GRADUATION PROJECT BOOK

AJMAN UNIVERSITY COLLEGE OF ENGINEERING DEPARTMENT OF ARCHITECTURAL ENGINEERING

SUPERVISED BY : DR. BASSIM M. SALEH DR. OMAR OUSSADOU ARCH. NEVEEN AL BANDARI

OMAR HAIDER ABU SHABAN ID: 201210695

FIRST SEMESTER ACADEMIC YEAR 2016-2017

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DUBAI MUSIC ACADEMY

DEDICATION

DEDICATION I AM INDEBTED TO MANY OF MY TEACHERS FOR THEIR HELP AND SUPPORT WITH THIS THESIS. I AM GRATEFUL FOR THE INVALUABLE TIME THEY INVESTED IN BROADENING MY KNOWLEDGE. I WOULD LIKE TO DEDICATE THIS THESIS TO:

MY FATHER, WHOSE STRENGTH OF CHARACTER AND PATIENCE ALONG WITH HIS UNCONDITIONAL LOVE AND UNDERSTANDING WERE NEVER UNAVAILABLE. MY MOTHER, WHOSE KINDNESS, GUIDANCE, DETERMINATION, AND UNENDING GREATNESS SOFTENED ANY HARDSHIPS .

AND FINALLY MY BROTHERS AND SISTER, WHOSE OUTSTRETCHED ARMS ALWAYS COMFORTED MY PAINS. I AM DEEPLY THANKFUL TO THEM FOR BEING THERE FOR ME.

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DUBAI MUSIC ACADEMY

ACKNOWLEDGEMENT

ACKNOWLEDGEMENT I DEDICATE THIS BOOK TO MY PARENTS AND TO MY LOVELY BROTHERS AND SISTER THAT THEIR LOVE AND CARE SUPPORTED ME THROUGHOUT MY LIFE AND MY BEST FRIENDS THAT THEY CARE AND HELPED ME LIKE MY BROTHERS….

I WOULD LIKE TO THANK ALL PEOPLE WHO INVOLVED IN THIS PROJECT, AS WELL AS THOSE WHO HAVE PROFOUNDLY INFLUENCED AND SUPPORTED ME TO GET THIS POINT, I WOULD NOT REACH THIS POINT WITHOUT THEIR SUPPORT. I EXTEND MY DEEPEST GRATITUDE TO THOSE WHO SUPPORTED ME TO DO THIS PROJECT ESPECIALLY: DR. BASSIM SALEH DR. OMAR OUSSADOU ARCH. NEVEEN AL BANDARI

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DUBAI MUSIC ACADEMY

ABSTRACT

ABSTRACT MUSIC IS THE ART OF SOUNDS THAT IS THE FOOD FOR THE SOUL , CURE FOR THE PERSON , INSPIRATIONAL FOR THE ARTISTS, BREAKS THE SADNESS, MOVES THE SENSATIONS, RELAXES THE BODY ,AND SOMETIMES IT IS A CURE FOR THE PSYCHIATRIC ILLNESS .IN ORDER TO HAVE A HEALTHY MIND IT IS IMPORTANT TO INDULGE IN ACTIVITIES THAT RELAX, ENTERTAIN AND STIMULATE IT. MUSIC CAN BE A SOURCE SELF-RENEWAL, INTELLECTUAL GROWTH AS WELL AS MEDITATION. THE MUSIC ACADEMY WILL BE REALIZED WITH THE COMBINATION OF STATE OF THE ART FACILITIES FOR LEARNING MUSIC AS WELL AS SOCIAL ACTIVITIES SINCE THE MUSIC IS DIFFERENT FROM COUNTRY TO COUNTRY , ALSO IT AFFECTS THE FOLK DANCE OF EACH COUNTRY THAT BOTH MUSIC AND DANCE ARE CONSIDERED AS PART OF ARTS THAT AFFECTS EACH OTHER AND PROGRAMS CREATING A RECREATION SPACE. 1.3.1 EDUCATIONAL: TO MAKE THIS MUSIC ACADEMY AN INFOTAINMENT PROJECT, WHERE LEARNING WILL TAKE PLACE BUT ALSO VARIOUS FUN ACTIVITIES SUCH AS CONCERTS AND PERFORMANCES WILL ATTRACT PEOPLE COME SPEND QUALITY TIME WITH FAMILY AND FRIENDS. 1.3.2 ARCHITECTURE: TO CREATE A LANDMARK FOR THE CITY THAT RELATED TO MUSIC AND REFLECTS THE REGIONAL MUSIC. 1.3.3 ECONOMICAL: TO ATTRACT PEOPLE FROM ALL OVER THE WORLD TO STUDY MUSIC AND IMPROVE THE INCOME OF THE CITY THAT IT IS THE ONLY MUSIC ACADEMY ON THE REGION AND ALSO INCREASE THE INCOME FOR SPONSORED INSTITUTION. 1.3.4 CULTURAL: TO PRODUCE CULTURAL MUSIC FOR THE SOCIETY AND MAKE IT INTERNATIONALLY KNOWN. 1.3.5 SOCIAL: TO REDUCE THE GAB BETWEEN GENERATIONS AND UNIT THE WORLD UNDER THE MUSIC WORLD CANOPY.

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DUBAI MUSIC ACADEMY

INTRODUCTION

INTRODUCTION MUSIC IS TASTED BY ALL THE GENERATIONS, FROM AN INFANT BABIES , TO TEENAGERS , TO ADULTS , TO OLD GENERATION, EACH GENERATION TASTE THE MUSIC THAT IS PUBLISHED IN THEIR GENERATION/ERA, ALTHOUGH MUSIC HAS MANY LANGUAGES , BUT IT IS TASTED BY THE FEELING OF THE RHYTHM, BEATS AND VOICE THAT MUSIC ATTEMPT TO GIVE. A MUSIC ACADEMY HELPS TO REDUCE THE GAP BETWEEN THE GENERATIONS AND ERAS, AND UNIT THE PEOPLE FROM ALL THE WORLD TO COME AND LEARN AND PERFORM THE MUSIC. THIS PROJECT ATTEMPT TO POPULARIZE THE MUSIC ELEMENTS PITCH, RHYTHM, DYNAMICS, QUALITY OF TIMBER AND TEXTURE TOGETHER , IN AN EDUCATIONAL ENVIRONMENT TO BRING EXPRESSION AND EMOTION TOGETHER IN HARMONY . ALSO TO REDUCE THE GAB BETWEEN THE GENERATIONS FROM ALL THE WORLD BY SHARING PERFORMANCE AND CONCERTS. THE CHOSEN LOCATION IN DUBAI, WHICH IS CONSIDERED THE WORLD FORUM IN UAE OR AS MELTING POT OF DIFFERENT NATIONALITY. THIS STUDY CONTAINS FIVE CHAPTERS , WHICH INCLUDES: DEFINITIONS ABOUT MUSIC AND MUSIC ACADEMY, HISTORICAL BACKGROUNDS, CASE STUDIES, PROGRAM, SITE ANALYSIS AND DESIGN CONCEPT. EACH SECTION PROVIDE TEXTS , WITH IMAGES, TABLES AND DIAGRAMS.

