Forked Network -shebak-Cultural and Crafts Center ( Graduation Project Thesis)

CAIRO UNIVERSITY FACULTY OF ENGINEERING ARCHITECTURE DEPARTMENT Graduation Project Thesis

Forked Network

crafts center

Diverse People Reunification

Presented By:

Nada Yasser Sakr Presented To: Prof. Dr. Aly Hatem Gabr Dr. Menna Elhusseiny Eng. Mohammed Atef Eng. Shahira Elhosary Eng. Omar Aboulnaga

Graduation project thesis

May, 2020

Table of Contents: TABLE OF CONTENTS ........................................................................................... 1 LIST OF FIGURES ................................................................................................. 2 1.0 INTRODUCTION ........................................................................................ 3 1.01 Media Architecture .................................................................................... 3 1.01.01 MEDIA ARCHITECTURE BIENNALE (MAB) ......................................... 4 1.01.02 Media architecture examples ............................................................. 4 1.02 Project Theme ......................................................................................... 7 1.03 Brief of the project ................................................................................... 9 1.04 Problem Definition ...................................................................................10 1.05 Hypothesis ..............................................................................................10 1.06 Objectives ...............................................................................................11 1.07 Methodology/Frame work ........................................................................12 2.0 SITE ANALYSIS .........................................................................................13 2.01 The Site ..................................................................................................13 2.02 Historical Brief ..........................................................................................13 2.03 Site Changes ..........................................................................................15 2.04 Site Potentials .........................................................................................16 3.0 APPLICATION .............................................................................................17 3.01 Project Concept .......................................................................................17 3.02 Project Typology ......................................................................................18 3.03 Project Program ......................................................................................18 3.04 Project Scenario ......................................................................................19 3.04 Elevations Treatment ...............................................................................20 3.04 Massing ..................................................................................................20 3.04 Zoning ....................................................................................................21 4.0 CONCLUSION .............................................................................................21 5.0 REFRENCES ...............................................................................................22

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List of Figures:

Page

Sources

Fig (1) artistic animations display……………………………………………….......5

mediaarchitecture.org

Fig (2) transparent glass display panels…………………………………………....5

mediaarchitecture.org

Fig (3) Red and blue Waves sent by the building ……………………..……….6

mediaarchitecture.org

Fig (4) Floating Virtual landscape……………………………….…………………….6

mediaarchitecture.org

Fig (5) Le Corbusier Parisian Villas…………………………………………….……..8

noticias.arq.com.mx/Detalles

Fig (6) shows the methodology of graduation project……..…..………..…12

Researcher

Fig (7) shows Azbakeya District……………………………..……………….…..…13

Google Maps

Fig (8) shows the project site…………………………………………………………13

Google Maps

Fig (9) shows the old lake………………………………………………..…..…….…13

Cairo.gov.eg

Fig (10) shows the palace beside the lake …………………………...…………14

Cairo.gov.eg

Fig (11) shows the re-planned Azbakeya square …………….………...……14

www.almasryalyoum.com/

Fig (12) shows Azbakeya Garden ………………………………..…………..…...14

ahramalyoum.com/

Fig (13) shows first Opera House ………………………………………………..…14

www.almasryalyoum.com/

Fig (14) shows Azbakeya Theatre…………………………………………….…....15

ar.wikipedia.org

Fig (15) shows fire deterioration……………………………………..………...…..15

almanassa.com

Fig (16) shows the social change of downtown Cairo ……………….….….16

Recycling

the

identity

Egypt, AUC research Fig (17) shows the diversity of materials in Attaba ……………………..…..17

almasryalyoum.com

Fig (18) how youth exploit it in modern way influenced by culture ...…17

artjameel.org, Google

Fig (19) shows conceptual abstraction………………………………………..…..17

Researcher

Fig (20) Project Keywords …………………………………………………….……...17

Researcher

Fig (21) shows Cultural arm spaces …………………………….…….………….18

Researcher

Fig (22) shows innovation arm spaces …………………………….……..……..19

Researcher

Fig (23) shows the Entry level plan of the project ………………….….…...19

Researcher

Fig (24) shows skins and perforated sheets used in the project ….……20

Researcher

Fig (25) shows the form generation …………………………………….…..……20

Researcher

Fig (26) shows the 3D zoning …………………….……………………..…….……21

Researcher

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INTRODUCTION The architectural discourses generally start from the contemporary society

premises. It reflects the society that we live in, as well as the communicational society, architecture has to meet the society’s requests -The subject of architecture for the community-. Believing that the expression of contemporary civilized society and the architecture that represents it, found its sources in the life of the communities and in the established relations between their members. It reflects the state of society, governing policies, but without the community component, it remains unsustainable.

