Architectural Analysis

American University in Cairo

Modern & Contemporary Architecture ARTV 314-01 Instructor: Dr. Khaled Asfour, PhD

Research 2: Analysis of an existing building Through the Regional Modern theory

Alaa El-Din Khalil Marwan Omar Moaz Mohamed Sherif Nader Goubran

Contents Introduction .................................................................................................................................................. 6 PVA: Modernism or Historicism/ Regionalism? ........................................................................................ 6 Regionalism ............................................................................................................................................... 7 Nature – “the umbilical cord between man and his surrounding” (C. Jain 46) .................................... 7 Background on Mamluk Architecture ..................................................................................................... 12 Mamluk Influence disguised ................................................................................................................... 14 The exterior Water system and The blue tile module in the PVA .......................................................... 18 PVA profile: key words ................................................................................................................................ 20 Creativity ................................................................................................................................................. 20 Reaching out ........................................................................................................................................... 22 Dominance .............................................................................................................................................. 22 School of Continuing Education- Fitting in.............................................................................................. 23 Critical regional Analysis of the PVA ........................................................................................................... 24 PVA (Creativity and reaching out), SCE (Fitting in) ..................................................................................... 26 Recommendations and design proposal..................................................................................................... 44 Conclusion ................................................................................................................................................... 67 References .................................................................................................................................................. 70 Appendices.................................................................................................................................................. 72 User experience and input .................................................................................................................... 72 Sample................................................................................................................................................. 72 Analysis ............................................................................................................................................... 72 Plans ........................................................................................................................................................ 74 Initial Form .............................................................................................................................................. 81

Figure 1: A view of the intersecting forms and vegitation............................................................................ 6 Figure 2: Hostile Indian Village of the Lakota Sioux Indians ......................................................................... 7 Figure 3 ......................................................................................................................................................... 8 Figure 4: View of a primitive village in Bangladesh showing its primitive architecture and material use .. 9 Figure 5: Mamluk Mosque using strong ablaq stone work ........................................................................ 12 Figure 6: Mashrabeya Wood Work in mamluk architecture ...................................................................... 12 Figure 7: Stone work (joggled voussoirs and lintels in mamluk examples ................................................. 13

Figure 8: Continuity of arches resembling that of iwans ............................................................................ 14 Figure 9: Entrance way historical reference ............................................................................................... 15 Figure 10: SCE inner court façade resembling that of a a mamluk madrassa ............................................ 16 Figure 11: SCE arcades resembling that of colonnades .............................................................................. 16 Figure 12: Shokhshekha of art gallery inspired by mamluk example ......................................................... 17 Figure 13: Water system in Hambra= Spain ............................................................................................... 18 Figure 14: National Art Gallery –Berlin ....................................................................................................... 21 Figure 15: diagram showing the interconnection of keywords for the PVA and SCE building ................... 23 Figure 16: Part of the plan showing the tilting of the main entrance and building to be directly facing the visitors entrance ......................................................................................................................................... 26 Figure 17: Panoramic view of the curved wall and plaza showing its form and the lack of transparency it imposes on the PVA .................................................................................................................................... 26 Figure 18: the stairs result in the total hiding of the openings in some angles of view ............................. 27 Figure 19: Diagram showing the openings in the wall in relation to the spaces it covers. Some entrances hidden by other elements placed before the wall (stairs).......................................................................... 27 Figure 20: view of the stair hiding the main entrance and opening for the gallery ................................... 27 Figure 21: View of the balcony and mashrabeya element projecting from wall lacking transparency and jeopardizing the reaching out and connection to the outer community ................................................... 28 Figure 22: Relation between terrace and spaces in first floor with a tilt to highlight its importance........ 28 Figure 23: Decorative square element in wood and blue tiles ................................................................... 29 Figure 24: geometric metal decoration with the square decorative motif ................................................ 29 Figure 25: poor visual abstraction and repetition of the mashrabeya elements hinders the depth of the regional initiative ........................................................................................................................................ 29 Figure 26: Different views of the main courtyard space, divided by different elements added within them .................................................................................................................................................................... 30 Figure 27: Plan highlighting (green) the courtyard spaces. ........................................................................ 31 Figure 28: Doorway and wall cutting the continuity of the outdoor space, adding a sense of enclosure jeopardizing the key word creativity .......................................................................................................... 31 Figure 29: a view of an open space overlooking the courtyard being not functional due to the over use of the poles ..................................................................................................................................................... 32 Figure 30: view of the pergola space in plan .............................................................................................. 32 Figure 31: view of the theater form from courtyard forming an interesting modern connection with some regional references ........................................................................................................................... 33 Figure 32: interior of the gallery showing a number of regional aspects such as the form and the skylight added .......................................................................................................................................................... 33 Figure 33: entrance of gallery space ........................................................................................................... 34 Figure 34: structural system hinders the functions of the gallery .............................................................. 34 Figure 35: gallery space with no windows in ground floor ......................................................................... 34 Figure 36: southwest facade ....................................................................................................................... 35 Figure 37: South, southeast elevation ........................................................................................................ 36 Figure 38: north elevation .......................................................................................................................... 37 Figure 39: northeast facade ........................................................................................................................ 38

Figure 40: placement of the black theater and workshop blocking north direction .................................. 40 Figure 41: Diagram showing the behavior of shade within the courtyards of the PVA ............................. 40 Figure 42: thermal unit concept diagram ................................................................................................... 41 Figure 43: South facing classes and functional spaces ............................................................................... 41 Figure 44: 3-way relationship between building, environment and user................................................... 42 Figure 45: Key ZONE PLAN .......................................................................................................................... 43 Figure 46: real state of the wall (no editing)............................................................................................... 44 Figure 47: first attempt to add more openings to the wall ........................................................................ 44 Figure 48: sketch showing the addition of glass to the wall with more openness with abstraction surving both creativity and reaching out................................................................................................................. 44 Figure 49: view of art gallery entrance where the octagonal is not visible clearly .................................... 46 Figure 50: art gallery surrounding AFTER editing ....................................................................................... 47 Figure 51: art gallery surrounding BEFORE editing .................................................................................... 47 Figure 52: view of the gallery from behind the added glass panel on the curved wall ............................. 48 Figure 53: New material and pattern applied to the gallery in addition to the freeing of the form from neighboring block of theatre. ..................................................................................................................... 48 Figure 54: Wall dividing courts is REMOVED .............................................................................................. 49 Figure 55: Wall after applying changes. Note the difference in openness and angle of view. .................. 50 Figure 56: Wall before applying changes of removal of entities. ............................................................... 50 Figure 57: Courtyard as existing now with now real function and deserted .............................................. 51 Figure 58: Courtyard after editing showing all the added features............................................................ 52 Figure 59: Courtyard before editing ........................................................................................................... 52 Figure 60: The added terrace for visual connection between SCE and art courtyard ................................ 53 Figure 61: The direct connection between the SCE and the visual arts courtyard..................................... 54 Figure 62: The created terraces overlooking the courtyard in plan. Note the angles of view ................... 54 Figure 63: The created terrace for the visitors only accessed from theatre terrace to express creativity and reach out to the public......................................................................................................................... 55 Figure 64: Example of a visual media area ................................................................................................. 56 Figure 65: Media exhibition area placed and a change in form implemented to enhance reaching out .. 57 Figure 66: Form of the seating area in front of the black box theater BEFORE changing .......................... 57 Figure 67: Adding a food outlet in the courtyard serving the PVA students .............................................. 59 Figure 68: view of the building block before editing .................................................................................. 59 Figure 69: Courtyard transformed into an open air theater to enhance the keyword creativity within the PVA .............................................................................................................................................................. 61 Figure 70: Courtyard in the current state being empty and with no identity ............................................ 61 Figure 71: The view of the outdoor space now with endless number of poles for pergola, abstracting function and now allowing for interconnecting and over viewing the courtyard space BEFORE .............. 63 Figure 72: removing the wood pergola and adding an indoor open space that overlooks the open theater. AFTER ............................................................................................................................................ 63 Figure 73: A cross section showing the roof proposed with pictures to help visualize the concept and the atmosphere created in the courtyard after its addition, ............................................................................ 64 Figure 74: Final Edited Plan of ground floor plan ....................................................................................... 65

Figure 75:: Final Edited Plan of First floor plan ........................................................................................... 66 Figure 76: Interesting filled survey ............................................................................................................. 74 Figure 77: Ground Floor Plan ...................................................................................................................... 75 Figure 78: First Floor Plan ........................................................................................................................... 76 Figure 79: Second Floor Plan....................................................................................................................... 77 Figure 80: Main Faรงade (North) .................................................................................................................. 78 Figure 81 Southwest (back elevation)......................................................................................................... 79 Figure 82: section through theater and classes .......................................................................................... 80

Introduction PVA: Modernism or Historicism/ Regionalism?