figure. musical rhythm

figure. drum training REFERENCES: www.yabeyrouth.com/4611

figure. musical band

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DUBAI MUSIC ACADEMY

INDEX

INDEX CHAPTER I - DEFINITIONS 1.1

DEFINITIONS

1.1.1

MUSIC

1.1.2

AN ACADEMY

1.1.3

A MUSIC ACADEMY

1.2

HISTORICAL BACKGROUND

1.3

OBJECTIVES CHAPTER II – CASE STUDIES MUSIC ACADEMY OF ROUBAIX

2.1

MUSIC ACADEMY OF ROUBAIX

2.1.1

SITE ANALYSIS

2.1.2

DESIGN CONCEPT

2.1.3

ACTIVITIES

2.1.3.2

INTERIOR SAPACES

2.1.4

CONSTRUCTION AND TECHNOLOGY

2.1.5

CONCLUSION PARIS MUSIC SCHOOL

2.2

PARIS MUSIC SCHOOL

2.2.1

SITE ANALYSIS

2.2.2

DESIGN CONCEPT

2.2.3

ACTIVITIES

2.2.3.2

INTERIOR SAPACES

2.2.4

CONSTRUCTION AND TECHNOLOGY

2.2.5

CONCLUSION SYDNEY OPERA HOUSE

2.3

SYDNEY OPERA HOUSE

2.3.1

SITE ANALYSIS

2.3.2

DESIGN CONCEPT

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DUBAI MUSIC ACADEMY

INDEX

INDEX 2.3.3

ACTIVITIES

2.3.3.2

INTERIOR SAPACES

2.3.4

CONSTRUCTION AND TECHNOLOGY

2.3.5

CONCLUSION AUDITORIUM PARCO DELLA MUSICA

2.4

AUDITORIUM PARCO DELLA MUSICA

2.4.1

SITE ANALYSIS

2.4.2

DESIGN CONCEPT

2.4.3

ACTIVITIES

2.4.3.2

INTERIOR SAPACES

2.4.4

CONSTRUCTION AND TECHNOLOGY

2.4.5

CONCLUSION CHAPTER III – PROGRAM

3.1

MAIN FUNCTIONAL ZONES

3.1.1

CORE ACTIVTIES ZONE

3.1.2

SUPPORTIVE ACTIVTIES ONE

3.1.3

SECTIONAL DIAGRAM

3.2

CORE ACTIVTIES AREA QUALITATIVE AND QUANTITAVE

3.2.1

ENTRANCE AREA

3.2.2

EDUCATIONAL AREA

3.2.3

FACILITIES AREA

3.3

SUPPORTIVE ACTIVTIES AREA QUALITATIVE AND QUANTITAVE

3.3.1

ADMENISTRATION AREA

3.3.2

SERVICES AREA

3.3.3

REACREATIONAL AREA

3.4

TOTAL BUILT UP AREA

3.5

CALCULATION

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DUBAI MUSIC ACADEMY

INDEX

INDEX CHAPTER IV – SITE ANALYSIS 4.1

INTRODUCTION

4.2

SITE SLECTION AND ANALYSIS

4.2.1

SELECTED SITE-SITE 1

4.2.2

SELECTED SITE- SITE 2

4.2.3

SELECTED SITE- SITE 3

4.3

SITES EVALUATION

4.4

ANALYSIS OF SELECTED SITE

4.4.1

SURROUNDING

4.4.2

ACCESIBILITY

4.4.3

VIEWS

4.4.4

SUN AND WIND ORIENTATION CHAPTER V – CONCLUSION AND DESIGN CONCEPT

5.1

CONCLUSION

5.2

DESIGN CONCEPT CHAPTER VI – APPENDIX AND REFERENCES

6.1

MUSICAL CATEGORIES

6.2

MUSICAL INSTRUMENTS

6.3

STUDY PLAN

6.4

REFERENCES

8

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DUBAI MUSIC ACADEMY

Chapter 1

1.1 DEFINITION 1.1.1 MUSIC IS AN ART FORM AND CULTURAL ACTIVITY IN SIMILAR WITH DANCING, OPERA, AND THEATER, WHOSE MEDIUM IS SOUND AND SILENCE THROUGH THE PERIOD OF TIME. MUSIC CONSIST OF SIX COMMON ELEMENTS PITCH( WHICH GOVERNS MELODY AND HARMONY) , RHYTHM( AND ITS ASSOCIATED CONCEPTS TEMPO, METER AND ARTICULATION), DYNAMICS(LOUDNESS AND SOFTNESS), THE SONIC QUALITIES AND TEXTURE( THE COLOR OF MUSICAL SOUND).ALSO MUSIC IS THE ART OF SOUND, THAT ORGANIZE THE SOUNDS AND ITS RELATION TO EACH OTHER, TO CREATE AN ORGANIZED MUSIC, THAT MOVES THE SENSATIONS OF HAPPINESS AND SADNESS ACCORDING THE MUSIC ELEMENTS. THE TERM MUSIC ORIGINALLY CAME FROM GREEK( MOUSIK), WHICH GAVE THE MUSIC ITS CURRENT DEFINITION ‘’ ART OF SOUND”. THE MUSIC CAN BE PRODUCED BY VARIOUS INSTRUMENTS SUCH AS HUMAN BODY( VOCAL, CLAPPING), WIND, STRINGED AND ELECTRIC INSTRUMENTS ( FLUTE, VIOLIN).

FIGURE. JAZZ MUSICAL BAND

FIGURE. MUSICAL INSTRUMENTS

FIGURE. MUSIC HISTOLOGY

REFERENCES: Wikipedia.org/wiki/music

mawdoo3.com

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DUBAI MUSIC ACADEMY

Chapter 1

1.1.2 AN ACADEMY AN ACADEMY IS A PRIVET SCHOOL USUALLY ABOVE THE ELEMENTARY SCHOOL, OR AN INSTITUTION OF HIGHER EDUCATION , LEARNING AND RESEARCH CENTER, OR HONORARY MEMBERSHIP. THE TERM ACADEMY TRACES BACK TO PLATO'S SCHOOL OF PHILOSOPHY, FOUNDED APPROXIMATELY 385 BC AT AKADEMIA, A SANCTUARY OF ATHENA, THE GODDESS OF WISDOM AND SKILL, NORTH OF ATHENS, GREECE. 1.1.3 A MUSIC ACADEMY A MUSIC ACADEMY IS AN EDUCATIONAL INSTITUTION SPECIALIZED IN THE STUDY, TRAINING AND RESEARCH OF MUSIC. SUCH AN INSTITUTION CAN ALSO BE KNOWN AS A SCHOOL OF MUSIC, MUSIC FACULTY, COLLEGE OF MUSIC, MUSIC DEPARTMENT (OF A LARGER INSTITUTION), CONSERVATORY OR CONSERVATOIRE. INSTRUCTION INCLUDES TRAINING IN THE PERFORMANCE OF MUSICAL INSTRUMENTS , SINGING, MUSICAL COMPOSITION, CONDUCTING, MUSICIANSHIP, AS WELL AS ACADEMIC AND RESEARCH FIELDS SUCH AS MUSICOLOGY, MUSIC HISTORY AND MUSIC THEORY.

FIGURE. VIOLINIST

REFERENCES: Wikipedia.org/wiki/academy collinsdictionary.com/dictionary/English/academy

FIGURE. ORCHESTRA

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DUBAI MUSIC ACADEMY

Chapter 1

1.2 HISTORICAL BACKGROUND MUSIC IS FOUND IN EVERY KNOWN CULTURE, PAST AND PRESENT, VARYING WIDELY BETWEEN TIMES AND PLACES. SINCE ALL PEOPLE OF THE WORLD, INCLUDING THE MOST ISOLATED TRIBAL GROUPS, HAVE A FORM OF MUSIC, IT MAY BE CONCLUDED THAT MUSIC IS LIKELY TO HAVE BEEN PRESENT IN THE ANCESTRAL POPULATION PRIOR TO THE DISPERSAL OF HUMANS AROUND THE WORLD. CONSEQUENTLY, MUSIC MAY HAVE BEEN IN EXISTENCE FOR AT LEAST 55,000 YEARS AND THE FIRST MUSIC MAY HAVE BEEN INVENTED IN AFRICA AND THEN EVOLVED TO BECOME A FUNDAMENTAL CONSTITUENT OF HUMAN LIFE. 1.2.1 THE ANCIENT TIMES ( BEFORE 467A.D) IN ANCIENT EGYPT, FARM WORKERS HIT THE STICKS TOGETHER TO FRIGHTEN BIRDS AWAY FROM THE CROPS. THE SUMERIANS USED VARIOUS INSTRUMENTS INCLUDING FLUTES, HORNS TAMBOURINES, RATTLES AND A RANGE OF PLUCKED STRING INSTRUMENTS. THE EGYPTIANS CONSIDERED THE HUMAN VOICE TO BE THE MOST POWERFUL AID IN PRAYING TO THE GODS, SO THEIR PRIESTS WERE CAREFULLY TRAINED IN SIGNING. IN CHINA, THERE WERE FLUTES, DRUMS, AND BELLS IN INDIA, MUSIC ALSO HAD A PHILOSOPHICAL SIGNIFICANCE. AT AROUND 1500 B.C., INDIANS TREATED THE HUMAN VOCE AS THE MOST IMPORTANT FORM OF MUSICAL EXPRESSION.

FIGURE. HISTORICAL MUSICIAN

FIGURE. MUSIC IN ANCIENT TIME

REFERENCES: Wikipedia.org/wiki/History_of_music method-behind-the-music.com/history/history/

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DUBAI MUSIC ACADEMY

Chapter 1

1.2.2 THE MIDDLE AGES ( 476 TO 1450) TWO DISTINCTIVE STYLES DEVELOPED IN THIS TIME PERIOD. ONE WAS CALLED THE MONOPHONIC STYLE AND THE OTHER WAS CALLED THE POLYPHONIC STYLE.

FIGURE. MUSIC BAND IN MIDDLE AGES

FIGURE. STREET MUSIC

1.2.3 THE RENAISSANCE ( 1450 TO 1600) THE RENAISSANCE MUSIC IS MOSTLY POLYPHONIC, WHICH IS MUSIC HAVING TWO OR MORE INDEPENDENT, BUT HARMONICALLY RELATED MELODIC PARTS SOUNDING TOGETHER.

FIGURE. RENAISSANCE BAND

FIGURE. MUSIC IN RENAISSANCE PERIOD

1.2.4 THE BAROQUE ERA ( 1600 TO 1750) THE BAROQUE ERA WAS THE ERA OF EXPERIMENTATION. NEW INSTRUMENTAL FORMS WERE CREATED, THE VIOLIN WAS USED OFTEN IN BAROQUE MUSIC.

FIGURE. BAROQUE BAND

FIGURE. BAROQUE CONCERT

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DUBAI MUSIC ACADEMY

Chapter 1

1.2.5 THE CLASSICAL ERA ( 1750 TO 1820) THE CLASSICAL PERIOD HAS BEEN CALLED THE ‘’ GOLDEN AGE OF MUSIC’’ . IT HAS FULLY DEVELOPED ITS MAJOR FORMS OF THE SYMPHONY, CONCERTO, SONATA, AND STRING QUARTET.

FIGURE. CLASSICAL MUSIC FIGURE. CLASSICAL BAND REHEARSALS

1.2.6 THE ROMANTIC ERA ( 1850 TO 1920) ROMANTIC ALLOWED ARTISTIC FREEDOM, EXPERIMENTATION, AND CREATIVITY. IT WAS A PERIOD OF EXPRESSION AND MELODY BECAME THE DOMINANT FEATURE.

FIGURE. BALL MUSIC

FIGURE. OPERA IN ROMANTIC ERA

1.2.7 THE TWINTEITH CENTURY ( 1900 TO 2000) CHARACTERISTICS OF TWENTIETH- CENTURY MUSIC TONE COLOR, HARMONY, RHYTHM, MELODY.

FIGURE. MODERN MUSIC

FIGURE. Musical band in 20th century

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DUBAI MUSIC ACADEMY

Chapter 1

1.2.8 THE ARABIC MUSIC HISTORY ARAB MUSIC IS THE MUSIC OF ARABIC- SPEAKING PEOPLE OR COUNTRIES, ESPECIALLY THOSE CENTERED AROUND THE ARABIAN PENINSULA. THE WORLD OF ARAB MUSIC HAS A LONG BEEN DOMINATED BY CAIRO, A CULTURAL CENTER, THOUGH MUSICAL INNOVATION AND REGIONAL STYLES ABOUND FROM MOROCCO TO SAUDI ARABIA. BEIRUT HAS, IN RECENT YEARS, ALSO BECOME A MAJOR CENTER OF ARABIC MUSIC. CLASSICAL ARB MUSIC IS EXTREMELY POPULAR ACROSS THE POPULATION, ESPECIALLY A SMALL NUMBER OF SUPERSTARS KNOWN THROUGHOUT THE ARAB WORLD. REGIONAL STYLES OF POPULAR MUSIC INCLUDE ALGERIAN RAI , MOROCCAN GNAWA, KUWAITI SWAT, EGYPTIAN EL GIL AND TURKISH ARABESQUE - POP MUSIC.

