Rosetta Exploratorium Of Narratives Vol.1

FACULTY OF ENGINEERING DEPARTMENT OF ARCHITECTURE FALL 2019 GRADUATION PROJECT I ASE-554

GROUP (E9) FINAL DRAFT “ROSETTA EXPLORATORIUM OF NARRATIVES”

AUTHORS AHMED MOHAMED ZAHER AMR SALAH ANDREW SAMY RAMZY KHALED ASSEM MIRNA SAMIR FAHMY NOURHAN YEHIA DIAB OMNEYA AHMED SAMA HAMDY ELSAMMAN YOUSEF ALI AHMED

SUPERVISORS DR. OMAR FAWZY DR. RASHA SAYED DR. SAMEH EL-FEKI ENG. OMAR MOSTAFA ENG. SHIMAA GALAL

164165 163079 162865 162237 164111 163651 160903 163547 162905

ACKNOWLEDGEMENT First, and most of all, we thank God for granting us the health, patience, and serenity in the journey of completing this book.

We would like to thank our supervisors, Dr. Omar Fawzy and Dr. Sameh El-Feki, for always giving us the guidance and support to complete this project.

We would also like express our severe gratitude to our advising team, Dr. Rasha Sayed, Eng. Shimaa Galal, and Eng. Omar Mostafa, for their constant support, assistance, encouragement, and patience, no matter what we did.

Last of all, we would like to thank all our professors, L.As, and T.As, for their help and effort throughout the project. We are grateful for our friends and families, who tolerated us throughout the process.

ABSTRACT Through the history of Egypt, many cities have possessed significance in many aspects, including location, heritage, culture, and architecture. In this book, we are discussing the importance of Rosetta’s historical and heritage significance and its deterioration through time.

Rosetta is one of the most important cities in Egypt.

Unfortunately, we do not make use of the untapped potential of this beautiful city. This is mainly because of many reasons, including lack of administrative supervision and coordination, lack of proper documentation of data, and lack of people’s awareness.

The proposed project for this area is an Exploratorium of Narratives. The Exploratorium will include an interactive exhibition that tells the story and demonstrates Rosetta’s most important heritage sites and monuments. The main objective is to highlight and revive Rosetta’s neglected heritage sites. It will serve as an ode to the culture, heritage, and the rich history of Rosetta.

Abstract | 02

TABLE OF CONTENT 1 - HISTORY AND CURRENT CONDITIONS

Table of Content

17-29

1.1 – Location And Importance 1.2 – Historical Timeline 1.3 – Historical Background 1.4 – Heritage Icons 1.5 – Historical Mosques 1.6 – Historical Houses 1.7 – Rosetta’s Heritage 1.8 – Current Conditions 1.9 – Conclusion 30-53

2 - URBAN ANALYSIS 2.1 – Urban Development 2.2 – Urban Fabric 2.3 – Urban Analysis

2.3.1 – Land Use 2.3.2 – Building Heights 2.3.3 – Building Conditions 2.3.4 – Accessibility And Roads Hierarchy 2.3.5 – Solid And Void 2.4 – Environmental Analysis 2.5 – Swot 2.6 – Skyline And Elevation Analysis 2.6.1 – Skyline Analysis 2.6.2 – Historical Urban Route Elevation Analysis 2.6.3 – Architectural Style 2.6.3.1 – Old Style 2.6.3.2 – Modern-day Architectural Style 2.6.3.3 – Shading Elements

Table of Content

Table of Content

2.7 – Social Analysis 2.8 – Transportation Methods 2.9 – Rosetta’s Crafts 3 - PROBLEM AND PROJECT SELECTION

54-64

3.1 – Introduction

3.2 – Social Interviews 3.3 – Rosetta’s Problems 3.4 – The Problem of Heritage 3.4.1 – Problem Definition 3.4.2 – Problem Statement 3.5 – Literature Review 3.6 – Proposed Project

3.6.1 – Project Statement 3.6.2 – Project Mission And Scope 3.6.3 – Project Vision 3.6.4 – Project Objectives 3.7 – Target Groups 3.8 – Conclusion 65-90

4 - SITE SELECTION 4.1 – Site Selection Criteria 4.2 – Site Locations 4.2.1 – Site 1 4.2.1.1 – Land Use 4.2.1.2 – Building Heights 4.2.1.3 – Accessibility 4.2.1.4 – Conditions 4.2.1.5 – Solid And Void 4.2.1.6 – S.W.O.T Analysis

Table of Content

Table of Content

4.2.2 – Site 2 4.2.2.1 – Land Use 4.2.2.2 – Building Heights 4.2.2.3 – Accessibility 4.2.2.4 – Building Condition 4.2.2.5 – Solid And Void 4.2.2.6 – S.W.O.T Analysis 4.2.3 – Site 3 4.2.3.1 – Land Use 4.2.3.2 – Building Heights 4.2.3.3 – Accessibility 4.2.3.4 – Building Condition 4.2.3.5 – Solid And Void

4.2.3.6 – S.W.O.T Analysis 4.3 – Comparative Analysis Between The 3 Sites 4.4 – Comparative Analysis Between The 3 Sites 91-110

5 - DESIGN ISSUES 5.1 – Circulation

5.1.1 – General Definition 5.1.2 – Architectural Definition 5.1.3 – Direction Of Movement 5.1.3.1 - Vertical Circulation 5.1.3.2 - Horizontal Circulation 5.1.4 - Examples 5.1.5 – Conclusion

Table of Content

Table of Content

5.2 – Image 5.2.1 – General Definition 5.2.2 – Architectural Definition 5.3 – Message 5.3.1 – General Definition 5.3.2 – Architectural Definition 5.3.3 – Example 5.4 – Identity 5.4.1 – Architectural Definition 5.4.2 – Example 5.4.3 – Conclusion 5.5 – Interaction 5.5.1 – General Definition 5.5.2 – Architecture Definition 5.5.3 – Types 5.5.3.1 – Visual Interaction 5.5.3.1.1 – Definition 5.5.3.1.2 – Example 5.5.3.2 Human Interaction

5.5.3.2.1 - Definition 5.5.3.2.2 - Example 5.5.4 – Conclusion 5.6 – Flexibility 5.6.1 – General Definition 5.6.2 – Architectural Definition

Table of Content

Table of Content

5.6.3 – Factors 5.6.3.1 – Transformation 5.6.3.2 – Response 5.6.3.3 – Adaptation 5.6.3.4- Types Of Flexibility 5.6.4 – Example 5.6.5 – Conclusion 5.7 – Visibility 5.7.1 – General Definition

5.7.2 – Architecture Definition 5.7.3 – Examples 5.7.4 – Conclusion 5.8 – Comfort 5.8.1 – General Definition 5.8.2 – Architectural Definition 5.8.3 – Physical Comfort 5.8.4 – Example 5.8.5 – Conclusion 5.9 – Mood 5.9.1 – General Definition 5.9.2 – Architectural Definition 5.9.3 – Factors Affecting Mood 5.9.3.1 – Building Interior 5.9.3.2 – Building Exterior 5.9.4 – Examples 5.9.5 – Conclusion

Table of Content

Table of Content

5.10 – Safety 5.10.1 – General Definition 5.10.2 – Architectural Definition

6 - CASE STUDIES

111-185

6.1 – The Jewish Museum 6.1.1 – Introduction 6.1.2 – Contextual Information 6.1.3 – Historical Background 6.1.4 – Local Architectural Characteristics 6.1.5 – Climate 6.1.6 – Site And Surroundings 6.1.7 – Concept 6.1.8 – Zoning 6.1.9 – Circulation

6.1.10 – Section And Elevation Analysis 6.1.11 – Structural Analysis 6.1.12 – Design Issues 6.1.12.1 – Mood 6.1.12.2 – Circulation 6.1.12.3 – Image 6.1.13 – Conclusion 6.2 – The Odunpazari Modern Museum (OMM) 6.2.1 – Introduction 6.2.2 – Contextual Information 6.2.3 – Historical Background Problem 6.2.4 – Local Architecture Characters 6.2.5 – Climate 6.2.6 – Site And Surroundings

Table of Content

Table of Content

6.2.7 – Concept

6.2.8 – Structure Analysis 6.2.9- Zoning And Circulation 6.2.10 – Section And Elevation Analysis 6.2.11– Design Issues 6.2.11.1 – Mood 6.2.11.2 – Identity 6.2.11.3 – Flexibility 6.2.11.4 – Image 6.2.12 – Conclusion 6.3 – Jeju Cultural Heritage Centre 6.3.1 – Introduction 6.3.2 – Architectural Concept 6.3.3 – Light Distribution 6.3.4 – Zoning And Circulation 6.3.5 – Plan Analysis 6.3.6 – Urban Context 6.3.7 – Structural Analysis 6.3.8 – Elevation And Section Analysis 6.3.9 – Design Issues 6.3.9.1 – Circulation

6.3.9.2 – Image 6.3.9.3 – Mood 6.3.10 – Conclusion

Table of Content

Table of Content

6.4 – The Palestinian Museum 6.4.1 – Introduction 6.4.2 – Contextual Information 6.4.3 – Historical Background Problem 6.4.4 – Site and Surroundings 6.4.5 – Concept 6.4.6 – Zoning 6.4.7 – Circulation 6.4.8 – Section and Elevation Analysis 6.4.9 – Structural Analysis 6.4.10 – Sustainable Approach 6.4.11 – Design Issues 6.4.11.1 – Mood 6.4.11.2 – Flexibility 6.4.11.3 –Visibility 6.4.11.4 – Image 6.4.12 – Conclusion 6.5 – Louvre Abu Dhabi 6.5.1 – Introduction 6.5.2 – Contextual Information

6.5.3 – Historical Background Problem 6.5.4 – Local Architecture Characteristics 6.5.5 – Climate 6.5.6 – Site and Surroundings 6.5.7 – Concept 6.5.8 – Lighting And Form 6.5.9 – Zoning 6.5.10 – Circulation

Table of Content

Table of Content

6.5.11 – Section And Elevation Analysis 6.5.12 – Structural Analysis 6.5.13 – Design Issues 6.5.13.1 – Mood 6.5.13.2 – Comfort

6.5.13.3 – Image 6.5.13.4 – Circulation 6.5.14 – Conclusion 6.6 – National Museum Of Qatar 6.6.1 – Introduction 6.6.2 – Contextual Information 6.6.3 – Local Architectural Characteristics

6.6.4 – Climate 6.6.5 – Site And Surroundings 6.6.6 – Concept 6.6.7 – Circulation 6.6.8 – Zoning 6.6.9 – Section And Elevation Analysis 6.6.10 – Structural Analysis 6.6.11 – Design Issues 6.6.11.1 – Circulation 6.6.11.2 – Image 6.6.11.3 – Mood 6.6.12 – Conclusion 6.7 – Luxor Cultural Centre 6.7.1 – Introduction 6.7.2 – Zoning 6.7.3 – Circulation

Table of Content

Table of Content

6.7.6.2 – Identity 6.7.7 – Conclusion 6.8 – Wadi El-Hitan (Valley of the Whales)

6.8.1 – Introduction 6.8.2 – Contextual Information 6.8.3 – Historical Background 6.8.4 – Local Architecture Characters 6.8.5 – Climate 6.8.6 – Site and Surroundings 6.8.7 – Concept

6.8.8 – Zoning 6.8.9 – Circulation 6.8.10 – Topography 6.8.11 – Design Issues 6.8.12 – Conclusion 6.9 – Case Studies And Design Issues

7 - PROGRAM ANALYSIS AND GUIDELINES

186-210

7.1 – Project Elements 7.1.1 – Functional Diagram 7.1.2 – Zoning 7.1.2.1 – Expanded Zoning: 7.2 – Target Groups 7.2.1 – Strategies

7.3 – Space Requirements

Table of Content

Table of Content

7.4 – Standards 7.4.1 – Exploratorium 7.4.1.1 – Functional Relationships 7.4.1.2 – Flexibility 7.4.1.3 – Layout

7.4.2 – Museum And Exhibition Zone 7.4.2.1 – Storage 7.4.2.2 – Exhibition Arrangement 7.4.3 – Auditorium 7.4.3.1 – Lighting 7.4.4 – Workshops 7.4.4.1– Classrooms

7.4.5 – Administration 7.4.5.1 – Entrance Lobby 7.4.5.2 – Offices 7.4.5.3 – Meeting Room 7.4.5.4 – Utilities 7.4.5.5 – Restaurant 7.4.5.6 – Archive 7.4.6 – Library Zone

8 - SUSTAINABILITY

211-234

8.1 – Sustainability 8.1.1 – Definition 8.1.2 – Sustainability In Architecture 8.1.3 – Pillars Of Sustainability

8.1.4 – Social Sustainability 8.1.4.1 – Definition

Table of Content

Table of Content

8.1.4.2 – Social Sustainability Factors

8.1.4.3 – Social Sustainability Example 8.1.4.4 – Peter Coal Drake Education Precinct 8.1.5 – Economic Sustainability 8.1.5.1 – Definition 8.1.5.2 – Economic Sustainability Factors 8.1.5.3 – Economic Sustainability Example 8.1.5.4 – Education Center Nyanza, Rwanda, East Africa 8.1.6 – Environmental Sustainability 8.1.6.1 – Definition 8.1.6.2 – Environmental Sustainability In Architecture 8.1.6.3 – Sustainability Techniques 8.1.6.4 – Photovoltaic Systems 8.1.6.5 – Photo Thermic Systems 8.1.6.6 – Green Materials 8.1.6.7 – Day Lighting (Skylights) 8.1.6.8 – Environmental Impact Reduction Techniques 8.1.6.9 – Environmental Case Study 8.1.7 – LEED 8.1.7.1 – Definition 8.1.7.2 – LEED Rating System

8.1.7.3 – The Evaluation Criteria 8.1.7.4 – LEED Case Study 8.1.7.5 – LEED Scorecard

Table of Content

Table of Content

8.1.8 – GPRS ( The Green Pyramid Rating System ) 8.1.8.1 – Definition 8.1.8.2 – Green Pyramid Rating System 8.1.8.3 – GPRS Case Study : AUC (The American University In Cairo)

8.1.6.1.4 – Green Pyramid Rating System Assessment

9 – INDIVIDUAL WORK

235-330

9.1 – Ahmed Mohamed Zaher 9.2 – Amr Salah 9.3 – Andrew Samy Ramzy

9.4 – Khaled Assem 9.5 – Mirna Samir Fahmy 9.6 – Nourhan Yehia Diab 9.7 – Omneya Ahmed 9.8 – Sama Hamdy Elsamman 9.9 – Yousef Ali Ahmed

10 – BIBLIOGRAPHY

331-343

11 – LIST OF FIGURES

344-369

Table of Content

METHODOLOGY

Introduction

Location and Importance

History of Rosetta

Current Conditions

Mobility

Social Analysis

Problem Selection Literature Review

Proposed Project

Design Issues

Case Studies

Proposed Program

Site Selection

Site Analysis

Project

Urban Analysis

1

CHAPTER 1

HISTORY AND CURRENT CONDITIONS This chapter discusses the strategic location of Rosetta, and how it affected its historical background since 2500 BC, showing its development through the eras until today.

1.1 – LOCATION AND IMPORTANCE

History and Current Conditions

Rosetta is a city located on one of the main branches of the Nile Delta. It possesses a unique, strategic location; connecting El Behera with Alexandria, and the Nile River with the Mediterranean Sea. Rosetta’s significance is not only highlighted by its location, but also by its heritage and historical values. After Cairo, Rosetta comes second in having Islamic monuments. Rosetta has been through different eras, making it of great importance and value to Egypt and the world.

Figure 1.1.1 Abu Mandur Mosque, Google Image, Illustrated By Author 2019.

Figure 1.1.2 El-Cornish Street At Rosetta, Google Image, Illustrated By Author 2019.

Figure 1.1.3 Rosetta’s Location, Google Image, Illustrated By Author 2019.

History and Current Conditions | 18

1.2 – HISTORICAL TIMELINE

History and Current Conditions

Figure 1.2.1 Rosetta’s Historical Timeline (Authors, 2019).

History and Current Conditions | 19

1.3 – HISTORICAL BACKGROUND

History and Current Conditions

Pharaonic Era (2500 BC – 300 BC) Rosetta was named Khito during the Pharoanic era’s New Kingdom. This was a prosperous period in the history of Rosetta. The temple of the god Amoun was built during this time. (ministry of antiquities).

Ptolemaic Era (300 BC – 30 BC) Rosetta was named Bolbitine during the Ptolemic era. During this period, a huge temple was built in honor to the Ptolemic king, Ptolemy the 5th. It was located in the market of Bolbitine (MOA, n.d.).

Figure 1.3.1 Scripts Of Mesopotamian Civilization, Google Image.

Figure 1.3.2 Ptolemaic Era (MOA, n.d.)

Islamic Era (641 AD – 1472 AD) Rosetta gained its name during this period. This period, a great recession affected Rosetta’s trading business, due to the discovery of Alexandria’s port.

However, after Amr Ibn Al A’as conquered Cairo, Egypt, Alexandria’s port fell, and the Rosetta’s trading port rose once again (MOA, n.d.).

Figure 1.3.3 Islamic Era (MOA, n.d.)

Mamluk Era (1250 AD – 1500 AD) Under the rule of Sultan Qaitbay, the Qaitbay citadel was built. After that, Sultan Al Ghoury built towers and walls around the whole city. During this period, the Cape of Good Hope, an important trading route around Africa, was discovered. This led to a negative impact on Rosetta’s trading activities (MOA, n.d.).

Figure 1.3.4 Mamluk Era (MOA, n.d.)

History and Current Conditions | 20

History and Current Conditions

Ottoman Era (1500 AD – 1900 AD) This was the era of architectural and urban prosperity for Rosetta. Many of the historical buildings were built, including houses, baths, mills, mosques, hotels, citadels, and gates (MOA, n.d.)

Figure 1.3.5 Ottoman Era, Sophia, Turks In Palestine By Alexander Aaronsohn.

French Campaign (1789 AD) During the period, the iconic Rosetta Stone was found in the Citadel of Qaitbay. This stone helped decipher the ancient Egyptian language, giving us an important piece of history. The Rosetta stone is now located in the British Museum of London (MOA, n.d.)

Figure 1.3.6 French Campaign, Napoleon's Campaign.Jefer

British Conquest (1807 AD) This was the era of bloodshed for Rosetta. The Fraizer campaign reached Rosetta in 1807 AD, resulting in many battles. However, the campaign failed, and Rosetta succeeded in defending itself (MOA, n.d.)

Figure 1.3.7 British Conquest, Frezer Campaign

By Anntonio.

History and Current Conditions | 21

History and Current Conditions

1.4 – HERITAGE ICONS Rosetta Stone ( 1799 AD ) The discovery of the Rosetta stone was the key to translating and deciphering the ancient Egyptian language, and without it this civilization would have remained a mystery to the world. It is now found in the National British Museum. The stone is made of granodiorite.

Figure,1.41 Rosetta Stone, Clip Art

Abou Shahin Mill ( 19th AD ) It was built in the 18th century

by Usman Agha Al Tubgi, who also built the two adjacent Almasyali houses. It is made of a double mill and includes a stable for horses.

Figure 1.4.2 Abu Shahin Mill Plan, MOA n,d

Azzouz Bathhouse ( 19th AD ) It was built in the 19th century, is the only remaining bath in Rosetta. Its floor plan is made up of two zones, one for the reception area, and the other includes a fountain surrounded by marble flooring. (ministry of antiquities)

Figure 1.4.3 Azzouz Bathhouse, by Author 2019

History and Current Conditions | 22

History and Current Conditions

1.5 – HISTORICAL MOSQUES Al-Mahali Mosque ( 1721 AD ) This mosque is one of the oldest mosques of Rosetta. It was built by Al Sayed Ali Al-Mahali. It is located in the center of the city. There is a court (sahn) in the center of the mosque.

Zaghloul Mosque ( 1577 AD )

Figure 1.5.1 Al-Mahali Mosque, by Author 2019

This is largest mosque in Rosetta, and the second largest mosque in Egypt, after Al Azhar mosque. It is located below the street level. Most of its domes have been destroyed because of battles. Half of the mosque was renovated by the Egyptian Antiquities Organization. (ministry of antiquities)

Al-Abbasi Mosques ( 1809 AD ) It has a very unique location, with a view of the Nile River. It was built

by Mohammad Bey Tabozada. The elevation of this mosque uses moulded bricks.