Modernism is the practice of modern thought through the formulation of idea, character and form in architecture. It is to note that architecture today has to best fit resources, labor, design, time and other essential factors. The fully carved columns and the stone-decorated facades are not practical (not to mention

Figure 1: A view of the intersecting forms and vegitation

costly) so it is essential we move to the standardization of parts. On the other hand, regionalism is the direct and/or indirect submerging of the regional needs within the elements of design. This could be achieved through historicism and the copy pasting of historical references or just through the environmental adaptation and needs to that region.

In the PVA building, one notices that although made with some degree of modernism there is no real loss of enclosure, marking the building as one with modern and regional aspects. Walls enclose void space and the facades run high closing the door for individuality; the idea of universal space is partially lost. However, the AUC campus in general is large in space and some might argue that the attempt of securing universal space is plausible. Thus through its Islamic interior and exterior theme and through its attempt to live to the spirit of its age the PVA building displays regional modernism. The message of green architecture is portrayed in the PVA as probably one of its strongest regional tools; calling the Egyptian culture to foresee the importance of the balance between man and nature.

The Islamic theme used throughout the campus and in particular in the Liberal arts center reflects the “soul of architecture� (BDC.) Spaces were designed as a functional element more than a reflective element of design. The interior and exterior themes of the building are a

direct reflection of the practice and belief of the people visiting the building (or at least the majority.) The modern rendering of the Islamic architecture fits with historicism and regional context intertwining them to a modern regional design application.

However one need to realize that by submerging modern regional theory1 this does not fit very well the context of Bauhaus modern theory. Their theory is about the total neglecting of history; it is about the spirit of the age and the show off of technology. And Islamic arches although might have an aesthetically beautiful vibe- don't reflect nor technology, nor the spirit of the age. The PVA is thus a hybrid between modernism and regionalism, without fully defining the essence of both theories. This essay will explore and analyze how the building could achieve a stronger regionalism movement to its society.

Regionalism Nature – “the umbilical cord between man and his surrounding” (C. Jain 46) Regionalism is taken by many as a source for identity. It is described by C. Jain in his article as the make-up of man. He relates the body of man to architecture in that both need maintenance. Just like one needs to aware of what goes into his system – digestive, respiratory, blood stream, etc- an architect needs to be fully aware of the architectural elements in his design and construction systems.

Figure 2: Hostile Indian Village of the Lakota Sioux Indians

1 Modern regional is implemented in the PVA through the Islamic theme insertion that is visible through the arches used as well as the ablaq use of stone that resembles that marble usage of Mamluks and Seljuks.

Since the start of architecture “man was to seek a shelter” and “the immediate surrounding were his source of construction materials; snow, stone, straw, reed, wood or mud” (C. Jane 46) as these were the materials at hand that could be used as a source of inspiration and/or construction. India is a place where close studies showed the progression and birth of regionalism.

In the Gangetic plains the Indians used clay for their walls, cowdung to cover the floors and over used the tree element in their green environment. The tree trunks were used for shutters and ranking posts. Nature has been intertwined with architecture to fully extract the best out of each element.

The developing Indians have realized the importance of intertwining nature with their daily living experience and architecture but they were not alone. The Finnish society has also documented the correlation which is best represented by Tapio Paeriainen’s equation that relates the “development of humanity and its alliance with nature” (C. Jane 47.)

N /M= 1

where

M is Man, and N is nature.

The mathematical relationship shows that when man and nature and in alliance one achieves a value of 1 indicating equilibrium.

However, like any mathematical equation it is usually bent and the results are documented. If any

Figure 3

dominates the other we come to the critical conclusion that “man does not, perhaps cannot, exist isolated from nature without loss be in tangible or intangible” (C. Jane 47.)

It is for that soul reason man has to respond to nature in his architecture. This includes the response to climate. One cannot be living in the North Pole and have a transparent wooden beam dwelling structure, firstly he would be violating Tapio’s nature/man equation and in his violation he could cause his own discomfort. Once again Indian architectural history provides us with examples of how man had to adhere to the climate and respond to it architecturally. The hot and dry climate of western India has allowed the primitive architects to construct “weighty walls, good insulation through mud plasters and mud finished floors, sparsely done up interiors , large overhangs,, and small wall openings” (C. Jane 48.) This is further complemented with their central court (courtyard) for central light and ventilation. The contrast between openness and functional enclosures provides the aesthetics tradition that is considered today the basics of green architecture.

Paul Rudolph, approaches regionalism in a different manner: he views the regional movement as a negative/positive overlap to the formal idea. The formal idea for him is a much more important element of architecture that “incubate over long periods of time” (Rudolph 43.) Gothic architecture that was in Western Europe, England and France spread to the “south where it was modified to such an extent that became almost decorative in Milan Cathedral” (Rudolph 43.)

Rudolph also finds that there are limits to regionalism, which is often limited by “the

Figure 4: View of a primitive village in Bangladesh showing its primitive architecture and material use

industrialization of structure” (Rudolph 43.) The notion of world trade and the ease of travel and communication have only added to the struggle of regionalism. This globalization has added to the “rising cost of traditional material and skilled labour” (Rudolph 43.)

Another aspect of regionalism is the usage of material and the architectural form. An example of a regional combination of material and adopted architectural form is with the rural village of Bangladesh. The units are close together, and are inclined in topography from the surrounding green fields.

From the stone and mud use in Bangladesh and their regional yet somehow primitive (there is no plumping system for their dwellings) interpretation one notices that it is within the material that regionalism could be achieved. But does that curse away all concrete and steel structures from the regional movement?

Concrete and steel structures can have a regional aspect within it: certain places in the world use steel in an economic manner and through the method of construction, the building takes certain regional aspects. Some of the great architects of the 20th century were famous and known for their regionalism; these include Frank Lloyd Wright and Corbusier. Although Corbusier showed somewhat less regional characteristics in his buildings, nevertheless he did show them.

Air-conditioning is usually thought of as an enemy to regionalism as it neglects the surrounding climate. “Orientation, shade, the changing directions of wind, humidity considerations can be as important for conditioning the air as naturally controlled space” (Rudolph 44.) However considering the concept of controlled air in relation to energy usage is still considered a rigid theme for regional architecture.

Regionalism is also used for political and religious reasons. This comes in mind as it directly pours into the philosophy of AUC’s campus. The Islamic theme used is a direct reflection of the daily lives of the Egyptian citizens of Egypt and in terms of politics, the American institute in Egypt tries to give a message of the need of green architecture in Egypt.

In Frampton’s reading Towards a critical Regionalism, he points out six essential points for an architecture of resistance. The first being culture and civilization and how they must be considered as due to the modern movement most building now are universally conditioned by optimized technology. And the second is the rise and fall of the Avant-Garde.

