose two different pictures to further show; either the idea of layering or variation. We are now able to say that the narrative is composed of many things, however the most prominent one is the dialogue architecture is able to create with the context; politically, economically and socially. Thus, we decided to create an imaginary dialogue between all twelve architects with a plot line inspired by the political problem that aroused between Hassan Fathy and Gamal Abdel Nasser and from our interpretation of the architects’ philosophies the dialogue develops. We then concluded that Contemporary Egyptian Architecture isn’t one thing; it is a Native Narrative narrating the story of the context, the people and their experiences.

When it comes to us as a group, some miss coordination happened due to different priopitize set by each group member, some believed that researching was the main thing to focus on, others believed that working on the analysis of each building individually is a priority where others believed that working on the final presentation method should be the main priority. In the end, we came to the conclusion, that a balance between all three was what is required and that no one should believe that he’s the only one with a valid argument. It finally turned out that we all did have valid arguments and rationales. The division of the work was done systematically where each group member was responsible for a detailed research of two architects. However, I felt this approach was a bit unfair as not all members were exposed to the same level of knowledge we all did to grasp the design philosophy of the architect. Being the one who curated the research manual at the end I got a chance to look into all twelve architects and I do believe this a chance all group members should have gotten.

Research Phase

2- MINS ELEVATOR PITCH

I feel that the selected group of both national and international architects were very well curated allowing us students to easily reach a conclusion due to the major obvious commonalities between each other’s narratives. What I felt should be better was for us to explore more contemporary Egyptian architects who presented new ideas but on different grounds others than the ones discussed in the research. I felt like generally us students, we lack exposure to contemporary Egyptian architects and such research would be a solid ground to do so. The way I see it; contemporary architecture is full of contradiction and the only way for students to grasp that is to have a variation in the styles of architects selected.

Contemporary Egyptian Architeture is a Native Narative

By dividing the work upon us we were able to deeply analyze each building. Afterwards, found our keywords which are derived from the commonalities found between the narratives of the architects. Then grouped the buildings in chapters to create logical links between the projects and have a descriptive keyword per each.

The research did help me have defined criterion to what Contemporary Egyptian Architecture should be, and I came to my surprise that our conclusion was proven during our first site visit. By talking to the people there, we discovered that architecture isn’t any other thing but a Narrative. And what saddened me that the criterion we come out with from the research applied in Old Historic Cairo, which made me ask myself the question “What if Architecture wasn’t influenced by the French and British colonization? What is Mamluk or Fatimid architecture was resilient and kept developing through the centuries?”

Malak Abdel Naby

CONCLUSION & ELEVATOR PITCH

This section shows the concluding mapping installation we came up with after our site visit as well as our elevator pitch and a 200 words reflection essay.

GROUP MAPPING GRADE: 90.50/100

DESCRIPTION & RUBRIC

Description: In our respective research groups we were assigned a site plot in Islamic Cairo, we are required to go on site for on ground research and then submit a 3- Dimensional Site Mapping Model that summurizes our visit findings. The aim of this exercice is to have a full understanding of the site and its constraints, The final submission should includde both quantatative (environmental analysis, density, topography) and qualitative findings (activities, context, the narrative of the place).

The site mapping definitely did influence my perception of so many things around me. The initial site visit was one of the things that proved to me that we should not judge a book by its cover; I was so afraid of the idea that a group of six girls are going to a place that is very different from where we are coming from and that we are not familiar with. However, when we went there we were overwhelmed with there openess and hospitality.

Malak Abdel Naby

REFLECTION

Continuing on our research concluding statement of Egyptian Contemporary Architecture being a Nattive Narrative, we decided to represent our group mapping through the idea of layering. According to our site findings we decided to group them into 3 main layers;

Picture 1. Mapping Installation Front Overview.

Picture 2 Mapping Installation Top View

Idea Sketch

Picture 4 Showing Juxstaposotion in the street connection

We concluded from the research phase that Contemporary Egyptian Architecture is a Native Narrative. So, we decided to go scooting for one of a kind narratives in Darb Al Omary a side street off Port Said St. Afterwards, decided combined our findings in groups to see what we want to map and how we will do that. And we decided to create an installation composed of three layers, showing the base massing of the site, construction materials, users routes, multi-use of the street and the activities happening on site. The last layer has pictures of some of the people we meet on site in a middle of dialogue. The use of acrylic is due to our intention to present the transparency and openness of the people there in a tangible way. In the base map a blow up of three buildings is made to show the elevation of time and its effect on the construction material (moved from stone and wood, to bricks to concrete).

Picture 3 Base Layer zoom in showing Land use , site massing and construction materials

Picture 5 Zoom in on construction materials.