Figure 1.5.2 Al-abbasi Mosques, Warehouse

Domaqsis Mosque ( 1714 AD ) It is known as the suspended or hanging mosque. It is built above the ground floor. The ground floor is used for shops and storage units. (ministry of antiquities)

Figure 1.5.3 Domaqsis Mosque , by Author, 2019

History and Current Conditions | 23

History and Current Conditions

1.6 – HISTORICAL HOUSES Arab Killy House ( 18 AD ) It is one of the most famous and biggest houses in Rosetta. It was built by Arab Killy, governor of Rosetta at the time. It is four stories high. Its significance is apparent in it’s location and the large area of its rooms, which led to its transformation into National Museum of Rosetta.

Figure,1.6.1 Arab Killy House, by Author 2019

Al-Baqrawali House ( 1718 AD ) It is one of the oldest houses of Rosetta. It is located in front of the suspension mosque, one of the most famous mosques in Rosetta. It is three stories high. Its ground floor consists of a storehouse and a water reservoir.

Figure 1.6.2 Al Baqraqali House, by Author, 2019

Al-Amasyali House ( 1808 AD ) It is one of the most famous houses of Rosetta. It was built by a Turkish general, Othman Agha. It is characterized by the use of mashrabiyas and stained glass. It is three stories high. The ground floor consists of a storehouse, a stable, and a water reservoir. (ministry of antiquities) Figure 1.6.3 Al-amasyali House, by Author, 2019

History and Current Conditions | 24

1.7 – ROSETTA’S HERITAGE

History and Current Conditions

Figure 1.7.1 Rosetta’s Heritage Houses, by Authors, 2019

History and Current Conditions | 25

History and Current Conditions

01- Al Ansari Agency

02- Ramadan house

03- Barqouli's house

04- Al-Urabi Mosque

05- Al-Smadi Mosque

06- Damaskis Mosque

07- Qabdawan Mosque

08- Jalal house

09- Tunisian house

10- Azzouz bath

History and Current Conditions | 26

History and Current Conditions

11- Maharm house

12- Al-Gendi mosque

13- The local mosque

14- Ghazali's house

15- Thabet house

16- Rashid Museum

17- Asfour house

18- Zaghloul Mosque

19- Shaheen Mill

History and Current Conditions | 27

1.8 – CURRENT CONDITIONS

History and Current Conditions

Rosetta’s glory period was ruined by the negligence of the heritage sites and monuments. Even though in past times Rosetta was an important port, with important cultural and historical elements, its significance has decreased throughout the years as a result of the loss of its important features and the decrease in its authentic crafts.

In 2003, Rosetta was added to the UNESCO’s potential world heritage sites list, but it was never declared as one due to failure to restore the monuments. The number of heritage houses in Rosetta is decreasing day by day, due to lack of attention from authorities and lack of people’s awareness of opportunities. There was also a shortage in funding from the government and entities responsible for heritage sites for the restoration projects.

The city lacks in many utilities, including infrastructure. The poor sanitation networks were the reason several monuments drowned in sewage water. If these problems are fixed by the authorities responsible, it will result in saving the remaining monuments and providing a decent living for the city’s inhabitants.

The drastic changes are not only affecting buildings of brick and stone, but are also affecting the people of Rosetta. In past times, Rosetta was a center of trade. It had activities such as tourism, fishing, boat making, agriculture, and craft making. All these activities have been affected by the ignorance and neglect. The drop in all these authentic activities led to unemployment, regardless of the availability of job opportunities in new fields. According to the interviews conducted, the younger generations do not understand the importance and potential of the city, which led to the deterioration of monuments.

The positive part of Rosetta is that its main roads and important zones are kept clean and maintained. This should attract tourists (internal and external) to come view one of the world’s open heritage centers, with its unique and authentic identity, regarding its historic past.

Figure.1.8.1 Rosetta’s Current Conditions, by Authors, 2019

History and Current Conditions | 28

History and Current Conditions

1.9 – CONCLUSION Rosetta is a city with a strategic location and a rich historical background. It passed through different eras; this had a huge role in shaping Rosetta’s identity as historical city of heritage. It used to be in possession of 52 monuments, but this number decreased to 37 through time. Most of the monuments were built during the Islamic periods of Rosetta.

The houses are covered in moulded bricks, red and black, a feature of Islamic Architecture.

Most houses range from three to four stories, with wooden ceilings. The lower stories include wakalas, stables, and water reservoirs. The mosques have many entrances from different areas. The mosques include the basic elements of an ordinary mosque; riwaq, sahn, and mihrabs. The most important heritage discovery is the Rosetta Stone. The importance of these monuments and features will play a huge role in deciding the project, which should highlight the great history and authenticity of Rosetta.

History and Current Conditions | 29

2

CHAPTER 2

URBAN ANALYSIS

This chapter shows Rosetta’s urban analysis, demonstrating it’s land use, heights, conditions, along with its roads and accessibility. It also shows the urban development and expansion through time and the social analysis.

Urban Analysis

2.1 – URBAN DEVELOPMENT The expansion of informal settlements lead to the increase in residential areas and decrease of agricultural fields. This expansion has been occurring since 1953. Rosetta's growth rate is 2.6%, which led to the increase of its population since 2006, making up 7.7% of the population of El Behera Governorate.

Figure 2.1.1 ( Rosetta 2014, Nadaoka 2015 )

Before known of Rosetta

Urban Mass 1953

Urban Mass 1985

Urban Mass 2007

Figure 2.1.2 ( Urban Mass Development, Google Earth, Illustrated by Authors, 2019)

Rosetta’s area started out with approximately 840,000 m² in 1953, with a 75% increase reaching approximately 1,100,100 m² in 2007. This shows the rapid increase in urban spaces due to population growth.

Urban Development Year

Area ( m² )

Percentage

1953

837893

32 %

1985

685148

26 %

2007

1096330

42 %

Total

2619372

75 %

Table. 2.1.1 ( Google Earth, Illustrated By Authors 2019 )

Urban Analysis | 31

Urban Analysis

2.2 – URBAN FABRIC

Rosetta has a very rich urban fabric consisting of a variety of patterns. It includes curvy patters, informal patterns, fragmented patterns, and regular grids. Each pattern is found in several areas in Rosetta. The analysis shows the number of intersections found in each segment, along with access points, number of blocks, and the length of the streets found in each area.

Curvy Street Pattern

Informality In Streets

Fragmented Pattern

Grid Pattern

Access Points

9

6

11

7

No. of Blocks

11

5

16

10

Street Length

225m

257m

150m

90m

Street Pattern

Intersections

Table. 2.2.1 ( Google Earth, Base Map Analysis, Illustrated By Authors, 2019 )

Urban Analysis | 32

2.3 – URBAN ANALYSIS

Urban Analysis

2.3.1 – LAND USE Most of Rosetta’s lands are occupied by residential buildings.

There are a few educational buildings, which affect the level of education of its residents.

The green areas are of moderate size. The historical and heritage sites are spread over Rosetta.

Educational Green area

Historical Industrial Residential

Figure 2.3.1.1 Land Use Map, Authors, 2019)

Figure 2.3.1.3 Educational Building , Authors, 2019)

Figure 2.3.1.2 Land Use Map, Authors, 2019

Figure 2.3.1.4 Residential Buildings , Authors, 2019)

200m

Figure 2.3.1.5 Industrial Building , Authors, 2019)

Urban Analysis | 33

Urban Analysis

2.3.2 – BUILDING HEIGHTS The building heights in Rosetta range from two stories to six stories and more. Most of the two to four story buildings vary between historical houses and residential buildings. The higher buildings are mostly residential or mixed-use buildings.

2 Levels 4 Levels 5 Levels 6 And above levels

Figure 2.3.2.1 Land Use Map, Authors, 2019)

Figure 2.3.2.3 4 Levels Height, Authors, 2019)

Figure 2.3.2.2 Building Heights Base Map, Authors, 2019)

Figure 2.3.2.4 5 Levels Height, Authors, 2019)

200m

Figure 2.3.2.5 6 Levels Height And Above , Authors, 2019)

Urban Analysis | 34

Urban Analysis

2.3.3 – BUILDING CONDITIONS The building conditions in Rosetta vary. Many buildings are in poor condition, including deteriorated heritage sites. The good conditions are mostly seen in the newly built buildings.

The completely damaged buildings are located in the slums and informal areas.

Damaged Poor Condition Good Condition

Figure 2.3.3.1 Land Use Map, Authors, 2019)

Figure 2.3.3.3 Damaged Condition , Authors, 2019

Figure 2.3.3.2 Building Conditions Base Map, Authors, 2019)

Figure 2.3.3.4 Poor Condition, Authors, 2019

200m

Figure 2.3.3.5 Good Condition, Authors, 2019

Urban Analysis | 35

Urban Analysis

2.3.4 – ACCESSIBILITY AND ROADS HIERARCHY Rosetta does not have many main roads. There are two main roads, one on the Nile River, Rosetta Mahmoudeya st, and the other Alex Rashid.

The minor and local streets branch from the main streets and lead to residential areas, commercial areas, and historical sites.

Local 7m Minor 12m Major 20m

Figure 2.3.4.1 Land Use Map, Authors, 2019

Figure 2.3.4.3 Local Street , Authors, 2019

Figure 2.3.4.2 Streets Base Map, Authors, 2019

Figure 2.3.4.4 Minor Street, Authors, 2019

200m

Figure 2.3.4.5 Major Street, Authors, 2019

Urban Analysis | 36

Urban Analysis

2.3.5 – SOLID AND VOID The ratio of the solid, occupied spaces is more than the void. However, there are empty spaces with strategic locations to be used as a site for our project. The urban fabric of the city is also seen. It does not follow a specific grid; some areas follow a grid, and others are random.

Solid Void

Figure 2.3.5.1 Land Use Map, Authors, 2019

Figure 2.3.5.2 Solid And Void Base Map, Authors, 2019

200m

Figure 2.3.5.3 Solid And Void, Authors, 2019

Urban Analysis | 37

2.4 – ENVIRONMENTAL ANALYSIS

Urban Analysis

Fig. 2.4.1 ( Wind Rose Diagram, Meteoblue,2019)

This wind rose shows Rosetta’s wind speed in hours per year. The prevailing wind direction is North West.

Diagram. 2.4.1 ( Temperature Chart, Meteoblue, 2019)

Diagram 2.4.1. shows the average minimum and maximum temperature throughout and average day in Rosetta. It ranges throughout the past 30 years.

Urban Analysis | 38

2.5 – SWOT

• • •

Urban Analysis

2nd after Cairo in Islamic Monuments Overlooks the Nile & the Sea Some Monuments are Restored.

Figure 2.5.1 Residential Building, (Taken By Authors, 2019)

• • •

No Awareness.

Monument Deterioration & Flooding.

Some Monuments are Restored.

Figure 2.5.2 Residential Building, (Taken By Authors, 2019)

Urban Analysis | 39

Urban Analysis

• • • •

Heritage Site Declaration.

Fishing & Boat Making Crafts.

Tourist Attraction Strong Trading Port

Figure 2.5.3 Residential Building, (Taken By Authors, 2019)

• •

Sea-level Rise.

Deterioration and Falling Buildings & Mouments.

Figure 2.5.4 Residential Building, (Taken By Authors, 2019)

Urban Analysis | 40

Urban Analysis

2.6 – SKYLINE AND ELEVATION ANALYSIS 2.6.1 – Skyline Analysis Rosetta’s skyline from the Nile River shows inconsistent building heights and forms. The skyline rises and falls, decreasing the sense of monotony. The building heights range from 1 and 2 stories to 12 stories. This creates a variety in building heights which creates a unique skyline.

Figure 2.6.1.1 Residential Building, (Taken By Authors, 2019)

Figure 2.6.1.2 Residential Building, (Taken By Authors, 2019)

Urban Analysis | 41

Urban Analysis

2.6.2 – Historical Urban Route Elevation Analysis The historical urban route connects Rosetta’s most significant heritage monuments, creating a path through the city. The elevation in (Figure 2.6.2.1), show a combined schematic sketch of the monument elevations.

Figure 2.6.2.1 Main Road Heritage Sites Base Map, (Illustrated By Authors, 2019)

Figure 2.6.2.1 Skyline Elevation Of Historical Buildings , (Authors, 2019)

Urban Analysis | 42

2.6.3 – Architectural Style

Urban Analysis

2.6.3.1 – Old Style Rosetta’s old architectural style is mostly Islamic. The buildings are made of different colored bricks. Wooden elements are used along the elevations. The use of mashrabiyat (Islamic shading devices) is also apparent. The building openings, entrances and windows, are narrow. Islamic motifs such as repetition of patterns and elements.

`

Figure 2.6.3.1 Elevation Sketch , ( Rosetta’s Monuments Book, Illustrated By Authors, 2019)

Figure 2.6.3.3 Elevation Sketch , ( Rosetta’s Monuments Book, Illustrated By Authors, 2019)

Figure 2.6.3.2 Elevation Sketch , ( Rosetta’s Monuments Book, Illustrated By Authors, 2019)

Urban Analysis | 43

Urban Analysis

Figure 2.6.3.1.1 Abo Mandour Entrance Elevation, (Taken By Authors, 2019)

Figure 2.6.3.1.3 Abo Mandour Entrance Elevation, (Taken By Authors, 2019)

Figure 2.6.3.1.2 Abo Mandour Entrance Elevation, (Taken By Authors, 2019)

Figure 2.6.3.1.4 Abo Mandour Entrance Elevation, (Taken By Authors, 2019)

Urban Analysis | 44

Urban Analysis

Figure 2.6.3.1.5 Abo Mandour Entrance Elevation, (Taken

By Authors, 2019)

Figure 2.6.3.1.8 Abo Mandour Entrance Elevation, (Taken By Authors, 2019)

Figure 2.6.3.1.6 Abo Mandour Entrance Elevation, (Taken

By Authors, 2019)

Figure 2.6.3.1.7 Abo Mandour Entrance Elevation, (Taken

By Authors, 2019)

Figure 2.6.3.1.9 The White Mosque, (Taken By Authors, 2019)

Urban Analysis | 45

Urban Analysis

2.6.3.2 – Modern-Day Architectural Style

Rosetta’s new architectural style does not follow a certain pattern. Most structures are made of reinforced concrete and simple plastering, not following the brick structure used in the past. The windows of mosques and prayer corners follow old styles in the use of wooden mashrabiyat.

Figure 2.6.3.2.1 Small Prayer Place Ground Floor Of A Residential Building Elevation (Zawya), (Taken By Authors, 2019)

Figure 2.6.3.2.2 Mosque, (Taken By Authors, 2019)

Urban Analysis | 46

Urban Analysis

The residential buildings are in good condition, with metal, aluminum, and brick terraces. They are mostly covered in paints, not following any color codes. The heights do not follow a certain code, making them very random and not aesthetically pleasing.

Figure 2.6.3.2.3 Residential Building, (Taken By Authors, 2019)

Figure 2.6.3.2.4 Residential Building, (Taken By Authors, 2019)

Figure 2.6.3.2.5 Nile View Residential Buildings, (Taken By Authors, 2019)

Urban Analysis | 47

Urban Analysis

2.6.3.3 – Shading Elements The old buildings have protruding elements that throw shade on the areas beneath them, which allows activities in the spaces below. The newer buildings do not follow the same style, but use shading devices made out of fabric.

Figure 2.6.3.3.1 Residential Building, (Taken By Authors, 2019)

Figure 2.6.3.3.4 Residential Building, (Taken By Authors, 2019) Figure 2.6.3.3.2 Residential Building, (Taken By Authors, 2019)

Figure 2.6.3.3.3 Residential Building, (Taken By Authors, 2019)

Figure 2.6.3.3.5 Residential Building, (Taken By Authors, 2019)

Urban Analysis | 48

2.7 – SOCIAL ANALYSIS

Urban Analysis

The total labor force of Behera is not fully benefited from. The average family expenses are less than the average income, which shows how the level of poverty is not that high. However, if the full resources are put to use, including the heritage and touristic aspects, along with the human labor force, the whole area will prosper (Eaea.gov.eg, 2019)

These icons shows the social analysis of Al-behera

Population 6,404,210

Working Force 1,843,200

Un-employed

Agriculture

Employed

Industrial Service

Fig.2.7.1 Eaea.Gov.Eg, Illustrated By Author 2019

Average Family Income EGP49,089

Average Family Expenses EGP 41,499

Population Growth 7000 Unemployment 193,600

6500 6000 5500 5000 4500 2014

2016

2018

Total Labor Force 2,036,800

Year Fig.2.7.2 Eaea.Gov.Eg, Illustrated By Author 2019

Fig.2.7.3 Eaea.Gov.Eg, 2019

Urban Analysis | 49

2.8 – TRANSPORTATION METHODS

Urban Analysis

Toktok: The cheapest transportation method for people who live in slums. It is sometimes found in high-class areas. It can take up to (2-3 persons).

Taxi: A transportation method used for 1 person or small groups; it can take up to 4 persons.

Horse Carriage: A method used in small businesses for carrying goods. It can take up to 5 persons.

River Ferry: A method used for transporting goods , cars, and people from Rosetta to Kafr El Sheikh through the Nile. It can take from 5 to 50 persons.

Trucks: they are generally used in trading and carrying goods.

Small Suzuki (Tomnaya): A transportation method especially used for traveling. It can be rented or owned by someone. It holds up to 7 persons.

Private Cars: Private transportation method.

Figure 2.8.1 Mobility Illustration, (Authors, 2019)

Urban Analysis | 50

Urban Analysis

There are several methods of transportation available in Rosetta, that pass through major and minor roads, and waterbodies. They are affordable for most of Rosetta’s people. About 33% of Rosetta’s population are car owners, which are mostly old and in poor condition.

Movement between villages and different areas of Rosetta is possible by all transportation methods.

Figure 2.8.2 Residential Building, (Taken By Authors, 2019)

Figure 2.8.3 Residential Building, (Taken

By Authors, 2019)

Figure 2.8.3 Residential Building, (Authors, 2019)

Figure 2.8.4 Residential Building, (Taken By Authors, 2019)

Figure2.8.5 Residential Building, (Taken By Authors, 2019)

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2.9 – ROSETTA’S CRAFTS

Urban Analysis

Rosetta has many crafts that can be utilized in turning the city into a touristic destination. These crafts include pottery making, carpet and rug making, Arabic calligraphy, crochet, woodworks, and palm leaves works.

Pottery

Figure 2.9.1 Residential Building, (Authors, 2019)

Carpet and Rug Making

Figure 2.9.2 Residential Building, ( Authors, 2019)

Arabic Drawings and Calligraphy

Figure 2.9.3 Residential Building, (Taken By Authors, 2019)

Urban Analysis |52

Urban Analysis

Rasheed's opportunities make it a tourist destination with its privileged location.

Therefore, it has the elements that make it develop from itself to return from the most tourist cities in Egypt.

Crochet

Figure 2.9.4 Residential Building, (Taken By Authors, 2019)

Handmade Crafts

Figure 2.9.5 Residential Building, (Taken By Authors, 2019)

Palm Leaves Works

Figure 2.9.6 Residential Building, (Taken By Authors, 2019)

Urban Analysis | 53

3

CHAPTER 3

PROBLEM AND PROJECT SELECTION This chapter shows Rosetta’s problems, narrowing it down to one main issue, and how the project was extracted through analysis of the problems.

Problem and Project Selection

3.1 – INTRODUCTION Rosetta is a city with a very rich historical and heritage background. According to our research and site survey, it is full of problems on a social and economic level.

All these problems are the main cause of why its heritage has been deteriorating (Madkour, 2018). The main problem in Rosetta is the gradual and constant negligence of history that led to the loss of its Islamic and historical identity. This problem was causes by several other problems that include the negligence of historical and monumental sites, the lack of local administration, the lack of funding for restoration by the authorities, and the unawareness of the younger generations, regarding the importance and identity of Rosetta. If all these problems are solved or put in consideration, it will lead to resolving the main problem of heritage. Rosetta is full of opportunities and potentials in many aspects such as tourism, agriculture, fishing, and other local crafts. If these potentials are fulfilled, it increases the chances of development and improvement.

3.2 – SOCIAL INTERVIEWS In order to have a better understanding of the chosen city and its people, interviews were conducted. These interviews were with people of Rosetta’s working class of middle-aged people. Most of the people refused to give interviews or answer a few questions, only five agreed to cooperate. Out of the five conducted interviews, only three were relevant to the project. The three interviewees: A’am Hassan, Samir, and Ayman, had similar responses to the questions asked. The questions asked were related to job opportunities, educational opportunities, awareness of Rosetta’s historical and heritage value, and its overall potential. All three of them agreed that the younger generations have no knowledge of their city’s historical background, the poor infrastructure had a negative effect on the monuments, and the lack of job opportunities that created a sense of negligence and loss of enthusiasm to create change.