FIGURE. DABKE BAND

FIGURE. ARABIAN BIG STARS

1.2.9 TRADITIONAL MUSIC AND DANCE IN UAE THE UAE IS PART OF THE GULF KHALEEJ TRADITION, AND IT IS ALSO KNOWN FOR BEDOUIN FOLK MUSIC. THE EMIRATES ENJOYS A STRONG TRADITION OF MUSIC AND DANCE. SONGS WERE COMPOSED TO ACCOMPANY DIFFERENT TASKS , FROM HAULING WATER AT THE WELL, MENDING NETS OR DIVING FOR PEARL OYSTERS IN THE GULF. BUT THERE WAS MORE TO LIFE THAN WORK: DURING CELEBRATIONS, AS AT EID SINGING AND DANCING ALSO TOOK PLACE AND MANY OF THE SONGS AND DANCES HANDED DOWN FROM GENERATION TO GENERATION HAVE.

FIGURE. UAE FOLKLORE DANCE REFERENCES: Wikipedia.org/wiki/Arabic_music

FIGURE. MAJLIS TRADITIONAL MUSIC 15

DUBAI MUSIC ACADEMY

Chapter 1

1.3 OBJECTIVES 1.3.1 EDUCATIONAL: TO MAKE THIS MUSIC ACADEMY A WELL KNOWN PROJECT, WHERE LEARNING WILL TAKE PLACE BUT ALSO VARIOUS FUN ACTIVITIES SUCH AS CONCERTS AND PERFORMANCES THAT WILL NOT ONLY ATTRACT PEOPLE TO COME BUT ALSO WILL ENHANCE THE SKILLS OF THE MUSICIANS WHO'S JOINING THE ACADEMY THAT WILL LET SPENDING TIME WITH FAMILY AND FRIENDS A QUALITY TIME .

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

EDUCTIONAL ECONOMICAL

ARCHITECTURE SOCIAL

FIGURE. OBJECTIVES DIAGRAM

16

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DUBAI MUSIC ACADEMY

Chapter 2

2.1 MUSIC ACADEMY OF ROUBAIX

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DUBAI MUSIC ACADEMY

Chapter 2

2.1 MUSIC ACADEMY OF ROUBAIX LOCATION: ROUBAIX , FRANCE ARCHITECT: ZIG ZAG ARCHITECTURE CLIENT: VILLE DE ROUBAIX

PROJECT YEAR: COMPLETED 2013 BUILT UP AREA: 3600 M2 COST: 7000000 EURO ACOUSTICAL ENGINEER: KAHLE ACOUSTICS

FIGURE. MUSIC ACADEMY OF ROUBAIX MAIN VIEW

MUSIC ACADEMY OF ROUBAIX WAS DESIGNED BY THE FRENCH ARCHITECT ZIG ZAG. IN THE WEST NEIGHBORHOOD OF ROUBAIX, INSIDE A HERITAGE SITE AREA, THE RESTORATION AND EXTENSION OF THE MUSIC ACADEMY CONTRIBUTE TO THE URBAN RENEWAL. IN A WELL COMMUNICATED AREA, THE MUSIC ACADEMY PROMISE TO GENERATE A BIG INFLUENCE IN THE TERRITORY.

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DUBAI MUSIC ACADEMY

Chapter 2

SITE PLAN

EXISTING AREA: • PIANO ROOMS • REHEARSAL HALL • CLASS ROOM • MANAGEMENT

RESTORED AREA: • THE ENTRANCE • RECEPTION AREA • AUDITORIUM

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DUBAI MUSIC ACADEMY

Chapter 2

2.1.1 SITE ANALYSIS IN THE WEST NEIGHBORHOOD OF ROUBAIX, INSIDE A HERITAGE SITE AREA, THE RESTORATION AND EXTENSION OF THE MUSIC ACADEMY CONTRIBUTE TO THE URBAN RENEWAL. IN A WELL COMMUNICATED AREA, PAYING ATTENTION TO THE QUALITY OF THE HISTORICAL SURROUNDINGS, THE EXTENSION ADOPT AS A FIRST POINT OF REFERENCE THE SIZE OF THE CURRENT BUILDING. THE BUILDING IS FACING TWO ROADS THE MAIN ELEVATION FACING CHARLES QUINT WHICH IS A SECONDARY ROAD BUT ALSO FACING THE MAIN ENTRANCE TO THE ACADEMY, THE BACK ELEVATION SOUBISE ROAD WHICH IS A MAIN ROAD IN ROUBAIX BUT ALSO FACING THE SECONDARY ENTRANCE OF THE ACADEMY.

FIGURE. SITE PLAN

2.1.2 DESIGN CONCEPT

ZIG ZAG ARCHITECTS SILHOUETTE REPRODUCE THE EXISTING GEOMETRY, FOLLOWING THE PRINCIPAL LINE. AN EMPTY BUILD TO CREATE NEW POSSIBILITIES, DIFFERENT WAYS TO CROSS, TO OCCUPY THE SPACE. THE HIGH POINT OF THE PROJECT, THE GREAT HEIGHT OF THE MAIN HALL IS THE SPECIAL FEATURE OF THE PROJECT. HIS SILHOUETTE IS VISIBLE FAR AWAY, BY NIGHT AND BY DAY, A MUSIC ACADEMY WORKING MAINLY FROM 16 FIGURE. CONNECTION BETWEEN PAST TO 20. HIS GENEROUS SPACE OFFER A GREAT AND PRESENT FLUIDITY FOR THE USERS, KEEPING THE OLD FAÇADE, NOW BECAME AN INTERIOR WALL.

21

DUBAI MUSIC ACADEMY

Chapter 2

2.1.3 ACTIVITIES the academy mainly consists of an large auditorium , learning classes and rehearsal hall.

ENTRANCES

5

2

1. AUDITORIUM 2. REHEARSAL HALL

3

4 6

7

3

3. CLASSES 4. MANAGEMENT

1

5. CHANGING ROOMS 6. W.C 7. RECEPTION

1. PIANO ROOMS 2. CLASSES 3. LOUNGE AREA

GROUND FLOOR PLAN

11 1 1 1 111 1 1 11 1 4 4 1 5 2 2 3

4. BRIDGES OF PAST AND PRESENT

5. STUDYING AREA

FIRST FLOOR PLAN

22

DUBAI MUSIC ACADEMY

Chapter 2

2.1.3 ACTIVITIES

3 2

2

1

FIGURE . LONGITUDINAL SECTION 1

1 FIGURE . LONGITUDINAL SECTION 2

2

1. AUDITORIUM

4 5

3 6

2. CLASSES 3. LOUNGE AREA

FIGURE . HORIZONTAL SECTION 1

4. CHANGING ROOM 5. MANAGEMENT

2 7

6. RECEPTION

2

7. REHEARSAL HALL

FIGURE . HORIZONTAL SECTION 2 23

DUBAI MUSIC ACADEMY

Chapter 2

2.1.3.2 INTERIOR SPACES

FIGURE. FIRST FLOOR VIEW

FIGURE. VIEW TO THE ENTRANCE

FIGURE. VIEW FROM THE BRIDGE FIGURE. VIEW FROM THE GROUND FLOOR

FIGURE. PIANO ROOM

FIGURE. LOUNGE AREA 24

DUBAI MUSIC ACADEMY

Chapter 2

2.1.4 CONSTRUCTION AND TECHNOLOGY THIS PUBLIC EQUIPMENT REQUIRED A STRONG WORK IN HIS ACCESS. AS WELL AS THE RESTORATION OF THE MAIN BUILDING AND THE DEMOLITION OF SOME WALKWAYS AND VOLUMES IN THE COURTYARD, THE URBAN INTERFACE HAD BEEN QUESTIONED. TO SETTLE DOWN A WILL TO OPEN THE BUILDING TO THE CITY, THE IDEA WAS TO CREATE A BIG SHOWCASE, SHOWING THE INTENTION OF THIS CULTURAL EQUIPMENT IN THE HEART OF THE CITY. THE ACOUSTICAL TECHNOLOGY WAS DESIGNED AND APPLIED BY KAHLE ACOUSTICS THAT THEY HAD TO DO ACOUSTICAL GLASS PANELS TO ISOLATE THE SOUND FROM GETTING OUTSIDE OF THE BUILDING. ALSO THEY HAD TO INSTALL ACOUSTICAL ABSORBERS INSIDE EACH CLASS TO ISOLATE THE SOUNDS TO SCATTER TO THE OUTER WALKAWAYS.

FIGURE. OLD AND NEW EXTERNAL WALLS

FIGURE. NEW ACOUSTICAL WALL

25

DUBAI MUSIC ACADEMY

Chapter 2

2.1.5 CONCLUSION 1.

THE MUSIC ACADEMY OF ROUBAIX LOCATED IN FRANCE , HAS TWO MAIN CONSTRUCTED BUILDING THE FIRST BUILDING IS NOW USED AS AN INTERIOR WALL AND THE NEW BUILDING WHICH FORMS THE NEW EXTERIOR WALL.

2.

THE CONSTRUCTION TECHNOLOGY WAS DESIGNED AND INSTALLED BY KAHLE ACOUSTICS TO INSURE THAT THE SOUNDS DOES NOT SCATTER TO THE OUTSIDE.

3.

THE INTERIOR SPACES CONSIST OF CLASSES , LARGE AUDITORIUM , SOLO LEARNING ROOMS( PIANO ROOMS) AND REHEARSAL HALL .

FIGURE. TWO CONSTRUCTIONAL STAGES

FIGURE. ACOUSTICAL WALLS

26

DUBAI MUSIC ACADEMY

Chapter 2

2.2 PARIS MUSIC SCHOOL

27

DUBAI MUSIC ACADEMY

Chapter 2

2.2 PARIS MUSIC SCHOOL LOCATION: 17TH ARRONDISSEMENT OF PARIS, PARIS, FRANCE ARCHITECT: BASALT ARCHITECTS PROJECT YEAR: COMPLETED 2013

BUILT UP AREA: 3147 M2 COST: 238000000 EURO ACOUSTICAL ENGINEER: IMPÉDANCE

FIGURE. SIGHT LINE FROM THE ARCHITECT. LOCATED ON A PLOT OF LAND BETWEEN TWO HIGHRISE BUILDINGS, THE ACADEMY STANDS AT THE INTERFACE OF ARCHITECTURAL SCRIPTS LINKED TO THE CITY'S BUILDING HERITAGE. ON THE EDGE OF THE 17TH ARRONDISSEMENT TO THE SOUTH HAUSSMANN-STYLE BUILDINGS LOOK ACROSS AT SOCIAL HOUSING OF A MORE RECENT PERIOD. SO THE ACADEMY IS LOCATED AT A STRATEGIC POINT DUE TO ITS THEME, I.E. THE 17TH ARRONDISSEMENT'S HISTORY IS CLOSELY LINKED WITH FRENCH MUSIC, AND BUILDING THIS NEW EDIFICE HAS TO BE WORTHY OF THIS PAST.