Frampton discusses the critical regionalism and world culture and notes “the fundamental strategy of critical regionalism to mediate the impact of universal civilization with elements derived indirectly from the peculiarities of a particular place” (Frampton 21.) He also highlights the importance of distinguishing between critical regionalism “and simple minded attempts to revive the hypothetical forms of a lost vernacular” (Frampton 21.) Critical regionalism has to first deconstruct the notion of world culture then has to achieve a critique or universal civilization.

Critical regionalism need involve a well established relationship with nature, as the building has to be “in-laid” in the site of construction and not vise verse. This is most obvious within climate control and light. A simple window for example has to be placed according to the light and wind; two natural forces that entail the correct or most appropriate orientation of an architectural element. One need not use artificial light when a well constructed dwelling can provide a good source of light during sun hours this also correlates with the energy usage.

Critical regionalism also attempts to balance the visual versus the tactile. “The intensity of light, darkness, heat and cold, the feeling of humidity, *and+ the aroma of material” (Frampton 28) all add to the balance that has to be established between what one sees and one’s user experience within the building. This way “critical regionalism seeks to complement… visual experience by readdressing the tactile range of human perceptions” (Frampton 29.)

Background on Mamluk Architecture The Mamluk period was divided into two dynasties, the Bahri Mamluk period(1250–1382), which is originally “El Bahr” in Arabic ( “the sea” in English) and the Burji Mamluk period (1382–1517), which was originally “El Burj” in Arabic (“tower” in English). Although the Bahri Mamluk period saw some serious factional

Figure 5: Mamluk Mosque using strong ablaq stone work

and political problems and instabilities, some of the sultans at this time were able to start some large-scale building projects to build on what the techniques the Ayyubids used in architecture. One of the rulers who found resources to start such projects was el Sultan Ibn Qalawun and his son El Nasir Mohamed. They designed the Qalawun great complex, which is now

Figure 6: Mashrabeya Wood Work in mamluk architecture

located in El Muiz street. The Burji mamluks came after the Bahri period in the early 15th century and continued on all art traditions that were done by the Bahri Mamluks, although they were faced by some internal and external threats, for instance, the famine and the civil strife in Egypt. Next was the second sultan Qaitbay, which was the greatest, who brought back the shrines of medina and Mecca.

Then the last Mamluk Sultan was El Ghouri, during his reign the Portuguese prevented them from trading, because they gained control of the Indian Ocean. This financial problem was reflected in the construction methods they used. The mamluks followed the same art traditions during their period of reign.

The mamluk architecture influenced or affected by the Italian and Andalusian architecture. Features of the Mamluk architecture can be divided into three main headings: Layout and planning, surface decoration and structural elements.

First of all, surface decoration is the most characteristic of the Mamluk architecture.

They used the ablaq style that much in all over the countries, which were under the

Figure 7: Stone work (joggled voussoirs and lintels in mamluk examples

mamluk control. The ablaq is “alternating layers of different colors or shades of masonry” it is the use of white ashlar stone and orange baked bricks similar to that used in the American university in Cairo (New Campus), also they used the “Mashrabeya screens in the interior of the buildings.

The second thing is the structural features, which were developed during this period. For instance, the openings in the doorways to create a sense of decoration or the doors covered with muqarnas vaults. Another example is a cross vault with a large circular hole placed on the roof. The wooden domes were over-used too often at this period and some masonry domes, with some arabesque designs carved in. Also the horseshoe arch was created during this period.

The last thing was the plan and layout part, in which they used several techniques to `show that the plan was a square on an irregular shaped piece of land. They used the ablaq technique most of the time and to enhance the view of the façade in narrow streets they recessed the entrance.

Mamluk Influence disguised The Mamluk architecture was of great inspiration to the abstract and direct reference to the historical context in the PVA. Mohammed Makiya’s state mosque in Kuwait is a regional building that could have been another source of influence for the concrete arches within the PVA courtyard. His architecture is very easy to follow as uses concrete logic technology to abstract historical references in his design. This is clearly the case in the main courtyard as a historical reference (Baybers Mosque) is abstracted using technology from the spirit of its age. However this time the implementation is done through skin deep regional modernism.

Within the courtyards of the PVA one realizes that there is visual continuity of the arch module. This is seen in the main courtyard with the Mohamed Makiya’s concrete arches that grab the essence of a two Iwan configuration of the madrassa of Baybars and Mamluk architecture in general. Yet this time the Iwan configuration is transparent, and the show-off of technology is imposed.

Figure 8: Continuity of arches resembling that of iwans

In the south east façade one sees a protruding entrance portal that is enclosed with a stone dado and has the Mamluk triumphal arch layout. This can be traced back to Sultan’s Baybars Mosque with very similar stone dado framing to the entrance. The architect tried to use different historical elements and intertwine them in a symbiotic Islamic Mamluk manner.

Figure 9: Entrance way historical reference

In the School of Continuing Education one sees a configuration of windows that is very similar to the madrassa of Baybars Al-Ghashkir. The rectangular openings with different treatments and the solid/void relation in the courtyard is very similar to that of the madrassa’s as well as the similar lintel design. The architect placed this courtyard in direct relation to the school of continuing education as the resemblance of the madrassa and its students -who use to come from different areas of Egypt to develop their knowledge and skills in language – is similar to the SCE student’s situation on the AUC campus.

Figure 10: SCE inner court façade resembling that of a a mamluk madrassa

The SCE’s north east façade an abstract interpretation of the Mamluk pointed arch façade is used out of its context. The architect has used the arcade in a rectangular manner that is similar to the rectilinear theme used in design in the PVA. This historic interpretation is out of its context as the arcade has no real function other than visual decoration that works against highlighting the main entrance of the SCE.

Figure 11: SCE arcades resembling that of colonnades

The art gallery in the PVA is has an octagonal shokhshekha which form is directly copied from Qaytbay’s shokhshekha. The drum of the shokhshekha includes openings similar to that of Qaytbay, however the architect as opposed to the historical example continued this octagonal shape for the whole gallery space vertically extending the structure downwards. In this historical example this structure this was used for ventilation purposed the windows are out of human reach (to access and open) minimizing its function only for lighting and creating a close to green house effect in the higher floor of the gallery. This is a good example for weak critical regionalism.

Figure 12: Shokhshekha of art gallery inspired by mamluk example

The exterior Water system and the blue tile module in the PVA Throughout the PVA, one see fountains and water channels running between buildings on campus. The water channels end in circles, marble framed in a diagonal squares complementing the square motif module in the PVA. This coherent use of squares, circles and elongated channels provides the water system a feel of belonging to the general architectural theme of the AUC New Campus. The exterior fountain of the PVA is an essential part of reaching out the community through their modeled water system. The building intensively uses arches, and quadrilaterals for the wooden window grilles (mashrabiyas): the water system somehow highlights the theme and adheres to it.

The pumps at the PVA plaza eject water vertically in work hours (from 9:00am to 6:00pm) that provides a cooling tool to the open courtyard in the summer. The structure has rectilinear boarders and are used merely for view. The architect has neglected the cooling effect of the water fountain that could have been used if placed behind the curved wall, or some other studied location.

The regional aspect of the water fountain is its direct relation to the Islamic culture of Egypt, as for Frampton the building takes into consideration the culture it is placed within. The influences of the water channel system can be traced back to Alhambra, Maghreb. Alhambra was a palace and fortress constructed back in the 14th century.

Pictures bellow indicate that the AUC water channels are pure decedents of Alhambra Lion courtyard.

Court of the Lions- Al Hambra- Spain: showing the probable influence for the water system in PVA and AUC campus.

Figure 13: Water system in Hambra= Spain

Source: www.archnet.org/alhambra345443224f4

Blue tiles are used throughout the campus to break the ablaq colors of the bricks and provide a heavenly feel to the campus. Blue tiles can be tracked back all through Islamic architecture, as blue was the favored tile color due to the ease of manufacturing as well as the Islamic arts break-through from other religions art. Although the aesthetics of the blue tiles used break the intensity of the brick usage, through critical regionalism one realizes that their copy-pasting technique is not need within the PVA as it is only added as a decorative element without highlighting any useful peculiarity of a particular place. They also do not show creativity in their application as they are placed adjacently with no particular color variation or striking design element.