Problem and Project Selection |55

Problem and Project Selection

Interview (A)

A’am Hassan “The negligence of the authorities and lack of attention and care lead to our identity and heritage falling apart. All our historical areas are damaged and will remain that way, unless someone takes action.”

Interview (C) Figure 3.2.1. Interviewee Hassan, (Authors, 2019)

A,

A’am

Ayman “The younger generations do not understand their history and origin.

They do not care about the heritage, and they lost their identity. There are no job opportunities and this led to them sitting doing nothing all day.”

Interview (B) Figure 3.2.3. Interviewee C, Ayman, (Authors, 2019)

Samir “The infrastructure and planning are very poor. They led to the flooding of the houses and heritage monuments.

The lack of organization and planning caused the tourism rate to decrease.

No one wants to visit Rosetta and stay anymore.”

Figure 3.2.2. Interviewee B, Samir, (Authors, 2019)

Problem and Project Selection |56

3.3 – ROSETTA’S PROBLEMS

Problem and Project Selection

Aside from Rosetta’s rich historical background and value, it has developed several problems in different areas including history, culture, education and awareness, management, and planning. All of these problems had a great impact on how Rosetta reached its current state of deterioration.

Rosetta was once known for its crafts and activities, including agriculture, fishing, boatmaking, pottery, carpet making, calligraphy, and leave works. All these were made possible because of its location near the Nile Delta and Mediterranean Sea. But recently, all these activities are beginning to be practiced less, which led to a partial loss of Rosetta’s identity as an agricultural city with waterfronts. Other industries began to develop alongside the Nile, such as brick factories, which caused pollution and wrong utilization of a strategic area that can be more properly used.

The urban growth rate of Rosetta is one of the main reasons causing the extension of informal areas towards historical sites. This extension led to poorly designed sanitation networks and infrastructure in the informal settlements and historical sites. This led to groundwater level rise and drowning of the monuments (Madkour, 2018). Not only did the population growth affect the extension and the monuments, it also affected the job opportunities, creating a shortage in jobs and employment to the increasing number of residents in the city.

People of Rosetta are unaware of its value and touristic potential. Even though this might lead to the enhancement of the city’s economic and social value, most of its younger residents do not seem to understand the importance of cultural and heritage sites. The solution of this problem could lead to a complete change in the city’s current status.

One of the problems in Rosetta is the cooperation between local authorities. The local authorities and administration do not overlook or manage the monuments of the city. There is no control over the operations regarding the restoration of the historical sites. This is mostly due to the insufficient funding from the government directed to the preservation of heritage sites (Madkour, 2018). If adequate funding and supervision is provided to the conservation of the monuments, it will increase the job opportunities for the people of Rosetta, while also raising awareness.

All these problems are related to one important point: the heritage monuments located in the city of Rosetta. If all these problems are solved, the problem of heritage will be solved, and the opposite is true; if the heritage problem is solved, people will be more aware of their identity, employment rates will increase, and the city will become more developed, making it a touristic attraction for Egyptians and people from all over the world.

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3.4 – THE PROBLEM OF HERITAGE

Problem and Project Selection

3.4.1 – Problem Definition The problems that Rosetta is facing include lack of awareness, lack of authority attention and coordination, no documentation of heritage, poor infrastructure and sanitation networks, extension of the informal settlements towards the historical areas, and no utilization of the city’s potentials. All these problems lead to the negligence and deterioration of heritage sites, but the main aspect is the lack of awareness of the authorities and the people.

3.4.2 – Problem Statement The main problem deduced from our analysis and research is the negligence and deterioration of Rosetta’s heritage monuments. If the problem is fixed, this will create a great opportunity for Rosetta to flourish and become one of the UNESCO’s world heritage site. If the current state remains the same regarding the authorities’ negligence and people’s unawareness, the history and identity of Rosetta will remain impaired and might not reach future generations The deterioration can be seen all over Rosetta in different historical sites. The heritage buildings are not properly maintained, which caused the falling of the bricks that can lead to the collapsing of the buildings, as shown in figure 3.4.1. This happens mostly because of the lack of conservation and restoration plans made by the authorities. The historical mosques, decorated with Islamic motifs, are transformed into commercial markets, which makes them lose their sanctity and causes the buildings to lose their identity and features through time, as shown in figure 3.4.2. This shows the lack of supervision of authorities and the people’s unawareness of the value of the historical monuments. The poor infrastructure led to the flooding of historical mosques, which will lead to the damage of the foundation and the mosque itself, as shown in figure 3.4.3. This shows how the planning and informal settlement encroachment towards the historical site has a negative effect.

Figure 3.4.1. Deteriorated Heritage Buildings, Authors, 2019)

Figure 3.4.2.

Historical Mosques transformed to Commercial Markets, Authors, 2019)

Figure 3.4.3. Flooded Historical Mosque, Authors, 2019)

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Problem and Project Selection

3.5 – LITERATURE REVIEW Rosetta as a World Heritage Site Rosetta has been a city of great historical and heritage value since it was founded. It possesses a lot of monuments from several eras. It is an authentic city with great traditions, crafts, activities, and industries. Despite all of these aspects, Rosetta’s potential and heritage has been neglected by the people and the authorities. There are problems regarding education and awareness, management, restoration and preservation, documentation, and infrastructure.

According to the Ministry of Culture (2003), Rosetta has been going through an urban expansion phase towards its hinterlands. This was caused by trespassing the Nile bank, and not respecting natural elements. This expansion are violations of urban development regulations. This shows how the people are unaware, due to lack of education, and illegally trespass Rosetta’s vacant lands, some of which are considered heritage sites.

As stated by Jokilheto (2006), studying heritage sites from new aspects such as social, sustainable, and economic., will create a sense of community development. This can be established by creating a futuristic approach in the project, while making it applicable during the present time. Not only do these approaches affect cultural and scientific aspect, they also play a major role in fulfilling the needs of the community. Preserving the heritage monuments play a vital role in enhancing the economy and enhancing the social lives of the people.

It is of great importance to not just preserve the monuments’ original, existing state, but also conserve and maintain its value and cultural identity through generations (Madkour, 2019).

The inhabitants of Rosetta should be fully aware of their context and learn about the value of their city and surroundings. Target groups should be of all ages from the local communities in such a way that heritage will be preserved within their culture, through generations.

The deterioration of heritage monuments is not only caused by lack of awareness and poor education, but also due to poor management of authority in restoration and preservation of the monuments. According to Comité de Conservation des Monuments de l'Art Arabe (1881), the negligence of preservation of the cultural and historical heritage monuments should be tackled with a reframed and improved approach. Rosetta’s historical houses and Islamic monuments have been neglected throughout the past two centuries. These monuments are essential in shaping Rosetta’s identity and image, which call for the attention of the authorities to enhance the restoration and preservation plans.

The suggested strategies for the economic development achieved by heritage conservation can go in three routes: reconstruction, diversity, and transformation. These methods can be adopted and applied in the project. For example, the reconstruction phase can be taken in several steps: refurbishment of buildings, rehabilitation, restoration, and renovation of the heritage sites, and adaptive re-use of the heritage buildings. This will help in achieving economic revitalization.

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Problem and Project Selection

Encouraging the development and the investments in heritage sites is very important. The people must support the idea of interactions and stimulation with heritage sites, creating a diversity of cultures. This starts with physical development of the infrastructure. With a set of defined goals first. These goals include physical revitalizations in which the community and the government are both parts of the development plan and upgrading the built environment’s conditions, to create a well defined image of Rosetta’s identity as a whole (ElSorady,2012).

The need of governmental intervention and law implementation in maintaining and preserving Rosetta’s heritage is essential to development. New laws and strategies programs and policies should take place and it was suggested by the general organization of physical planning.

Furthermore, new projects should be developed to increase tourism, create a town for the craftsman to revive Rosetta’s crafts representing its identity, and develop more projects along the Nile river to increase both tourism and economics.

Rosetta has been through a variety of cultural changes and has been greatly affected by its geographical location. This diversity in culture and heritage highlights its importance. The local, regional, and international aspects of heritage preservation all tackle the poor documentation of heritage, and how the data documentation process should be enhanced to preserve the monuments (Abdeltawab, 2019).

According to Amer (2016), Rosetta was classified as the most significant open air museum in 2008, which played a huge role in the selection of the UNESCO for it as a world heritage site.

The value of the heritage sites is very well known for the locals and this will aid in promoting the heritage awareness internationally. If these aspects are all fulfilled with a successful plan, applied by unity between authorities and locals, Rosetta will achieve its status as a World Heritage Site.

Problem and Project Selection |60

Problem and Project Selection

3.6 – PROPOSED PROJECT 3.6.1 – Project Statement The proposed project is an Exploratorium of Narratives. This project will shed the light upon Rosetta’s neglected heritage by creating a path through the city that starts and ends at the exploratorium. The project will act as a center of enlightenment, where visitors will be able to view and explore the city’s most important monuments and its historical background and importance, which is part of the narrative told.

3.6.2 – Project Mission and Scope

EXPLORATORIUM OF NARRATIVES The exploratorium is going to include an interactive exhibition showing simulations of Rosetta’s important heritage monuments and telling its story throughout time. People will have the opportunity to explore the past, which will make them understand Rosetta’s value. The narrative told in the exploratorium will be the story of Rosetta’s history and the different eras it has been through, and how these changes shaped the city’s identity. This will help increase the visitors’ awareness and encourage them to help maintain the monuments.

The project will include a documentation center that will document the important data required to restore and preserve Rosetta’s rich heritage and identity. There will also be workshops and seminar classrooms that allow the message to be transferred to the people of Rosetta, raising awareness, and showing them their identity.

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Problem and Project Selection

3.6.3 – Project Vision

Short Term

Raising Awareness

Data Documentation

Mixing Culture & Heritage

Increasing Tourism

Social Interaction between Age Groups

Long Term World Heritage Site Declaration

Figure 3.6.1. Project Short-term and Long-term Vision, Authors, 2019)

The project has several short-term and long-term visions. The short-term vision includes raising awareness, documenting of important data relating to the heritage monuments, mixing culture and heritage. The long-term vision includes creating a platform for social interaction between different age groups and increasing tourism in Rosetta. All these visions will allow the main project vision to be achieved; the declaration of Rosetta as a Word Heritage Site by the UNESCO. Rosetta has fulfilled three of the UNESCO’s World Heritage Site criteria; criterion (ii), (iv), and (v) (Tawab, 2019). According to the UNESCO’s official website, these criteria are: “(ii) to exhibit an important interchange of human values, over a span of time or within a cultural area of the world, on developments in architecture or technology, monumental arts, town-planning or landscape design, (v) to be an outstanding example of a traditional human settlement, land-use, or sea-use which is representative of a culture (or cultures), or human interaction with the environment especially when it has become vulnerable under the impact of irreversible change, and (vi) to be directly or tangibly associated with events or living traditions, with ideas, or with beliefs, with artistic and literary works of outstanding universal significance.”

The presence of these three criteria make Rosetta eligible for declaration as a UNESCO World Heritage Site. The long-term vision can only be achieved by the completion of the short-term vision.

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Problem and Project Selection

3.6.4 – Project Objectives

The project aims to solve the problem of heritage deterioration and by tackling the main issues that led to the heritage deterioration.

World Heritage Site Declaration

Raising Awareness

Authorities Taking Action

Documentation Figure 3.6.2. Project Objectives, Authors, 2019)

3.6.4.1 – Authorities Taking Action The coordination between local authorities and managerial entities is nonexistent. Our project aims to attract the attention of the authorities in order for them to take action in the restoration and the preservation of Rosetta’s heritage. This will be done by helping them through the documentation center and giving them the necessary data for the preservation of heritage.

3.6.4.2 – Raising Awareness The project will include exhibition halls and seminar shows that will educate the people of Rosetta and help them understand and realize the potential of their city. It will also show the damage and vandalism that are happening to the valuable sites, leading to constant deterioration

3.6.4.3 – Data Documentation The project will have a data collection and documentation center, where all the needed information will be stored and turned into reports, which would make it possible for Rosetta to be reconsidered a world heritage site by the UNESCO.

3.6.4.4 – UNESCO World Heritage Site Declaration Rosetta has fulfilled three of the UNESCO’s criteria for it to be declared as a World Heritage Site, as previously mentioned in the project vision. If the monuments are taken care of and restored, along with the development of surrounding areas, the whole city will become a touristic attraction through its Islamic monuments, and natural sites, such as the meeting of the Nile River with the Mediterranean Sea. This will also attract the attention of the UNESCO once more, and hopefully have it declared as a World Heritage Site.

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3.7 – TARGET GROUPS

Problem and Project Selection

Our project targets three groups of users: 1. Local Authorities 2. Local youth between the ages 15-35.

3. Tourists 4. UNESCO

Local Authorities The local authorities will gain help from our project’s documentation center. It will provide them with data needed for the conservation process.

Local Youth Since the younger generations represent the strongest force in the community, they should be aware of their identity and history instead of not knowing the value of their city and heritage.

Tourists The increase of tourism rates in Rosetta will lead to the international recognition of Rosetta’s identity. It will also increase the city’s economy and create job opportunities.

UNESCO The project will attract the attention of the UNESCO once more.

This can lead to the UNESCO’s realization of the potentials of Rosetta and its fulfillment of the World Heritage Site criteria.

3.8 – CONCLUSION The project aims to make the world understand the value of Rosetta and highlight the potentials and opportunities of it’s location and importance. It seeks to return Rosetta back to its days of glory, and possibly lead to its declaration as a world heritage site. This should be done by raising awareness, having proper authority and leadership, having proper resources and funding, and developing the whole city. All this will be made possible by creating an exploratorium or center where the exhibited showcases will focus on the heritage monuments. The documentation center will aid in this process by creating a database for the heritage site, which will include all necessary documents for conservation. The classrooms and workshops will restore the crafts that once made Rosetta stand out next to its neighboring cities.

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4

CHAPTER 4

SITE SELECTION

This chapter shows the analysis of different sites according to different criteria and urban analysis. It resulted in a matrix concluding the most suitable site for our project.

Site Selection

4.1 – SITE SELECTION CRITERIA

Figure (4.1.1), Selection criteria diagram,(Authors,2019).

The site selection criteria was determined through the research and site survey.

Due to the nature of the project, these criteria were selected: nearness to heritage monuments, accessibility, security, nearness to human settlements, possibility of expansion, possession of waterfronts, and visibility.

The selected site should be near heritage monuments, since it is part of the narrative told in the project. It should be accessible for all visitors, to attract more people.

The site should possess a high level of security and be near human settlements to allow a sense of safety for the visitors. It should be located in an area with that allows possible future expansion plans of the project. It is also favorable to be located near a waterfront, because people are more attracted to spaces with views. The site should be visible in order for the project to achieve a landmark status; this allows visitors or people within a distance to have visibility of the project and make their access to it easier.

According to these criteria, the selected site should be near the heritage, which is the project core, it should be accessible and safe, and with a view and a sense of visibility.

Site Selection | 66

Site Selection

4.2 – SITE LOCATIONS

The three sites have areas ranging from 15,000 m² to 21,000 m². Site 1 and 2 both have views of waterbodies and have a possibility of expansion. Site 2 and 3 are both located within proximity to heritage monuments and near human settlements. Analysis was done for all three sites to pick the one most suitable for the project.

Kafr El-Sheikh

Figure (4.2.1), Selected Sites,(Authors,2019).

Total Area :18,000 m²

Total Area :20,900 m²

Figure (4.2.2), Site 1, Google Earth, (2019) Illustrated by Authors, 2019)

Figure (4.2.3), Site 2, Google Earth, (2019) Illustrated by Authors, 2019)

Total Area :15,500 m² Figure (4.2.4), Site 3, Google Earth, (2019) Illustrated by Authors, 2019)

Site Selection | 67

Site Selection

4.2.1 – SITE 1

Site 1 has a very remarkable location. It overlooks the point where the Nile River meets the Mediterranean Sea. It is located in a vacant area, near boatmaking workshops and marinas.

This area is secured by the government because it is located near an illegal immigration point.

Figure (4.2.1.1), Site 1 Location ,(Authors,2019).

SITE 1 Figure (4.2.1.2), Site 1 collage ,(Authors,2019).

Site Selection |68

4.2.1.1 – Land Use

Site 1

This site is located near vacant lands and consists and agricultural lands and fishing farms. The closest residential area is a mix of informal settlements. An industrial area is located south of the site, mostly containing brick factories.

Site A Residential Area Agriculture Lands Fishing Farms Factories

Figure (4.2.1.1.2), Site 1 Land-use diagram, (Authors,2019).

Figure (4.2.1.1.1), Site 1 Land-use,(Authors,2019).

Figure (4.2.1.1.3), Site 1 Land-use pictures,(Authors,2019).

Site 1 | 69

4.2.1.2 – Building Heights

Site 1

The closest buildings located are very far away from the site, therefore they are not visible. They range from 2 story to 6 story buildings.

2 Levels 4 Levels 6 Levels

Figure (4.2.1.2.2), Site 1 Building Heights diagram, (Authors,2019).

Figure (4.2.1.2.1), Site 1 Building condition ,(Authors,2019).

Figure (4.2.1.2.3), Site 1 Building Heights,(Authors,2019).

Site 1 | 70

4.2.1.3 – Accessibility

Site 1

The accessibility to this site is through two major roads. The Great Sea road is accessible through the slums, which is the shortest path (8km), but it is unsafe. The Coastal road is longer (14km), but the safest path. The site is also accessible through the Nile River and Mediterranean Sea.

The Great Sea St. Costal Road River Road

Figure (4.2.1.3.1), Site 1 Accessibility& Road hierarchy,(Authors,2019).

Figure (4.2.1.3.2), Site 1 Accessibility &road hierarchy pictures ,(Authors,2019).

Site 1 | 71

4.2.1.4 – Building Conditions

Site 1

The nearest built area is 3 kilometers away from the site. The buildings in this area are mostly in good condition and a smaller percentage are in bad condition.

Figure(4.2.1.4.2), Site 1 Building Conditions diagram, (Authors,2019).

Figure (4.2.1.4.1), Site 1 Building conditions (Authors,2019).

Figure (4.2.1.4.3), Site 1 Building Conditions ,(Authors,2019).

Site 1 | 72

Site 1

4.2.1.5 – Solid and Void As seen in (Figure 4.2.1.5.1), the percentage of void is greater than the solid. It is surrounded by vacant lands.

Figure (4.2.1.5.2), Site 1 solid and void diagram, (Authors,2019).

Figure (4.2.1.5.1), Site 1 Solid and void ,(Authors,2019).

Site 1 | 73

4.2.1.6 – S.W.O.T Analysis

• The connection between the Nile drains and the sea • Links between the center of the city and the heart • A very rich location people come to see the connection in field trips • Connecting the 3 cities Kafr el sheikh Alexandria and Rasheed

• To let the site make the area more vital • Provide accessible transportation in and to the city center • View over looking the connection between the Nile and the med. sea • Field trips and people go there for fishing

Site 1

• No services • No hospital • The nearest residential area around 4 km • 14 km away from the city center • Expansion of the slums of the hinterlands • You can only reach the site using cars

• Polluted brick factories along the sites • Deserted lands around • Have to pass through slums to reach it • Can only access it from one way road

Figure (4.2.1.6.1), swot analysis diagram,(Authors,2019).

Conclusion This site provides a good potential for our project as and Exploratorium of heritage monuments. Its unique location helps in creating a connection between the heritage sites.

It acts as a connection between Rosetta, Alexandria, and Kafr El-Sheikh. This site has a great opportunity for expansion. However, it does not include any nearby services and is not easily accessible.

Site 1 | 74

Site Selection

4.2.2 – SITE 2

Site 2 is located in the center of the city. It overlooks the Nile River, which gives it a good view. It is also located near the largest local market in Rosetta. Its easily accessible

by Rosetta’s main roads and is near residential areas.

Figure 4.2.2.1, Site 2 Location,(Authors,2019).

SITE 2 Figure 4.2.1.2, Site 2 collage ,(Authors,2019).

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4.2.2.1 – Land Use

Site 2

This site is located on the Nile River. It is located near Rashid Al-Am Hospital, Social Insurance Office, Bank Masr, Om Elmohsnen School & the local market. It is in the proximity of Rosetta’s museum, 750 meters away. It is also near Rosetta’s sports club. It is surrounded by residential areas and agricultural lands.

Site 2 Residential Area Agriculture Lands Commercial Historical Educational

Nile

Medical Vacant Lands

Figure (4.2.2.1.2), Site 2 Land-use diagram, (Authors,2019).

Figure 4.2.2.1.1, Site 2 Land-use,(Authors,2019).