28

DUBAI MUSIC ACADEMY

Chapter 2

2.2.1 SITE ANALYSIS IT IS STRATEGIC DUE TO ITS URBAN LOCATION, LOCATED AS IT IS ON THE RUE DE COURCELLES, AN IMPORTANT CORRIDOR FOR ENTERING THE CITY WITH ITS SIGHT-LINE EXTENDING FROM THE BOULEVARD PÉRIPHÉRIQUE (RING-ROAD) BETWEEN TWO ARCHITECTURAL ERAS AND STYLES. IT IS ALSO THE BEGINNING OF A NEW BUILDING FRINGE ON THE RUE DE COURCELLES WHILE WAITING FOR THE CONSISTORY BUILDING. FIGURE. SITE PLAN 2.2.2 DESIGN CONCEPT THE PROJECT IS AN OSCILLATION FROM DOWN TO UP THROUGH THE PLAY OF EXTERNAL SURFACES. IT SENDS A STRONG SIGNAL THROUGH THE CITY, A 20METRE-HIGH BENCHMARK IN A GREEN ALLEY DOMINATED BY VEGETATION. VISIBLE FROM THE PÉRIPHÉRIQUE, ITS ARCHITECTURAL TREATMENT IDENTIFIES IT AS A VALUE-ADDING ELEMENT BY SEPARATING IT FROM THE PUBLICITY LANDSCAPE THAT EXISTS ALONG THE PARISIAN RING-ROAD. GIVEN ITS APPEARANCE AND LOCATION, IT IS IN CONSTANT DIALOGUE WITH THE CITY. ON THE ONE HAND THE DANCE STUDIOS IN THE UPPER FLOORS WITH THEIR EXPANSIVE WINDOWS PARTICIPATE ACTIVELY IN THE BUILDING'S VISUAL SIGNAL

BY STANDING OUT FROM THE CITY WITH A SPECIFIC VOLUME THAT RESPONDS TO THE APARTMENT BUILDINGS TO THE NORTH.

FIGURE. UNIQUE SHAPED BUILDING 29

DUBAI MUSIC ACADEMY

Chapter 2

2.2.3 ACTIVITIES

ENTRANCES 1. AUDITORIUM 2. W.C

5

1

3. STORE

2

4. ENTRANCE HALL 5. LOCKERS AND FITTING ROOM

4

5 3

6. INSTRUMENT HALL 7. RECEPTION AND SECURITY

7

6

GROUND FLOOR PLAN

3

1. AUDITORIUM 2. W.C

3

4

2

1

3. CLASSES 4. STORE

3

3 3

4 3

4

3

FIRST FLOOR PLAN

30

DUBAI MUSIC ACADEMY

Chapter 2

2.2.3 ACTIVITIES

1. CLASSES 2. SELF LEARNING 3. W.C

4 4

4. STORE

22

1

2 2

2 1

1 2 2 6 2

6

5. TEACHERS ROOMS

3

6.LOUNGE AREA

3

5 4 1

2

SECOND FLOOR PLAN

2

1

4 5

1 1 3

1. DANCING STUDIOS

7

2. LOCKERS 3. READING AREA 4. W.C 5. STORE

1

6

2 1

THIRD FLOOR PLAN

6.TRAINERS ROOMS 7. VOID

31

DUBAI MUSIC ACADEMY

Chapter 2

2.2.3 ACTIVITIES

4

5

2 2 3

1

FIGURE. SECTION THROUGH AUDITORIUM 1. AUDITORIUM 2. CLASSES 3. ENTRANCE HALL 4. TRAINERS ROOM 5. VOID

FIGURE. DETAIL OF THE ACOUSTICAL INSOLATION

32

DUBAI MUSIC ACADEMY

Chapter 2

2.2.3.2 INTERIOR SPACES

FIGURE. AUDITORIUM

FIGURE. SELF LEARNING ROOM

FIGURE. VIEW FROM THE MUSIC CLASS FIGURE. VIEW FROM THE ENTRANCE HALL

FIGURE. CLASS OF MUSIC

FIGURE. CLASS OF DANCING

FIGURE. VIEW OF THE LOUNGE

33

DUBAI MUSIC ACADEMY

Chapter 2

2.2.4 CONSTRUCTION AND TECHNOLOGY THE BUILDING'S PLEATED SKIN AND ITS PERFORATIONS THAT DIALOGUE WITH THE CLASSIC HAUSSMANN-STYLE BUILDINGS WITH THEIR STURDY ARCHITECTURE. BASALT PROJECT HAS BEEN DESIGNED FROM INSIDE TO OUTSIDE; THEY HAVE CONCEIVED OF THE ACADEMY AS A PLACE FOR EXCHANGE, EMULATION, A CROSSROADS OF PRACTICES. THIS IS THE IDEA THAT HAS DRIVEN THE PROJECT FROM THE AUDITORIUM AT ITS HEART TO THE MUSIC ROOMS. BECAUSE THAT IS HOW WE HAVE PERCEIVED THE FACILITIES. WHERE THE VOLUMES CAME TO LIFE: A SKIN PERFORATED BY THE BEAT OF THE MELODY THAT EMERGES AND TAKES SHAPE IN THE OUTER WALLS. THE SCRIPT IS THERE WITH THE VOLUME FOLDING AND UNDULATING IN THE LIGHT AND THE BEAT OF THE PERFORATIONS THAT ENLIVEN IT BY DAY AND BY NIGHT. THE ACOUSTICAL INSTOLATION WAS DESIGRND AND INSTALED BY IMPÉDANCE .

FIGURE. THE MASHRABIA BEATS VOLUME

FIGURE. INSIDE VIEW

FIGURE. ACOUSTICAL PANALS IN CORRIDERS 34

DUBAI MUSIC ACADEMY

Chapter 2

2.2.5 CONCLUSION 1.

THE SOUTH HAUSSMANN-STYLE BUILDINGS LOOK ACROSS AT SOCIAL HOUSING OF A MORE RECENT PERIOD. SO THE ACADEMY IS LOCATED AT A STRATEGIC POINT DUE TO ITS THEME.

2. THE ACADEMY SIGHT-LINE EXTENDING FROM THE BOULEVARD PÉRIPHÉRIQUE (RING-ROAD) EXPRESS TWO ARCHITECTURAL ERAS AND STYLES.

3. THE ACADEMY IS CONSEDRED AS THE BEGINNING OF A NEW BUILDING FRINGE ON THE RUE DE COURCELLES WHILE WAITING FOR THE CONSISTORY BUILDING.

4. THE ACADEMY IS AN OSCILLATION FROM DOWN TO UP THROUGH THE PLAY OF EXTERNAL SURFACES THAT SENDS A STRONG SIGNAL THROUGH THE CITY.

FIGURE. STRATEGIC SITE

FIGURE. CONSTRUCTION FROM IN TO OUT

35 FIGURE. SIGHT LINE

DUBAI MUSIC ACADEMY

Chapter 2

2.3 SYDNEY OPERA HOUSE

36

DUBAI MUSIC ACADEMY

Chapter 2

2.3 SYDNEY OPERA HOUSE LOCATION: BENNELONG POINT, SYDNEY, AUSTRALIA ARCHITECT: JORN UTZON CLIENT: NEW SOUTH WALES GOVERNMENT

PROJECT YEAR: COMPLETED 1973 BUILT UP AREA: 18000 M2 COST: 93727800 EURO ACOUSTICAL ENGINEER: VILHELM LASSEN JORDAN

FIGURE. SYDNEY ICONIC BUILDING SYDNEY OPERA HOUSE (1957 - 1973) IS A MASTERPIECE OF LATE MODERN ARCHITECTURE. IT IS ADMIRED INTERNATIONALLY AND PROUDLY TREASURED

BY THE PEOPLE OF AUSTRALIA. IT WAS CREATED BY A YOUNG ARCHITECT WHO UNDERSTOOD AND RECOGNIZED THE POTENTIAL PROVIDED BY THE SITE AGAINST THE STUNNING BACKDROP OF SYDNEY HARBOR. DANISH JØRN UTZON GAVE AUSTRALIA A CHALLENGING, GRACEFUL PIECE OF URBAN SCULPTURE IN PATTERNED TILES, GLISTENING IN THE SUNLIGHT AND INVITINGLY AGLOW AT NIGHT. IN ITS SHORT LIFETIME, SYDNEY OPERA HOUSE HAS EARNED A REPUTATION AS A WORLD-CLASS PERFORMING ARTS CENTER AND BECOME A SYMBOL OF BOTH SYDNEY AND THE AUSTRALIAN NATION. 37

DUBAI MUSIC ACADEMY

Chapter 2

2.3.1 SITE ANALYSIS THE SYDNEY OPERA HOUSE IS LOCATED DUE NORTH FROM THE SYDNEY CITY CENTER. LOCATED IN THE CENTRAL HARBOR HUB OF THE CBD, THE ICONIC SYDNEY OPERA HOUSE IS A LANDMARK THAT IS RENOWNED FOR IT’S BREATH-TAKING LANDSCAPES AND IT’S CULTURAL RELEVANCE. IT LIES ON THAT FINGER OF LAND CALLED BENNELONG POINT THAT JUTS NORTHWARD INTO SYDNEY HARBOR'S PORT JACKSON. SYDNEY OPERA HOUSE LIES ROUGHLY NORTHEAST OF CIRCULAR QUAY, SYDNEY'S WATERSIDE TRANSPORT HUB, AND ACROSS THE WATER FROM THE HISTORIC ROCKS AREA.