The architecture is in a permanent interdependency with the community which represents the deep layer of the society, the spirituality, and their values.

Media reflects society because it shows us what is important to people. Media reports what they think people want to hear about. Media holders will give the audience what they want to see or hear, and they will try to make news as entertaining as possible in order to survive the intensely competitive environment in the present.

Therefore, media acts as a mirror, showing us the good and bad of what we are.

1.01 Media Architecture

Media is an intermediary tool that disseminates information in form of press, radio, television, or other means. Development and innovation in media technology, information is communicated in various ways and at different scales. Media Architecture refers to structures that incorporate media -in any form- to facilitate communication with the public. It is an emerging field that continues to evolve as technology.advances.

Media architecture within urban spaces such as large-scale media walls, building facades and art installations are increasingly being installed throughout cities.

The digital media content displayed on such media architecture can vary from advertisements to digital designs to data-driven visualization. Digital media content has a unique ability to inform, entertain and promote interactions among the audience; it is intended to cause societal impact by conveying a deeper narrative and resonating with

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the audience. As James Berrett - Department of Communication Design and Digital Media Design, Swinburne University of Technology, Melbourne, Victoria, Australiastated "Media architecture: Content with purpose for the public”

1.01.01 MEDIA ARCHITECTURE BIENNALE (MAB)

MEDIA ARCHITECTURE BIENNALE Media Architecture Biennale (MAB) is a biannual conference exploring the developing of media architecture including façades, projection mapping, urban screens, and temporary spatial media installations which is held every two years.

MAB defines five main types of media architecture: 

"Money" and entertainment architecture: Projects focuses on buildings that are closely related to business, finance, retail, and entertainment.



Animated architecture: Projects demonstrating creative media façade solutions.



Infrastructure and participatory architecture: Interactive media projects that enable local community engagement.



Spatial media art: Projects produced in an artistic context, mostly nonpermanent movable installations with an innovative form of spatial interaction and/or perception of space.



Future Trends and Prototypes: innovative solutions like three-dimensional displays, kinetic façades, OLEDs (organic light-emitting diodes) or even robotic

elements

that

define

the

future

of

media

architecture.

1.01.02 Media architecture examples

Money and entertainment architecture: Building façades in this category are covered by LED advertisement boards. Images on building surfaces may be designed to attract people and advertise brands and products, or to represent the power of an institution, as in the case of banks for Example: Project: KLUBHAUS ST. PAULI Location: Hamburg, Germany

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Year: 2015 Manufacturer: Only glass (Media Tech.)

Program: Night Club, Music Venue, Theaters and Offices in Hamburg, Germany.

Fig (1) artistic animations display

Fig (2) transparent glass display panels

The project has installed the only glass first large-scale prototype of their novel transparent display panels on Klubhaus St. Pauli, which is a center for music and entertainment. The façade includes RGB panels, high-resolution media mesh, and high-resolution displays. The panels are composed of strips of carefully aligned LEDs sandwiched between two layers of insulating glass. The media layer is broken up by various functional programs (club balcony, rooftop patio, and elevator). The use of glass allows a high degree of transparency from both the inside and outside of the building. The core visuals are a set of artistic animations designed to reinforce the building’s identity. Although advertisements are also displayed, the comprehensive design requirements ensure high aesthetic quality and optimum representation of the digital content. The display also encourages an urban dialogue between the public and those with messages to convey. Several campaigns incorporating user-generated content have been featured.

Participatory architecture: Interactive media projects that enable local community engagement. Architecture refers to structures that support the development of sustainable social buildings.

Neighborhood screens for sharing cars, tools, rooms, or offering local services like learning. Hybrid systems that combine digital and social components are extremely sought-after.

Project: I N T H E AI R , T O N I G H T Location: Toronto, Canada Year: 2014 Designer: Public Visualization Studio

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Programs: Media Installation

Fig (3) Red and blue Waves sent by the building

In The Air, Tonight was a temporary media installation applied to the façade of Ryerson Image Arts Centre in Toronto in 2014. A programmable low-resolution media façade was animated every night by blue waves representing local wind speed and direction, along

with

a

red

pulse

triggered

by

the

hashtag

#homelessness

on

Twitter.This installation takes advantage of media design to dramatize a significant discussion and conversation about homelessness.