Mapping Phase

2- MINS ELEVATOR PITCH

After finishing the mapping phase and looking back on it I feel like we could have created something more interactive rather than having our 3D model look like 2D axonometric studies. Also we used transparent acrilic for the bas map I feel that it couldâ&#x20AC;&#x2122;ve been changed as it looked too transparent and looking at the model from the top the 2 upper layers overlap perfectly whereas the base layer can barely be seen.

Understanding the Siteâ&#x20AC;&#x2122;s Narrative & its People

1) Base Map, Land Use and Construction Materials. 2) Uses Basic Routes (color coded) 3) Activities

INDIVIDUAL MAPPING GRADE: -/100

MAPPRING THE SURROUNDING LANDMARKS & BLOWING UP DARB AL OMARY

REFLECTION Through the individual mapping I was able to create a mapping showing all the surrounding relevant landmarks and poped out a picture of that monument. The pop put ar color coded according to the use of the space;

- Green: Mosques - Red: Monuments - Yellow: Commercial/ Market Space

The second mapping model is a blow up of Darb Al Omary, photographs of people we meet on site are included and they are having a discussion about the importance of the street in their daily lives. It is important to emohasize the 7 storey building nead the plot as it affect the sun shadow dynamics of the space drastically. DISCLAIMER: The quotes included under the Narration section are taken from the book “ The Cairo of Naguib Mahfouz”.

Picture 2. Mapping Model one front view showing the blow ups with the monuments pictures.

Picture 4. Mapping Model Two front view showing the exagerassion in the people size & putting emaphsis on the dialogue

Mapping Phase

Picture 3. Mapping Model 2 top view showing the street connection and the greenery patch in the middle of Port Said St.

Understanding the Site’s Narrative & its People

The relevance of this mapping is due to the fact that some architectural feautures used in these buildings will then reintegrated in my building in a modern way to make it follow the Contemporary Egyptian Architecture Criterion.

Picture 1. Map Top View red points are added digitally to show the landmarks location on the map.

Malak Abdel Naby

THE NARRATION

BEHAVIORAL CHOREOGRAPHY GRADE: 95.00/100

PROJECT BRIEF WHAT ROLE DOES MY LI1 - Oral History Museum BRARY PLAY IN ITS CONTEXT Area: 100 sqm. 2 - Retail Shops AS A LIBRARY?

The function of the library is to work as a connector between the users and the heritage.

In order to support each other, we prepare giveaways to though who need it and private lessons to students who need help in school. As for though who don’t they might choose to attend the Kotab in order to get acquainted with their religion and memorize the Qur’an. Give it twenty minutes and the clock will hit two and the children will be coming out of school and playing soccer in the harrah just in front of us. Most of them do not necessarily care about getting educated some just stop at sixth grade to develop a skill; probably they would get a job in any of the woodworking workshops around. This building is so old; it watched many generations live, grow old and died here. Some people even say that it has a very rich architecture as it served (along with other buildings which collapsed) as housing units for the servants of the royal palace. Historically, this area was very rich as it was right on the side of “Khalig Port Said” before the construction of “Magra Al Oyoun”.

DRIVING FACTORS PICKED UP FROM THE SITE Building Envelop: varies from 1 up until 5 storeys to work not to distrupt sun-shadow dynamics.

TYPES OF KNOWLEDGE OFFERED Traditional Knowledge

BUBBLE DIAGRAM

Experiential Knowledge

Virtual Knowledge

Shared Knowledge

Design Phase

My building should be user driven and help them develop a certain skill. As well as grow in them a love for history and islamic architecture.

Due to the important islamic monuments surrounding our site and the close proximity of the Museum of Islamic Artifacts (350 meters away) I decided to inccorprate this within my design. This is achieved through having feautures inspired by them, a virtual simulation of islamic Cairo and Rare Books library associated to it as well. The craft that is being developped is the ceramics and tiles due to its relevence to the heritage. In order to push the concept of connectivity to the fullest, social spaces and gathering areas should be spread through out the floors in order for the different ages to interact together.

Area: 30 sqm. 3- Qahwa Area: 15sqm. 4- Ceramics & Tiles Workshop Area: 5 - Main Library Space Area: 80 sqm 6- Rare Books Library Area: 40 sqm. 7- Computer Lab Area: 20 sqm. 8- Lecture Room Area: 20-25 sqm. 9- Virtual Simulation of Islamic Cairo Room Area: 20-25 sqm. 10- Roof Terraces & Roof Gardens Area: 40 sqm.

Library as a connector of the people & their heritage

THE STORY OF DARB AL OMARY THROUGH THE EYES OF ITS PEOPLE

Malak Abdel Naby

FROM SITE VISIT TO PROGRAMMING

The Behavior Choreography is a crutial step in in order to kick off the design pahse. This stage consisted of translating the conclusions grasped from the site visit & mapping phase (both individual & group) into a logical space program. The project brief presented in the page that precceded generated from a deep understanding of the people needs and the criterion that would make of my building one that can be classified as an appropirate contemporary Egyptian building.