FIGURE. SITE PLAN

2.3.2 DESIGN CONCEPT

THE DESIGN OF THE SYDNEY OPERA HOUSE WAS INSPIRED BY NATURE, ITS FORMS, FUNCTIONS AND COLORS. UTZON WAS INFLUENCED IN HIS DESIGNS BY BIRD WINGS, THE SHAPE AND FORM OF CLOUDS, SHELLS, WALNUTS AND PALM TREES. HE LOOKED UPON NATURE FOR GUIDANCE WHEN DESIGNING, AS NATURE OVER TIME COMBINED BOTH EFFICIENCY AND BEAUTY. THE ROOF STRUCTURES OF THE OPERA HOUSE ARE CALLED ‘SHELLS’. THE DESIGN OF THE ‘SHELLS’ WAS ONE OF THE MOST DIFFICULT ASPECTS OF THE BUILDING’S DESIGN. JORN UTZON CLAIMED THAT THE FINAL DESIGN OF THE SHELLS, WAS INSPIRED

BY PEELING AN ORANGE. IT IS SAID THAT THE SHELLS OF THE 14 SEPARATE ROOFS, FORM A SPHERE IF COMBINED.

FIGURE. SHELL CONCEPT

38

DUBAI MUSIC ACADEMY

Chapter 2

2.3.3 ACTIVITIES

18 17

16

15

14 2

3

1

13 11

12

10

8

4

6

7 5

9

GROUND FLOOR PLAN 1. CAR CONCOURSE

10. DRAMA THEATER

2.STAGE DOOR

11.DRAMA STAGE

3.CENTRAL PASSAGE

12. ADMINISTRATION

4. EXHIBITION HALL

13. DRESSING ROOM

5.CINEMA/FOYER

14.STAFF AREAS

6.CENIMA

15.STORE & SCENE CHANGING AREA

7. CENTRAL STORES

16. OPERA THEATER

8.REHEARSAL HALL

17. REHEARSAL ROOMS

9.DRAMA THEATER FOYER

18. BROAD WALK RESTAURANT

39

DUBAI MUSIC ACADEMY

Chapter 2

2.3.3 ACTIVITIES

17

1 8

16

4 14

15

2

17 3

6

1

13 10

7

9 11

8

12

2 5

FIRST FLOOR PLAN 1. FOYER

10. CONDUCTORS SUITES

2.CLOAK ROOM & TOILETS

11.ORCHESTRA DRESSING

3.BOX OFFICE

12. MUSIC LIBRARY

4. RECEPTION ROOM

13. OPERA STAGE

5.MAIN KITCHEN

14.ORCHESTRA PIT

6.ARTISTS LOUNGE & BUFFT

15.CHORUS & ORCHESTRA DRESSING

7. UPPER REHEARSAL HALL

16. PRINCIPALS DRESSING

8.CINEMA/MUSICAL

17. COSTUME STORES

9.REHEALSAL ROOM

18. REAHEARSAL ROOMS

40

DUBAI MUSIC ACADEMY

Chapter 2

2.3.3 ACTIVITIES

6

11 9

5 4

7 8

10

2

1

FIGURE.SECTION THROUGH THE MAJOR HALL 1. CAR CONCOURSE 2.STAIRCASE TO FOYER 3. FOYER, BOX OFFICE 4. CONCERT HALL FOYER 5.ORGAN LOFT

6.CONCERT HALL 7. REHEARSAL ROOM 8. DRAMA THEATER 9.DRAMA THEATER STAGE 10. RECORDING HALL 11. PROMENADE LOUNGE 41

DUBAI MUSIC ACADEMY

Chapter 2

2.3.3 ACTIVITIES

1

FIGURE.SECTION THROUGH THE DRAMA THEATER

2

FIGURE. SECTION THROUGH THE OPERA THEATER 1. DRAMA THEATER 2.OPERA THEATER 42

DUBAI MUSIC ACADEMY

Chapter 2

2.3.3.2 INTERIOR SPACES

FIGURE. MUSIC THEATER

FIGURE. CONCERT THEATER

FIGURE.DANCING THEATER

FIGURE. OPERA THEATER

43

DUBAI MUSIC ACADEMY

Chapter 2

2.3.4 CONSTRUCTION AND TECHNOLOGY THE SYDNEY OPERA HOUSE IS WITHOUT DOUBT ONE OF THE WORLDS WORST EXAMPLE OF AN ACOUSTICAL ENVIRONMENT THAT HAD BEEN ONLY CONCEIVED FROM A VISUAL DESIGN. THIS RESULTED FROM THE INITIAL CONDITIONS LOCKED IN BY VISUAL DESIGN, ‘’ FORM FOLLOWING FUNCTION’’ IN THE WRONG ORDER. AS A VISUAL TOURIST ATTRACTION IT IS SUCCESSFUL BUT AS AN ENTERTAINMENT VENUE IT IS GOVERNMENT SUBSIDIZED.

FIGURE. SECTION SHOWING THE OPERA THEATER

FIGURE. THE CONSTRUCTION OF ‘’SHELL’’

44

DUBAI MUSIC ACADEMY

Chapter 2

2.3.5 CONCLUSION 1.

THE SYDNEY OPERA HOUSE IS WITHOUT DOUBT ONE OF THE WORLDS WORST EXAMPLE OF AN ACOUSTICAL ENVIRONMENT THAT HAD BEEN ONLY CONCEIVED FROM A VISUAL DESIGN.

2.

THE SYDNEY OPERA HOUSE IS AN EXPRESSIONIST MODERN DESIGN , WITH A SERIES OF LARGE PRECAST CONCERT ‘ SHELLS’ , EACH TAKEN FROM A HEMISPHERE OF THE SAME RADIUS, FORMING THE ROOFS OF THE STRUCTURE, SET ON MONUMENTAL PODIUM.

3.

IT IS ONE OF THE GREAT ICONIC BUILDINGS OF THE 20TH CENTURY, AN IMAGE OF GREAT BEAUTY THAT HAS BECOME KNOWN THROUGHOUT THE WORLD- A SYMBOL FOR NOT ONLY A CITY , BUT A WHOLE COUNTRY AND CONTINENT.

4. THE OPERA THEATER, SEATING 1547, IS MAINLY USED FOR PERFORMANCES OF OPERA , BALLET AND DANCE. 5. THE AUDITORIUM , LIKE THE CONCERT HALL, IS PANELED IN WOOD FOR ACOUSTIC REASONS, BUT THE CEILING AND WALLS ARE PAINTED BLACK TO ALLOW THE AUDIENCE TO FOCUS ITS ATTENTION UPON THE STAGE.

FIGURE. SYDNEY ICONIC BUILDING

FIGURE. FOCUS TOWARDS THE STAGE

45

DUBAI MUSIC ACADEMY

Chapter 2

2.4 AUDITORIUM PARCO DELLA MUSICA

46

DUBAI MUSIC ACADEMY

Chapter 2

2.4 AUDITORIUM PARCO DELLA MUSICA LOCATION: ROME, ITALY ARCHITECT: RENZO PIANO PROJECT YEAR: COMPLETED 2002

BUILT UP AREA: 55000 M2

FIGURE. THE THREE CONCERT HALLS THE PARCO DELLA MUSICA WAS DESIGNED BY ITALIAN ARCHITECT RENZO PIANO. THREE LARGE CONCERT HALLS( SALA PETRASSI, IN MEMORY OF GOFFREDO PETRASSI, ABOUT 700 SEATS; SALA SINOPOLI, IN MEMORY OF GIUSEPPEE SINOPOLI,ABOUT 1200 SEATS; SALA SANTA CECILIA , ABOUT 2800 SEATS) ARE STRUCTURALLY SEPARATED TO ENSURE SOUNDPROOFING , THOUGH JOINED AT THE BASE BY A CONTINUOUS LOBBY. A FOURTH ‘’ CONCERT HALL’’, CALLED CAVEA , IS THE OPEN AIR THEATER RECALLING ANCIENT GREEK AND ROMAN THEATERS. THE FAN-SHAPED LAYOUT IS FORMED AROUND THE CENTRAL PIAZZA. THE BLOBS, BEETLES, SCARABS TURTLES, INSECT CARAPACES, COMPUTER MICE – ALL ARE NAMES GIVEN TO THESE STRUCTURES WITH THIN RED ROMAN BRICK AND WEIGHTY DRAMATIC LEAD ROOFS. 47

DUBAI MUSIC ACADEMY

Chapter 2

2.4.1 SITE ANALYSIS LYING AT THE HEART OF THE MEDITERRANEAN , ITALY IS THE MAIN THOROUGHFARE LINKING SOUTHERN EUROPE TO NORTHERN AND CENTRAL EUROPE BY LAND , SEA AND AIR .

THE AUDITORIUM PARCO DELLA MUSICA IS A LARGE MULTI-FUNCTIONAL PUBLIC MUSIC COMPLEX TO THE NORTH OF ROME – IN THE AREA WHERE THE 1960 SUMMER OLYMPIC GAMES WERE HELD.

FIGURE. SITE PLAN( LOCATION) 2.4.2 DESIGN CONCEPT

ITS STRUCTURE INCLUDES 3 GREAT ‘’ SCARABEI’’ OF DIFFERENT DIMENSIONS WITH THE COVER SHEET OF LEAD, AROUND THE CAVEA , THAT IS A LARGE AMPHITHEATER IN THE OPEN AIR THAT IT CAN RECEIVE APPROXIMATELY 3000 SPECTATORS. BEYOND TO THE THREE MAJESTIC ONES IT KNOWS THEM FROM CONCERT THE STRUCTURE COMPANIES ALSO THE THEATER STUDY, THREE VARIOUS STUDIES OF RECORDING AND THE FOYER. THE MATERIALS ARE CHOSEN TO BE FIGURE. CONCEPTIONAL SKETCHES TRADITIONALLY ROMAN : GRACEFULLY- THIN RED BRICK , TRAVERTINE FLOORS ( CONTINUOUS BETWEEN INSIDE AND OUTSIDE ) AND ORANGE PAINT.