Spatial media art: Projects produced in an artistic context, mostly non-permanent movable installations with an innovative form of spatial interaction and/or perception of space. These projects are produced in an artistic context at the intersection of architecture and media art. The experiment with spatial interaction and the perception of space, are mostly non-permanent movable installations.

Project: WATERLICHT Location: Amsterdam, Netherlands Year: 2015 Designer: Studio Roosegaarde Program: Virtual Landscape

Fig (4) Floating Virtual landscape

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Created for Dutch District Water Board Rijn & Ijssel, Museum plein as a site-specific art piece, Waterlicht is a digital landscape that demonstrates the strength and poetry of the water. Installed in Amsterdam in 2015, a projected illumination simulates the rising sea levels that may be reached as a result of global warming. A combination of LEDs and lasers create the sensation of being underwater. The layer of light is ever changing, influenced by wind and rain.

Creator Studio Roosegaarde is known for its projects combining technology and art in urban environments. Some are purely ornamental while others are designed to raise awareness or make a point about a certain topic.

1.02

Project Theme :

Nowadays Pluralism is taking place in every single detail in our lives and this is reflected in many disciplines, it involves a diversity of different ideas or people. A pluralistic society is a diverse one, where the people in it believe all kinds of different things and tolerate each other’s beliefs even when they do not match their own.

Pluralism denotes a diversity of views or stands rather than a single approach or method.

Pluralism can be manifested in many forms, and materials, that are evolving in contemporary society, which makes it a necessity to be discussed and represented in architecture. Pluralism is not inherently a naive paradigm for one-to-one translation into collage-like formwork or color composition, much more; it is becoming an existential separation between the individual and the whole, allowing the disbursement of controlled subjectivity and thus the desire for infinite difference and variations.

Modern architecture has been facing important challenges imposed in many fields by changes that occur internationally, especially in terms of architecture. The effect of these changes on the visual appearance of the city has been evident, with everything this entails in terms of formation and architectural samples.

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This was due to a group of internal and external effects, which contributed to accelerating the spread of intellectual theoretical movements, and new architectural philosophies that differed in how they responded to local data.

In Keith Bradley “Senior Partner” he discusses the perceived variety in our architecture in relation to a set of pluralistic core values: “As architects who produce responsive design, unique to the brief and the site, we often discuss the nature of the resulting 'pluralism' of our work.” In addition, the word 'pluralism' applied to architecture was probably first used by Christian Norberg Schulz in his seminal book 'Meaning in Western Architecture', first published in 1974. He said that this pluralism started from a growing philosophy in the West after the world wars that resulted in a lost belief in global solutions, translated into architecture this meant doubting the emergence of what became known as the 'international style' within the broader base of the 'modern movement'.

The shift from the early 'white architecture' to the more organic and tectonic works of the 1950s by Le Corbusier, influenced by the art movements of De Stijl and Cubism, was seen as a landmark for a more pluralistic language. Moving from the purist forms of the early Parisian Villas (Roche, Savoye, etc...) of early 1930's to the raw textured work of Maison Jaoul (1955) in the nearby suburb of Neuilly, exemplified a new contextual modernism, with a reinterpretation of the classic Cistercian assembly of cloister, chapel and cell, Corb 's contemporary projects such as the Monastery in La Tourette continued this change towards a more concrete project response, turning inside out on a steeply sloping site to create a new typology of form and spatial series.

Fig (5) Le Corbusier Parisian Villas

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These new emerging sensibilities, along with the early work of the Scandinavian moderns like Aalto, broke CIAM (International Congresses of Modern Architecture) in 1958, which had a dogmatic hold on the language of modernism. Out of this split emerged a new generation of modernists, supported by Le Corbusier. It included architects such as the Smithsons, Van Eyck and De Carlo who founded Team 10, a loose association that carried on the tradition of human modernism, and therefore the values of pluralism.

In the Smithson’s 1982 book 'The Shift', they describe a 'tradition' that started in the 17th Century. They stated that, “Concerning the future, only one thing is certain; that the tree of enquiry has well established roots reaching into new ground with each turn of the seasons, the trunk sturdy enough to support much new growth at its head”.