Library as a connector of the people & their heritage

By choosing to represent my behavior choreography in a schematic section that shows the relationships between the different spaces. In order to push this section further definitng the role of the building as a connector in its context was of extrem importance. Through this defenition I was able to decide on which spaces have visual connection between themelves , whereas others need a physical one.

Malak Abdel Naby

SCHEMATIC SECTION

REFLECTION

Design Phase 35

This section shows the initial design idea, how the main circulation patterns where resolved through models and sletches.

CONCEPTUAL DESIGN GRADE: -/100

DESCRIPTION & RUBRIC

Design Stage Upon completion of the research stage, students will embark on the second stage of this project- design. During this phase students are required to use the conclusive results of their research, as well as the collective design criteria compiled as a class as a basis for design. As part of the growing initiatives currently in Egypt and the role of architecture for social change- the typology of the office building and workspace is in a state of redefinition and restructuring. Concepts arising from the sharing economy such as co-working, entrepreneurial space, business incubation, start-up structures and social enterprise are redefining how we must design for business and their changing economies. It is therefore the objective of this project is to create an architectural response to this shift, and design a contemporary co-working/ business incubator. Currently such projects are typically classical in their format, and do not support the emerging forms of business, nor do they provide the flexibility for the changing formats of the business world to include emerging technologies, shifting business models and changing ways to engage with customers and their new markets. This project is proposed as part of AUC’s Neighborhood Initiative (http://www.aucegypt.edu/about/neighborhood-initiative) and works to support AUC’s strategic goal to revive its Tahrir campus as a cultural hub for dialogue and exchange. The relationship of your project to AUC’s programming, both academic and extra-curricular, should be central to the development of your deign. Each student group is responsible for selecting a site from among the following locations. Exact Google Earth kmz files are posted on Blackboard. • Roushdy St. • Champilion St. 1 • Port Said St. 1 • Tahrir - AUC Each student is expected to present the following deliverables: • 1:100 scale context model. These can be produced as a group with each student placing their project on site in turn during presentation and discussion. The context model must be used as a design development tool, and concepts should be developed 3-dimensionally on site, through the various stages of experimentation, testing and development • Site Analysis, both in model and on 2-dimensional maps. Both the quantitative (sun direction, wind, topography, site boundaries, neighbouring structure, natural environment etc.) and qualitative (visual boundaries, vistas, textures, materials, sensory context, social context, community etc.) should be carefully examined and considered throughout the design process • Concept models, Diagram Models, Development Models and Final Models to scale and on site. Students are encouraged to examine constructability of their projects and possibly present detailed models illustrated that understanding • 1:100 Plan • 1:100 Section/s • 1:100 Elevation/s Creative forms of representation are encouraged to allow the fullest and most relevant level of communication of ideas. All models should be manually developed for experimentation purposes. Drawings can be produced in CAD or manually, or through mixed media. All work should be mounted on A2 boards. A1 boards should only be used for extreme issues of

INITIAL IDEA SCHEMATIC SECTIONS

INITIAL MODEL

Library as a connector of the people & their heritage

The idea of having a physical connector has a huge potential as many drivers picked up from the site will help in making out of this passageway a lively street. The main problem at that stage was that my sketches were showing my ideas much better than the physical model therefore I need to work on better expressing my ideas in models not to be misunderstood. I was encourage by many of the teaching team to think about the relation between my outdoor and indoor spaces as they are an integral part of my project. Also, I was encouraged to think about the shading devices as I consider making most of my opennings facing south and about materiality to study the structure and move forward in the design.

Malak Abdel Naby

REFLECTION

THE SPINE

Initial Attempt to create a Spine

Given feedback to improve site division geometry and have a more generic spine

HOW TO MOVE FORWARD ?

Design Phase

In response to the role my building plays in its context as a connecting library, the first design desicion was to create a physical connector connecting Port Said St. (main street) to Darb Al Omari side street). This is only in response to the mapping finding thayt showed who important the urban fabric is and the juxtaposition in the use of street as a playground, a market and an outdoor qahwa will add to my project and will make it more community reponsive.

- Ask yourself who am I connecting? How and Why? - How to make sure that my pathway is connector rather than a divider? - Which Spaces need to have a direct access to the dtreet on the ground level and which needs to be protected?

DESIGN DEVELOPMENT

Picture 2. Top View showing the different circulation patterns in the building.

Library as a connector of the people & their heritage

Malak Abdel Naby

REFLECTION

Picture 3. Port Said St. Entrance Close Up in the model

Picture 1. Main Prohress Model Shot showing the variation in the massing

Picture 4. Human Eye SHot showing the central plaza a mean to create out the pathway a lively one.

HOW TO MOVE FORWARD ?

Design Phase

MATERIALITY & STRUCTURE

REINFORCED CONCRETE IN ARCHITECTURAL DESIGN This section is a reaserch based section in which I explored five different RC systems which allowed me to understand its structural and aesthetic capabilities.