48

DUBAI MUSIC ACADEMY

Chapter 2

2.4.3 ACTIVITIES

2

6

5 4

1

3

7

SITE PLAN

1. SALA SANTA CECILIA 2. SALA SINOPOLI 3.SALA PETRASSI 4. AMPHITHEATER 5. PIAZZA 6. ROMAN REMAINS 7. ARCADES

49

DUBAI MUSIC ACADEMY

Chapter 2

2.4.3 ACTIVITIES

SALA CECILIA FLOOR PLAN 2800 SEATS

SALA SINOPOLI FLOOR PLAN 1200 SEATS

50

DUBAI MUSIC ACADEMY

Chapter 2

2.4.3 ACTIVITIES

SALA CECILIA FLOOR PLAN 2800 SEATS

CEVEA FLOOR PLAN 3000 SEATS 51

DUBAI MUSIC ACADEMY

Chapter 2

2.4.3 ACTIVITIES

FIGURE. SECTION THROUGH SALA PETRASSI

FIGURE. SECTION THROUGH SALA CECILIA

FIGURE. SECTION THROUGH SALA SINOPOLI

52

DUBAI MUSIC ACADEMY

Chapter 2

2.4.3 ACTIVITIES

FIGURE. CROSS SECTION THROUGH SALA CECILIA

FIGURE. SECTIONS THROUGH THE HALL BUILDING

53

DUBAI MUSIC ACADEMY

Chapter 2

2.4.3.2 INTERIOR SPACES

FIGURE. SALA SINOPOLI INTERIOR

FIGURE. SALA CECILIA INTERIOR

FIGURE. CEVEA VIEW

54

DUBAI MUSIC ACADEMY

Chapter 2

2.4.4 CONSTRUCTION AND TECHNOLOGY MANY CLAIMS ARE MADE FOR THE ACOUSTIC PROPERTIES OF THE THREE HALLS, ACHIEVED THROUGH THE ‘’ NATURAL ACOUSTIC ‘’ OF THE MATERIALS CHOSEN. THIS SHOWS IN , FOR EXAMPLE , THE DELIBERATELY UNEVEN BRICK WORK ON THE WALLS AT THE FRONT AND BACK OF THE MIDDLE HALL. WITH DIFFERENT SOUND- ABSORBING PROPERTIES THAN A SMOOTH BRICK WALL WOULD HAVE. THE MATERIALS ARE CHOSEN TO BE TRADITIONALLY ROMAN: GRACEFULLY- THIN RED BRICK , TRAVERTINE FLOORS ( CONTINUOUS BETWEEN INSIDE AND OUTSIDE ) AND ORANGE PAINT. WHILE THIS MIX IS USED CONSISTENTLY OVER MOST OF THE COMPLEX , THE INTERIORS OF THE THREE HALLS , OR ‘’ MUSIC BOXES ‘’ AS PIANO CALLS THEM , ARE DOMINATED BY BRIGHT RED SEATING AND DARK , AMERICAN- CHERRY WOOD PENDING.

FIGURE. CONSTRUCTION OF BIG HALL

FIGURE. CONSTRUCTION OF BIG HALL COVER 55

DUBAI MUSIC ACADEMY

Chapter 2

2.4.5 CONCLUSION 1.

ITS STRUCTURE INCLUDES 3 GREAT ‘’ SCARBI’’ OF DIFFERENT DIMENSIONS WITH THE COVER SHEET OF LEAD, AROUND THE CAVEA, THAT IS A LARGE AMPHITHEATER IN THE OPEN AIR THAT IT CAN RECEIVE APPROXIMATELY 3000 SPECTERS.

2.

THREE LARGE CONCERT HALLS ARE STRUCTURALLY SEPARATED TO ENSURE SOUNDPROOFING , THOUGH JOINED AT THE BASE BY CONTINUOUS LOBBY.

3.

THE MATERIALS ARE CHOSEN TO BE TRADITIONALLY ROMAN: GRACEFULLYTHIN RED BRICK, TRAVERTINE FLOORS (CONTINUOUS BETWEEN INSIDE AND OUTSIDE ) AND ORANGE PAINT.

FIGURE. THREE SCARBI CONCERT HALLS

FIGURE. INTERIOR ORANGE PAINT

56

57

DUBAI MUSIC ACADEMY

Chapter 3

3.PROGRAM AFTER DOING THE CASE STUDIES .I LOOKED FOR THE FUNCTIONAL ZONES OF EACH PROJECT TO ANALYZE THEM AND SEE THE RELATION BETWEEN THE DIFFERENT ZONES AND FUNCTION OF EACH SPACE IN VARIOUS TYPE OF PROJECT. THAT ANALYSIS HELPED ME TO FIND OUT THE PROGRAM OF MY MUSIC ACADEMY. THE ACADEMY WELL INCLUDE:

3.1 main functional zones: THE MAIN ACTIVITIES WILL BE DIVIDED INTO TWO ZONES: 3.1.2 SUPPORTIVE ACTIVITIES ZONE

3.1.1 CORE ACTIVITIES ZONE ENTRANCE AREA

ADMINISTRATION AREA

EDUCATIONAL AREA

SERVICES AREA

FACILITIES AREA

RECREATIONAL AREA

EDUCATIONAL AREA

SERVISES

ADMINESTRATION

MAIN LOBBY

Facilities AREA

MAIN ENTRANCE

RECREATION AREA STRONG RELATION MEDIUM RELATION WEAK RELATION

CHART SHOWING RELATIONS BETWEEN THE AREAS

3.1.3 SECTIONAL DIAGRAM EDUCATIONAL AREA

SECOND FL. FACILITY AREA

ADMINESTRATION FIRST FL.

ENTRANCE

LOBBY

RECREATION

VERTICAL RELATIONSHIP BETWEEN THE ZONES

SERVISES GROUND FL. 58

DUBAI MUSIC ACADEMY

Chapter 3

3.2 CORE ACTIVITIES AREA QUALITATIVE AND QUANTITATIVE ANALYSIS 3.2.1 ENTRANCE AREA 1.RECEPTION

WAITING AREA

SERVICES

RECEPTION

LOBBY

2.WAITING AREA 3.LOBBY 4.SERVICES TABLE. ENTRANCE AREA COMPONENTS

NO. OF PERSON

AREA/ PERSON

AREA/ UNIT

NO. OF UNITS

AREA M2

AREA %

RECEPTION

220

1.5

330

1

330

33%

WAITING AREA

120

1

120

1

120

12%

LOBBY

333

1.5

500

1

500

50%

SERVICES

17

1.5

25

2

50

5%

1000

100%

TOTAL NET AREA

3.2.2 EDUCATIONAL AREA 1. LECTURE HALLS 2. RECORDING STUDIOS 3. REHEARSAL HALL

MUSIC WORKSHOP S

LECTURE HALLES

RECORDIN G STUDIOS

4. MULTIFUNCTION HALL

INSTRUME TS ROOMS

5.INSTRUMENTS ROOMS (TRAINING HALL)

STORES

LOUNGE AREA

SERVICES

MULTIFUNCTIO N HALL

REHEARSA L HALL

CONCERT HALL

COMMUNICATIO N ROOM

6.CONCERT HALL 7. MUSIC WORKSHOPS 8. COMMUNICATION ROOM 9. LOUNGE AREA 10. STORES 11. SERVICES

59

DUBAI MUSIC ACADEMY

Chapter 3

TABLE . EDUCATIONAL AREA COMPONENTS

NO. OF PERSON

AREA/ PERSON

AREA/ UNIT

NO. OF UNITS

AREA M2

AREA %

LECTURE HALLS

40

1.5

60

15

900

10%

RECORDING STUDIOS

150

2

300

4

1200

13%

REHEARSAL HALL

170

2

340

5

1700

19%

MULTIFUNCTION HALL

170

2

340

5

1700

19%

INSTRUMENTS ROOMS

30

1.5

45

8

360

4%

CONCERT HALL

170

2

340

5

1700

19%

MUSIC WORKSHOPS

30

3

90

8

720

8%

COMMUNICATION ROOM

28

2

55

6

330

4%

LOUNGE AREA

-

-

100

1

100

1%

STORES

-

-

30

3

90

1%

SERVICES

-

-

50

4

200

2%

9000

100%

TOTAL NET AREA

60

DUBAI MUSIC ACADEMY

Chapter 3

3.2.3 FACILITIES AREA 1. MUSICAL LIBRARY 2. LIBRARY 3. CONCERT HALL 4. COMPUTER LAB 5. CINEMA 6. FOOD COURT 7. SHOP ( MINI MARKET) 8. COPY PRINTTING CENTER 9. EXPOSITION HALL 10. AUDITORIUM 11. STORES 12. SERVICES

61

DUBAI MUSIC ACADEMY

Chapter 3

TABLE . FACILITIES AREA COMPONENTS

NO. OF PERSON

AREA/PE RSON

AREA/ UNIT

NO. OF UNITS

AREA M2

AREA %

MUSICAL LIBRARY

267

1.5

400

1

400

10%

LIBRARY

200

2

400

1

400

10%

CONCERT HALL

200

2

400

1

400

10%

COMPUTER LABS

67

1.5

100

3

300

8%

CENIMAS

60

2

120

2

240

6%

FOOD COURT

153

1.5

230

1

230

5%

MINI MARKET

153

1.5

230

1

230

5%

COPY PRINTING CENTER

20

1.5

30

1

30

1%

EXPIOSION HALL

700

1

700

1

700

18%

AUDITORIUM

667

1.5

1000

1

1000

25%

STORES

-

-

20

1

20

1%

SERVICES

-

-

25

2

50

1%

4000

100%

TOTAL NET AREA

62

DUBAI MUSIC ACADEMY

Chapter 3

3.3 SUPPORTIVE ACTIVITIES AREA QUALITATIVE AND QUANTITATIVE ANALYSIS 3.3.1 ADMINISTRATION AREA 1. MANAGEMENT AREA 2. STUFF AREA 3. REGISTRATION AREA 4. SERVICES