PVA profile: key words The analysis of the design intentions and objectives for the PVA’s building functions, target user groups and representational aspects within AUC’s new Campus, makes three main keywords, concepts, evident: Creativity, reaching out and Dominance. The building is designed to be AUC’s center of arts and to house a main theater for performing arts, galleries for visual arts, classes and studios for those two fields as well as the school of continuing education (SCE) aiming to develop the Egyptian community. From AUC’s Central thesis of educations and the concepts of modern arts, liberty should be the focus of the design of such building. The liberal Arts system of education AUC is adopting aims to appeal to the sense of exploration of students by giving them the freedom to study courses of different fields and giving them the choice to choose these courses that are outside their main focus of study appealing to their curiosity about different aspects and fields surrounding them. Such system strongly unifies the interrelation and interaction between different majors of study and their students within the institution.

Creativity The PVA building holds the university’s visual and performing arts concentrations. This is a place that should dictate to its students’ inspiration and be of help in their creativity.

One needs to compare the PVA to other modern buildings of similar functions to be able to better analyze it. Berlin’s national art gallery by Mies Van Der Rohe is an example of the idea of universal space being used to complement the functionality of the gallery making it flexible for multiple usages. The neglected regional aspect of the gallery is the fact that it takes into consideration the lighting as well as its regional reach out to the

German community to view and share art.

The gallery is composed of glass façades that allow the transparency of the interior displayed art work, as well a well established relation between art and

Figure 14: National Art Gallery –Berlin http://archiseek.com/2010/1969-neue-nationalgalerie-berlin/

technology, and how they can submerge into a unified concept of modernism (attempted regionalism in the PVA.) The philosphy of the campus is sustainability and it should interwine with the creativity in a way that people could be part of it, i.e. part of the suistaianble architectual elements of design. The building should incorperate features that could be manipulated and adjusted by memebers of the AUC community (or otherwise.) These include air catchers, computerized roofs that could be opened and closed according to human demand. This is a direct relation to creativity, as this involves the PVA memebers to think and come out with creative soultions to climate,light, courtyard funtionality, thus making the best of the architectural resources at hand and using them out of their normal context ( creativity.)

Reaching out AUC’s center of arts is a component that interacts with visitors and members of the Egyptian society as well as AUC students, it represents the status of AUC’s initiative to reach out to the community which is imbedded in AUC’s culture and character. All these factors require the design to be dominant within the AUC campus and the surrounding environment in order to fully conform to its design objectives and intentions.

Dominance The building reflects the American University's status within the society. The dominant subliming of Islamic architecture within the design of the PVA building portrays the need to reflect society in design. The building shows the culture as it is highlighting the protruding social impacts directly on the building. Dominance is also visible through the building's position on campus.

The PVA is located in an unusual proximity to the entrance portal; probably as a metaphoric symbol for the University's role as a liberal arts school. One first notices that the center auditorium is located between “two octagonal projections into the landscape” (TCOC.) The main auditorium's entrance is “adorned with shrubbery and hoardings” (TCOC) to allow the students and audiences to be fully aware of the events calendar.

One of the octagonal shapes displays works of art.

To emphasize the unusual importance of the PVA, it is placed adjacent to the university’s book store. One has to pass by the building occasionally but yet not an everyday student visit whereas for a guest it's compulsory visual scenery. This labels the building as one with great importance and royalty in correlation to the university's

mission.

The green message of the palm trees that the plaza in front of the PVA gives in another dominant message from America to Egypt’s regional architecture; the need of a green sustainable architecture.

School of Continuing Education- Fitting in The school of Continuing education placed within the PVA battles between fitting its students within the AUC community, at one hand we need not place them totally isolated from the AUC community by placing them outside the ID zone of the university.

On the other hand we don’t want them to feel out of place within the ID zone, so a buffer has to be established to allow the school of continuing education students to fit in within the AUC’s community. The keyword fitting in is used also as these students not only need fit in with the AUC community but their initiative to study at the SCE is an attempt to fit in within the society they live in.

Figure 15: diagram showing the interconnection of keywords for the PVA and SCE building

Critical regional Analysis of the PVA Through Frampton’s frame of critical thinking, one realizes that the PVA is placed regionally within its surrounding environment and that it takes the culture and civilization that it is build within into consideration. Firstly it takes the desert environment within the thick walls of the PVA securing maximum insulation from both climate extremes of summer and winter. The building also sheds important political and environmental messages to the environment. Politically it stands as an American institute in Egypt so a green message had to be established; that is Egypt’s need to sustainable architecture.

The extraction of peculiarities from a particular place (Frampton 21) is achieved by the PVA, through the Islamic theme of arches, ablaq, mashrabiya, courtyard methodology and tile work.

For the building to be critically regional these extracted elements need be used out of their historical context, or maybe as an integration of functionality. However most of these elements were used as a skin deep adaptation decorating the PVA. Critical regionalism must involve a fine relationship with nature, one that is best defined by Tapio’s equation (N/M=1.) In analyzing the PVA one realizes that it is not laid within its environment, instead it stands out from nature. The sunlight used in the PVA doesn’t show the best usage of indoor and outdoor shading, nor does it avoid the south-west and west faces. The shading for the mashrabiya windows does diffuse the direct glare of the sunlight, however within certain façades a better tilt for the mashrabiya would have achieved better shade (analyzed in detail later on.)

The regional aspect of most modern buildings can be analyzed within its relation to nature; this is commonly achieved through the climate and light control. The PVA will be later analyzed in the sustainable and elevation analysis as one that lacks a strong connection with nature, although a connection is established.

Regionally the building achieves the keyword reaching out through the view it has of the main plaza. The view composes of huge amounts of palm trees that could be viewed from miles outside the AUC campus. The regional message of the need of green sustainability marks the

reaching out aspect of the building as clear, however in order to reach out the building had to have a more transparent curved wall (later analyzed and proposal given.)

The courtyards used in the PVA – although a regional aspect- do not add to the logic of design nor do they fully make use of the sustainable aspects of the intended design philosophy. The building is thus a skin deep regional, very similar to the architectural cladding of façades to Refaat Chadirji. However the building does attempt to tackle some regional aspects that the proposals will try to perfect.

PVA (Creativity and reaching out), SCE (Fitting in) Starting from the main approach to the building, the building’s orientation is very interesting and unique; The PVA was oriented with a slight tilting such that it faces directly the main visitor’s gate making it noticeable and conveying its importance. The designer intended to present the main function of the PVA being the purpose of reaching out to

Figure 16: Part of the plan showing the tilting of the main entrance and building to be directly facing the visitors entrance

the community as a main concept imbedded in the AUC culture and mission.

Figure 17: Panoramic view of the curved wall and plaza showing its form and the lack of transparency it imposes on the PVA

The wall was his tool to grab the attention of the visitors and users of the main entrance plaza of the institute using its great height size and striking curved modern form. This wall, as modern and solid it is, was enhanced with some regional, mostly skin deep in the treatment with very little visual or conceptual abstractions, mainly consisting of strikingly contrasting Ablaq decoration and an attempt to use the solid void (light dark relation) to convey and surely attract the attention of all viewers. However, the designer was carried away from his mission of grabbing the attention of the users to the PVA neglecting his initial mission of conveying the messages being conveyed by the PVA, which is reaching out. The wall worked to be more of a

barrier between the viewer and the actual PVA building hiding all its functions, features and interesting spaces. In his attempt to add to the wall’s transparency and remedy of block and solid state, he added openings and voids within the wall to try to highlight certain elements of the actual PVA building and the surrounding features. However, the openings and voids seem to be

Figure 19: Diagram showing the openings in the wall in relation to the spaces it covers. Some entrances hidden by other elements placed before the wall (stairs)

misplaced as they do not achieve

Figure 18: the stairs result in the total hiding of the openings in some angles of view

Figure 20: view of the stair hiding the main entrance and opening for the gallery

their purpose of highlighting the main and most important elements of the building.