Figure 4.2.2.1.3, Site 2 Land-use pictures,(Authors,2019).

Site 2 | 76

Site 2

4.2.2.2 – Building Heights The heights in the area range from 2 levels to 6 levels and higher. This will play a huge role in determining the heights of the project elements.

2 Levels 4 Levels 6 Levels 6 Levels And Higher

Nile

Figure (4.2.2.2.2), Site 2 Building Heights diagram, (Authors,2019).

Figure 4.2.2.2.1, Site 2 Building Heights ,(Authors,2019).

(2-3) Stories

(4-5) Stories Figure 4.2.2.2.3, Site 2 Building Heights pictures,(Authors,2019).

(6) Stories

Site 2 | 77

4.2.2.3 – Accessibility

Site 2

Site 2 is accessible through several major and minor road in the city. It is accessible through the Great Sea St., which connects most of the city’s roads. It is also accessible through the Nile River by boat, from Kafr El-Sheikh. The walking time between the site and the nearby landmarks does not exceed 20 minutes.

The Great Sea St. Costal Road River Road

Nile

Figure 4.2.2.3.1, Site 2 Accessibility& Road hierarchy,(Authors,2019).

Figure 4.2.2.3.2, Site 2 Accessibility &road hierarchy pictures,(Authors,2019).

Site 2 | 78

Site 2

4.2.2.4 – Building Conditions

The area surrounding site 2 consists mostly of buildings with good condition, due to constant preservation. They are near most of the monuments of Rosetta and the Nile River, therefore, they are reserved and restored.

Nile

Figure (4.2.2.4.2), Site 2 Building Condition diagram, (Authors,2019).

Figure (4.2.2.4.1), Site 2 Building Condition ,(Authors,2019).

Figure (4.2.2.4.3), Site 2 Building Conditions pictures,(Authors,2019).

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Site 2

4.2.2.5 – Solid and Void As seen in (fig.4.2.2.5.1) The Vacant Lands are rare in this part of the tow, due to the presence of the core of the city in this part. Therefore, There are buildings all over the place with a percentage of Solid about 90%

Nile

Figure (4.2.2.5.2), Site 2 solid and void diagram, (Authors,2019).

Figure (4.2.2.5.1), Site 2 Solid and void ,(Authors,209).

Site 2 | 80

4.2.2.6 – S.W.O.T Analysis

• Large view angle on the Nile.

• Accessible from different • approaches.

• No views are blocked.

• Besides most heritage places.

• All services are available.

• Nile shore (Attraction) • Center of several heritage sites.

• Agriculture land (Greenery, • Activities) • Kaur El-Sheikh is located on the • other side of the site.

Conclusion

Site 2

• If Expansion is needed, It will be on Agriculture Lands.

• The center of the city can • get crowded.

• Sea level rise.

• On main street, thus, not so environmental friendly.

Figure (4.2.2.6.1), swot analysis diagram,(Authors,2019).

Site 2 is easily accessible from all sides and with different transportation methods. It is located directly on the Nile River. It is surrounded by several landmarks. It is located near services and residential areas, which makes it secure. However, it is surrounded by agricultural lands which will make future expansion plans hard. The site also has buildings that were illegally built, so they can easily be removed. The advantages of this site makes it a great choice for the project.

Site 2 | 81

Site Selection

4.2.3 – SITE 3

Site 3 is located in the heart of Rosetta’s residential area. It is not located near any bodies of water. It is located near many monuments of Rosetta and is easily accessible.

Figure (4.2.3.1), Site 3 Location ,(Authors,2019).

SITE 3 Figure (4.2.3.2), Site 3 collage ,(Authors,2019).

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Site 3

4.2.3.1 – Land Use The site is located Surrounded by few residential areas, Located near agricultural land., Petrochemical factories are located near the site, No services or commercial areas.

Site 3 Residential Area

Figure (4.2.3.1.2), Site 2 Land-use diagram, (Authors,2019).

Figure (4.2.3.1.1), Site 3 Land-use,(Authors,2019).

Figure (4.2.3.1.3), Site 3 Land-use pictures,(Authors,2019).

Site 3 | 83

4.2.3.2 – Building Heights

Site 3

The heights in the area reaches 6 levels which would affect the project height.

The site is surrounded by a variety of heights.

6 Levels 6 Levels And Higher

Figure (4.2.3.2.2), Site 3 Building Heights diagram, (Authors,2019).

Figure (4.2.3.2.1), Site 3 Building Heights ,(Authors,2019).

Figure (4.2.3.2.3), Site 3 Building Heights,(Authors,2019).

Site 3 | 84

4.2.3.3 – Accessibility

Site 3

The site is accessible through different routes branching from El Bahr El A’azam St. ,All the routes are surrounded by Rosetta’s residential areas.

The Bahr El A’azam St. River Road

Figure (4.2.3.3.1), Site 3 Accessibility& Road hierarchy,(Authors,2019).

Figure (4.2.3.3.2), Site 3 Accessibility &road hierarchy Picture,(Authors,2019).

Site 3 | 85

Site 3

4.2.3.4 – Building Conditions The building conditions in this part of the city in town is not bad Condition

Good Condition Bad Condition

Figure (4.2.3.2.2), Site 3 Building Condition diagram, (Authors,2019).

Figure (4.2.3.2.1), Site 3 Building Condition,(Authors,2019).

Figure (4.2.3.2.3), Site 3 Building Condition pictures,(Authors,2019).

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Site 3

4.2.3.5 – Solid and Void As seen in (4.2.3.5.1) The site is located in heart of the city, which is the main cause of the density of the solid parts.

Figure(4.2.3.5.2), Site 3 solid and void diagram, (Authors,2019).

Figure (4.2.3.5.1), Site 3 Solid and void ,(Authors,2019).

Site 3 | 87

Site 3

4.2.3.6 – S.W.O.T Analysis

• Located on the shore of the • Mediterranean.

• Accessible by different minor roads.

• Secure site because it is not a no man land.

• Located near services.

• Creating a landmark representing the identity of Rosetta in the heart of the city.

• Creating a route through the heritage sites.

• The site is surrounded by garbage.

• The site is surrounded by buildings in poor conditions.

• No possible expansion.

• The buildings are deteriorated and prone to collision.

• Illegal activities located in the slums.

Figure (4.2.2.6.1), swot analysis diagram,(Authors,2019).

Conclusion The site is accessible through different minor roads. ,The site is located in the heart of the city. The surrounding area is not vacant and completely built on. The site is located near services and human settlements. The site is located near most of the heritage buildings.

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Site Selection

4.3 – Comparative Analysis between the 3 Sites

Figure (4.3.1), Site 1, Google Earth, (2019) Illustrated by Authors, 2019)

Figure (4.3.2), Site 2, Google Earth, (2019) Illustrated by Authors, 2019)

Figure (4.3.3), Site 3, Google Earth, (2019) Illustrated by Authors, 2019)

Table (4.3.1), Selection criteria diagram,(Authors,2019).

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Site Selection

4.4 – Selected Site

Site 1

Site 2

Site 3

Figure (4.1.), Selection criteria diagram,(Authors,2019).

Conclusion According to our criteria, site 2 is the most suitable site for our project. It is accessible and located in the heart of the city, which makes it secure. It is near human settlements, which will allow easy access of the visitors and workforce. The building can be visible from most heritage monuments because there is nothing blocking the view. It is located near the Nile River, which is a great view. And most importantly, it is located near the heritage sites, forming a route through the monuments, which is part of our urban concept. These points are the cause of site 2's selection.

Site Selection | 90

5

CHAPTER 5

DESIGN ISSUES

This chapter discusses the design issue most relevant to the nature of our project and how each one can be applied.

Design Issues

5.1 – CIRCULATION 5.1.1 – General Definition the movement of anything or anyone from one space or area to another or from one person to another (LEXICO, 2019).

5.1.2 – Architectural Definition It is the movement of people in paths inside a building, moving from one level to another, or the path towards the building (Britannica, 2019).

Figure 5.1.2.1 transmission from space to another.

5.1.3 – Direction of Movement The two main circulation movement directions are vertical (stairs-ramps-elevators-escalators) and horizontal (lobbies-corridors-paths).

Figure 5.1.3.1, building horizontal circulation Pinterest, 2019, Illustrated by Authors, 2019

Figure 5.1.3.2, building vertical circulation Pinterest, 2019, Illustrated by Authors, 2019

5.1.3.1 - Vertical Circulation Vertical circulation elements help the users move between levels and floors of the building.

Elevator

Ramp

Staircase

Escalator

Figure 5.1.3.1.1. Vertical Circulation Elements, (Authors, 2019).

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Design Issues

Elevators

Ramps

Figure 5.1.3.1.2 , panorama elevator, Pinterest, 2019, Illustrated by Authors, 2019

Figure 5.1.3.1.3 , movement from space to another by ramps. Pinterest, 2019, Illustrated by Authors, 2019

Stairs

Escalators

Figure 5.1.3.1.5, Pinterest, 2019, Illustrated by Authors, 2019

Figure 5.1.3.1.4, Pinterest, 2019, Illustrated by Authors, 2019

5.1.3.2 - Horizontal Circulation Transition between zones and spaces through horizontal movement.

Axial

Central

Radial

Grid

Linear

Figure 5.1.3.2. Horizontal Circulation Paths, (Authors, 2019)

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Design Issues

Lobbies

Corridors

Paths

Lobbies are used as transition zones between spaces.

Corridors are paths with spaces surrounding them.

Some paths are electronic, such as moving walkways.

Figure 5.1.3.2.2, a transition zone Pinterest, 2019, Illustrated by Authors, 2019

Figure 5.1.3.2.3, Pinterest, 2019, Illustrated by Authors, 2019

Figure 5.1.3.2.4, Pinterest, 2019, Illustrated by Authors, 2019

Approach and Entrance The approach is the element leading towards the entrance of the building.

Figure 5.1.3.2.5, Greet Natural Museum UK, 2019, Illustrated by Authors, 2019

Figure 5.1.3.2.6, Pinterest, 2019 Illustrated by Authors, 2019

Approach: walkways or routes followed that lead to places.

Path – Space Relationships

Figure 5.1.3.2.7 A pathway directly to the entrance Authors 2019

All the paths and routes should be connected to the spaces and zones they lead to.

Figure 5.1.3.2.8 Movement between spaces, Authors 2019

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Design Issues

Outdoor Circulation Movement between Spaces

Figure 5.1.3.2.9 , pedestrian circulation between spaces and transmission from building to another , 2017

Figure 5.1.3.2.10 ,the interlace icn design for lan, secondary paths for pedestrian movements , 2017

Parking Circulation

Figure 5.1.3.2.11, outside parking

Figure 5.1.3.2.12 inside horizontal parking

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Design Issues

5.1.4 - Examples Mirador Residential Building, Spain

Figure 5.1.4.1, MVRDV 2006 , Illustrated by Authors 2019

Figure 5.1.4.2, The circulation divided the building into zones, illustrated by Authors , 2019

International School of Cleveland, USA

Figure 5.1.4.3 Pedestrian circulation, (Alison furuto, 2011)

Pedestrian movement from one space to another.

Figure 5.1.4.4 Circulation and accessibility , (Alison furuto,2011)

Building Surrounding Paths Public Path

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Design Issues

• City Hall, London. Designed by Norman Foster, 2002 A walkway of length 500 m arises a full ten stories. At its end an exhibition and gathering area referred as “London’s Living Room”, with several views symbolizing transparency.

Figure 5.1.4.5 .west section, shows the helical walkway. (Foster,2002)

Figure 5.1.4.7. helical stairway. (Norton. M, 2003)

Figure 5.1.4.8. The Council chamber is located at the bottom of the helical stairway. (Norton.M, 2003)

Figure 5.1.4.6 city hall ground floor plan. (foster, 2002)

5.1.5 – Conclusion Circulation is divided into horizontal and vertical. The horizontal circulation is not only important inside of the building, but also from the outside, regarding pedestrian and car paths. A building functions perfectly when it’s circulation is obtained in the right standards, allowing the user to move freely and in a certain way. Circulation can tell a story by adapting a certain pattern; the designer can make a certain pathway obligatory for a certain purpose in the project like the entrance lobby.

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Design Issues

5.2 – IMAGE 5.2.1 – General Definition The general impression that a person, organization, or product presents to the public (LEXCICO, 2019).

Figure 5.2.1.1 Authors 2019, City Image

5.2.2 – Architectural Definition It is the visual message that the architect delivers for the people starting from the urban scale and moving on until the interior design of the building.

(Glasgow, 2015) Figure 5.2.2.1 Authors 2019, City Image

5.3 – Message 5.3.1 – General Definition A form of communication to deliver news or information. (LEXIO, 2019)

5.3.2 – Architectural Definition A delivery of a certain idea or feeling to the user of the building.

The success of the architect to deliver a specific message through the building’s function in a certain location (Katie D.A., insights, 2019).

Figure 5.3.3.1, Museum of Islamic Art, Qatar,2008, Illustrated by Authors, 2019

5.3.3 – Example Museum of Islamic Art, Qatar: The museum presents Islamic Art and has Islamic Architectural features.

Figure 5.3.3.2 Museum of Islamic Art, Qatar,2008, Illustrated by Authors, 2019

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Design Issues

5.4 – IDENTITY 5.4.1 – General Definition The defining characteristic of a person, place, or thing; individuality, uniqueness. (OXFORD dictionary, 2019)

5.4.2 – Architectural Definition Identity refers to the condition of being one and not another; having unique, defining characteristics. (jakupi A. ,2019)

Figure 5.4.1.1 General Identity

Figure 5.4.2.1 Architecture Identity

5.4.3 – Example Casa Batllo, Antonio Gaudi, Spain: Casa Batllo reflects the identity of itself through the use of unique colors and elements from nature, such as the human bones, in its façade. Not only does the building have a unique identity, it also reflects the identity of the architect.

Figure 5.4.3.1 Casa Batllo, Antonio Gaudi, Spain. ( chuck kuhn, 2018).

Sydney Opera House, Australia

Figure 5.4.3.2 ,Sydney Opera House, Australia,1973, Illustrated by Authors, 2019

5.4.4 – Conclusion Image, message, and identity are connected, and should all be present in a building together. They all affect the main design issue, the image of the building. Rosetta would benefit from a building to stand out with its historical background and to reflect it’s heritage prominence to the whole world.

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Design Issues

5.5 – INTERACTION 5.5.1 – General Definition Communication or direct participation with someone or something . (OXFORD dictornary, 2019)

5.5.2 – Architecture Definition A sense of coherence and integration between the users and the building, or the building and it’s surroundings .

(Mikael Wiberg, 2015)

Figure 5.5.2.1 Human and visual interaction.

Authors ,2019

5.5.3 – Types 5.5.3.1 – Visual Interaction 5.5.3.1.2 – Definition The visual interaction between the interior and exterior of the building is apparent in the transparent façade.

5.5.3.1.3 – Example Indian Heritage Center, Singapore : the facade creates an immediate dialogue with the street and community

Figure 5.5.3.3.2 the building reflects the city heritage on the façade by using drawings and paints (Visual Interaction, Aaron Pocock, 2015)

Figure 5.5.3.3.1 (Visual Interaction, Aaron Pocock, 2015).

Figure 5.5.3.3.3 visual interaction achieved by viewing the exterior of the building, while walking through images of heritage along the staircase (Visual Interaction, Aaron Pocock,2015)

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Design Issues

5.5.3.2 – Human Interaction 5.5.4.3.1 - Definition The human and social interaction in this example is apparent in the section. The different levels and visual window allows users to have a wide vision scope, seeing all activities and other uses in the surrounded spaces.

Interaction between People, Space and Building

Figure 5.5.4.1.2 Interaction between people. Authors, 2019

Figure 5.5.4.1.3 Interaction between people and space. Authors 2019.

Figure 5.5.3.2.1 section shows the interaction between people inside the building (Social Interaction, Herman Herzberger. 2014)

Figure 5.5.4.1.4 Interaction between people and building. Authors, 2019

5.5.4.3.2 - Example Copenhagen New Library, Copenhagen, DK

Figure 5.5.4.2.1 .Copenhagen new library, (2019)

Figure 5.5.4.2.2 Illustration by authors, (2019)

The visual interaction appears in the library, where the users have a full view of the surrounding buildings, activities, and the water feature. The human interaction appears in the connection between the indoor and outdoor spaces.

5.5.5 – Conclusion Human interaction is obtained by allowing by allowing the user to experience the building himself and even human interaction. Visual interaction can be attained by blending the outside with the inside with a façade or even a pavilion.

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Design Issues

5.6 – FLEXIBILITY 5.6.1 – General Definition The ability of bending easily without breaking.

The ability to be easily modified.

(OXFORD dictionary, 2019)

Figure 5.6.1.1 general flexibility

5.6.2 – Architectural Definition States the capability of a building to continuously adapt its space layout and even it’s structure to developing its requirements (flexibility of architecture, 2007)

Figure 5.6.2.1 Adding and subtraction .Authors, (2019)

5.6.3 – Factors 5.6.3.1 – Transformation The ability of adding, subtracting, changing color and mass transformation Figure 5.6.3.1.1 Authors, (2019)

5.6.3.2 – Response It has the ability to adapt with which ever the condition was, as energy, environment, usage, occupants and interaction

Figure 5.6.3.2.1 Authors, (2019)

5.6.3.3 – Adaptation The features in the building will be changeable however they are, dynamic or static.

Figure 5.6.3.3.1 Authors, (2019)

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Scanned with CamS

5.6.3.4 – Types of flexibility

Figure 5.6.3.4.1 Volume flexibility, Authors 2019

Figure 5.6.3.4.2 Extension, Authors 2019

Design Issues

Figure 5.6.3.4.3 .Expansion, Authors 2019

5.6.4 – Example Guggenhiem Helsinki, Finland flexible canopy tensile membrane structure.

Figure 5.6.4.3 the canopy creates a variety of spatial conditions for artists and curators to react to. (noarchitecture, 2014)

Figure 5.6.4.1 Guggenhiem Helsinki. (noarchitecture, 2014)

canopy

Structural trusses

Figure 5.6.4.4 , building structure system . (noarchitecture, 2014)

Figure 5.6.4.2 , Guggenhiem flexible elevation. (noarchitectue, 2014)

The variety of heights allow the flexibility for the building

5.6.5 – Conclusion Putting in consideration any future expansion that allows flexibility in such a way of adding or subtracting, not only is flexibility applied in the form, but it can also be attained in the interior, in the usage of lights in such a way you allow the building to be flexible.

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Design Issues

5.7 – VISIBILITY 5.7.1 – General Definition The feature of being visible and seen and the degree to which something has attracted general attention .( LEXICO dictionary, 2019)

5.7.2 – Architecture Definition It is the concept in which an attractive style is used to enhance the visibility of a certain building to visitors.

This may lead to the building being a landmark in area or a gate to a certain zone. (Natalie Boyd, 2018)

Figure 5.7.2.1 . Architectural visibility Authors, (2019)

This is the aim of our project to have an attractive building, visible from the road and other side from the sea and the river.

5.7.3 – Examples - Louvre Museum Pyramid, Paris 1989 : Designed by Leoh Ming Pei, Chinese American architect - Strategy Make the building visible to the users through transparent façade.

Figure 5.7.3.2, View from inside louvre museum pyramid (mark czerniec, 2016)

Figure 5.7.3.1 ,the whole view is visible for the building .

The Museum of Islamic Art (Gunet Khurana, 2012)

Figure 5.7.3.3 View from outside louvre museum pyramid, (mark czerniec, 2016)

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Design Issues

The Palestinian Museum The building achieved the visibility interior & exterior, with a view over the Mediterranean sea as the site falls on a high hill.

Figure 5.7.3.4 . use of contemporary color platte (Emden 2019)

5.7.4 – Conclusion Visibility is two ways from inside to outside. Form outside to allow users to explore the function of the building by the form or the façade or even some designs are done in such a way to give curiosity to make the people excited to get inside. Visibility from inside to outside let the user explore the views around the site make them visible by using glass for example.

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Design Issues

5.8 – COMFORT 5.8.1 – General Definition A state of being relaxed and feeling no pain.

5.8.2 – Architectural Definition It is the way one feels at comfort in a specific space, inside or outside. (thermal comfort in architecture, 2010) Figure 5.8.2.1 Thermal comfort Authors, (2019)

5.8.3 – Physical Comfort A certain atmosphere must be created in the building in which the visitors would achieve their comfort zones. This can be done by adjusting the temperature in spaces with natural and artificial sources, using specific colors & applying certain forms. Moreover, by using appealing furniture to visitors eyes which could increase the efficiency of work.