MATERIALITY MODULE GRADE: 94.25/100

DESCRIPTION & RUBRIC

Materiality Module The objective of this module of your assignment is to deepen your understanding of the potential, limitations and expressive qualities of structural materials and their systems. Focusing on the primary structural material chosen for your project, you are each requested to demonstrate its scope, diversity, versatility and limitations. Examples of such materials can include but are not limited to reinforced concrete, load bearing stone, load bearing brick, earth, timber and steel. This exercise is to be carried out through a graphical exploration of diverse examples of this material, in different contexts and building types. Each student is required to identify 5 categorically distinct examples of their chosen material as a primary structure and represent these examples through a series of photographs, scaled drawings, sketches, models and other forms of graphic exploration and representation. The results are to be presented in portfolio ready A2 sheets, using appropriate graphic communication standards. All examples should be clearly labeled, drawings should all be to scale and photographs should be descriptively composed to articulate the intended qualities. You will graded based on • Diversity of examples to most clearly demonstrate the widest scope of structural and tectonic capabilities of material • The level that graphic communication is used as a tool for exploration and investigation • The demonstration of deep understanding of the material’s structural and tectonic capabilities and the potential impact that will have on your design development • Graphic communication standards and composition

The slab can withstand large spans (distance varies according to calculated live loads) . For Slab Thickness = 45 cm Span Ranges from 5 m to 12 m Uses: Public, Commercial & Residential Buildings.

ROYAL NATIONAL THEATER Architect: Denys Lasdun Date: 1976 Location: London, UK

‘‘a symphony [where] themes develop but always within the binding order of a larger expressive structure’’. (1) Due to the diagonal placement2 of the structure, this al- Benefits lows for an almost equal light distrubusion through out the space. (2) Column Heads have to be solid for structural support ( of shear).

Building Typology

Modular Grid generated allows the buildings to become a large multi-purpose space with varaying use of temporary partitions.

Robustness of the material lead to to it being able to carry large loads

High Speed in construction process.

Relatively light; less foundation cost & longer spans are economic.

Through the modular system of the waffle slab, openings Structural system that withstands large spans & provides a present in the roof could be utilized from the daylight per- free plan. Thus, it works perfectly with large open spacspective which will compliment the user experience. es.

Understanding Structursl & Aesthetic Values of RC

Universal dimensions and technical details of the waffle slab in section.

Malak Abdel Naby

WAFFLE SLAB CONCRETE

Can withstand high thermal mass and is fire resitant.

References

Douglass-Jaimes, David. “AD Classics: Royal National Theatre / Denys Lasdun.” ArchDaily, ArchDaily, 8 Sept. 2015, https://www. archdaily.com/7 72979/ad-classics-royal-national-theatre-denys-lasdun.

Mull, Olivia. “Brutalist Buildings: National Theatre, London by

Waffle Slabs are two way slabs, reinforced through ribs. Section through the National Royal Theater, The reinforced concrete waffle slabs are highlited in red. Denys Lasdun.” Dezeen, Dezeen, 16 July 2015, https://www.deCan Cantiliver up to 1/3 span Due to the function of the building the performance hall is made out of steel space frame in contrast with the rest of the zeen.com/2014/10/06/brutalist-buildings-national-theatre-lonSpan varies according to load applied. building. don-denys-lasdun/.

Design Phase

Hamoda, Yazid. “Waffle Slab.” LinkedIn SlideShare, 11 Oct. 2016, https://www.slideshare.net/yazeedhamoudieh/waffle-slab.

DIEGO PORTALES UNIVERSITY Architect: Duque Motta & AA Date: 1982 Location: Santiago, Chile

Create structures “with weight that speaks of permanence and stability”

Building Typology

Malak Abdel Naby

PRECAST CONCRETE

Benefits Utilize the benefits of using Precast concrete in creating playful small openings in the west facade. Makes building aesthetically appealing & contrast with surrounding office buildings.

Used for sound and dust proofing due to its thickness.

Duality of the experience in the building analyzed. Outer facade made entirely out of exposed concrete and on the inside glass and curtain walls are dominant.

varaying

Can be quickly manufactured & installed on site, reduce labor force needed

Variety of aggreagates in shapes and sizes allows for varaity in the texture & color.

Isometric section through the communal facilities building (left) and the undergraduate studies building (right). Through the section it is apparent that the precast wall are supported using a column and beam structure. The use of this type of concrete allowed the architect to have a good solid & void ratio.

Understanding Structursl & Aesthetic Values of RC

Can withstand weather conditions.

Prefabricated allowing more accuracy & precision.

References Fracalossi, Igor. “School of Economics and Business Diego Portales University / Rafael Hevia Rodrigo Duque Motta Gabriela Manzi.” ArchDaily, ArchDaily, 5 May 2014, https://www.archdaily.com/502357

“Precast Concrete Construction in Buildings.” Understand Building Construction, http://www.understandconstruction.com/precast-concrete-construction.html.