Adding the biggest opening to coincide with the university bookstore weakens the other openings placed on the wall due to the huge difference in size. Placing vertical circulation element (stairs) blocking the opening coinciding the main art gallery and breaking the visual continuity of the wall was risk to the design philosophy. The designer placed a balcony in the first floor with the intention of creating a clear visual connection between

Figure 21: View of the balcony and mashrabeya element projecting from wall lacking transparency and jeopardizing the reaching out and connection to the outer community

the PVA users and the outer community. In contrast, with other theatre and opera examples studied this balcony was not placed solely for entertainment, but to highlight the belonging of AUC to the context and Egyptian community. However, the treatment of the mashrabeya screen risks destroying this design intention; the mashrabeya screen results in a sense of separation of the balcony from the visual continuity of the outer scenery. The designer places the mashrabeya on a balcony, where visual connection and interrelation is needed trying to take direct references of Islamic (Mamluk

Figure 22: Relation between terrace and spaces in first floor with a tilt to highlight its importance

architecture in the region) neglecting the fact that the mashrabeya was originally used to increase privacy to openings in dwellings, which is the completely opposing the sense that he wants to convey. The wall lacks actual regional design features following the critical regional design philosophy followed in the campus.

The design and treatment of the building in terms of material use and decorative elements design is a continuation and repetition of that of all the campus, lacking any special distinction to convey the building functions revolving around creativity and the dominance of the PVA within the AUC campus. One features stands out to be a direct copy of historical

Figure 25: poor visual abstraction and repetition of the mashrabeya elements hinders the depth of the regional initiative

references is the ablaq stone work and the use of masonry stone work for facades cladding.

With the repetition of the mashrabeya elements on most of the windows disregarding the function of the faces of which it covers its openings; however, the design of the shading mashrabeyas placed on the windows could be considered a poor visual abstraction, since they are placed in a repetitive manner, which weakens their power of representing regional reference. Within the PVA building, exists a number of other visually abstracted historical elements such as door lintels (resembling joggled masonry), wood screen work, metal railing, metal decorative elements and openings all taken from historical references or essence.

The designer tried to unify these decorative elements by the continuous use of the geometric square. This square decorative scheme also continues to the floor tiling of the PVA. Most of the decorations placed in the design are poor visual abstractions of historical

Figure 23: Decorative square element in wood and blue tiles

Figure 24: geometric metal decoration with the square decorative motif

models, not adding much to the creativity of the design as a whole. Within the skin deep treatment of the building, the designer tried to conceptually abstract the form of historic model by the implementation of projecting irregular spaces within the faรงade.

As mentioned before, the designer intended to design the building through a design process similar to that followed in medieval times. By tilting the theatre space to be directly perpendicular and having the best placement in terms of accessibility and ease to find from the visitors main gate (no ID zone) and by placing the art gallery in a critical well studied zone to have direct access to the visitor entrance and the connection to the PVA student ID zone. This tilt resulted in the creation of irregular courtyards and some rooms within the PVA giving a regional aspect within the plans and achieving the keyword of creativity achieved through the exploration element of the plan. However, the designer also used some interesting regular geometric forms such as octagons that were repeated several (3) times in the plan, each with different function. This repetition of form creates a sense of confusion for the user since it no longer becomes a unique form jeopardizing its importance and state of reaching out to the users by clear distinction.

Figure 26: Different views of the main courtyard space, divided by different elements added within them

The building has three courtyard spaces connected in a sense that they create an ‘L’ shape. The designer intended to have the courtyards as being the main place for students of different art concentration majors to interact and share their ideas serving the keyword creativity for the building. The courtyards

Figure 27: Plan highlighting (green) the courtyard spaces.

initially in the design were aimed to be used as circulation elements, borrowing directly from historical examples. Analyzing the actual courtyard uses with the current design, only two courtyards are being used with the third being a dead end courtyard with no seating arrangement, useful functions added to it. This result in the desertion of large parts of these courtyards by the students, as they do not find them neither appealing nor interesting. The designer should have considered their access and

Figure 28: Doorway and wall cutting the continuity of the outdoor space, adding a sense of enclosure jeopardizing the key word creativity

functionality, as part of the critical regionalism philosophy followed in the design. These courtyards should have intertwined with actual functions of the arts center in a sense that it serves the users and gives them a better

environment to enhance and expand their creativity.

Observing the courtyard right behind the gallery we find that it is entirely isolated from the rest of the courtyards by a wall and a door. This breaks the continuity and weakens the strength of the relation and purpose of the open courtyards. Despite the actual design intention of making the courtyards the spot for interrelation and students to share their creative ideas the design places no spaces, being visual or performing arts related spaces, in direct relation with the courtyard, resulting in a number of solid walls enclosing a series of negative space within rigid non interactive functions. The designer also neglects the use of balconies and terraces located on high

Figure 29: a view of an open space overlooking the courtyard being not functional due to the over use of the poles

levels than the plaza to provide visual interaction with the courtyard users even though implementing such features would serve the keyword fraternity and is considered extremely regional and could have give a sense of a medieval craftsmen “Hara or Zoaa�.

Figure 30: view of the pergola space in plan

The form and blocks of the building have an interesting skyline due to the difference in heights caused by the different functions of the spaces within the building.

This feature gives the building a regional sense in terms of form and skyline silhouette; the building functions are the direct support for the regional form manipulation of the building.

Figure 31: view of the theater form from courtyard forming an interesting modern connection with some regional references

Figure 32: interior of the gallery showing a number of regional aspects such as the form and the skylight added

As previously stated, the stairs lying right in-front of the gallery’s main entrance acts as a clear insignificant barrier between the users approaching the PVA and the art gallery. This prevents a clear sense of location of the gallery jeopardizing and excluding it from the reaching out initiative that the building should represent. As one passes the wall a clear semi-outdoor shaded area is found with no function allocated to it other than a circulation space, even though this space could succeed in creating a very pleasant outdoor exhibition area, that could attract visitors serving both keywords of the PVA creativity and reaching out and giving clear indications on the adjacent space (the enclosed gallery). The intersection of the gallery form

(octagon) and its relation with the surrounding blocks completely hides its interesting geometric shape, taking away any distinction from its surrounding; Therefore, failing in achieving its goal in reaching out. For a building that mainly shelters the arts majors in AUC and aiming to reach out to the community an innovative and distinguished treatment for the spaces approach walls surrounding should have been implemented, allowing for a more see through design, a design that could be appreciated from different angles compelling to the critical regional design philosophy

Figure 33: entrance of gallery space

followed. The barrier configuration that the public spaces of the PVA create between visitors and students separates the outside community and the “art in action”; thus, resulting in a missing link between creativity and reaching out.

Observing the interior of the gallery we find that there are several regional aspects, the octagonal shaped section of the gallery offers an interesting interior space for showcasing art work, successfully serving the keyword of creativity. The designer has used “shokhshekha” inspired skylight to enable natural lighting into the first floor octagonal exhibition room. The other section of the gallery,

Figure 34: structural system hinders the functions of the gallery

which is of double height also uses an innovative ceiling design that is regionally inspired in shape and that allows good amounts of natural light to enter both of its floors.

However, referring back to the octagonal shape a major drawback in the design is visible, where the placement of construction columns within the parameter of the octagon, clearly obstruct the viewers field of view and movement.

Also the lack of a void in the first floor within the octagonal

Figure 35: gallery space with no windows in ground floor

slab results in the complete absence of natural lighting in the octagonal ground floor exhibition area, which is a huge drawback.