This is the tradition practiced, the project is approached as a work of enquiry and, informed by the dual forces of the brief and site, we ask “what does the work wants to be?” there is no predetermined language of form or material, but a sensibility and sensitivity to context and use. Underlying the diversity found in our work is a collection of pluralistic core values. Not a symptom of ambiguity or multiple confusion, but a deliverance from preconceived notions, which destroys true invention. If this step and approach was right, a work that continues our tradition of modernism is created, imbued with what Lethaby described as “freedom, confidence and light “- so that beauty flows through the soul like a breeze.

1.03

Brief of the project

Upgrading Downtown Cairo “Attaba” through exploiting the social participation and community engagement to reuse the commercial theme of the area, to be a new minaret and a hub for business startups. Supported by the already existing potentials in the district from multiple administrative service offices, as well as the high consumerism tendency of the district.

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1.04

Problem Definition

After studying the society of Downtown the problem was that the local people has abandoned their pride in the heritage and culture of the place, the craft industry is largely abandoned and withdrew. There’s a need from the city to enhance the culture and heritage in the people’s thoughts and believes.

In addition, there is a high

unemployment rate among youth and a lack of basic knowledge about traditional crafts and industries. Therefore, the idea and purpose of the project is to collect the diverse opinions of the people and their aspires and dreams having a job or their own business, hoping to create a platform for small entrepreneurs from Egyptian youth, influenced by heritage and culture to revive their pride and to provide awareness and knowledge about the memory of the place for the locals as well as foreigner visitors.

1.05

Hypothesis Cairo Downtown has been a cultural hub between the east and the west of Cairo

since its establishment, as well as being a daily and frequent destination to local visitors. Therefore, the mission is to empower the place by using its memory to create a new landmark and a new business start-up platform to gather people from different backgrounds by providing knowledge, technology and training to create a product that can compete in the global market and be influenced by our cultural diversity. That makes the project generated from its own site potentials. To respond to the specific urban and natural environment in the future, we use the context by re-injecting local genes in the project, so it can be defined as an added meaning to the various parts of the project in reference to its wider surroundings. With inserting all the previously mentioned elements, the project is trying to provide a link between the local culture and the community members in their different backgrounds.

It tackles their social engagement influenced by the heritage and the culture of the place, to create a product that could compete in the global market. Aiming to revive the cultural spirit in the youth, as well as making a landmark that raises the value of that place.

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Objectives

-Empowering youth by teaching them to design and manufacture traditional handicrafts.

-Introducing our Egyptian culture, heritage and historical importance through lectures, seminars, exhibitions and handcrafted workshops.

-Taking inspiration from profoundly rooted contextual ethics - Raise awareness of the memory of the place through the provision of information, such as libraries.

- Providing local craftspeople with a place where they can share ideas, teach, learn and sell their work directly to customers.

-Making a new landmark gathering people from different cultures & backgrounds -Using technology in learning, educational methods and implementation -Seeking help from international development organizations to teach making the crafts and the way of marketing on a local and global level -Collaborate with NGOs to fund the youth and encourage them to market their products -Seeking to elevate them culturally and economically and raise their public awareness.

-Encouraging dropouts from education to take up a Craftsmanship educational experience -Cultural area revitalization to preserve the identity and memory of the place.

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Methodology/Frame work

The thesis will go through our general reading in Media Architecture and how the latest technologies affect architecture and consequently affects the people which the architecture aims to provide with their needs in the pluralism and diversity era taken into consideration some case studies with similar methods-. This is confirmed by projection on our site visit and studies that helps to see the changes happened to people and urban, leading to predict what the site would need at the moment and in future. The thesis then continues to put a sufficient suitable space program to fulfil the different typologies of the project, and then begin the stage of massing and zoning influenced by the concept which is generated by the context itself. The thesis aims to reflect this concept on every detail from the exterior to the interiors reaching the final project, achieving all the objectives mandated in the thesis.

Fig (6) shows the methodology of graduation project

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2.0

SITE ANALYSIS 2.01 The Site

The chosen site is located in Uzbakeya, which is one of the central districts of Downtown Cairo. Ramses Street northerly till Abdeen district at its southern edge and facing downtown and El-Gamalia from west and east respectively. It has the spirit of the historic Cairo with its memorial buildings, streets, and urban

Fig (7) shows Azbakeya District

fabric. The site was chosen because it is a mixture of the old khedivial Cairo, with its richness of culture and heritage and being the most vital local commercial market in Downtown Cairo and the meeting point for many people from different cultures. It contains multiple cultures and it has been a cultural hub gathering diversity in many ways.