Design Phase

Frearson, Amy. “Duque Motta & AA Designs Punctured Concrete at Chilean University.” Dezeen, Dezeen, 23 July 2014, https://www. dezeen.com/2014/06/25/business-faculty-diego-portales-university-chile-duque-motta-aa/.

SAENGTHAI RUBBER HEADQUARTERS Architect: Atelier des Architects Date: 2015 Location: Samutprakran. Thailand.

The HQ is the expressive gesture for their visionary business plan.

Composition of two pieces of rubber like masses; one of them is bended and intersect with another. Together they form a concrete structure composite with the steel lattice skin that helps support the building’s load. Slab carries the load & transfer to

Columns

Benefits

Easy MEP installation

Transfer load to the ground.

Clarity & Futuristic Vision in the Interior Space Exterior vs. Interiror use of concrete; in both case concrete is cladded from the outside with black plaster and inside white plaster.

Flexible Room Layout

Saves Construction Time

Easier Formwork Installation

Understanding Structursl & Aesthetic Values of RC

Lattice/facade

Building Typology

Malak Abdel Naby

FLAT SLAB CONCRET

Reinfrocement Placement is easier

References

“Home.” Civil Engineering, https://civiltoday.com/structural-engineering/31-advantages-disadvantages-flat-plate-slab.

“Saengthai Rubber Headquarter.” Atelier of Architects, http://www. atelierofarchitects.com/portfolio/saengthai-rubber-headquarter/.

Design Phase

Mena, Florencia. “Saengthai Rubber Headquarter / Atelier of Architects.” ArchDaily, ArchDaily, 4 Apr. 2016, https://www.archdaily.com/784766/1042ucd-saengthai-rubber-headquarter-atelier-of-architects.

Architect: Architect: Le Corbusier Date: Date: 1952 Location: Location: Montpellier. France.

A house is “a machine for living in” – and applied it to an entire community.

Building Typology

Malak Abdel Naby

CONCRETE SKEL- UNITE D’HABITATION OF MARSEILLE ETON STRUCBenefits

Highly supports compressive strenght

Dual Experience complimented with daylighting. 1) Solitude & serenity before dawn; 2) Magestical architectural phenomenon during the day.

If treated well the concrete may be of high aesthetic value + walls in this system are just for infill

To break the roughness of concrete, Le Corbusier designs depressed balconies in his elevation and colored its side walls with cheerful colors (red, green, white, blue & brown) ro have a

Understanding Structursl & Aesthetic Values of RC

Due to familiarity of the labor with it, less errors and hazards on site so contractors save time and money

High fire resistant material + withstands hugh thermal mass.

References

Frearson, Amy. “Brutalist Buildings: Unité D’Habitation by Le Corbusier.” Dezeen, Dezeen, 28 June 2016, https:// www.dezeen.com/2014/09/15/le-corbusier-unite-d-habitation-cite-radieuse-marseille-brutalist-architecture/. “Materials and Structure.” SITA PATEL, https://sitapatel.weebly. com/materials-and-structure.

Design Phase

In attempts to find a solution of mass housing having a multi-storey appartment block & in attempt to lighten up the structure the building was raised on pilotis to clear up the groud floor for it to work as a communal area.

Architect: Architect: Felix Candela Date: Date: 1958 Location: Location: Mexico City. Mexico.

Not Candela’s first groin vault structure, it was the first to receive int. attention.

Building Typology

Benefits

High compressive and high stiffness.

strength

Cross section showing the details of the shell structure

Fast to fabricate so it will save us time & money.

The Plan is symetrical allowing thr architect to stiffen it on a the ground level using v-shaped steel beam which resulted to have a shell of 4 cm thuckness. The form generrated from deep understanding of mathematics & parabolic arches.

If treated well the concrete may be of high aesthetic value + walls in this system are just for infill

Understanding Structursl & Aesthetic Values of RC

Flexible Design and intresting form

The roof is a circular array of four curvededge hypar saddles that intersect at the center point.

Malak Abdel Naby

CONCRETE SHELL LOS MANANTIALES RESTRAUNT STRUCTURE

Shell structure covers large areas.

References

Detail of the column supporting the shell structure

Burger, Noah and Billington, David P. “Felix Candela, Elegance and Endurance: an examination of the Xochmilco Shell.” Journal of the International Association for Shell and Spatial Structures: IASS. Volume 27 (2006) No. 3, December n. 152, pgs 271-278.

Sectional & elevation drawings showing the dynamic shape that resulted from the use of RC. The structure touches the ground at many ends and to support that an inverted beam supporting & connecting each to another is used.

“Recent work of Mexico’s Felix Candela.” Progressive Architecture 40 (1959): 132-141.

Design Phase

Candela inverted his umbrella form for the footings, a material saving strategy to distribute the weight of the structure onto the poor quality soil of Mexico City..