MANAGER

MEETING ROOM

VIC MANAGER ADMENISTRATION

FINANCE

ARCHIVE

SECRETARY

SECRETAR Y

SERVICES

HR COPY PRINTTING CENTER

ARCHIVE

PANTRY

LOUNGE

TEACHERS ROOMS

SECRETARY

PANTRY

COPY PRINTTING CENTER

ARCHIVE

SERVICES

63

DUBAI MUSIC ACADEMY

Chapter 3

3.3.1 ADMINISTRATION AREA – MANAGEMENT

1. MANAGER ROOM

VIC MANAGER

MEETING ROOM

MANAGER

2. VIC MANAGER

3. SECRETARY 4. HUMAN RESOURCES

SECRETARY SERVICES

5. MEETING ROOM 6. ARCHIVE

HR

7. COPY PRINTING CENTER 8.PANTRY

COPY PRINTTING CENTER

9.SERVICES

ARCHIVE

PANTRY

TABLE . MANAGEMENT AREA COMPONENTS

NO. OF PERSON

AREA/P ERSON

AREA/ UNIT

NO. OF UNITS

AREA M2

AREA %

MANAGER

27

1.5

40

1

40

17%

VIC MANAGER

150

2

40

1

40

17%

SECRETARY

-

-

30

1

30

12%

HUMAN RESOURCES

20

1.5

30

1

30

13%

MEETING ROOM

20

1.5

30

1

30

13%

ARCHIVE

30

1

30

1

30

12%

COPY PRINTING CENTER

10

1.5

15

1

15

6%

PANTRY

10

1

10

1

10

4%

SERVICES

-

-

15

1

15

6%

240

100% 64

TOTAL NET AREA

DUBAI MUSIC ACADEMY

Chapter 3

3.3.1 ADMINISTRATION AREA – STUFF AREA 1. TEACHERS ROOM 2. SECRATARY

TEACHERS ROOMS

LOUNGE

SECRETARY

3. ARCHIVE

4. COPY PRINTING CENTER 5. LOUNGE

PANTRY

6. PANTRY

ARCHIVE

COPY PRINTTING CENTER

7. SERVICES

SERVICES

TABLE . STUFF AREA COMPONENTS

NO. OF PERSON

AREA/P ERSON

AREA/ UNIT

NO. OF UNITS

AREA M2

AREA %

TEACHERS ROOMS

27

1.5

40

11

440

52%

SECRETARY

-

-

30

4

120

15%

ARCHIVE

30

1

30

4

120

15%

COPY PRINTING CENTER

13

1.5

20

1

20

2%

LOUNGE

-

-

100

1

100

12%

PANTRY

10

2

20

1

20

2%

SERVICES

-

-

20

1

20

2%

840

100%

TOTAL NET AREA

65

DUBAI MUSIC ACADEMY

Chapter 3

3.3.1 ADMINISTRATION AREA – REGISTRATION AREA 1. ADMENISTRATION

2. FINANCE

ADMENISTRATION

FINANCE

ARCHIVE

SECRETARY

3. ARCHIVE 4. SECRETARY

TABLE . REGISTRATION AREA COMPONENTS

NO. OF PERSON

AREA/P ERSON

AREA/ UNIT

NO. OF UNITS

AREA M2

AREA %

ADMENISTRATION

32

1.5

48

1

48

40%

FINANCE

32

1.5

48

1

48

40%

ARCHIVE

12

1

12

1

12

10%

SECRETARY

8

1.5

12

1

12

10%

840

100%

TOTAL NET AREA

3.3.2 SERVICES AREA 1. PRAYER HALL 2. ELECTRICAL ROOM

PRAYER HALL

MECHANIC AL ROOM

ELICTRICAL ROOM

STORES

WATCH ROOM

CONTROL ROOM

3. CONTROL ROOM 4. MECHANICAL ROOM 5. WATCH ROOM 6. STORES

66

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Chapter 3

TABLE . SERVICES AREA COMPONENTS

NO. OF PERSON

AREA/PE RSON

AREA/ UNIT

NO. OF UNITS

AREA M2

AREA %

PRAYER HALL

160

1.5

240

1

240

60%

ELECTRICAL ROOM

-

-

36

1

36

9%

CONTROL ROOM

-

-

36

1

36

9%

MECHANICAL ROOM

-

-

36

1

36

9%

WATCH ROOM

24

1.5

36

1

36

9%

STORES

-

-

16

1

16

4%

400

100%

TOTAL NET AREA

3.3.3 PUBLIC FACILITIES ( RECREATIONAL AREA ) 1. RESTRANTS AND CAFES

2. SHOPS

RESTRANTS AND CAFES

SHOPS

CONCERT HALL

SERVICES

3. CONCERT HALL 4. SERVICES TABLE . PUBLIC FACILITIES AREA COMPONENTS

NO. OF PERSON

AREA/ PERSON

AREA/ UNIT

NO. OF UNITS

AREA M2

AREA %

RESTRANTS AND CAFES

800

1.5

1200

1

1200

27%

SHOPS

30

2

60

31

1900

43%

CONCERT HALL

800

1.5

1200

1

1200

27%

SERVICES

-

-

50

2

100

3%

4400

100%

TOTAL NET AREA

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DUBAI MUSIC ACADEMY

Chapter 3

3.4 TOTAL BUILT UP AREA TABLE. TOTAL BUILT UP AREA ZONE NAME

AREA

ENTRANCE AREAA

CIRCULATION + STRUCTURE %

BUILT UP AREA

BUILT UP AREA %

-

1000

5%

EDUCATIONAL AREAA

-

9000

45%

FACILITIES AREAA

-

4000

20%

ADMENISTRATION AREA

-

1200

6%

SERVICES AREA

-

400

2%

RECREATIONAL AREA

-

4400

22%

20000

100%

TOTAL BUILT UP AREA CIRCULATION

30%

PARKING

5000M2

LANDSCAE

3000M2

TOTAL OUTDOOR SPACE

8000M2

CORE ACTIVITIES ZONE

70%

SUPPORTIVE ACTIVITIES ZONE

30%

3.5 CALCULATION THE TOTAL AREA IS : 28000 M2 TOTAL AREA BUILT AREA

20000

PARKING(300 CARS)

5000

LANDSCAPE

3000

7%

USED AREA 93%

FUTURE EXTENSION

2000

TOTAL AREA

30000

FUTURE EXTENSION

CHART SHOWING TOTAL USED AREA

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Chapter 4

4.1 INTRODUCTION DUBAI ( OR DUBAYY; ARABIC :‫ )دبي‬IS ONE OF THE SEVEN EMIRATES COMPRISING THE UNITED ARAB EMIRATES (UAE) ,AND THE MOST POPULOUS CITY IN UAE).WITH AN AREA OF 5401 KM2. DUBAI IS THE SECOND LARGEST EMIRATE BY AREA FOLLOWING ABU DHABI IN FIRST PLACE.ITS SEATS OF GOVERNMENT IS DUBAI. THE CITY OF DUBAI IS LOCATED ON THE FIGURE. OVERALL VIEW OF DUBAI CITY EMIRATE'S NORTHERN COASTLINE AND HEADS UP THE DUBAI-SHARJAH-AJMAN METROPOLITAN AREA. THE POPULATION IS 2,657,000 IN 5TH OF NOVEMBER 2016.

DUBAI IS RULED BY H.H SHEIKH MOHAMMED BIN RASHID AL MAKTOUM OF THE AL MAKTOUM TRIBE.THE CROWN PRINCE OF THE EMIRATE H.H SHEIKH HAMDAN BIN MOHAMMED AL MAKTOUM. DUBAI HAS EXPERIENCED MASSIVE DEVELOPMENT AND A CONSTRUCTION BOOM IN THE PAST 10 YEARS. TYPE OF PROJECT: MUSIC ACADEMY AND CENTER.

HEIGHT OF THE PROJECT: MAXIMUM THREE LEVELS. ACCESSIBILITY TO THE SITE SHOULD CONTAIN ( MAIN ROAD, COLLECTOR ROAD). INCLUDING PARKING LOTS. TOTAL NEEDED AREA:30000M2

SITE 2

SITE 1

THE THREE SITES WILL BE LOCATED AT DUBAI AREA. ALL SELECTED SITES HAVE ADVANTAGES AND DISADVANTAGES

SITE 3

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DUBAI MUSIC ACADEMY

Chapter 4

4.2 SITE SELECTION 4.2.1 SELECTED SITE 1 AL FALAK ROAD, NEAR THE PALM ISLAND, INSIDE THE KNOWLEDGE VILLAGE SITE AREA

27300 M2

ROAD CONNECTION

MAIN ROAD + COLLECTOR

VIEW

UNIVERSITIES COMPLEX

POPULATION

SOUND : QUITE VENTILATION: PERFECT CLIMATICALLY: STABLE

SERVICES

TRAM STATION + METRO STATION

ZAYED ROAD MAIN ROADS SECONDARY ROADS COLLECTOR ROADS

1

3 CLIMATIC ANALYSIS

SURROUNDING 1. UNIVERSITIES COMPLEX

2

2. DUBAI INTERNET CITY 3.DUBAI PEARL

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DUBAI MUSIC ACADEMY

Chapter 4

4.2 SITE SELECTION 4.2.2 SELECTED SITE 2 AL WARQA1 ,414 ROAD , BETWEEN SHEIKH MOHAMMED BIN ZAYED ROAD AND AL AWIR ROUD

76

224

SITE AREA

40000M2

ROAD CONNECTION

MAIN ROAD + COLLECTOR

VIEW

SHEIKH MOHAMMED BIN ZAYED ROAD

POPULATION

SOUND : QUITE VENTILATION: ACCEPTABLE CLIMATICALLY: FINE

SERVICES

METRO STATION

MAIN ROADS SECONDARY ROADS COLLECTOR ROADS

2 CLIMATIC ANALYSIS

3

SURROUNDING 1. INTERNATIONAL CITY

1

2. SHEIKH MOHAMMED BIN ZAYED ROAD 3. SCHOOLS COMPLEX

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DUBAI MUSIC ACADEMY

Chapter 4

4.2 SITE SELECTION 4.2.3 SELECTED SITE 3 DUBAI STUDIO CITY ,DUBAI STUDIO CITY ROAD , BEHIND MOTOR CITY NEXT TO DUBAI STUDIO CITY OPERATION OFFICE