5.8.4 – Example Biesbosch Museum Island: The presence of natural elements, as trees, palms & grass with the interference of green spaces, works as temperature regulator as it has some insulation characteristics. Also the materials in the building as glass are thermal resistant which helps in adjusting the temperature. Last, using water features help cooling temperature down too.

Figure 5.8.3.1 , physical comfort aspects, (simscale 2012)

Green Roof

Figure 5.8.4.1 Landscaping museum as land art roof as a common space with a view

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Design Issues

Figure 5.8.4.2 Elevation of Biesbosch Museum Island

Louvre Abu Dhabi, UAE 1- Physical Comfort 2- The abundance of open spaces and lights help create psychological relaxation, which leads to physical comfort.

Figure 5.8.4.3. form (jean Nouvel, 2017)

Figure 5.8.4.4 mood light colors (jean Nouvle, 2017)

5.8.5 – Conclusion Comfort can be achieved by a lot of techniques one of the important dimension of comfort is thermal comfort it can be done by calculating the heat produced in coordination with the human comfort levels. Also, natural light plays an important role in fulfilling the comfort and the satisfaction. Green roofs are suggested as they help in reaching the thermal comfort.

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Design Issues

5.9 – MOOD 5.9.1 – General Definition It is a temporary state of emotion or feeling (Cambridge dictionary, 2019)

Figure 5.9.1.1 color mood

5.9.2 – Architectural Definition It is what the architect achieves in the projects to elicit good or bad feelings in the users of the buildings. (Kashmira Gander, 2016)

5.9.3 – Factors affecting Mood 5.9.3.1 – Building Interior Color

Color is the main aspect in lighting and mood, color can express the mood , happiness can be spread by using bright, strong color, while sadness can be spread by using gloomy, darker colors.

Figure 5.9.2.1 Pompidou Málag.( Javier Pérez De La Fuente,2016) Illustrated by Authors 2019

Light Lighting can also influence our moods greatly

Ceiling Height The ceiling height can affect how a person thinks and acts.

Figure 5.9.3.1.1 ,Gran Canary Arena By LLps Architects ,2015, Illustrated by Author

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Design Issues

5.9.3.2 – Building Exterior Façades The material of the building also plays a huge role in affecting emotional responses. How a building looks can have a psychological impact even at the most basic level.

Emotional Sense of Place Figure 5.9.3.2.1 the museum of Qatar. (iwan baan, 2019)

5.9.4 – Examples The Jordan Schnitzer Museum of Art / Olson Kundig: The designer wanted to create a bold visual appealing building that would inspire visitors. The elevations were designed to compete with WSU’s signature crimson red.

Color, lighting & materials were the architectural features used in the building to change mood from one state to another.

Figure 5.9.4.1 Building internal mood. ( olson kundig,2018)

Figure 5.9.4.2 , building exterior mood. (olson kuding, 2018)

5.9.5 – Conclusion Mood can make you feel emotional or give you a spiritual feeling using heights colors or even furniture some of the styles allow you to explore joy or even tenderness just by letting the user experiment the building. Use of light colors often put the user in good mood and large spaces gives them comfort.

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Design Issues

5.10 – SAFETY 5.10.1 – General Definition the condition of being protected and the feeling of being safe and free from danger. (CAMBRIDGE dictionary, 2019)

5.10.2 – Architectural Definition Architecture principles and elements that prevent accidents in buildings.

The main aim of many architects is to build safe and secure buildings (WBDG,2017)

Fingerprint security access

Figure 5.10.1.1 Iconfinder , (2019)

Centralized management and monitoring

Lift floor access Door access

Alarm monitoring on every door

Time attendance Clocking terminal

Security monitoring at guard house

Turnstile pedestrian access CCTV picture capture and monitoring

Vehicle barrier gate parking access

Figure 5.10.2.1 , Access control (isrmag , 2019)

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6

CHAPTER 6

CASE STUDIES

This chapter includes international, regional, and local case studies similar in nature to our proposed project, and an analysis of how each of our selected design issues is applied in each case.

Case Studies

6.1. – THE JEWISH MUSEUM

Figure 6.1.1 The exterior of the Jewish museum (ArchDaily,2010)

6.1.1 – Introduction Berlin government organized an anonymous competition for the expansion of the original Jewish museum in Berlin that was opened in 1933.

After the WWII the approach was to bring Jewish back in berlin. Daniel Libeskind won among other famous architects, the main reason behind this was that it was the only project that fulfilled a radical, formal design as a conceptually meaningful tool to symbolize the lifestyle and perform the Jewish during and after the Holocaust.

A mix between old and new

Project Designed By Libeskind

Studio

Project Area 15500.0 m2

Project Year 1999 Opened 2001

Project Location :Berlin Germany

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Case Studies

6.1.2 – Contextual Information Berlin is the capital and largest city of Germany in area and population 3,748,148 (2018). This makes it the second most populous city in the European Union.

The Jewish community in Berlin made up about 32% of all the Jews in Germany. After the Nazi persecution, many Jews left Germany, dropping their population from 160,000 to 80,000.

(See Figure 6.1.2)

Figure 6.1.2 Jewish community emigrating after the nazi persecution (Kulturbesitz)

6.1.3 – Historical Background In 1933, Jewish stores and businesses were boycotted, the action encouraged many consequences of unofficial boycotts of Jewish goods and services. Berlin's synagogues were burned down and Jewish-owned stores and homes were robbed and vandalized. Dozens of Jews were killed in Berlin, while thousands were jailed and taken to concentration camps. This was considered a challenge for Libeskind to encourage the Jews to come back to berlin after their suffering.

(See Figure 6.1.3) Figure 6.1.3 Modern Berlin (King, 2019)

6.1.4 – Local Architectural Characteristics Berlin was ruined during World War II, but since then the city worked on rebuilding and overcoming the devastation that happened. It is now the home to some extraordinary works of modern architecture, from Brutalist to Bauhaus. It was guided into a new era of utopian aesthetics and Postmodern design. (See Figure 6.1.4)

Figure 6.1.4 Modern Berlin (King, 2019)

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6.1.5 – Climate The climate is moderately continental, characterized by cold winters, with average temperatures around freezing (0 °C or 32 °F), and moderately warm summers, with daytime temperatures around 24 °C (75 °F).

6.1.6 – Site and Surroundings The site is an extension to the old Jewish museum. (See Figure 6.1.6) The abstracted Jewish Star of David that is stretched around the site and its context. The form is established through a process of connecting lines between locations of historical events that provide structure for the building resulting in a literal extrusion of those lines into a “zig-zag” building form. (See Figure 6.1.6)

Germany

Berlin

Old and new museum Figure 6.1.6 Data source Google Maps

Figure 6.1.6 Data source (Andenmatten, 2012)

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6.1.7 – Concept It is important for understanding the history of Berlin to understand enormous contributions made by its Jewish citizens; the meaning of the Holocaust must be integrated into the consciousness and memory of the city of Berlin.

The German-Jewish experience symbolizes brokenness and resistance. The zig-zag geometry of Daniel Libeskind's building, seen in the form and spatial origination, is based on distortions of the Star of David. Chamber Work kaleidoscopic collection of lines and symbols. (see Figure 6.1.8)

Figure 6.1.7 concept Chamber Work (Libeskind, 2010)

6.1.8 – Zoning The is no formal exterior entrance to the building. In order to enter the new museum extension one must enter from the original Baroque museum in an underground corridor.

Vertical zoning.

A visitor must endure the anxiety of hiding and losing the sense of direction before coming to a cross roads of three routes. (See Figure 6.1.8) Figure 6.1.8.1 the routes zoning graph (Authors, 2019)

Figure 6.1.8.2 vertical Zoning (Espacestemps, 2012)

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Figure 6.1.8.3 bassement floor (Andenmatten, 2015)

Figure 6.1.8.4 ground floor (Andenmatten, 2015)

Figure 6.1.8.5 first floor (Andenmatten, 2015)

Figure 6.1.8.6 second floor (Andenmatten, 2015) r

Figure 6.1.8.7 third floor Andenmatten, 2015)

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6.1.9 – Circulation The three routes represent the Jewish experience through the continuity with German history, emigration from Germany, and the Holocaust. These routes are seen through the intersecting axes (Axis of Continuity, Axis of Exile, Axis of the Holocaust).

In order to move from one side of the museum to the other, visitors must cross one of the 60 thresholds that open onto this void.

(See Figure 6.1.9)

Figure 6.1.9 .2the routes and zoning (Authors, 2019)

Figure 6.1.9.1 vertical circulation Tess O'Mearas, 2015)

Figure 6.1.9.3 circulation (ArchDaily,2010) illustrated by (Authors, 2019)

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6.1.10 – Section and Elevation Analysis The section shows the integration between the voids and the building, and the flexible, outdoor exhibition area.

Figure 6.1.10.1 (Denis Esakov, 2010),Illustrated by Authors, 2019

Holocaust tower

Figure 6.1.10.2 Void cuts through the zigzagging which exhibitions are organized (Archdaily 2010)

new

old

Figure6.1.10.3 (Denis Esakov, 2010)

The concrete walls add a cold, overwhelming atmosphere to the space where the only light emanates from a small slit at the top of the space. The ground is covered in 10,000 coarse iron faces. A symbol of those lost during the Holocaust; the building is less of a museum but an experience depicting what most cannot understand.

Figure 6.1.10..4 section/elevation (Arhcdaily, 2010)

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It appears as if the zigzag façade with the sharp edges does not exist.

The building was not designed to be shiny, therefore the façade was coffered in zinc cladding.

The unsymmetrical, openings change colors.

sliced

The window strips let light into the building, causing a dramatic effect.

The slashes may appear to be random at first but they are really arranged and has story to tell It was to he treated as a physical martialed diagramed of the city's past.

(See Figure 6.1.11)

Figure 6.1.10.5section/elevation (Arhcdaily, 2010)

6.1.11 – Structural Analysis The zinc facade was formed on site by paneling and utilizing a standing steam joint. The walls structure eliminate the need for columns or interior load bearing.

Steel reinforced concrete was cast in place to create the structure.

The window casement form was a challenge.

A mullion system holds the glazing between the concrete.

(See Figure 6.1.12) Figure 6.1.11 structure (Arhcdaily, 2010)

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6.1.12 – Design Issues 6.1.12.1 – Mood Emotional Response : The architect causes the people to feel the suffering of the Jews through the lighting and gloomy colors.

Spirit of the Space: The slashes gives a sense of darkness with a few light rays to show a Jewish collection, but also to show its integration with the history of Berlin itself. Berlin’s history was only created by the German Jews,

Figure 6.1.12.1mood dark colors (Arhcdaily, 2010)

6.1.12.2 – Circulation • One entrance that marks the beginning of the trip • Horizontal and vertical circulation • A connection between the old and the new museum building.

Figure 6.1.12.2 mood dark colors (Arhcdaily, 2010)

6.1.12.3 – Image Main image to deliver a message or return of the Jews back to berlin.

The building front symbolizes the suffering of the Jews.

Figure 6.1.12.3 image (Arhcdaily, 2010)

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6.1.13 – Conclusion Living a story from the design of the building that allows you to explore and gives you sensualities as if you were there during the holocaust. It is designed in a brilliant way to make visitors go through similar feelings to the Jewish experience.

More of an experience less for a building you can visit everyday. You can not tell what is going on inside from looking from the outside; this creates a sense of mystery. The new building is connected to the old one, keeping the urban context as it is.

Figure 6.1.13.1 mood dark colors (Arhcdaily, 2010)

One of the routes people walk onto a corridor of skulls. The path is very narrow and high, eliciting feelings of discomfort.

This is not a place to stay this is a perfect example for story telling building

Figure 6.1.13.2 living the experience (Arhcdaily, 2010)

The colors chosen puts you in the mood of suffering, loneliness, and loss.

Figure 6.1.13.3 all the groups can sense the story telling (Arhcdaily, 2010)

Pros: the story telling that can be adapted in our project in such a way to make it narrative Cons: Extremes of putting the user into the mood the holocaust experience they end up in a bad mood and this is how they will remembering the building.

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6.2 – THE ODUNPAZARI MODERN MUSEUM (OMM)

Figure 6.2.1 The exterior of the Odunpazari modern museum. (kengo kuma and associates, 2019)

6.2.1 – Introduction Turkey is a well known for the sites and the places you can visit as a touristic destination. The museum aim was to create the ambiance of intimacy through it’s wall cladding and outdoor integration with the indoor.

The boxes of the museum space is inspired from the history of where the museum is located where it used to be a center for timber trading adapting it in the building material.

The word odunpazari means firewood market in Turkish.

Project designed by Kengo Kuma and associates .

Project area 4500 m2

Project year 2019

Project location in Eskisehir, Turkey

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6.2.2 – Contextual Information The Republic of Turkey consists of Asia Minor, or Anatolia (Anadolu); the small area of eastern Thrace (Trakya), or Turkey in Europe; and a few offshore islands in the Aegean Sea, with a total area of 780,580 sq km (301,384 sq mi).

Comparatively, the area occupied

by Turkey is slightly larger than the state of Texas. Of the overall area, 97% is in Asia, and 3% in Europe..(See Figure 6.2.1)

Figure 6.2.1 turkey unique location (dewdeny, 2019)

6.2.3 – Historical Background Problem Blending the heritage for the center of trading timber as an intervention without messing with the history of the place.

6.2.4 – Local Architecture Characters Mix in the surrounding context of traditional Ottoman wooden houses, and reconnecting with the heritage of Odunpazari, the OMM generates a bridge for cultural exchange and development in the Central Anatolia region. “create a link between people and art. We were deeply inspired by the history, culture, people and streetscape of Odunpazari, and we wanted the building to resonate on many levels. We hope that the museum will breathe new life into Eskisehir and become a central and inviting meeting point for the city. -- Ken” (See Figure 6.2.4)

Figure 6.2.4 surrounded by the local ottmon houses made of timber ( Markovina, 2014)

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6.2.5 – Climate The average temperature is about 23°C in summer and -2°C in winter. The climate in the Black Sea region is wet, warm and humid, with summer temperatures about 23°C, 7°C in the winter

6.2.6 – Site and Surroundings Turkey lies athwart the important Black sea straits a total land boundary of 2,648 km (1,645 mi) and a coastline of 7,200 km (4,474 mi). Turkey's capital city, Ankara, is located in the northwest central part of the country.

The project is inspired from the analysis of the urban fabric of the context in such a way where it blends with the context creating a layer matching the existing fabric of the timber houses (See Figure 6.2.6)

Turkey

Eskisehir

Figure 6.2.6.1 Data source Google Maps

Figure 6.2.6.2. site accessibility from the surrounded streets (kengo kuma and associates, 2019)

Museum and how it blends with the context

Figure 6.2.6.3 museum within the fabric (Harrouk, 2019)

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6.2.7 – Concept OMM will stand as a new landmark that reconnects the town with its history, and as a progressive cultural development for eskişehir and the central anatolian region at large. the geometry is not perpendicular . he fact that such a geometrical building can also be as organic will surprise people. (see Figure 6.2.7) Figure 6.2.7 concept development and visibility (Harrouk, 2019)

6.2.8 – Structure Analysis The building spoke to the history and memory of its setting was always front and center in our minds. It has been always our practice's keen interest to build with timber that gives comfort and warmth to the space and is kind to the environment "Timber is really important to the town's heritage," said Yuki Ikeguchi​,

Figure 6.2.8.1 Timber structural system, Pinterest, 2017

This timber-lined square skylight twists gently as it rises through the building (See Figure 6.2.8.2)

Figure 6.2.8.2 timber-lined square skylight, Pinterest, 2017

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6.2.9- Zoning and Circulation “The stacked and interlocked boxes are designed in various sizes to create diverse scales of exhibition space inside�, with opportunities for large scale artworks and installation on the ground floor. At upper levels, the boxes tend to get smaller generating more intimate spaces and exhibitions.

Figure 6.2.9horizontal zoning (Harrouk, 2019)

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6.2.10 – Section and Elevation Analysis The section shows the integration between the voids and the building, and the flexible, outdoor exhibition area. The use of the material with mixing it.

Figure 6.2.10.1section showing the skylight (Arhcdaily, 2019) (illustrated by authors )

Figure 6.2.10.2 showing the exterior skin of the building (Arhcdaily, 2019) (illustrated by authors )

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The centre of the building, where four of the stacked blocks meet, there's a skylit atrium that stretches the full height of the three-storey building create a sense of intimacy and warmth by using small-scale units, wood and natural light.(See Figure 6.2.10)

Figure 6.2.10.3 showing the skylight (Arhcdaily, 2019) (illustrated by authors )

Figure 6.2.10..5showing the exterior with outdoor (Arhcdaily, 2019) (illustrated by authors )

Creation of a link to the unique character of the Ottoman houses adjacent to the site by stacking and rotating the boxes that offer the opportunity to house exhibitions and activities in various scales.

Continue the streetscape and recreate the nonlinear journey of visiting the inside of the museum opens out onto a large plaza with steps that run up alongside the building, which connects an area of older housing with a new development (See Figure 6.2.10)

The skylight gives natural light to all the floors and also acts as a a atrium in other floors which allows the users to view the other levels .(See Figure 6.2.10)

Figure 6.2.10.4showing the skylight (Arhcdaily, 2019) (illustrated by authors )

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6.2.11– Design Issues 6.2.11.1 – Mood Emotional Response : The architect designed to enter natural lights in such a way to let the people feel intimate and warm .

Spirit of the Space: Heritage and the people. How to blend.

Figure 6.2.11.1showing the skylight (Arhcdaily, 2019) (illustrated by authors )

6.2.11.2 – Identity Blending with the original context didn’t erase the project identity but gave it a stronger one based on the history of the area

6.2.11.3 – Flexibility Temporary exhibitions that can be changed accordingly and stairs that are not only used for circulation but also as a sitting area

Figure 6.2.11.3showing the skylight (Arhcdaily, 2019) (illustrated by authors )

6.2.11.4 – Image Main image that this place was once famous for timber.

To encourage the people to participate in art that people and art can interact

Figure 6.2.11.4.3showing the skylight (Arhcdaily, 2019) (illustrated by authors )

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6.2.12 – Conclusion Excellent example of how you can blend in with the heritage without standing odd by using the material and the urban fabric. sense the connection to the history and the memory of the place that links to the future. wooden house, with cantilevered volume at upper level, were built in lines along the meandering small streets that makes the streetscape and walk through experience quite unique and unexpected. Adapting the same features in the project

Pros: the blending with the heritage in order not to stand odd use of local materials timber. Sustainable approach the skylight. The various volumes and sizes of the interlocking boxes can be adapted in our project to show the different programs with a visual aspect.

Cons:. the outdoor stair is not quite safe for children. Not targeting all the users because it exhibits a type of contemporary art. A part of the heritage if it was exhibited would make more of the blend

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6.3. JEJU CULTURAL HERITAGE CENTRE

Figure 6.3.1.1. Jeju Cultural Heritage Center, (poly.m.ur, 2008)

6.3.1 Introduction The concept of the project came from a challenge to merge the traditional aspects of the city and its culture with post modern architecture.

The project’s aim was to show the importance of the city’s prior crafts, and to embrace it in an architectural way.

The materials used in the project enhance the location’s identity and what it means to the locals. The flexibility of the triangular geometric shapes is repeated to highlight the architect’s concept.

Project Designed by Architect: poly.m.ur

Project Area: 3570 m2

Project Year: 2008

Project Location: Jeju, South Korea

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6.3.2 – Architectural Concept The building footprint is assembled on a triangular base, and the overall shape is derived from a pyramid consisting of 4 equal triangles. The whole form is based on a grid of this triangular pyramid. This helped in the cladding process because of the use of regular triangular panels.

To complete the process, the architect designed five types of triangular glass.

Reinforced concrete panels with different sizes of openings and combination of dynamic rotating possibilities allow the panels to cover the sunrays from different angles..

Figure 6.3.2.1. Form Development, (poly.m.ur, 2008), Illustrated by Authors, 2019.

6.3.3 – Light Distribution

Figure 6.3.3.1. Façade Light Distribution & Function, (poly.m.ur, 2008)

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6.3.4 – Zoning and Circulation

Figure 6.3.4.1. Internal Circulation, (poly.m.ur, 2008)

The diagram shows the circulation starting from the main entrance and moving on with horizontal and vertical movements.

Figure 6.3.4.3. Administrative Zone, (poly.m.ur, 2008)

The administration spaces including staff offices and managerial spaces.

Figure 6.3.4.2. Connection between Exhibition and Exterior Spaces, (poly.m.ur, 2008)

The exhibition spaces with exterior spaces for showing artifacts.