Guthrie, Jill, editor. Felix Candela: Engineer, Building, Structural Artist. Princeton, NJ: Princeton University Art Museum, 2008.

ARCHITECTURE LIGHT

IN PORT SAID ST. ISLAMIC ARCHITECTURE LIBRARY

This section is a model based experiementation phase in which I expererimented five different daylight techniques and analyzed them to find the most appropriate for my project.

DAYLIGHT MODULE GRADE: 93.00/100

DESCRIPTION & RUBRIC

The Architecture of Light This module is an integral part of your project, and aims to deepen your understanding of daylight as both a form generating force as well as an experiential dimension in spatial design. It focuses on the qualitative aspects of light and its relationship to materiality, texture, color, spatial perception, operation and function. It will help deepen your understanding of the role daylight can play in the planning, operation and experiential qualities of space. In addition to this awareness across the project as a whole, each student should select a component of their project where they will develop a detailed understanding of this daylight/space relationship. This component can be an interior or exterior space such as a gallery space, courtyard, terrace, series of window treatments, shading device, skylight etc. Once selected, each student will be required to develop a series of experimentations demonstrating how daylight can be utilized in different ways to enhance the experiential, operational, functional and perceptual qualities of space. Students are required to submit 5 such experimentations, and develop one to the point of detailed design, incorporating, material, structure, light, space, furniture, landscape and other relevant elements. The deliverables for this module are: â&#x20AC;˘ 5 daylight experimentations communicated to scale through a selection of sketches, drawings, models and photographs â&#x20AC;˘ 1 detailed experimentation, developed to include an investigation and integration of material, form, structure, function, experience, quality of space and daylight. This should be communicated in detailed 1:50-1:20 wall sections, plans, axonometric diagrams as well as through a scaled model and experimental photography. This experimentation and final detailed drawings and images of this module should be organized in 2 A2 sheets and integrated as part of the final project submission. These sheets should be portfolio-ready. Reference can be made to http://iva.velux.com/projects/2016 for examples of projects that have integrated daylight in a thoughtful and creative manner.

The idea of the first experimentation is to uatlize the structure to maximum by using the waffle slab systmem; which will allow me ta have a larger span. The floor finishing will be of great importance because some of them will be perforated and covered with glazed flooring and others will be the concrete slab. This will be implemented in the main library space.

EXPERIMENT 2: SLIT IN PRECAST CONCRETE WALL Inspired by Tada Andoâ&#x20AC;&#x2122;s Church of Light, this experimentation took place. The idea is to have an 0.2 m slit opening in a south facing precast concrete facade. This exeperiement applies on the seminar room on the first floor facing south. The experiement was hold using a flashlight to mimic the winter & summer sun path to study the variation in the patern reflectied in the room .

EXPERIMENT 3: EXPERIMENT 4: BRIDGE WITH SHADING SKYLIGHT, ATRIUM, DEVICE SOLAR TUBE This experiment is held to implement the connectivity concept through daylighting, This experiement was done on the bridge connecting the educational mass with the workshop mass. In order to create this indoor outdoor transition wood strips are used both horizontally and vertically to create a tunnel s that peprare the users to that transition throught the playful shadows in projects.

This experiment generated to light up the room that was on the ground level and did not get natural light due to the site constraints. To get over this problem a glass attrium will be used to transmit the light from the roof to the ground level.

EXPERIMENT 5: OVER HANG FOR VERTICAL SHADING This expereriemnt was held to study how creating am over-hang through the protrusion of a concrete slab in order to shade on the curtain wall of the floor beneath it. The experiment was held with an over hang of 0.8 m. This over hang will allow for winter sun to penetrate and light u my space and block the harsh summer sun.

Malak Abdel Naby

EXPERIMENT 1: WAFFLE SLAB WITH PERFORATIONS

Experiement one with the south-eastern sun Experiement two with southern summer sun and Experiement three with southern winter sun Light penetration achieved through teh use of Experiment five tested on the winter sun, alcreating a playful shadow in the main library creating a virtual division in the space which will droping a playful shadow & giving the illusion of the attrium as a solar tube to illumninate the most have the floor is naturally lit. space. be the guiding path of furniture placement. walking through a tunnel. ground floor room.

Taking Design Desicions Through the Lense of Daylight

Experiment five tested on the summer sun; Experiement one with the southern sun creating Experiement two with southern winter sun al- Experiement three with southern summer sun Top view of the model showing how the light is the ove hang block the sun from penetrating a playful shadow in the main library space. and lowing the slit shadow to drop on the ground as droping a playful shadow & giving the illusion of transported from a floor to another lighting up a so the space would be lit through diffused light. showing the pan width and depth (1..5***x0.6). shown in the top & side views. walking through a tunnel. certain side of the attrium.