Fig (8) shows the project site

2.02 Historical Brief - Late 14th century Uzbakeya name dates back to the late fourteenth century during the rule of the Mamelukes state, when Sultan Qaytbay gave the reward of his chief of the Atabic armies, Saif Al-din Ibn Azbek, a plot of land in the direction of batn el Bakra Lake, which was then a barren land.

- In the 15 th Century, he brought water to it from the Nasser Canal and constructed along with it a pavement of stones for people to take a walkway, and set up a wonderful park around the lake bearing his name, and established the Great Mosque and then he established the buildings, the quarters and the baths around Fig (9) shows the old lake the mosque. When the Nile rises, the dam that opens at the entrance to the lake on the Gulf of Nazareth opens, and the water

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rushes to it. By 1495, Azbakeya had turned into a large neighborhood in the middle of Cairo.

- Uzbakeya in Ottomanian era, After the entry of the Ottomans into Egypt in 1517 AD, Radwan Katkhuda in Azbakeya built a large palace on the edge of the eastern Azbakeya lake, and called it "Al-Attaba el zarkaa" because its gate that led to Al-Azhar Street was blue, in addition to the presence of blue tiles above its Fig (10) shows the palace beside the lake

threshold.

- In Mohamed Ali era, on the afternoon of May 13, 1805 AD, the people of Cairo came out from the Uzbakeya square, calling for the pledge of allegiance to Muhammad Ali as Egyptian emir, instead of the Ottoman rule endured by the Egyptian people.

- In Khedive Ismail era, Khedive Ismail is the modern founder of Azbakeya, when he returned in 1867 AD from his visit to the Paris Exhibition impressed by modern Paris, So he went to Azbakeya to be similar to it, and he re-planned the Azbakeya square. The name of the “al attaba elzarkaa” Palace built by Fig (11) The re-planned Azbakeya square

“Radwan Katkhuda” was called on the half of the square, and

The other half was named after the “Azbek Square”, but this palace did not remain the same.

- In the era of Khedive Abbas I, the palace was demolished and rebuilt again under the name of “El-attaba El-khadraa”.

- In 1872 AD, the Azbakeya Garden was built by the French engineer, "Barrell Deschank Bey", on an area of 18 acres surrounded by a steel fence and opened doors from four sides.

Many official and popular celebrations were held in the park for foreigners and Egyptians.

Fig (12) shows Azbakeya Garden

- In 1869, Egypt's first Opera House officially opened during the reign of Khedive Ismail. Designed by Italian architect Pietro Avoscani, the Khedivial Opera House was opened on the inauguration

of

the

Suez

Canal.

The

old Opera house was located in the Azbakeya district in

central

Cairo, also Khedive Ismail

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Fig (13) shows first Opera House

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held two theaters at the southern end of Azbakeya, the national theatre and the French Comedy Theater on 1868 AD under the administration of Khawaja Mansi.

Fig (14) shows Azbakeya Theatre

- In 1952 AD, After the Cairo fire that occurred on January 26, many changes were made to the Azbakeya Square. The offices of the airlines that were located in the Shepherd Hotel, which was completely destroyed in the fire, were transferred to Tahrir Square, and the Azbakeya Square itself, with its huge area, was divided into four places

Fig (15) shows fire deterioration

2.03 Site Changes

The social change occurred after the revolution of 1952, many high-income groups started to leavee, either by losing their property or their property has gradually been replaced by social groups of lower-income. Resulting in accentuates deterioration of some buildings and the area as they changed its use and function.

In the past fifty years, Downtown has changed its appearance greatly. It is now a reflection of ongoing transformations and the city‘s social-cultural and economic shifts.

The trend of decentralization resulted in many important cultural, governmental, educational functions leaving Downtown. However, there is recent revival interest in the old central 19th-century core as Cairene's are searching for a new identity.

Cairo today is witnessing the trend of commercial and economic decentralization.

Downtown is also losing its role as a cultural and touristic center of the city with the moving of the Egyptian Museum to the Pyramids Area, the Campus of the American University in Cairo was also moved to the periphery and there are some plans to move the Stock Exchange and Mogamma buildings. Downtown, today is a contested and diverse place, between the rich and the poor. As downtown has lost its aesthetic quality and attractiveness as a place to live, it is thus transformed today in something like a central circulation area. As some important functions are leaving downtown, will Downtown have a possibility to become a cultural, economical, political city center again or will it barely stay a domain for circulation?