Figure 6.3.4.4. Educational Zone & Workshops, (poly.m.ur, 2008)

The educational spaces, where the workshops and classes are held.

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6.3.5 – Plan Analysis The plans show the zones of the project, along with the relationship and connections between the indoor and outdoor spaces.

Exhibition Spaces Green Areas Educational & Administration Services Main Axis

Figure 6.3.5.1.Interior & Exterior Zones of the Building, (poly.m.ur, 2008)

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6.3.6 – Urban Context The urban analysis was done by the architect to figure out its role in shaping the built environment, regarding both fabric and context. This was shown in the intersection between the project form with the landscape, and how the tilted facades control the amount of sunlight reaching the spaces.

Figure 6.3.6.1. Sunlight and Daylight Distribution on Spaces, (poly.m.ur, 2008)

The circulation outside the building within the existing landscape and the shaded areas, and how it is not directed to sunlight.

Figure 6.3.6.2. Shaded Outdoor Circulation, (poly.m.ur, 2008)

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6.3.7 – Structural Analysis The structure of the building is formed of steel. I-beams are used, along with columns to support the building. Steel is the material used because of its flexibility and ability to be transformed and shaped, giving the inclined formwork for the walls.

Figure 6.3.7.1. Inclined Wall Structure, (poly.m.ur, 2008).

Figure 6.3.7.2. Structural Section Showing the Columns and Beams, (poly.m.ur, 2008).

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6.3.8 – Elevation and Section Analysis The approach is to adjust the opening sizes based on the Environmental aspects and illumination of each chosen space is affected by the change in opening sizes. The outcome is that the whole façade of the building is surrounded by the dynamic pattern of triangular openings which remind citizens of the surface holes in the basalt rocks, a mineral located in their surroundings.

Figure 6.3.8.1.Elevation, (poly.m.ur, 2008)

Figure 6.3.8.2.Opening Distribution of Facade, (poly.m.ur, 2008), Illustrated by Authors, 2019.

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The section’s main idea is to follow the concept in the same direction. It shows the inclined walls that came from the pyramid with the presence of normal vertical walls inside the buildings.

Figure 6.3.8.2. Section Showing Inclined External Walls, (poly.m.ur, 2008)

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6.3.9 – Design Issues 6.3.9.1 – Circulation The circulation in the building between different levels is attained by stairs and ramps. The outdoor circulation is shaded, providing human comfort.

Figure 6.3.9.1. Circulation , (poly.m.ur, 2008), Illustrated by Authors

6.3.9.2 – Image The unique structure and form of the building create an image in the viewer’s mind. It focuses on providing a building with solid and void, showing a strong structure, but a welcoming one too.

Figure 6.3.9.2. Building Image, (poly.m.ur, 2008)

6.3.9.3 – Mood The mood is affected by the heights of the interior spaces, along with the light color palette used to elicit feelings of harmony and tranquility.

6.3.10 – Conclusion

Figure 6.3.8.2. Internal Mood, (poly.m.ur, 2008)

This example shows how the architect highlighted the unification of the tradition and culture of the city with the building. He respected the environmental aspects by integrating them within the building. The façade’s dynamic design helped control the lighting within the spaces, making use of all the natural and surrounding variables. Finally, all the small details in the city are covered, starting from the materials which are available moving on to the crafts which people used to do before.

Pros: the use of the Sustainable approach green roof and the various sizes. The use of light distribution with respect to the spaces and the level of privacy.

Cons: the building may appear to be standing odd and not blending with the context

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6.4 – THE PALESTINIAN MUSEUM

Figure 6.4.1 The exterior of the Palestinian Museum, (ArchDaily,2017)

6.4.1 – Introduction The main mission of the museum to enhance the Palestinian history, society and culture. That it will take the leadership in forming, communicating and driving knowledge about this abundant culture and heritage.

Phase I comprises a 3,500sm building set among 40,000sm landscaped gardens that make distinguish the project and gives it an integration with the project context as well as interaction between the outside and inside.

Project designed by Heneghan Peng Archietcts

Project area 3500 m2

Project year 2017

Project location in Palestine

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6.4.2 – Contextual Information Palestine is a small region of land roughly 2,400 square miles that has played a prominent role in the ancient and modern history of the Middle East. Violent attempts to control land have defined much of the history of Palestine, making it the site of constant political conflict. Arab people who call this territory home are known as Palestinians, and the people of Palestine have a strong desire to create a free and independent state in a contested region of the world. Palestine is considered sacred by many groups, which is why it needed a place to enhance its identity.(See Figure 6.4.2)

Figure 6.4..2 picture of the land (Shlevich)

6.4.3 – Historical Background Problem The land began to lose its identity due to the political changes and wars. It needed something to save its social heritage from being lost. Control over this region is a complex and evolving situation. The borders are not formally set, and many areas claimed by Palestinians have been occupied by Israelis for years.

(See Figure 6.4.3)

Figure 6.4.3 The borders and the lost identity (GHARABLI)

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6.4.4 – Site and Surroundings The museum is located 25km north of Jerusalem (West Bank) on a hilltop site adjacent to Birzeit University and is the first Phase of a two-phase master plan for a museum ‘hub’.

The shape of the building is designed to blend in with the urban context and the topography of the site.

The site overlooks the Mediterranean Sea to the west. (See Figure 6.4.4)

Middle east

Palestine

The Palestine museum

Figure 6.4.4 Data source Google Maps

6.4.5– Concept The studio's proposal seeks to integrate the museum into its context and to reference the traditional terraced landscapes of the West Bank Approach to the Palestinian Museum design was to draw on this history, placing the museum building into its immediate site, yet drawing from this site to tell a larger story of a highly diverse culture.

Using limestone cladding from the original local building materials that were used before. (see Figure 6.3.8)

Figure 6.4.5 the site within the topography of the land (Dezeen 2017)

Figure 6.4.5 topography (Dezeen 2017)

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6.4.6 – Zoning The museum's masterplan consists of 1. stone-walled terraces that are placed on the site's sloping topography and can be adapted at a later date if circumstances change.

2. The planting of the cascading terraces reflects the museum's position as a cultural facility situated within an agricultural setting.

The complex

Education research center

Gallery

Administration

Figure 6.4.6 zoning Diagram

(See Figure 6.4.6.1)

Moving down Expansion down The terraces

Phase one top terraces

Master plan allows for Future expansion

Telling the story of the Culture landscape Each terrace domesticated To the native planting form

Grid Flat site

Using the site contours slopped site

Transform lines With intermediate Control Circulation line Among terraces

Figure 6.4.6.2 zoning development (HPARC)

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The theme of the landscape; from the cultural to the native, unfolds across the terraces with the simpler terraces close to the building and changing as one moves down to the west.

Figure 6.1.10 zoning ground floor research center and exhibition (Arhcdaily, 2017)

The main art collection display spaces, photographic archives, and art handling area are all located in the lower ground floor. These spaces are not accessible to the public; they open out to a secure delivery yard at the eastern side of the building. The building will be the first LEED Certified building in Palestine. Source

by Heneghan Peng Architects.

(See Figure 6.4.6.3) Figure 6..4.6.3 zoning underground floor (Arhcdaily, 2017)

6.4.7 – Circulation The circulation resulted from the topography. The zigzag lines and the absence of straight lines gives the user the sense of new experience and allows them to explore the terrace gardens.

Most of the circulation is horizontal, with limited vertical circulation. (See Figure 6.4.7)

Figure 6.4.7 circulation (Arhcdaily, 2017)

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6.4.8 - Section and Elevation Analysis Viewed from down the slope, its angular facades appear as a continuation of the landscaping's slanted stone surfaces.

The limestone slabs extend from the Amphitheatre across all of the building's facades and roofs, creating a monolithic and homogenous structure that appears to emerge from the hilltop. (See Figure 6.4.8)

Figure 6.4.8.1 elevation (Archdaily, 2017)

Slanted openings containing windows are set behind rows of black fins that provide a degree of shade to spaces including a glazed gallery on the ground floor.

Figure 6.4.8.2 elevation/ section (Archdaily, 2010)

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Figure 6.4.8.3 section/elevation (Arhcdaily, 2017)

6.4.9 - Structural Analysis The Palestinian limestone, quarried locally near Bethlehem, is used for both façade cladding and exterior paving, unifying the scheme. The west façade’s masonry is cranked upwards in two places, exposing triangular curtain walls with metal fins whose sizes and locations are carefully calculated to protect the interior from solar glare and heat gain while maximizing natural light – one of a number of measures that have earned the building its LEED Gold certification.

Internally the Museum’s concrete structure is rough-rendered and white-painted.

Figure 6.4.9 The interior of the gallery (Emden, 2019)

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6.4.10 - Sustainable Approach This will be the first building in Palestine to gain the LEED gold certificate for minimizing the solar gain. Rainwater from the terrace and Amphitheatre is harvested for use in the irrigation and flush systems, and wastewater is treated to be used in irrigation.

6.4.11- Design Issues 6.4.11.1 – Mood Emotional Response : Serenity and peace of mind achieved by the open landscapes and the use of colors and open spaces that gives you a sense of wonder and relation to the cultural heritage.

Spirit of the Place: In the terrace it gives you a feeling of belonging and also feeling related to the heritage.

Figure 6.4.11.1 mood in the terrace(Arhcdaily, 2010)

6.4.11.2– Flexibility In the interior furniture in the exhibition hall with movable and changeable units.

Figure 6.4.11.2 use of contemporary color platte (Emden 2019)

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6.4.11.3 –Visibility Visibility is achieved from the outside and this inside, overlooking the Mediterranean sea because the site location on a high hill.

6.4.11.4 – Image Identity The building emerges from the landscape to create a strong profile for the hilltop both integrated into the landscape yet creating an assertive form that has a distinctive identity. Largely single story ; it stretches out along the hilltop from the south to north; overlooking the gardens to the west.

Figure 6.4.11.3 use of contemporary color platte (Emden 2019)

Figure 6.4.11.4 mage (Arhcdaily, 2017)

6.4.12 Conclusion How to save a culture heritage by adapting a small idea like the agriculture of the community and also standing out while blending in within the context respecting the nature of the project. Solved circulation among the topography. Visibility from inside to outside and the outstanding image is not just as a huge building but also working out to design a less solar gain and winning the gold LEED certificate.

Pros: The use of local building materials that were used in Palestinian vernacular architecture. As well as using the rain in irrigation and flush water, reaching towards a new sustainable approach for the first time. How they preserved a part of the heritage by adapting a simple idea like the agriculture of the community. Which will support our project thesis in developing the heritage as well as the culture. Further expansion is put into consideration.

Cons: a lot of slopes along the site not very safe around children.

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6.5 – LOUVRE ABU DHABI

Figure 6.5.1 The exterior louvre Abu Dhabi (ArchDaily,2010)

6.5.1 – Introduction The international architect Jean Nouvel is one of the most important architects of the last fifty years. Inspired by the architecture and traditions of the United Arab Emirates.

The museum complex is made up of 55 white volumes. These volumes are distributed in what appears to be a minicity (or medina), surrounded by water, and entirely covered by a geometric dome that extends over 180m and is composed of almost 8,000 overlapping metal stars. The art museum includes 8,000m² of galleries, the Children's Museum, and also houses an auditorium, a restaurant, a shop, and a café.

Project designed Ateliers Jean Nouvel

Project area 97000 m2

Project year 2007

Project location in Abu Dhabi, UAE

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6.5.2 – Contextual Information Abu Dhabi, the capital and the second largest city in the United Arab Emirates has now emerged as one of the country's finest tourist destinations because of its excellent infrastructure, growing economy, and interesting attractions.

The museum complex Louvre Abu Dhabi is located on a coastal land of sandy nature, almost 64,000m² of surface. It is part of the Cultural District of Saadiyat, which will include three (3) other museums and a performing arts center.

Figure 6.5.2 the louvre museum (Archdaily, 2010)

6.5.3 – Historical Background Problem The Bedouin of the Bani Yas tribe settled on the island of Abu Dhabi in 1761. Early on, the centre of power for the tribe remained at Liwa Oasis, where the ruling Al-Nahyan family was based, but in 1793 the family moved to Abu Dhabi. At this time a haven for wildlife Figure 6.2.3 (Abu Dhabi literally means ‘Father of the Gazelle’), the town expanded Figure 6.5.3 (Abudhabi, 2017) rapidly during the heyday of the pearl trade in the late 19th century. In 1892 its ruler, Sheikh Zayed bin Mohammed alNahyan (known as Zayed the Great), agreed that the emirate would become a protectorate of Britain and it joined the Trucial States. Zayed the Great died in 1909, and under five subsequent rulers the emirate’s power and prosperity declined, largely due to the collapse of the pearling industry. Everything changed in 1958 when oil was discovered, and it is from this date that the development of modern Abu Dhabi can be said to have commenced. (See Figure 6.5.3)

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6.5.4 – Local Architecture Characteristics From its Bedouin past as a modest fishing and pearl diving port to the discovery and production of oil, Abu Dhabi has risen from the sands along the Arabian Gulf to become one of the world's wealthiest cities.

Today, the capital of the United Arab Emirates is known not only by its prosperity, diversity and tolerance, but by its modern architectural wonders.

Always distinguished by extreme skylines attractions . (See Figure 6.1.4)

Figure 6.5.4 Louvre museum (ArchDaily 2010)

6.5.5 – Climate The months of June through September are generally extremely hot and humid with maximum temperatures averaging above 41 °C (106 °F). The weather is sunny and clear throughout the year.

6.5.6 – Site and Surroundings The site is located in Saayiat island in Abu Dhabi . (See Figure 6.2.6) The abstracted Jewish Star of David that is stretched around the site and its context. The form is established through a process of connecting lines between locations of historical events that provide structure for the building resulting in a literal extrusion of those lines into a “zig-zag” building form. (See Figure 6.5.6)

UAE

Abu Dhabi Saadyoiat Island

Louvre Museum

Figure 6.5.6 Data source Google Maps

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6.5.7 – Concept The building’s purpose is to create a welcoming world serenely combining light and shadow, reflection and calm. It wishes to belong to a country, to its history, to its geography without becoming a flat translation, the plane that results in boredom and convention.

It also aims at emphasizing the fascination generated by rare encounters.

The dome and the water circuits, contribute to the creation of a more comfortable micro-climate inside the museum, in an ecological and economic way.

It’s unusual to find a built archipelago in the sea. It is even more uncommon to see that it is protected by a parasol creating a rain of light. (see Figure 6.5.7) Figure 6.5.8.1 how light is reflecting on form (Archidaily, 2010)

6.5.8 – Lighting and Form The centerpiece of Jean Nouvel's architecture is a huge silver dome that seems to float above this museum-town.

– The main form of other pieces is the parallelepiped.

– Visual balance is achieved by symmetry in the dome and overall composition of the building The dome is a complex geometric structure of 7,850 stars superimposed on eight layers and whose pattern is repeated in different sizes and angles(see Figure 6.5.8)

Figure 6.5.8.2 light and people how its reflected form (ArchiDaily)

Figure 6.5.8.3 form (ArchiDaily, 2010)

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6.5.9 – Zoning

Figure 6.5.9 Zoning

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6.5.10 – Circulation There are 2 possible ways to reach the museum, either by sea, or by land.

The type of circulation used is labyrinth. This gives visitors the freedom of choice when it comes to the order according to which they wish to visit the museum’s components, while making them pass through them all.

These components are distributed in a way that encourages contemplation.

(See Figure 6.5.10)

Figure 6.5.10.1 circulation (ArchDaily,2010)

Figure 6.5.10.2 circulation (Arhcdaily, 2010)

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6.5.11 – Section And Elevation Analysis The section shows the integration between the dome and the exhibition room the height variations.

Figure 6.5.11.1 section/elevation (Arhcdaily, 2010)

The façades, overlooking both the sea and the urban landscape of Abu Dhabi, invite to the walk and the conversation. The façades are of the open type.

The museum design is a collaboration between traditional design and modern construction techniques. The tranquil environment encourages visitors to enjoy the ever-changing relationship between the sun and the dome and between sea, buildings and land.

Figure 6.5.11.2 section/elevation (Arhcdaily, 2010)

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6.5.12 – Structural Analysis A dome of 180m in diameter covers two thirds of the museum, bringing shade, and reducing energy consumption.

The total weight of the dome is 7,500 tons (the same as that of the Eiffel Tower).

– It consists of eight (8) layers: four (4) outer layers coated with stainless steel, and four (4) inner layers coated with aluminum.

– The dome forms a tapestry of 7,850 stars, the largest of which has a diameter of 13m and weighs 1.3 tons.

Encase the window molds the extreme angles was a challenge The structure is supported by only four (4) points, so as to appear floating in the air, and required a submerged complex subsoil, made in salt-water resistant concrete and supplied with a row of steel piles sunk into the sea.

(See Figure 6.5.12)

Figure 6.1.12 construction (Arhcdaily, 2010)

Figure 6.5.12.1 structure joint ( Arhcdaily, 2010)

Figure 6.5.12.2 structure joint (Arhcdaily, 2010)

Figure 6.512.3 structure joint (Arhcdaily, 2010)

Figure 6.5.12 .4structure joint (Arhcdaily, 2010)

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6.5.13 – Design Issues 6.5.13.1 – Mood • Emotional Response • The use of light colors gives a sense of serenity and the feeling of relief .

6.5.13.2 – Comfort • Physical Comfort •

Figure 6.5.13.1 mood light with shades(Arhcdaily, 2010)

The abundance of open spaces and lights help create psychological relaxation, which leads to physical comfort.

6.5.13.3 – Image Identity A visual identity. The threelanguages wayfinding system for the Louvre Abu Dhabi was designed

by Philippe Apeloig , and is implemented in both Arabic and Roman script. It was inspired by the museum’s architecture, and particularly by the abstract shapes created by the rain of light filtering through the gigantic dome's Masherbya. Each pictogram is a combination of several of these shapes, creating silhouettes and objects.

Symbolism The building symbolizes the vison that drives the country and successes.

Figure 6.5.13.2 mood light colors (Arhcdaily, 2010)

its

Figure 6.5.13 image (Arhcdaily, 2010)

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6.5.13.4 – Circulation • Horizontal circulation • Clear 2 entrances • With signs with all languages and symbols to make it easier and user friendly Figure 6.5.13 image (Arhcdaily, 2010)

6.5.14 – Conclusion The pros of this case study is how it propose a strong image for the site and with the choice for the shading from the dome gives you relief and puts you in the mood that could be used in the project. On environmental aspect and on the historical one it took the mashrabiya which is one of the Islamic architecture components and adapted it with building technologies.

The open spaces with the context gives user comfort.

Cons that the dome allow anything in this may not be the best option if it is raining, therefore the area should be well covered.

Pros: adapting the masherbya as a part of the heritage by focusing on one element as abuilding technology. The sustainable approach of using the natural light in both mood and ventilation.

Cons: located on only one level no diversity in leveling.

Figure 6.5.14 image (Arhcdaily, 2010)

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6.6 – NATIONAL MUSEUM OF QATAR

Figure 6.6.1. The National Museum of Qatar (Aerial Shot), (Iwan Baan, 2019)

6.6.1 – Introduction The National Museum of Qatar has been under construction for the past ten years. It was designed to become a storytelling platform for Qatar’s history and progression through time and into the future. It starts of with how Qatar was in the past, what it has been through throughout the years, what is has become, and what it is yet to be. It includes all factors, the surroundings, the climate, the architectural development, the development of the people, and the natural context.

Project Designed by Jean Nouvel

Atelier

Project Area: 52000 m2

Project Year: 2019

Project Location: Qatar

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6.6.2 – Contextual Information Qatar has been in a strong geopolitical position, with reference to its neighboring countries and in its region. It has been through many international financial and economical problems. Qatar had to be separated from the rest of the region and prove its strength and independence. Qatar’s nomadic past, and desert climate, has changed into a very advanced present and plans for the future.

Qatar’s population of 2.7 million inhabitants, is only 12% made of Qataris, while the rest are migrants that make up the labor force of Qatar.

Figure 6.6.2.1. The National Museum of Qatar Context & Skyline, (Paul Cowan, 2019)

Figure 6.6.2.1. The National Museum of Qatar Context, (Jimmy Baikovicius, 2019)

6.6.3 – Local Architectural Characteristics Qatar’s defining architectural style is the modern-day style. Ranging from steel structures to high skyscrapers made of glass and metal.

However, Qatar’s old architectural style is apparent in the suburbs and the small towns surrounding the big cities. The old buildings were usually made of limestone and mud.