Design Phase 49

REFLECTION

STUDYING SUN SHADOW DYNAMICS IN MAIN SPINE THROUGH A 3D SECTION OF MY PROJECT

Taking Design Desicions Through the Lense of Daylight

SHOT AT 10.00 AM

Through this exercice I was able to understand Tada Andoâ&#x20AC;&#x2122;s statement of using light as a matarial and design driving force. I was able to come up with five drastically different daylight experiements. I can consider this module as an eye opener and what that helped enhace my form generation. I was also able to understand that it is not necesseraly important to have an opening in any of the elevations for ventillation purpuses, whereas light can be a driving factor in guiding the circulation inside a space and create distinctinve spatial qualities for each space according to its choreography. Mateiality research was an intergral part of this module as some of my experiments where based on the structural and aesthetic capabilities of reinforced concrete.

Malak Abdel Naby

HOW WILL I IMPLEMENT DAYLIGHT IN MY DESIGN?

SHOT AT 1200 PM

SHOT AT 0200 PM

Design Phase

3D Shot of my project showing the daylight experimentations included in it, the techniques used are: vertical louvers, horizontal shading devices, treated curtain walls and skylights. Daylight is utilized as a tool to enhance the sapatial qualities of the interior space and to allow the users to exeperience each space differently.

THRESHOLD REVIEW GRADE: P

DESCRIPTION & RUBRIC

THE LIBARY AS A CONNECTOR BETWEEN THE DIFFERENT GENERATIONS & THEIR HERITAGE

Library (noun) a place in which literary, musical, artistic, or reference materials (such as books, manuscripts, recordings, or films) are kept for use but not for sale.

Malak Abdel Naby

PORT SAID ST. LIBRARY

Contemporary Egyptian Architecture Criterion

2) Sensory Stimulant Oral History Museum on the ground floor with audio opperating 24/7 near street window to attract the people inside. Playful shade and shadow for outdoor & transitional spaces. 3) Context Driven The program generated from the site constraints & benefits. For example, the idea of having retail shop generated from not wanting to demolish what the site is currently being used for. 4) Environmentally Aware Sun direction was taken care of allowing the for the design to have shaded outdoor areas, curtain walls and skylights.

Library as a connector of the people & their heritage

1) Heritage Revial Experience that mimics walking through Old Cairo.

5) User Centric The building design is user centric by being not only a library rather a space that encourages interaction between people.

REFLECTION

Design Phase

This first pin up allowed me look at my design again by a critical eye. At this stage I realized that I need to put another layer of work on my drawings whereas, plans furnishing needs to make sense better and the activities happening in the outdoor spaces needs to beshown in section. Also, I need to develop the overall presentation of my drawings primarly by working on showing the conxtext in my drawings both in plan and section.Finally, to show the richness of the project at least 3 sections.

Malak Abdel Naby

Library as a connector of the people & their heritage

Design Phase

Malak Abdel Naby

Library as a connector of the people & their heritage

Design Phase 55

Malak Abdel Naby

Library as a connector of the people & their heritage

Design Phase 56

Malak Abdel Naby

Library as a connector of the people & their heritage

Design Phase 57

Malak Abdel Naby

Library as a connector of the people & their heritage

Design Phase 58

PRE- FINAL JURY GRADE: 96.50/100

DESCRIPTION & RUBRIC

Malak Abdel Naby

Library as a connector of the people & their heritage

Design Phase 61

Malak Abdel Naby

Library as a connector of the people & their heritage

Design Phase 62

SCALE 1: 100

Interior Inspiration of the VR Room

Audio working throughout the day as a way of inviting people into the building.

Malak Abdel Naby

GROUND FLOOR PLAN

Street Network generating the partitions placement in the museum. Library as a connector of the people & their heritage

PORT SAID ST.

Graffitti Wall Engage with the youth & for them to have a permenant mark on the facade design of the library, Placed near the Qahwa to push for the interaction between the different generations.

DARB AL OMARY

Design Phase

Lively Street Section This section shows how some design decisions to make of the alley a lively street, incoorprating central feautures (fountain), outdoor seating, flower box and a mini plaza.

SCALE 1: 100

Library as a connector of the people & their heritage

PORT SAID ST.

Malak Abdel Naby

FIRST FLOOR PLAN

DARB AL OMARY

Design Phase

SCALE 1: 100

Library as a connector of the people & their heritage

PORT SAID ST.

Malak Abdel Naby

SECOND FLOOR PLAN

DARB AL OMARY

Design Phase 65

SCALE 1: 100

Library as a connector of the people & their heritage

PORT SAID ST.

Malak Abdel Naby

THIRD FLOOR PLAN

DARB AL OMARY

Design Phase 66

SCALE 1:100

MATERIALITY & STRUCTURE

Concrete is also used as a finishing material in order to respond to the site and convay the roughness of the material to the users. Facades are made out of precast concrete in order to have opening slits for daylight purposes.