The facades in the PVA share common architectural elements though the implementations of each faรงade differ substantially from the other. Some are considered critical regional; others are skin-deep approaches to provide unity in design to the PVA and AUC campus in general. The south-west elevation (overlooking the parking) has a protruding stone cladding structure. The protruding structure attempts to break the intensity of linear walls of the faรงade. This faรงade does not fully comprise of stone cladding, instead the cladding stops in the first floor level leaving the walls of the second floor with less wall thickness. The architect tried to add design features to highlight this faรงade and differentiate it from the others; this worked to his disadvantage as this is the faรงade most exposed to sun during the day, and thus regionally this is not efficient as the insulation of heat is minimal in the second floor. The second floor is the floor enclosing the class rooms for the PVA, thus he effectively Figure 36: southwest facade

insulted (via wall thickness) only the plaza floor classes and studios that are directly behind the southwest elevation.

The tilted mashrabiyas on the south west façade work to his advantage as they comprehend the direction of the sun providing direct sun ray diffusion. Here the taken element was used in a regional context as it communicates with the climate, as he achieved a critical regional implementation to the mashrayiba element (on this façade.) Moreover, a horizontal shading device would have helped provide more actual shade than sun ray diffusion. The façade includes a balcony that’s directly connected to one of the meeting rooms on the second floor. Despite the fact that its being recessed from the elevation with its stone framing on the façade it does not include a shading element on top which is a disregard for its orientation and position.

The south south-east elevation includes a Fatimid feature of a protruding entrance gate that is a direct historical feature noticed within the façade. However the protruding gate is boarded with a stone dado that limits its accessibility contradicting the reaching out design intention. It is only accessible from the sides of the protrusion with stone cladding again stopping at the first floor leaving the second floor inclosing classes poorly sheltered from the heat. The repetition of the mashrabiya element is continued however this time it is titled in an

Figure 37: South, southeast elevation

east orientation that limits its sun ray diffusion purpose. Blue tiles are introduced highlighting the entrance. The three tile compartments could be interpreted as an abstract of the historical reference to the triumphal arches and Mamluk architecture. There is a decorative ablaq application in this façade, highlighting the pointed arches as well as the protrusion (as well the entrance is elevated by a slab.) Here the architect attempts to achieve creativity in design through his abstraction of the historical module that is very easy to follow and read. The creativity in the design however doesn’t communicate with the functionality of the façade weakening its regional aspect.

The north elevation and façade comprises off a solid wall mass with one rectangular opening and stone cladding. The entrance door is placed vertically parallel to the opening. The black box theatre is extruding upwards behind the façade with a three tile abstract on both upward corners of the wall. This is working completely against the space function orientation jeopardizing the regional intentions since the façade totally deprives the building from the north north-east winds as well as its lack of transparency to the cilantro’s sitting area which minimizes the creativity and the essence of reaching out to the community.

Figure 38: north elevation

The school of continuing education is part of the north east façade including the curved mass wall viewed from the main portal plaza. The wall for the school of continuing education contains an arcade of rectangular arches, the contrast between the linear SCE wall and the PVA’s curved wall, could be an attempt to differentiate building functions: this also contrasts the key words fittingin and creativity. The blue tile is used again in a triple theme with square design motif with stone framing that could have been more practical to use for the mashrabiyas, instead of them using blinders to avoid the sun rays. There is a continuity of design as the square motif

Figure 39: northeast facade

design element is repeated in the wood work in the rectangular arcade with actual alignment with the larger tile square motifs.

The entrance is not highlighted for the SCE, as it should be as there is no indication for the function of the building, as they usually have a label scheme that is used all over campus labeling the building. This is absent for the school of continuing education.

The architects responsible for the design of the new campus buildings including the PVA have claimed in all the interviews and text about the design that the campus was designed with an environmental conscious design initiative. “Throughout the campus, openings from plazas and courtyards and gateways between buildings were oriented toward the prevailing northeast winds and the University Garden. The water and greenery cool the breeze as it moves up to replace the rising warmer air at the center of the campus.� 2 said Stephen Johnson an architect on the design team. Listed are the recommendations for the enhancement and the best use of the Egyptian weather condition presented for the design team of AUC’s campus in specific 1. extract air from the coolest locations possible 2. analyze the feasibility of using under floor distribution systems 3. allow sunlight to enter both indoor and outdoor 4. shade windows to prevent from direct glare 5. avoid south-west and west facing - using top-light instead 6. use natural ventilation & ceiling fans to convectively cool buildings 7. locate windows on opposite or adjacent walls to allow for cross ventilation in rooms 8. Use wind towers and solar chimneys to promote natural ventilation.

9. use evaporative cooling to cool and humidify naturally-ventilated spaces 10. Use the thermal unit concept to provide sources of cool air to buildings courtyards and to move air from low pressure to high pressure areas.

2

"Designing the AUC New Cairo: Architects Focus on Creating a Learning Community and Environmental Sustainability." The American University in Cairo. AUC. Web. 20 May 2011. <http://www.aucegypt.edu/newcairocampus/architects/Pages/default.aspx>.

However, in a building such as the PVA, where the courtyards could and should be used intensively within the art major concentration, we observe the exact opposite of these initiatives in terms of orientation, openings, greenery and water features: the serious of courtyards is totally enclosed by the building block, with the addition of doors and gateways minimizing the possibility of the formation of air currents within it. The

Partial shade All day shade Figure 41: Diagram showing the behavior of shade within the courtyards of the PVA

courts also strongly lack greenery and giving it a deserted and static (boring) feel, also the lack of water features within it oppose the architectsâ&#x20AC;&#x2122; statement regarding their design philosophy and their initiative to use water to cool and humidify air; all these design inconsideration worked against the enhancement of creativity of the users of the building. . However, the placement of the buildings surrounding the courts help in the casting of shade during the day on a big portion of the courtyard while allowing the sun to enter partially which could have helped in their usage (even though, as discussed, no real function or design was implemented

Figure 40: placement of the black theater and workshop blocking north direction

to enhance their usage or work to support the building functions or design keywords). On the other hand, the architect blocked the north and north east direction

(where the prevailing wind come from in Cairo) by the placement of the 3 story black box theater and 2 floors of workshop spaces which act as barrier for the wind minimizing the proenvironmental use of the courts by depriving them from air northern air drafts.

Throughout the building, exteriorly looking (facades) and interiorly, the architect was reluctant in using shading element other than the mashrabeya which was problematic due to the bad environmental quality they cause in orientations facing direct south or south east. The design places all classrooms of the PVA (visual and performing) as well as the staff offices in the south, southeast and southwest orientations giving them the

Figure 43: South facing classes and functional spaces

worst and non recommended orientations (this placement due to the need of placing the theaters, gallery and SCE in direct relation to the main plaza in the north, northeast direction of the PVA). A strong need to the addition of opening within the building block or the addition of air catchers to make the courtyards enhance the ventilation of the classrooms and offices arises due this complication in the placement of spaces around the building. Also the addition of a roof that is season adaptive and that allows for human control of environment inside these courts can add greatly to their value.

The building lacks the concept of air tunneling (the thermal unit concept) which is implanted only poorly in one of the secondary courtyards connecting between the SCE and the AUC research center. And the air is extracted from the southern faรงade making the Figure 42: thermal unit concept diagram

system not very efficient and barely functional.

The design continues the false and un-innovative concept of sealing air-conditioned spaces and the separation of ventilation and thermal control. The real initiative appears in the integration of the ventilation within the thermal control of rooms and spaces. This could have been remedied using a more complex and developed air conditioning system which adapts to the temperatures and weather conditions.

The architects tried to implement different environmental gadgets and design initiative through the PVA and all the campus, most being static system that allow for little or no human control at all. New sustainable concepts and theories state that a closed look between the environment and the building is not enough and that the human being has to be enclosed and an active member within this triangular relationship. Like a boat a human runs

Figure 44: 3-way relationship between building, environment and user

in his/her manner, the building should not only be dynamically responsive to the environment but also dynamically responsive, to a certain, degree to the human needs. This could be achieved by the addition of items that could add to the comfort and welcoming of the outdoor and indoor spaces. The roof proposal presented has mechanical responsive system to the environment (glass roof) that open and closes based on weather condition, the shading elements however, are simply manually maneuvered to fit the need of different users depending on weather on preferences.