Figure 6.6.3.1.Building Characteristics, (Iwan Baan, 2019), Illustrated by Authors, 2019

6.6.4 – Climate The climate in Qatar is characterized by being hot and humid, with temperatures ranging from 50 °C in summers in 17 °C. Precipitation levels are extremely low, less then 7.5 mm during winters.

Figure 6.6.3.2.Building Characteristics, (Iwan Baan, 2019), Illustrated by Authors, 2019

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6.6.5 – Site and Surroundings The site overlooks the Arab gulf, surrounded by water from the larger edge of the site boundaries. The site also includes Sheikh Abdullah bin Jassim Al Thani’s 20th century palace. The building is connected to the palace, which was renovated and restored, keeping its old architectural identity and integrated with the modern identity of the museum. The museum is also surrounded by landscape inspired from the nature of the country, including dune levels and native plants and trees.

The Arab Gulf

Sheikh Abdullah’s Palace

Figure 6.6.5.1. Rendered Site Plan, (Atelier Jean Nouvel 2019), Illustrated by Authors, 2019

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6.6.6 – Concept The building form concept is inspired from the mineral, desert rose, found in Qatar. It was translated into a formation of intertwining discs on levels. This organic form helps integrate the building with its surroundings. Any vertical additions are added to regulate the climate and lighting.

Figure 6.6.6.1. Desert Rose Mineral, (Google, 2019)

Figure 6.6.6.2. Concept Sketch, (Philippe MenĂŠtrey, 2019)

Figure 6.6.6.3. Building Form, (Iwan Baan, 2019)

Figure 6.6.6.3. Building Form Sketch, (Iwan Baan, 2019), Edited by Authors, 2019

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6.6.7 – Circulation The circulation of the building is just as irregular as its form. It takes through a journey from the past to the present, passing through all the elements of the museum and exhibition.

Figure 6.6.7.1 Horizontal Circulation, (Atelier Jean Nouvel, 2019), Illustrated by Authors, 2019

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6.6.8 – Zoning The circulation of the building is just as irregular as its form. It takes through a journey from the past to the present, passing through all the elements of the museum and exhibition.

Figure 6.6.8.1. Building Outline, (Atelier Jean Nouvel, 2019)

Sheikh Abdalla’s Palace Main Entrance Lobby Auditorium Gift Shops Workshops Temporary Exhibition Permanent Exhibition Museum

Figure 6.6.8.2. Building Zoning, (Atelier Jean Nouvel, 2019), Illustrated by Authors, 2019

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6.6.9 – Section and Elevation Analysis The irregularity of the desert rose inspired disc shapes is also apparent in the sections and elevations of the building. The overhanging elements aid in shading the entrances and exterior paths, while blocking the unwanted heat and light.

Figure 6.6.9.1. Building Section Analysis, (Atelier Jean Nouvel, 2019), Illustrated by Authors, 2019

Figure 6.6.9.2. Elevation Form Analysis, (Iwan Baan, 2019), Illustrated by Authors, 2019

Figure 6.6.9.3(Iwan Baan, 2019)

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6.6.10– Structural Analysis The structure of Qatar National Museum consists of steel structured covered in concrete panels. These concrete panels are what formed the shell shaped form.

Figure 6.6.10.1 Construction Period, (Atelier Jean Nouvel, 2019)

Figure 6.6.10.2 Panel Construction, (Philippe Menétrey), 2013, Illustrated by Authors, 2019

Figure 6.6.10.3. Panel Application on Steel Framework, (Sketched by Philippe Menétrey, 2013), Illustrated by Authors, 2019

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6.6.11 – Design Issues 6.6.11.1 – Circulation The vertical circulation between different floors is provided by stairs, ramps, and elevators. While the horizontal circulation is highlighted by the display separators used in the exhibition.

Figure 6.6.11.1. Building Circulation, (Iwan Baan, 2019), Illustrated by Authors, 2019

6.6.11.2 – Image The unique structure and form of the building create an image in the viewer’s mind. It focuses on the connection between the past, present, and future.

6.6.11.3 – Mood The mood is affected by the heights of the interior spaces, along with the attractive colors used, and the video graphic items displayed in the museum and exhibition.

Figure 6.6.11.2. Building Image, (Iwan Baan, 2019)

Figure 6.6.11.3.2. Attractive, Interactive Colors, (Iwan Baan, 2019)

Figure 6.6.11.3.1. Interior Mood, (Iwan Baan, 2019)

Figure 6.6.11.3.3. Heights of Interior Spaces, (Iwan Baan, 2019)

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6.6.12 – Conclusion The Qatar National Museum is a great example of a storytelling building. It tells the story of the past, integrating it with the present, and a vision of the future. It also integrated the sense of identity of the place and the modern architectural techniques. It respected the context and got the concept from its surrounding environment. The use of technology and interactive techniques to engage the users and give them a unique,

memorable experience is also apparent in the project.

Pros: the building shape is very odd, but it blends with the context using the natural colors used in the surrounding which makes it part of Qatar and very Distinguish destination. Use of interactive show methods.

Cons: the building façade at the beginning may not appear very welcoming

Figure 6.6.12.1. Interactive Video Graphics, (Iwan Baan, 2019)

Figure 6.6.12.3. Building Exterior Shot, (Iwan Baan, 2019)

Figure 6.6.12.2. Aquarium, (Iwan Baan, 2019)

Figure 6.6.12.4. Building Connection with Sheikh Abdullah’s Palace, (Iwan Baan, 2019)

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Case Studies

6.7- LUXOR CULTURAL CENTRE

Figure 6.7.1. Luxor Temple, (Google, 2019)

6.7.1 – Introduction The project is located near Sidi Al Wahsh, in a vacant area. It had a main objective, to boost the importance of Luxor and to increase its touristic value. The whole building was supposed to be ventilated naturally with some wind catchers. But after the process of construction, which wasn’t completed, the company did not apply the wind catchers which made the whole project meaningless.

The concept was to mix between both the Islamic architecture, which Hassan Fathy mastered, and the pharaonic features which was originated in the place. With both features, the project was expected to be an icon in Egypt.

Project Designed by Hassan Fathy

Project Area: -- m2

Project Year: 1970

Project Location: Luxor, Egypt

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6.7.2 – Zoning The zoning process was done with a purpose of making the tourist to enjoy each stop, and each space is well oriented with the climatic analysis to make sure that every space is comfortable to the tourists.

Figure 6.7.2. Zoning. (Fathy, 2017), Illustrated by Authors, 2019)

Art Gallery

Lecture Hall

Closed Theater

Courtyards

Amphitheater

Workshop Studios

Library Drawing Halls

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6.7.3 – Circulation The building circulation does not follow a certain pathway or route. It is random with nodes and branches leading to different zones. The visitors do not go through a path, and movement between zones is not simple.

Figure 6.7.3. Circulation, (Fathy, 2017), Illustrated by Authors, 2019)

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6.7.4 – Section and Elevation Analysis The heights of both the Islamic and pharaonic architecture was taken into consideration while designing the center. The openings are mostly arches. The wind catchers are also applied because of their importance and the section shows how they function.

Figure 6.7.4.1. Section Analysis. (Fathy, 2017), Illustrated by Authors, 2019)

Figure 6.7.4.2. Elevation Analysis. (Fathy, 2017), Illustrated by Authors, 2019)

Figure 6.7.4.3. Heights and Architectural Elements. (Fathy, 2017), Illustrated by Authors, 2019)

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6.7.5 – Environmental Analysis The height of the buildings vary, with openings, regulating the wind flow. The use of windcatchers also allow proper air circulation and regulation of temperatures. The use of open courts with green elements also increase the sustainability of the building.

Figure 6.7.5.1. Section Showing Air Circulation through Building. (Fathy, 2017), Illustrated by Authors, 2019)

Figure 6.7.5.2. Green Elements (Palm Trees).

(Fathy, 2017), Illustrated by Authors, 2019)

Figure 6.7.5.3. Wind Catcher Section (Air Circulation). (Fathy, 2017), Illustrated by Authors, 2019)

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6.7.6 – Design Issues 6.7.6.1 – Circulation The building has no vertical circulation. The horizontal circulation follows a certain theme of nodes and courtyards branching into paths. This caused the building to be disconnected and not following a route, which can not be applied to our project.

Figure 6.7.6.1. Circulation. (Fathy, 2017), Illustrated by Authors, 2019)

6.7.6.2 – Identity The elements used, such as windcatchers, opening types (arches), and difference in heights represent the identity of the city’s pharaonic nature. This shows how the building blends in with its context and is connected to the past.

Figure 6.7.6.1. Architectural Elements Iddentity.

(Fathy, 2017), Illustrated by Authors, 2019)

6.7.7 – Conclusion Luxor Cultural Center is a building that celebrates the identity and the authenticity of the place. It also integrated the sense of identity of the place and this is seen in the architectural elements used.. It respected the surrounding styles and used elements to regulate environmental features.

Pros: the use of local building materials. And sustainable approaches that helps in the lighting and ventilation. The zoning was designed to make the user explore every part of the project.

Cons: The mix between the two heritage styles didn’t help in showing the identity and making stronger but it made the identity not clear at a certain point.

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6.8. – WADI EL-HITAN (VALLEY OF THE WHALES)

Figure 6.8.1 Wadi el hitan museum with the context( )

6.8.1 – Introduction Wadi El-Hitan (Valley of the Whales) is a natural reserve area located .This area is of important paleontological interest due to the existence of wide variety of fossilized flora and fauna.. The valley of whales (Wadi el Hitan) located lin Faiyum Governorate. was designated as a UNISCO world heritage site in 2005 (ministry of planning, N.D). Due to the important 40 million year-old whale skeletons that were found there. A fossil remains of the first primitive whales and ancestors of the modern day whales

Project Mikhail.

designed

Gabriel

Project area 49,460 acres) acres)

Project year since 1903

2005 founded

Project location in faiyum , Egypt

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6.8.2 – Contextual Information Wadi Al-Hitan, Whale Valley, in the Western Desert of Egypt, contains priceless fossil remains from the earliest, and now wiped out, suborder of whales, Archaeoceti. These fossils speak to one of the significant accounts of development: the rise of the whale as a maritime warm blooded animal from a past life as a landbased creature. This is the most significant site on the planet for the showing of this phase of development. It depicts clearly the structure and life of these whales during their progress. The number, fixation and nature of such fossils here is one of a kind, just like their availability and setting in.

Figure 6.8.2.1 Wadi el hitan ( Authors, 2019 ).

An alluring and ensured scene. The fossils of Al-Hitan show the most youthful archaeocetes, in the last phases of losing their rear appendages. Other fossil material in the site makes it conceivable to recreate the encompassing natural and environmental states of the time.

Figure 6.8.2.2 Wadi el hitan ( Authors, 2019 ).

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6.8.3 – Historical Background The unearthing of the whale valley in 1903 were found by the world in Tel-Tal through a topographical review in Egypt.

Unearthing of pisces known as the isis basilusaurus, which is 18 meters in length and the whale of the dorodone erox, have been seen as littler. It was named new types of whales in the historical center of normal history in london in 1902. In 1989 the group pf the egyptian and American scientists found the main water tests of the pyelusaurus whale structure and the doridone Bacillus anthracis with their legs snd little feet. In 1996 another 5-meter long whale fossil, the whale of echternus simmons was found. In 2006 the principal mammalian warm blooded creature, the elephant's precursor, was recognized as pythirum. In 2007 , the 10-meter whale was named masua citsy markgrave.

Figure 6.8.3.1 Wadi el hitan ( Authors, 2019 ).

Figure 6.8.3.2 Wadi el hitan ( Authors, 2019 ).

Figure 6.8.3.3 Wadi el hitan ( Authors, 2019 ).

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6.8.4 – Local Architecture Characters

Figure 6.8.4.1 Local material(Al Wattan, 2016 ).

The materials used in the project were bricks covered by local materials ( clay plaster) that give advantage to the project t be a part of its contextual surroundings, also, help for a better insulation from environmental conditions and climate at the site.

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6.8.5 – Climate Faiyum has a desert climate. Temperature here averages 20.9 °C. In a year, the average rainfall is 7 mm. (CLIMATE-DATA.ORG)

6.8.6 – Site and Surroundings The site is located Egypt, Faiyum governate the western desert about 150km west of Cairo. No other place in the world holds the concentration and the quality of the exactions that are found there

Egypt

Faiyum

The valley of whale

Figure 6.8.6.1 Data source Google Maps

6.8.7 – Concept The concept was inspired from the contextual surroundings dunes as shown in (Figure 6.8.7.1 Concept diagram (Authors, 2019) the aim was to make a form that have the same rhythm with the environment. At the same time, it needs to isolate the important fossils from the climatic changes and protects it also, the museum act as a part of its surroundings

Figure 6.8.7.1 Concept diagram (Authors, 2019)

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6.8.8 – Zoning

Figure 6.8.8.1 zoning (Authors, 2019)

The museum consists of three main zones which are lobby, casts and exhibits gallery and fossil exhibit.

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6.8.9 – Circulation The flow inside the historical center are a one circle dissemination with a centeralized perfect work of art, by utilizing open arrangement gallery they have a structure issue of awkward way that leads clients to become busy inside it

Figure 6.8.9.1 Circulation (Authors, 2019)

6.8.10 – Topography The museum take advantages of contouring and topography of the site location and use it to bury the building under the sand as shown fig (). As a result the vertical circulation of the building is accessible by ramps that take people to the entrance and lobby Figure 6.8.10.1 Site topography (Authors, 2019)

Figure 6.8.10.2 topography (Authors, 2019)

Figure 6.8.10.3 Site topography (Authors, 2019)

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6.8.11– Design Issues 6.8.11.1 Image The building stands out in the middle of the desert, having a unique, distinctive image

Figure 6.8.11.1 UNISCO (illustrated by (Authors, 2019)

6.8.11.2 Visibility The visibility of the building is achieved because there are no surroundings.

Figure 6.8.11.2 UNISCO (illustrated by (Authors, 2019)

6.8.11.3 Mood The building form sets the mood as it blends with the surrounding desert.

Figure 6.8.11.3 UNISCO (illustrated by (Authors, 2019)

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6.8.12- Conclusion This is a perfect case study to show how in Egypt it remained in a world heritage site and it didn’t get terminated like Rosetta. How heritage should be conserved .blending with the context that we can adapt in our case study. How the outdoor and the indoor circulation are completing each other Pros: that the case study is located in Egypt and is still a world heritage site taking advantages of contouring and topography of the site location and use it to bury the building under the sand Cons: There’s no cons about this case study

Figure 6.8.12 UNISCO (illustrated by (Authors, 2019)

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Design Issues

6.9 – CASE STUDIES AND DESIGN ISSUES Case study

Circulation

Image

Identity

Mood

Design issue

The Jewish Museum

Jeju Culture Heritage Center The Louvre Museum

National Museum of Qatar

The Palestine Museum

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Design Issues

Case Study

Visibility

Interaction

Flexibility

Comfort

Design Issue

The Jewish Museum

Jeju Culture Heritage Center

The Louvre Museum

National Museum of Qatar

The Palestine Museum

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7

CHAPTER 7

PROGRAM ANALYSIS AND GUIDELINES This chapter includes our proposed zones and space program with estimated areas, according to the chosen project.

Program

7.1 – PROJECT ELEMENTS Zone 1: Interactive Exploratorium to tell the story of each era + One Permanent Display for a culture artifact as Rosetta Stone. (Second Part): Permanent Museum that contains most valuable artifacts in the city.

Zone 2: Documentation Center of Heritage Monuments and Artifacts Restoration & Conservation Areas

Zone 3: Workshops and Educational Facilities for Raising Awareness.

Plus Educational & Interactive Libraries and Seminar Rooms.

Zone 4: Administration, Services & Facilities.

NB: Outdoor Spaces are correlating to each zone.

Figures 7.1.1 & 7.1.2 Real footages of the zones (libguides, 2016) & (libguides, 2018).

Figures 7.1.3 & 7.1.4 Real footages of the zones (expoonline,2015) & (libguides,2016).

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Program

7.1.1 – Functional Diagram

Zone 1 Interactive Exhibition with outdoor area & Permanent Museum

Zone 2 Documentation center with a part to restore and preserve monuments

Zone 3 Educational Workshops with a library for elders and youngers

Zone 4 The managerial part in the project with all the services

Figure 7.1.5 Zoning illustrated by authors (authors, 2019)

7.1.2 – Zoning Zone 4 Managerial Library

Offices Zone 1

925 m²

Zone 3

Interactive

Educational

Exhibition

Workshops

2600 m²

1550 m² Zone 2

interacti on spaces

Doc. Center

TOTAL

800 m²

PROJECT AREA 9280 m²

Figure 7.1.2.1 Zoning illustrated by authors (authors, 2019).

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Program

7.1.2.1 – Expanded Zoning: Space Program

100%

Documentation Center

18%

Educational

18%

Administration

15%

Exploratorium & Exhibition.

49%

0

• Each zone is represented with a color code depending on how rooms it has, The thicker the bar the larger the area.

• Each zone is presented with a percentage to present its actual size comparing to the whole project. They are separated based on the functions for clarifications. For instance, Table 7.1.2.1 Inspired from Rem Koolhaas’s design program.

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Program

7.2 – TARGET GROUPS Since that the objective of the project is to put Rosetta back on the map, thus, the audience we expect to come visit our project is basically everyone locally and to expend in an international way, therefore the audience we’re targeting are: • • • • • • • • •

Families Teenagers Adults Tourists Visually impaired people Hearing-impaired and deaf people School groups Universities groups UNISCO Figure 7.2.1 Illustration of interactive exhibition (metmuseum,2019).

7.2.1 – Strategies The whole city must be ready for the next step of its touristic evolution, thus, some improves are going to be needed; • Tour guides from the area to guide tourists into the historical places.

• Tour guides speaking different languages to communicate easily with all visitors.

• Teaching the local people by professionals how to preserve their heritage.

• Street signs & billboards for directions and illustrations.

• Audio & Video devices all over the city interacting with visitors.

• Shops & kiosks all over the city selling souvenirs made by local people.

• Embracing the local identity of the city.

Figure( 7.2.2 Tour guide with visitors. (museumfacts , 2019).

Figure 7.2.3 Direction signs (VectorStock, 2019).

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7.3 – SPACE REQUIREMENTS

Program

❑ Based on previous programs for similar projects & standards books: Space Name

m²

Num ber

Foyer Services

m² (net)

Notes

420

Entrance Foyer

150

1

150

Ticket Sales Counter

20

1

20

Reception Desk

15

1

Shops

20

5

100

Shops storage

40

1

40

cloakroom

30

1

30

Toilets

25

2

50

Service Kitchen

15

1

15

Management Facilities

15

Museum main entrance, including information desks and lounges

Customer Service Distributed all over the place

One for men and one for women

905

MPU

200

1

200

Director

50

1

50

The room contains private bathroom and a secretary part

Administrative offices

12

10

120

Office facilities for 12 10 people

Meeting Room

40

1

40

Break room/Kitchen

30

1

30

Copying, etc..

10

1

10

Bathrooms with lockers

30

2

60

Smoking Outdoor Area

15

1

15

Both can be combined

Table 7.3.1 Inspired from David Chipperfield's museum & Neufert’s Book

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7.3 – SPACE REQUIREMENTS

Program

Control Room

30

1

30

Including security guards

Electricity Room

60

1

60

For all the technicalities

Director of External Affairs

40

1

40

PR Coordinators

25

2

50

Floor Managers Room

60

1

60

Services

140

1

140

Exploratorium

Including Clinics, cafeterias, stairs, elevators & others.

1820

Artifacts Halls

200

5

1000

Rosetta’s monuments from different eras

VR Hall

300

1

300

Technical room to show the history in a technological way

Mezzanine Hall

200

1

200

Permanent Display

120

1

120

Auditorium

200

1

200

Museum

Rosetta stone show room

1300

collection exhibition facilities

500

1

500

Artifacts storage

120

1

120

Media Room

150

1

150

Galleries

25

4

100

Handling room

100

1

100

Settling Room

80

1

80

Connected to loading and storage spaces

Loading space with service lift

190

1

190

Service lift is 10 m² + the 180 for the loading space.