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Downtown with its belle-époque building stock and central location along the Nile has a huge potential to recover and become a central place for recreational, culture, and entertainment.

Fig (16) shows the social change of downtown Cairo

2.04 Site Potentials

Crafts and manual arts are a part of inherited heritage for all people to express their social identity, after the technological advances that we have these days a lot of handicrafts disappeared with its makers and teachers. The idea of school for arts and crafts is to revive the traditional crafts and arts to protect it from extinction.

Downtown Cairo -especially Attaba- land is used in a different types of mixed uses such as: commercials and its storages, administrative offices and services. This high frequency of mixed uses is referred to as a high land value of this district. The site is full of street vendors occupies all surrounding areas including the squares and monumental facades, there are diversity and categorization in the sold products, which make the way for showcasing their goods.

Walking through these different categories, we found some material poles in our area which would be a push for reviving our traditional crafts in a modern way using new technologies in design, manufacturing and marketing. And those poles are:

A.Haret El Mezin, Attaba: The alley is very narrow streets with many "haberdashery" stores, where you can find a different cheap material to be used in handmade accessories manufacturing as metal wires, beads, chains …. Etc.

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B.El-Azhar Fabric Market: The market is distinguished by a wide sector of fabrics that includes all raw materials and colors and is devoted to all purposes used in the garment industry in all colors, materials, imported and local tastes.

C.Attaba wooden workshops: The market has a different type of wooden sheets with a different thickness and properties.

Fig (17) shows the diversity of materials in Attaba

Fig (18) shows how youth exploit it in modern way influenced by culture

3.0

APPLICATION 3.01 Project Concept My project is a FORKED NETWORK that tackles the DIVERSITY of culture and

tradition, through BREAKING the Social BARRIERS of the community and exploiting the HIDDEN potentials.

Fig (19) shows conceptual abstraction

Fig (20) Project Keywords

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3.02 Project Typology

The project chosen is an educational and innovative platform that encourages young people to know and rebrand their culture in a new way to be proud of their unique, diverse identity. It also helps them by supporting potentials & operating startups by offering them training programs to empower their operational skills for smoother business management. Helping to make a new landmark for Downtown, influenced by the context environmentally and socially. The project ought to be successful through creating opportunities for interaction between different users’ backgrounds and merging the forked arms between people with heritage and culture.

3.03 Project Program

The project has two main arms: A. Cultural Part: It contains art crafts arm workshops, experimental workshops, classes and galleries to display the outcome of the workshops.

It

also

contains

digital

facilities as fabrication lab, 3D printing room, laser cutting room and computer labs, and a library that provides cultural knowledge, along with a children creation zone. Moreover, it contains an exhibition department that contains galleries to display the culture and heritage of the different traditional industries and how it was before.

Fig (21) shows Cultural arm spaces

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B. Innovation Part: On the other hand, the second main arm is a startup incubator and supporting center through business expos, different types and sizes of incubator and open co-working spaces. In addition to marketing center and a place to support NGOs offices, taking in consideration the 25% for services and Fig (22) shows innovation arm spaces

circulation.

3.04 Project Scenario

Visitors of the project would either be craftsmen, students, members, staff members, workers or public visitors coming to get products or going to galleries. Thus, it was very important that commercial part -that major visitors would come for - to be exposed to the original commercial area which would push craftsmen and students forward to be a part of the process. In addition, it would connect between educational and production commercial parts, so the customer of today would seek for learning a craft looking for being an entrepreneur in this industry one day, taking advantage of the project services.

While other users would target to go through the Cultural and documentary museum business part which generates the highest income for the project, therefore, it was a must to create this other entrance to face the statue and the opera square.

In workshops, supervisors need to keep an eye on other craftsmen, in addition, to designers to learn more and improve their level of creativity: consequently, the partitions which separate between workshops of the same field is transparent, it’s an all exposed to the gallery through the main court or the upper voids. In the educational part, students would have a wide and open space, which have a modern architecture character as a mass and have a unique experience to interact with each other. .

Fig (23) shows the Entry level plan of the project

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3.05 Elevations Treatment

It was necessary to add identifiable treatment to the project, that is influenced by the context especially Azbakeya garden that has an inspirable spirt giving shapes and patterns. The pattern and skin that is used in elevation is integrated with curtain walls in a monochrome light color (greyish, and white) which is used to respect other diverse identities in the context without being odd. It was the use of different kinds of materials (metal sheets, concrete & Glass) to create skins that would be suitable to the context.