Figure 45: Key

ZONE PLAN

Recommendations and design proposal 1. Making the wall more transparent with the addition of glass and more windows and

removing the stair in the faรงade: to become more appealing and interesting to help in reaching out.

Figure 46: real state of the wall

First attempt: (adding more

(no editing)

windows)

Figure 47: first attempt to add more openings to the wall

Regional Proposal: (adding a lot more openings with abstracted forms and removing the staircase)

Figure 48: sketch showing the addition of glass to the wall with more openness with abstraction surving both creativity and reaching out

The final proposal regarding the wall is render and is highlighted by the addition of more glass and openings to add even more transparency to the wall, this allows for the entrances and features of the PVA to be visible allowing for better reaching out to the users. The stairs are edited to be fine and have a floating sense not to block any entrance ways or view of openings.

Such stairs (being very fine and light) contrast the mass and the stone cladding on the curved wall mixing the modern technology without imposing or obstructing the regional aspects.

2. Observing the â&#x20AC;&#x2DC;Sharjah Art galleryâ&#x20AC;&#x2122;, we realize that the irregular octagonal form is not clearly visible for the users since it is engraved between the surrounding blocks. Its interesting geometric shape is hidden which takes away its distinction from the surrounding.

This is why the form needs to be freed from the rest of the

Figure 49: view of art gallery entrance where the octagonal is not visible clearly

surrounding blocks to make it once again interesting and therefore reaching out. This will be achieved by removing the storage room located behind the art gallery on the side of the courtyard. Another change must be applied to the art gallery being the treatment in terms of material use and decorative elements. This will add more to its distinctiveness and purpose of reaching out. It will also achieve the keyword of Creativity. The material suggested for the art gallery is stained glass with an abstracted Mashrabeya pattern while preserving the color scheme of the Ablaq stone work. By applying such change transparency is added to the gallery giving it even more importance and making it even more distinguished.

.

Figure 51: art gallery surrounding

BEFORE

editing

Figure 50: art gallery surrounding

AFTER editing

Figure 53: New material and pattern applied to the gallery in addition to the freeing of the form from neighboring block of theatre.

Figure 52: view of the gallery from behind the added glass panel on the curved wall

3. The removal the wall located between courtyard (A) behind the art gallery and the other courtyards. Also the removal of the rehearsal room located within the courtyard at the side of the theatre. The purpose behind these elimination processes is the clearance of the barrier blocks isolating and creating divisions between these outdoor

Figure 54: Wall dividing courts is REMOVED

spaces. These courtyards need to be strongly connected in order to achieve their purposes of interaction between students of different art concentration majors. In other words these spaces were created for the students to interact, share their ideas and broaden their understanding serving the keyword creativity. The removal of the rehearsal room has other advantages. Zoning wise the room stands no sense at all, it is the only room in this section of the PVA that is part of the performing arts, even though it is in direct relation to the main theatre but it is considered far away from the wing where all the performing arts studios stand.

Another reason why the rehearsal room was removed is that even after removing the wall it can be easily noticed that the opening is extremely tight. This affects the angle of vision between the courtyards and terraces. The removal of the room finally adds much more space for the creation of activities within the zone.

Figure 56: Wall

Figure 55: Wall

before applying changes of removal of entities.

after applying changes. Note the difference in openness and angle of view.

This courtyard (A) lies in the zone of visual arts zone of the PVA. It will be transformed to create an outdoor space for students of different art students to practice their artwork in an open-air atmosphere for better inspiration and clear achievement of the keyword â&#x20AC;&#x2DC;creativityâ&#x20AC;&#x2122;. The landscape will have elevated panels where the students could set up their

Figure 57: Courtyard as existing now with no real function and deserted

workspaces giving them both the personal space while allowing people surrounding them whether on the same floor or on higher floors in terraces and rooms to view them in action. In the middle of the space there will lay a free standing glass room to act as a center to the large outdoor workspace. This room could be a workspace where the instructor could instruct his students in a more private contained zone when in need. On the other hand direct visual contact would be made between everyone in this zone.

Figure 59: Courtyard

Figure 58: Courtyard

before editing

after editing showing all the added features

4. The courtyard will also serve another very important function, which is that it will act as a space for interaction between the AUC students and the students of the SCE (School of continuing education). As mentioned previously in the analysis, the SCE is a portion of the PVA working to achieve the keywords of REACHING OUT and FITTING IN. This will be achieved through the direct relation he SCE has to the courtyard (A). As we

Figure 60: The added terrace for visual connection between SCE and art courtyard

all know that art is a universal language which is why as editors of the PVA this connection of entities seems nothing but logical in order to encourage dialogue and furthermore interrelation between both the AUC students and the SCE students. Art is an added value that could help SCE students fit in while also becoming better-rounded serving the keyword of CREATIVITY. A terrace is suggested to be constructed in the first floor furthermore connecting the SCE large class room visually to the courtyard. The terrace will also enable the SCE students to view the socializing zone in courtyard (B) giving them a higher feeling of FITTING IN.

.

Figure 61: The direct connection between the SCE and the visual arts courtyard.

Figure 62: The created terraces overlooking the courtyard in plan. Note the angles of view

5. The creation of a terrace overlooking the art working space for outsiders (outside of the ID zone) to view the visual art courtyard. This gives them a sense of welcoming and reaching out as it invites the users of PVA into the actual PVA core which is not easily accessed except from the theatre entrances.

Figure 63: The created terrace for the visitors only accessed from theatre terrace to express creativity and reach out to the public

6. The octagonal shape (1) in-front of the theatre is removed, in order for the octagonal shaped units within the PVA to regain identity and importance, helping the building to reach out. Also another reason of this removal,

Figure 64: Example of a visual media area

was that this repetition of form confused the user, since it is not a unique form with its own function . This unit is replaced by an outdoor media exhibition area (2) , in which media tools, such as banners, screens, pictures and many other similar tools, are used to reach out to the outer community. These tools will be used for Showcasing all the activities taking place within the PVA, which are visual and performing arts. This also serves the keyword creativity of the PVA, by reaching out to the outer spaces using creative ideas.

Figure 66: Form of the seating area in front of the black box theater

Figure 65: Media exhibition area placed and a change in form implemented to

BEFORE changing

enhance reaching out

7. In response to the request of all users of the PVA, was to add a catering source in one of the deserted courtyards. But for the lack of space, the two rooms were removed to create enough space for a cafe to be there. This will attract users to use the courtyard and share creative ideas together. This will also increase interaction between users, therefore improving the interrelation in the PVA. Replacing this catering source by these two specific rooms (3) is because of their central location in the courtyard. Being right at the center, increases the rate of interaction and this particular area of the courtyard offers to the users the needed space for socializing.

Figure 68: view of the building block

Figure 67:

before editing

Adding a food outlet in the courtyard serving the PVA students

8. There will be a stage added on the elevated part (4) of the theatre courtyard (courtyard "C") , for live performances of students. The main purpose of this creative idea to use the courtyard, is to reach out to the users and for direct interaction. This will also encourage the students to sit in the PVA courtyards, instead of just passing by.

Respecting the zone division of the PVA, the rehearsal room is moved to be right behind the stage, instead of on one of the storage rooms, to be in direct contact with the performers on stage. What will offer this direct visual contact between the users of the rehearsal room and the performers on stage, is the translucent glass material used, instead of a totally blocked wall, which acts as a barrier.

Figure 70: Courtyard in the current state being empty and with no identity

Figure 69: Courtyard

transformed into an open air theater to enhance the keyword creativity within the PVA

9. This shaded empty space (5) is completely useless. The pergola is supported on numerous pillars, in which the distance between each one and the other is no more than 80 cm. So, in order to make use of this room, it will be enclosed and used as a practice room for performers. This room is in direct visual contact with the theatre and the live performances in the theatre courtyard (Courtyard "C"). This will increase interaction and interrelation within the PVA.