280

SITE AREA

37800M2

ROAD CONNECTION

MAIN ROAD + SECONDARY ROAD

VIEW

MOTOR CITY

POPULATION

SOUND : QUITE VENTILATION: ACCEPTABLE CLIMATICALLY: FINE

SERVICES

-

MAIN ROADES SECONDARY ROADS

2

CLIMATIC ANALYSIS

1 3

SURROUNDING 1. DUBAI STUDIO CITY OPERATION OFFICE 2. MOTOR CITY 3.DUBAI POLO & EQUESTRIAN CLUB

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DUBAI MUSIC ACADEMY

Chapter 4

4.3 SITE EVALUATION

SITE 1 CRITERIA

SITE 3

SITE 2 WEIGHT

SITE 1

SITE 2

SITE 3

PROGRAM FITTING

10

10

100

9

90

10

100

ACCESSIBILITY

10

10

100

10

100

7

70

NOISE

10

10

100

8

80

9

90

PUBLIC TRASPORTATION

10

9

90

8

80

6

60

SURROUNDING

7

7

49

4

28

6

42

AMENITIES

7

6

42

3

21

6

42

THE ABILITY OF ICONIC

5

5

25

3

15

5

25

VIWE

5

5

25

3

15

4

20

FUTURE EXTENSION

5

5

25

4

20

4

20

TOPOGRAPHY

5

5

25

3

15

4

20

TOTAL

581

464

489

SITE 1 : IS THE MOST SUITABLE FOR THE PROJECT • QUITE • HAS TRANSPORTATION AVAILABILITY • KNOWLEDGE VILLAGE IS THE ICON OF THIS SITE 74

DUBAI MUSIC ACADEMY

Chapter 4

4.4 ANALYSIS OF SELECTED SITE 4.4.1 SURROUNDING

1 3

2

1. UNIVERSITIES COMPLEX

2. DUBAI INTERNET CITY

3. DUBAI PEARL 75

DUBAI MUSIC ACADEMY

Chapter 4

4.4 ANALYSIS OF SELECTED SITE 4.4.2 ACCESSIBILITY

MAIN ROADS

SECONDARY ROADS

COLLECTOR ROADS

ENTRANCES

4.4.3 VIEWS KNOWING THE VIEWS WILL HELP TO KNOW WHERE TO PLACE EACH ZONE ON SITE.

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DUBAI MUSIC ACADEMY

Chapter 4

4.4 ANALYSIS OF SELECTED SITE 4.4.2 SUN AND WIND ORIENTATION

77

78

DUBAI MUSIC ACADEMY

Chapter 5

5.1 CONCLUSION •

MUSIC IS TASTED BY ALL THE GENERATIONS, EACH GENERATION TASTE THE MUSIC THAT IS PUBLISHED IN THEIR GENERATION/ERA, ALTHOUGH MUSIC HAS MANY LANGUAGES , BUT IT IS TASTED BY THE FEELING OF THE RHYTHM, BEATS AND VOICE THAT MUSIC ATTEMPT TO GIVE.

•

MUSIC ACADEMY SHOULD BE LARGE DIMENSIONS TO PROVIDE ENOUGH ACOUSTICAL EXPANSION SPACE TO ENSURE GREAT SOUND.

•

THE BEAUTY OF BOTH ARCHITECTURE AND MUSIC IS EXPRESSED, IN PART, THROUGH RHYTHM AND HARMONY. IN MUSIC ACADEMIES ,IN ITS SENSE OF PROPORTION SHOULD BE SEEN.

•

THE AUDITORIUM, LIKE THE CONCERT HALL, SHOULD BE PANELED BY ACOUSTICAL PANELS , BUT THE CEILING AND WALLS ARE PAINTED BLACK TO ALLOW THE AUDIENCE TO FOCUS ITS ATTENTION UPON THE STAGE.

•

BASE ON THE OUTCOME OF PROGRAM DEVELOPMENT THE FOLLOWING INTERACTIVE FUNCTIONS ARE AS FOLLOWING: PROJECT MAIN ZONES: 1. CORE ACTIVITIES ZONE. 2. SUPPORTIVE ACTIVITIES ZONE. •

SITE ONE IS THE MOST SUITABLE FOR THE PROJECT BECAUSE IT ITS QUITE , CLOSE TO PUBLIC TRANSPORTATIONS , AND IT'S SURROUNDED BY THE KNOWLEDGE CITY .

•

ARCHITECTS SHOULD TAKE INTO CONSIDERATION THE USAGE OF BALANCE FORMS TO CREATE A KINETIC EXPERIENCE FOR THE VISITORS AS THEY MOVE AROUND THE BUILDING.

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DUBAI MUSIC ACADEMY

Chapter 5

5.2 DESIGN CONCEPT AN AMPHITHEATER OR AMPHITHEATER IS AN OPEN-AIR VENUE USED FOR ENTERTAINMENT, PERFORMANCES, AND SPORTS. THE TERM DERIVES FROM THE ANCIENT GREEK ἀΜΦΙΘΕΑΤΡΟΝ (AMPHITHEATRON), FROM ἀΜΦΙ (AMPHI), MEANING "ON BOTH SIDES" OR "AROUND"[ AND ΘΕΑΤΡΟΝ (THÉĀTRON), MEANING "PLACE FOR VIEWING".

MASSES ARE SURROUNDING THE AMPHITHEATER (COLOSSEUM) THE BUILDING WAS INSPIRED FROM AUDITORIUM PARCO DELLA MUSICA WITH DIFFERENT HEIGHTS REPRESENTING THE MUSICAL NOTES

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DUBAI MUSIC ACADEMY

Chapter 5

ENTRANCE AREA

ADMINISTRATION AREA

EDUCATIONAL AREA

RECREATIONAL AREA

FACILITIES AREA

SERVICES AREA

FRONT ELEVATION

BACK ELEVATION

81

82

DUBAI MUSIC ACADEMY

Chapter 6

6.1 MUSICAL CATEGORIES • •

•

•

•

•

CARIBBEAN MUSIC IS A DIVERSE GROUPING OF MUSICAL GENRES, THEY ARE EACH SYNTHESES OF AFRICAN, EUROPEAN , INDIAN AND NATIVE INFLUENCE. CLASSICAL MUSIC IS THE MAINSTREAM MUSIC PRODUCED IN, OR ROOTED IN THE TRADITIONS OF WESTERN LITURGICAL AND SECULAR MUSIC, ENCOMPASSING A BROAD PERIOD FROM ROUGHLY THE 9TH CENTURY TO PRESENT TIMES. FOLK MUSIC , FOLK SONG AND FOLK DANCE ARE COMPARATIVELY RECENT EXPRESSIONS , BEING EXTENSIONS OF THE TERM FOLK LORE , COINED IN 1846 BY THE ENGLISH ANTIQUARIAN WILLIAM THOMAS TO DESCRIBE ‘’ THE TRADITIONS , CUSTOMS , AND SUPERSTITIONS OF THE UNCULTURED CLASSES. JAZZ IS A MUSICAL ART FORM WHICH ORIGINATED AT THE BEGINNING OF THE 20TH CENTURY IN AFRICAN AMERICAN COMMUNITIES IN THE SOUTHERN UNITED STATES FROM A CONFLUENCE OF AFRICAN AND EUROPEAN MUSIC TRADITIONS. LATIN AMERICAN MUSIC IS THE MUSIC OF ALL COUNTRIES IN LATIN AMERICA ( AND THE CARIBBEAN) AND COMES IN MANY VARIETIES. LATIN AMERICA IS HOME TO MUSICAL STYLES SUCH AS THE SIMPLE , RURAL CONJUNTO MUSIC OF NORTHERN MEXICO , THE SOPHISTICATED HABANERA OF CUBA , THE RHYTHMIC SOUNDS OF THE PUERTO RICAN PLENA , THE SYMPHONIES OF HEITOR VILLALOBOS , AND THE SIMPLE AND MOVING ANDEAN FLUTE. ROCK MUSIC IS A GENRE OF POPULAR MUSIC THAT ENTERED THE MAINSTREAM IN THE 1960S . IT HAS ITS ROOTS IN 1940S AND 1950S ROCK AND ROLL , RHYTHM AND BLUES , COUNTRY MUSIC AND ALSO DREW ON FOLK MUSIC , JAZZ AND CLASSICAL MUSIC.

83

DUBAI MUSIC ACADEMY

Chapter 6

6.2 MUSICAL INSTRUMENT A MUSICAL INSTRUMENT IS AN OBJECT CONSTRUCTED OR USED FOR THE PURPOSE OF MAKING THE SOUNDS OF MUSIC . IN PRINCIPLE , ANYTHING THAT PRODUCES SOUND CAN SERVE AS A MUSICAL INSTRUMENT.

WOODWINDS: PICCOLO FLUTE OBEA ENGLISH HORN CLARINET BASSOON CONTRABASSOON SAXOPHONE

STRINGS: VIOLIN VIOLA CELLO DOUBLE BASS HARP

KEYBOARDS: PIANO HARPSICHORD ORGAN PERCUSSION: SNARE DRUM CYMBALS BASS DRUM TAMBOURINE TRIANGLE CASTANETS GUIRO TIMPANI GLOCKENSPIEL XYLOPHONE CHIMES

BASS: TRUMPET TROMBONE TUBA FRENCH HORN

84

DUBAI MUSIC ACADEMY

Chapter 6

6.3 STUDY PLAN

FIRST YEAR PLAN

SECOND YEAR PLAN

FOURTH YEAR PLAN

THIRD YEAR PLAN

FIFTH YEAR PLAN

85

DUBAI MUSIC ACADEMY

Chapter 6

6.4 REFERENCES SITES:.

HTTP://EN.WIKIPEDIA.ORG/WIKI/PARCO_DELLA_MUSICA HTTP://WWW.GRATBUILDING.COM HTTP://WWW.ABC.NET.AU HTTP://EN.WIKIPEDIA.ORG HTTP://WWW.DETAIL.DE HTTP://WWW.DESGINSKETCH.COM HTTP://WWW.MYUNGSUNGWAN.COM HTTP://EN.WIKIPEDIA.ORG/WIKI/MUSICAL_INSTRUNENT HTTP://FIGURE-GROUND.COM HTTPS://EN.WIKIPEDIA.ORG/WIKI/SYDNEY_OPERA_HOUSE HTTPS://GALLERY.RECORDS.NSW.GOV.AU/INDEX.PHP/GALLERIES/SYDNEYOPERA-HOUSE/SYDNEY-OPERA-HOUSE-THE-YELLOW-BOOK/ BOOKS: 1. RENZO PIANO BUILDING WORKSHOP 2. SYDNEY OPERA HOUSE (UTZON IN 1964) PUBLISHED IN 1998 FOR PERMASTEELISA GROUP 3. THE ARCHITECTURE REVIEW. WWW. ARPLUS.COM 4. THE ARCHITECTURE RECORD, JULY 2007 EDIT BY ROBERT LVY STUDENT WORK: ALI ABBASALI FARAJI

86