Fig (24) shows skins and perforated sheets used in the project

3.06 Massing

The massing of the project is unique and different, as it starts with a simple pure rectangles masses and then by the effect of the urban fabric of Attaba and Downtown- Cairo, it becomes linear strips that differ in scale, height, form and function and then these masses begin to fork from and to the main mass, leaving some open courts and atriums to make the building breath as its hidden spaces, reaching a spinal forked mass which -mainly- overlooking Attaba square and Opera Square, using the contrast between solid and void to form up the masses of the project. To finally achieve the masses that confirm the concept of” Forked Network” that appear in the final form of the project.

Fig (25) shows the form generation

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3.07 Zoning

The indoor and outdoor market is on the Attaba side to accessible by the public, also the linked function as the workshops and galleries are either connected vertically or through courts enriching the visitor’s visual and spatial experience.

Fig (26) shows the 3D zoning

4.0

CONCLUSION

All in all, this project is meant to be a recall to all different people -young, old or even children- to our culture and rich heritage in different industries and crafts. It is an educational platform for our traditional crafts and industry that would be abandoned and forgotten if we didn't give it attention and be keen to its revival, adding the latest layer of technology and creativity on our inheritance historical layers.

The project calls to join the forked arms of the society as weaving yarn giving a harmonized piece of art. Giving the helping hand to the youth to be the entrepreneurs of the future in a field related to their identity and culture making the, proud of it.

Supporting the small startups to go through the global market and achieve their dreams.

This approach had a systematic process that started from the form generation that was a result of context influence, to the layer of zoning, facade treatments, interiors and landscape.

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5.0 

May, 2020

REFRENCES Grigorescu, Mihaela Zamfir. “A BRIEF INTRODUCTION TO COMMUNITY ARCHITECTURE CONCEPT -FROM BELIEVING TO REALITY,” March 2015. https://www.researchgate.net/publication/278671901_A_BRIEF_INTRODUCTION_T O_COMMUNITY_ARCHITECTURE_CONCEPT_-FROM_BELIEVING_TO_REALITY. , 22 April 2020.

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Berrett, James, et al. “Media Architecture: Content with Purpose for the Public.”

Media Architecture | Proceedings of the 4th Media Architecture Biennale Conference, 1 Nov. 2018, dl.acm.org/doi/10.1145/3284389.3284390., 15 March 2020.

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MAI | Media Architecture Institute: Media Facades .www.mediaarchitecture.org/, 15 March 2020.

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“Social Sciences”, Enotes.com, www.enotes.com/homework-help/media-reflectionsociety-393272., 20 March 2020.

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“MAB14.” MAB14 RSS, mab14.mediaarchitecture.org/news/blog/beyond-thingsflicker-next-step-media-architecture/.15 March 2020.

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Lee, Jeffrey. “Media Architecture: Past, Present, and Future.” Fong & Chan Architects, Fong & Chan Architects, 24 Jan. 2019, www.fcaarch.com/insights/2019/1/23/media-architecture-in-2019. , 22 April 2020.

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MAI | Media Architecture Institute: Media Facades ... www.mediaarchitecture.org/.

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“Social Sciences.” Enotes.com, Enotes.com, www.enotes.com/homeworkhelp/media-reflection-society-393272. , 22 April 2020.

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“MAB 18 Awards.” MAB20, awards.mediaarchitecture.org/mab18/project/187.

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Bradley, Keith. “Pluralism.” FCBStudios, fcbstudios.com/explore/view/3., 22 April 2020.

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“A Pictorial History of Cairo's Opera House - Heritage.” Ahram Online, english.ahram.org.eg/NewsContent/9/0/259181/Heritage/0/-A-pictorial-history-ofCairos-Opera-House-.aspx, 5May 2020

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Berrett, James. Department of Communication Design and Digital Media Design, and Department of Communication Design and Digital Media Design. “Media Architecture: Content with Purpose for the Public.” Media architecture | Proceedings of the 4th Media Architecture Biennale Conference, November 1, 2018. https://dl.acm.org/doi/10.1145/3284389.3284390., 18May 2020

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Maureen Meister, Arts and Crafts Architecture: History and Heritage in New England ,2014, p.49

Architecture Engineering Department – Cairo University

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