Figure 71: The view of the outdoor space now with endless number of poles for pergola, abstracting function and now allowing for interconnecting and over viewing the courtyard space

BEFORE

Figure 72: removing the wood pergola and adding an indoor open space that overlooks the open theater.

AFTER

10. For the two main courtyards whose functions are changed, one becoming an outdoor theater and the other an outdoor workshop, a proposal for a double skinned roof (double roofing) should be placed to offer maximum adaptation to the environment and the needs of different activities of the PVA. The courtyard will enclose activities such as, drawing, sculpturing, student gallery, informal workshops, as well as theatrical, dancing and musical activities. The first layer above the court will be an innovative shading element using cloth or PVC fabrics these will be humanly maneuvered and controlled using simple mechanical systems giving the students and staff a first layer of environmental control over the used outdoor spaces. After that a layer of electronically weather sensitive mechanical glass roof will be added: this layer will function to shelter the space from rain as well as mange using green house or ventilation to keep the court within the comfort zone range almost continuously.

Figure 73: A cross section showing the roof proposed with pictures to help visualize the concept and the atmosphere created in the courtyard after its addition,

Figure 74: Final Edited Plan of ground floor plan

Figure 75:: Final Edited Plan of First floor plan

Conclusion The building has direct copy-paste with some visual /conceptual abstracts from the Mamluk era as well as other architects from the modern movement (e.g. Mahmmad Makiya and Mies Van Der Rohe.) The Mamluk inspiration came from mosques and madrassa such as Baybars, Baybars al Ghashkikir, Sultan Qalawun and Qaytbay. The decorative water systems was also historically derived from the Al Hambra Spain and continues the Islamic theme used throughout the PVA and AUC campus.

The building’s keywords are creativity, reaching out and dominance, as for the school of continuing education it’s fitting in. The PVA reaches out to the community through the proposed transparent curved wall, communicating with the public. It also reaches out to its performing and visual arts community through the flexibly interactive courtyards presented earlier in this article. The PVA’s needs to be a creativity industry to its students; there are two levels for which this has been achieved the first level is the uniting of the different art majors to allow for the birth of creative spirits shared between students. The second level is the connection between the outside community and the PVA with leads to outside opinion being of creative input to the building and its students. This also submerges both communities of the SCE and PVA’s students. The PVA is the architect’s tool of reaching out to the community and reflecting AUC’s dominant mission of education within society. The PVA communicates with Egypt’s society in that it delivers a green message, one that is most needed with the architectural development of Egypt: sustainable architecture. The building is a Skip deep regional with some attempts of conceptual abstraction and holds some regional elements with the building’s structure such as the courtyards that are used within the same context.

The orientation is attempted through a design by accretion vitalizing the importance of the curved wall. The curved wall is the tool of grabbing the attention of the visitors, which overcame the transparency and reaching out keywords that should have been imbedded with the wall. The architect failed to use the terrace in the first floor as a connection between the PVA user and the community by making the mashrabiya not too transparent.

The design of the building does not include any specially spectacular design modules that reflects the function of the building (center of the arts), instead the architect decided to continue the same decorative motifs found all over campus mono-toning the arts center with the different other buildings of the AUC campus. The architect chose interesting architectural forms (such as the octagonal) but he jeopardized his mission to clearly reach out to the public by the repetition of the form with no relation to the function.

The courtyards used in the building were a non-skin deep regional aspect of the building however their implementation can be considered copy-paste; as the courtyards are still used for circulation (poor with limited access) related to the functions of the PVA. The courtyards proposals portray treatments to better make use of their spaces and to give a critical regional needed value to the building. The art gallery courtyard was redesigned in a sense so that it becomes an outdoor workspace for the visual art students. Elevated platforms were haphazardly distributed such that they act as personal work spaces for individual artists to practice art in front of peer audience. A glass outdoor workshop was created to act as the center of the student platforms along with their instructors giving them an enclosed space where they can be of assistance when needed. Terraces have added to provide the students with a fraternity feel for the courtyard.

The theatre courtyard has been modified to be an area to increase the communication between performing arts students and students from other departments. The already elevated steps of the courtyard were used as an experimental stage for the performers. There was an edit in plan to cater the PVA by placing a snacks outlet in the theatre courtyard complementing the sitting areas for audiences to the performing stage.

These courtyards do not have access to any prevailing wind minimizing its environmental sustainability. In general there is an absence of the thermal unit concept only partially existing in a secondary courtyard with air being extracted from the south direction. The design continues the false an un-innovative concept of dealing air-conditioned spaces and the separation of ventilation and thermal control. Based on new regional theories the interaction

between the user and the building and the environment is a must to make the building not only adapt to weather or environment (surrounding) but also to the different human needs.

Adhering to Cairoâ&#x20AC;&#x2122;s climate, the PVA attempted to achieve partial sustainability within its design. The form of the building helps in creating different shadowed areas within the courtyards (At different parts of the sun exposure.) A Major draw-back is the placement of classes being exposed in the south and the blocking of the North wind by the placement of higher building blocks in the north direction. The remodeled PVA deals with critical regionalism and deals with every regional aspect of the courtyards , plans and walls making logical solutions that were based on direct user input from the PVA.

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Boston Design Collaborative. Approach to the Master Plan/urban Design of the American Univeristy in Cairo Colquhoun, Alan. Modernity and the Classical Tradition: Architectural Essays, 1980-1987.

Cambridge, MA: MIT, 1989. Print.

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Appendices User experience and input Sample Name: Title: Office #: 1) How do you use the courtyards in the PVA? And which one is most used?

2) If you could change the function of one or all of them what would you with the courtyard?

3) How do you see the connection between the PVA and the SCE (school of continuing education) and would you mind interacting with students from the SCE? 4) If you don’t mind interacting with SCE students where should it happen?

Analysis The survey constructed asked four questions: 1) How do you use the courtyards in the PVA? And which one is most used?

2) If you could change the function of one or all of them what would you with the courtyard?

3) How do you see the connection between the PVA and the SCE (school of continuing education) and would you mind interacting with students from the SCE? 4) If you don’t mind interacting with SCE students where should it happen?

The first question was answered mostly by PVA students, as they use the courtyard to hang out before and after classes and the main hanging out happens in the main courtyard. Others shared their neglect to the courtyards in the PVA, as the light is usually too strong, or the place is too isolated even from a near water fountain, as well as a very difficult accessibility to the courtyards. Very little students mentioned the courtyard as a working space; it’s usually just a forced space for meeting their classmates before a studio class. Thus the courtyards are only used for socializing.

The second question was answered in a very productive and useful manner to the proposals done in the PVA. Students in general ask for more shading devices and to have better furniture, and more trees for a cooling air effect as well as shade. Others have suggested a cafeteria because itâ&#x20AC;&#x2122;s actually a 15 minute walk to the nearest quick for a bottle of water. Other suggesting included a music corner and or theatre for students to practice while waiting for classes as well as sharing their input- from each other- and therefore increasing their creativity.

Most students and professors that filled the survey shared their concern for the terrible connection between the PVA and the School of continuing education and most of them do not mind interacting with students from the SCE and realize that they are like any other student of the AUC community and should be treated as such; i.e. they should fit in and their fitting in should be planned through university philosophy.

Figure 76: Interesting filled survey

Plans

Figure 77: Ground Floor Plan

Figure 78: First Floor Plan

Figure 79: Second Floor Plan

Figure 80: Main Faรงade (North)

Figure 81 Southwest (back elevation)

Figure 82: section through theater and classes

Initial Form

1.

Classes 2. Classes 3.Theater

4. Great curved wall (main faรงade) 5. Art Gallery 6. Classes 7. Secondary Theater