3D Shot of the concrete skelaton on the building. This shot is showing slabs, columns, stairs and skylight.

Design Phase

3D SHOTS

Wood is used for shading elements, this adds to the sustainability of the building as they would be taken from the wood workworkshops in the area.

Library as a connector of the people & their heritage

Concrete is used in the building as a structural material (following a simple beam & column system with spans varrying from 3 to 7 m).

Malak Abdel Naby

WEST ELEVATION

SCALE 1:100

REFLECTION Having a jury on the prefinal submission was very effective as at allowed me to take a step back and then look back at my project through a critical eye. The main discussion revolved around having my ground floor plan relatively very open and it blends too much with the community to the extent that they might trespass the building. However, I disagree as the extent on which my building blends with the context is the strongest point of my project so I will defenitly won;t change it whereas I will conider closing off some parts for privacy and secrurity regulations. Also as my circulation tower is something important, it should be well furnished,

Malak Abdel Naby

SECTIONS

Library as a connector of the people & their heritage Design Phase 68

FINAL JURY GRADE: -/100

Malak Abdel Naby

Library as a connector of the people & their heritage

Design Phase 70

SITE ANALYSIS

SCALE 1:500

Islamic Monuments & Greenery

SA ID

Street Network

B DAR

MA AL O

Base Map & Environmental Analysis

SITE SURROUNDINGS

Library as a connector of the people & their heritage

LA QA

ST .

I lived here all my life, this shop was my father’s and I inherited it and I will leave it for my children and they will leave it for theirs. Here we are all one big family, we respect each other and stand up for one another. The other shop owners and I give most of the revenue to wezaret al awkaf in order to restore neighboring mosques; particularly Al Omari Mosque. In order to support each other, we prepare giveaways to though who need it and private lessons to students who need help in school. As for pri though who don’t they might choose to attend the Kotab in order to get acquainted with their religion and memorize the Qur’an. Give it twenty minutes and the clock will hit two and the children will be coming out of school and playing soccer in the harrah just in front of us. Most of them do not necessarily care about getting educated some just stop at sixth grade to develop a skill; probably they would get a job in any of the woodworking workshops around. This building is so old; it watched many generations live, grow old and died here. Some people even say that it has a very rich architecture as it served (along with other buildings which collapsed) as housing units for the servants of the royal palace. Historically, this area was very rich as it was right on the side of “Khalig Port Said” before the con struction of “Magra Al Oyoun”.

SITE PLAN

Malak Abdel Naby

SITE THROUGH THE EYES OF ITS PEOPLE

SITE DRIVERS Building Envelop: varies from 1 up until 5 storeys to work not to distrupt sun-shadow dynamics.

Registered Historical building on site .

Reflect the values of: Openess, Transparency and Integration.

Site top view & context

Variation in the construction materials

Design Phase

My building should be user driven and help them develop a certain skill. As well as grow in them a love for history and islamic architecture.

THE STORY BUILDING Virtual Knowledge

Traditional edge

Experiential edge

Main System

Knowl-

KnowlCirculation

Private outdoor reading space for Main Library.

H E R I TA G E REVIVAL Emphasize on virtual means of accessing knowledge by having a virtual simulation of islamic cairo.

Respond to user demand of having a cyber like space that is controlled.

Mezanein Lecture Space to learn about ceramics & enhance visual connection.

Continuing on the already existing line of workshops on site, by introducing a new one that is relevant to the heritage.

Design Phase

Re-integarying site feautures by continuing the line of “Qahwas” on Port Said St and the presence of retail “awkaf” shops.

Library as a connector of the people & their heritage

Reading cubicles for children to read individually. It is a cozy escape place if they do not want to work in groups or on a desk.

CONTEXTUAL & SUSTAINABLE

THE

Shared Knowledge

KEY:

SENSORY STIMULANT

Malak Abdel Naby

USER CENTRIC

Encourage children love for reading and seeking knowlegde by providing an outdoor panoramic reading space.

Malak Abdel Naby

Library as a connector of the people & their heritage

Design Phase 73

Malak Abdel Naby

Library as a connector of the people & their heritage

Design Phase 74

Malak Abdel Naby

Library as a connector of the people & their heritage

Design Phase 75

Malak Abdel Naby

Library as a connector of the people & their heritage

Design Phase 76

Malak Abdel Naby

Library as a connector of the people & their heritage

Design Phase

Malak Abdel Naby

Library as a connector of the people & their heritage

Design Phase 78

Malak Abdel Naby

Library as a connector of the people & their heritage

Design Phase 79

Malak Abdel Naby

Library as a connector of the people & their heritage

Design Phase 80

TOP VIEW OF THE MODEL

INTERIOR BRIDGE SHOT

SOUTH ELEVATION SHOT

Library as a connector of the people & their heritage

MAIN ELEVATION SHOT

Malak Abdel Naby

FINAL PHYSICAL MODEL PICTURES

Design Phase 81