With show cases showing expensive monuments

Table 7.3.2 Inspired from David Chipperfield's museum & Neufert’s Book

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7.3 – SPACE REQUIREMENTS Educational Library

Program

420

Research Library

80

1

80

Computer Labs

60

1

60

Study Zone

40

1

40

Quiet zone

Material Collection

40

1

40

Contains raw material from the city

Staff zone

30

1

30

Learning Space

50

1

50

Tutorials can be done there

Children Part

120

1

100

Includes some children books and toys to attract them

Doc. Center

360

Restoration labs

40

4

160

Archive

20

1

20

Data Analysis rooms

30

3

90

Show Room

50

1

50

Educ. Facilities 50

8

400

Children Classes

25

4

100

Crafts Workshops

40

4

160

Cafeteria

15

1

15

Bathrooms

25

2

50

Outdoor Areas

General workshops in different subjects

Handy workshops

2480 800

1

Bus Station Parking

To meet and discuss results

725

Workshops

Outdoor Exhibition

For preserving the old monuments

4.8*2.4

120

800

It’s area is variable on the landscape design and open areas

480

Public Concourse and seating area

1200

It’s a ratio depends on the building footprint

Outdoor Landscape

Depends on the designer

Table 7.3.3 Inspired from David Chipperfield's museum & Neufert’s Book

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Program Analysis & Guidelines

7.4 – STANDARDS 7.4.1 – Exploratorium 7.4.1.1 – Functional Relationships Public controlled areas

Expansion

Entrance Orientation Clock Room Pay Desk Wc

Café Restaurant shops

Indoor exploring Outdoor Exploring Temporary Exhibitions

Administration Commercial Activities

Figure7.4.1.1.1 Functional scheme (Buxton,2015 ) (Kister,2012)

7.4.1.2 – Flexibility

Figure 7.4.1.2.2 Three modes of expansion: a Block addition; b Extension; c New building (Buxton,2015 )

Copy Room Catalogues

Administration

Library and research Design and production Education

Store Rooms

Server room Documentation Security

Maintenance Workshops

Administration

One of the most important longterm development projects is the Exploratorium. The Exploratorium’s layout should be flexible and allow any further expansions, internally and externally (Buxton, 2015). Expansion can be applied using three methods based on needs; 1- Block Addition, 2Extension & 3-New Building (Figure 7.4.1.1.3).

Private Area

Maintenance

No specific guides are available for determining the areas of an Exploratorium. However, there is a clear connection between its functions and zones, and there is always a need for expansion (Figure 7.4.1.1.1) (Buxton, 2015). Moreover, some services can be done by an outsource, which means that some areas are not permanent in the Exploratorium. An important guideline for the designer is to try as much as possible to separate two functional areas, the controlled public area and the private one (Figure 7.4.1.1.1) (Kister, 2012).

Figure 7.4.1.2.1 Functional scheme (Buxton,2015 ) (Kister,2012)

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Program Analysis & Guidelines

7.4.1.3 – Layout Entrance

Outdoor

Activity Room

For Expansion

Information Sales

Lobby

Orientation

Exploring Room

Store

Office Workroom

Security Lobby

Studio Workshop

Collection Storage

Outdoor Exploration

For Expansion

Figure 7.4.1.3.1 A Possible Layout For A Small Exploratorium (Buxton,2015 )

The internal spaces are flexible in order to allow different display installations, which is part of the design concept (fig.7.1.5).

Figure 7.4.1.3.2 A Possible Layout For A Small Exploratorium (Buxton,2015 )

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Program Analysis & Guidelines

7.4.2 – Museum and Exhibition Zone Public Entrance

Lecture/ Activity Room

Lobby

Office Workroom

Information Sales

Office Workroom

Store

Security Lobby

Staff Entrance

Exhibit Areas Studio Workshop

Collection Storage

Figure 7.4.2.1 A Possible Layout Diagram For A Small Museum (Buxton,2015 )

Figure 7.4.2.2 Flow Diagram Of Collection Item Movements In The Operation Of Collection Services: Exhibitions, Conservation And Collections Management (Buxton,2015 )

Figure 7.4.2.3 Two Basic Massing Concepts That Allow Public Areas To Reorganized On One Level (Buxton,2015 )

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Program Analysis & Guidelines Expansion

Conservation

Acquisition

Closed Storage

Open-access Storage

Documentation And Security

Museum Process

Library and Research

Exhibit Area

Design and Production

Layered Public access

Orientation Exhibit

Education and interpretation

Commercial Activities

Public Relations and administration

Entrance

Figure 7.4.2.4 A Layout Concept Showing A Clear Relationship Between Museum Functions And An Approach To Zoning And Expansion (Neufert,n.D)

Figure 7.4.2.5 Section (Top) And Plan, Showing Perimeter Wall Displays And Central Plinths (Buxton,2015 )

7.4.2.1 - Storage 1-Entrance from main exhibit areas 2-Orientation point 3-Ranks of cases glazed on all sides 4-Full-height wall cases 5-Fire exit 6-Controlled access to staff areas and secure storage Figure 7.4.2.1.1 Method Of Layout In Openaccess Storage Areas (Buxton,2015 )

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Program Analysis & Guidelines

7.4.2.2 – Exhibition Arrangement

The museum may want visitors to experience its collections throughout the museum

Exhibition spaces there can be exhibition in lobby . In addition, site specific works of durable materials could be semipermanently.

Figure 7.4.2.2.1 Exhibition arrangement (Neufert,n.D)

Figure 7.4.2.2.2Exhibition components (Neufert,n.D)

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Program Analysis & Guidelines

7.4.3 – Auditorium Seats should be fixed according to places of design regulations.

Maximum seats capacity at the auditorium depends on the format selected, visual and aural limitation.

Figure 7.4.3.1. Seat Dimensions , (Neufert, n.D)

Figure 7.4.3.2 Vision Lines of Auditorium, (Neufert, n.D)

Figure 7.4.3.3 Section Of Auditorium , (Neufert, n.D)

Some Factors affect on the size or shape of a platform or stage includes acoustics, levels, sightline, seating density, circulation.

Width of projection angles ranges between 16m, 35m, and 70m. If the center of the projection beam exceeds 12.5m in any direction, a deflection mirror should be used.

Figure 7.4.3.4. Stage Vision Angle, (Neufert, n.D)

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Program Analysis & Guidelines

7.4.3.1- Lighting The lighting quality in art galleries and museums is decisive and the use of artificial lighting has increased recently. Studies show that the most favorable viewing space is between 30° and 60° when measured from a point in the middle of the floor.

The viewing range is 3-3.65m for sculptures and 2.13m for pictures. Side rooms are needed in both art galleries and museums for lecture theatres, dispatch, packing, administration, conservation and a slide section. The most suitable places for museum housing are monasteries, palaces and disused castles because they provide more suitable settings than the modern museums.

Figure 7.4.3.1.1 Lights Angles , (Neufert,n.D)

The use of folding screens enables flexibility in exhibitions and creates a variety in arrangements.

Figure 7.4.3.1.2 Section For Exhibition , (Neufert,n.D)

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Program Analysis & Guidelines

7.4.4 – Workshops An average space of 70-80 m2 per employee is required, also that is without any storerooms. All the workstations must have direct interference with the light; therefore it is preferable some continuous strip windows & high sills.

Figure 7.4.4.1 Example Company Shows Structural System And Work Flow (Neufert,n.D)(authors,2019)

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Program Analysis & Guidelines

Figure 7.4.4.2 Production Sequence, (Neufert,n.D)

Figure 7.4.4.3Example Company Shows Structural System And Work Flow (Neufert,n.D)

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Program Analysis & Guidelines

Store: for rough wooden, boards, veneers, glass, plastics and fittings.

Figure 7.4.4.4 Relationship Between Materials, Equipment And Work Spaces, (Neufert,n.D)

Figure 7.4.4.5 Types And Dimensions Of Trolleys, (Neufert,n.D)

Figure 7.4.4.6 Example Carpentry , (Neufert,n.D)

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Program Analysis & Guidelines

Planning determine all aspects related to the operative needs of the business.

Figure 7.4.4.7 Workshop Plan With Work Sequence, (Neufert,n.D)(authors,2019)

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Program Analysis & Guidelines

7.4.4.1– Classrooms - Class Size refers to the number of Students a teacher faces during a given period of instruction.

- In nursery schools the Maximum number of children should be 1520 to be easy controlled.

- Each Student need 2*2.2m.

If the room width increased than 13m will be difficult for the child to realize The height of the classroom is between 3.24-3.75 to achieve light and secure good ventilation.

The classroom should be lighted from two sides if its depth exceeds 6.5m.

Figure 7.4.4.2.1 Classrooms proposal (Neufert,n.D)

Figure 7.4.4.2.2 seats dimensions (Neufert,n.D)

Figure 7.4.4.2.3 Classrooms proposal (Neufert,n.D)

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Program Analysis & Guidelines

7.4.5 – Administration 7.4.5.1 – Entrance Lobby - The connections between the visitors and the building is created by the entrances which interfere positively with the international design.

- The accessibility of the entrances is essential with security, safety & etc…

-

Figure 7.4.5.1.1 Entrance Lobby (Neufert,n.D)

Artificial lighting is helpful during night to obtain concentration of visitors on the main entrance.

- Factors of safety demands that doors should be opened outwards. .

-

The transition between interior & exterior areas should be separated with lighting elements

- The entrance lobby must achieve accessibility & flexibility to satisfy all users.

Figure 7.4.5.1.2 Entrance Lobby (Neufert,n.D)

Figure 7.4.5.1.3Entrance Lobby (Neufert,n.D)

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Program Analysis & Guidelines

7.4.5.2 – Offices Typical office spaces require an area ranging from 8-15 m²/ person. This is dependent on the work environment and type of offices. Offices have 3 types based on the standards guides; single offices, multiple offices, and open plan workstations.

3.6

Single Offices

This type is mostly used for individual jobs rather than cooperative ones. Each task is independent, not relating to other ones.

1.7 2.7 1.0 2.4

1.2

Figure 7.4.5.2.1 Single Office Layout (Neufert,n.D) 5.1

Multiple Offices This type is used for jobs that demand exchanging data between employees in regular ways. It provides more privacy and organization than the open plan office.

2.4 4.8 2.4

0.6

2.8

2.3

Figure 7.4.5.2.2: Double Office Layout (Neufert,n.D)

Open Plan Offices This type is preferred for the jobs where networking processes are applied. It gives a more communicative and interactive space, that makes the employees tasks easier.

Figure 7.4.5.2.3Open Plan Layout (Neufert,n.D)

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Program Analysis & Guidelines

7.4.5.3 – Meeting Room Small Meeting Rooms Small meeting rooms are for small meetings with external guests or important clients (6 People Maximum)

Figure 7.4.5.3.1 Small Meeting Room Layout (Neufert,n.D)

Medium Meeting Rooms Medium meeting rooms are usually used for meetings held by the administrative departments .

Figure 7.4.5.3.2 Medium Meeting Room Layout (Neufert,n.D)

Large Meeting Rooms Large meeting rooms are mostly used for grand meetings held occasionally with large firms, corporations, and VIP guests.

Figure 7.4.5.3.3 Large Meeting Room Layout (Neufert,n.D)

7.4.5.4 – Utilities Toilets An average number of 25 employees acquires 2-3 WC spaces for each gender. In male toilets, there should be at least 2 urinals. High rank managers with private offices should have their own private toilet.

0.9 0.9 0.9

0.80.8 0.8

Figure 7.4.5.4.1 Large Meeting Room Layout (Neufert,n.D)

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Program Analysis & Guidelines

7.4.5.5 – Restaurant

Figure 7.4.5.5.1 Restaurant dimensions (Neufert,n.D)

7.4.5.6 – Archive

Figure 7.4.5.6.2 Archive dimensions (Neufert,n.D)

Figure 7.4.5.6.1 Archive dimensions (Neufert,n.D)

Figure 7.4.5.6.3 Archive dimensions (Neufert,n.D)

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Program Analysis & Guidelines

7.4.6 – Library Zone Library contains many ways of education in which books and magazines in all fields are found arranged in a specific way on the shelves. Also, computer labs, meeting rooms and reading rooms are found each one for a specific purpose.

Regarding the library structure, it has to be without walls and the columns are arranged in the consideration of desks and shelves as it is an open space. The routs should be accessible and wide to allow comfort for users. For the lightening, skylights and windows in the North are used for indirect lightening that is needed for students.

Figure 7.4.6.1 Library Dimensions, (Neufert,n.D)

Figure 7.4.6.2 Library Dimensions, (Neufert,n.D)

Bookshelves requirement depends on users if they are adults it’s have to be six shelf levels, if children have to be four shelf levels.

Figure 7.4.6.3 Library Dimensions, (Neufert,n.D)

Control gates the main access to go through library, entrance should to be near to the information disk.

Figure 7.4.6.4 Library Dimensions, (Neufert,n.D)

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8

CHAPTER 8

SUSTAINABILITY

This chapter discussed the pillars of sustainability and their importance in any architectural project, along with methods of how each pillar can be achieved in our project. It also includes rating systems that measure the building’s sustainability.

Sustainability

8.1 – SUSTAINABILITY Sustainability is the study that focuses on how natural systems remain, work, stay diverse, and produce all the needs that are necessary for the balance of the ecology. It acknowledges that many resources are being used in the human civilization in order to sustain living a modern life (Scammon, 2017).

8.1.1 – Definition Sustainability is the study that focuses on the way of how natural systems remain, of how natural systems work, stay diverse, and produce all the needs that is necessary for the balance of the ecology. Furthermore, it acknowledges that many resources are being used in the human civilization in order to sustain living a modern life (Scammon, 2017).

A conscious way of is used in the conserving the environment and energy which means to be able to resist and support.

The interaction between human and the sustainability approaches is involved in sustainability's traditional model (Scammon, 2017).

8.1.2 – Sustainability in Architecture Architectural techniques can be used to minimize and reduce the negative environmental impact of buildings by adequacy and moderation in the use of energy, materials, and development of the ecosystem at large.

8.1.3 – Pillars of Sustainability

Social Sustainability

Economic Sustainability

Environmental Sustainability

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Sustainability

8.1.4 – Social Sustainability 8.1.4.1 – Definition The society's ability to develop the structures and processes which meet the current members of society’s needs as well as supporting the future generations to keep their community intact.

According to Geoff Mulgan (2011), mastering the social and ecological design the greatest challenge of urban design in the 21st century.

8.1.4.2 – Social Sustainability Factors • Provide Access to Services.

• Reduce Human Non-renewable Energy Resources.

• Green Design Features.

• Proximity to Business and Employment Areas.

• Cultural Activities.

• Community Involvement.

Fig.8.1.4.2: A framework for social sustainability. (Riba, n.d),( edited by authors, 2019)

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Sustainability

8.1.4.3 – Social Sustainability Example Peter Coal Drake Education Precinct

Project Designed by Henning Larsen, Wilson Architects

Project Area: 11,000 m²

Project Year: 2019

This building offers the most recent approaches towards sustainability, educational philosophy and building technologies. Landscape atrium that connects the outdoor the main road and the indoor university library to create diversity. The spaces indoors and outdoors are welcoming and invite the visitors to engage and use the building.

The design of the building is designed accordingly to the social and academic spaces. The angled exterior and the masses volumes using the self shading on the building itself. The angled exterior louvres are used to eliminate the solar hear within the building.

Climate control systems reduce overall reliance.

Figure 8.1.4.4, Peter Coal drake Education Precinct, Authors 2019

Figure 8.1.4.4, Peter Coal drake Education Precinct, Authors 2019.

Figure 8.1.4.4, Peter Coal drake Education Precinct, Authors 2019.

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Sustainability

8.1.5 – Economic Sustainability 8.1.5.1 – Definition Ability to support and raise the certain level of economic production and closing the gap on equality between opposite genders.

Many factors should be considered in sustainable economic system such as the environmental values, regional factors, social needs, well studying of the future effects on humanity and most importantly reserving the resources (Scammon, 2017).

In the development theory of economic sustainability a production system is applied in order to satisfy the current consumption levels without any compromising for the future needs

8.1.5.2 – Economic Sustainability Factors • Cost of Living.

• Cost of Saving.

• Economic Development

• Productivity.

• Development.

• Economic Growth.

• Industry

Figure 8.1.4.2 Economical sustainability sketch, Authors 2019

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Sustainability

8.1.5.3 – ECONOMIC SUSTAINABILITY EXAMPLE 8.1.5.4– Education Center Nyanza, Rwanda, East Africa The features of the building as color, form & materials are all ascending from the local city they’re surrounded with. Starting with clay, the main building material there, fire clay bricks were handmade from it in the city. It was the main building material in the complex with some steel, brick & wickerwork for adding specific features.

Figure 8.1.5.3, Education Center Nyanza, Rwanda, East Africa, Author 2019

The project is sustainable all way long, as the thermal insulation of the brick isolates the inner climate from the outer one and make sure that it is within the human comfort scale, therefore it is not necessary to use any artificial ventilation systems.

Moreover, the structure of roof from all aspects help in being eco friendly as its orientation towards the courtyard helps in gathering rainwater which decrease the usage of water in the building, this decrease the cost and that is considered economically sustainable project on the long term. In addition, using local materials as papyrus for ceiling linings, wickerwork for restaurant doors, and baskets for gates of the courtyard, which are all done by local craftsmen.

Figure 8.1.5.3, Education Center Nyanza, Rwanda, East Africa, Author 2019

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Sustainability

8.1.6 – Environmental Sustainability 8.1.6.1 – Definition The sources have to be continued indefinitely to be sustainable. In addition, the rates of recreation of pollution, harvesting of resources and depletion of non-renewable resources to be continued indefinitely.

This means that the interaction with the environment has to be well studied in order to have a remaining environmental quality and to avoid the depletion or degradation of the natural resources. ( scammon, 2017 )

Fig.8.1.6.1sustainability techniques Sketch

8.1.6.2 –Environmental Sustainability in Architecture: The goal of the architecture works that are environmentally sustainable is to reduce the building's use of environment through using energy and water very efficiently, to respect the present natural elements and to consider the site's biodiversity by using sustainable materials and landscaping

8.1.6.3 – Sustainability Techniques -Renewable Solar Photovoltaic Systems.

-Wind Energy -Photo Thermic Module

Fig.8.1.6.2 sustainability techniques Sketch

-Green Materials.

- Day Lighting (Skylights)

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Sustainability

8.1.6.4 – Photovoltaic Systems.

Photovoltaic modules generate electricity from solar light. Too many types of modules have been used the classical silicon solar modules is very efficient that reaches up to 25% efficiency but they are hard to be placed on curves because they are rigid on the other hand the other type which is the thin film solar modules are very flexible but their lifetime and efficiency is low .

Fig 8.1.6.1 :Photovoltaic tiles on roof Google Image

8.1.6.5– Photo Thermic Systems.

Regarding the photo thermic modules, it generates heat from solar light. They readily heat the household water to 80º (353 K). They are placed to face the sunny cardinal point instead of pointing across the horizon in order to take extra calories in the winter and to avoid being over heated in summer. in a 45 o North place, the module have to be facing the south in a 45° North place and the angle 70° to the horizontal.

Fig 8.1.6.1.1 :Photo thermic modules on roof Source : Google Image

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Sustainability

8.1.6.6 – Green Materials.

Green Roofs : The green roof system is an extension of the existing roof which cover a root repellent system, waters, plants, filter cloth, water-proofing system with high quality drainage system and a lightweight growing medium.

Green Façade Green facades supply natural beaty, a very good air quality, low noise. Most people love the vitality these living landscapes bring to the building they live in, work in and recreate in.

8.1.6.7 –Day Lighting (Skylights ) ▪ Optimal Daylight ▪ Energy Efficiency/Going Green

▪ Ventilation

Fig8.1.6.2 : showing solar skylights . Google image

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Sustainability

8.1.6.8 – Environmental Impact Reduction Techniques Reduce Waste : it Help us to reduce our Co2 footprint by practicing and recycling.

Your environmental footprint goes beyond energy use and our business. All of the materials and equipment in your facility must be produced and shipped there.

Consider near sourcing: it is office supplies or raw materials for manufacturing.

Transporting these resources to your door uses energy and creates emissions. Near sourcing—using vendors close to your business—is a growing trend that can reduce your environmental impact

Save Energy : Installing energy-efficient building systems and equipment can save energy and reduce your environmental footprint. See the commercial or industrial energy efficiency tools for recommendations that are tailored to your business segment.

Travel Green : Minimize business travel through web conferencing, email and other low-emission communications. If you maintain a fleet of vehicles, use them only when needed and look for fuel efficient models.

Use Renewable : Clean, renewable energy systems, such as solar and wind, can reduce your impact on the environment significantly while lowering your energy bill..

Conserve Water : Energy is used (and emissions generated) to heat the water used in your facility and process waste water. Reduce water heater temperatures and repair leaks also electronic faucets with modern sensors.

Environmental sustainability aims to reduce harming the environment and pollution, developing new sources for thermal energy and saving the natural resources.

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Sustainability

8.1.6.9 – Environmental Case Study Taichung City Cultural Center Competition Entry, Taiwan Project Designed by RMJM

Project Area: 63,700 m²

Project Year: 2013 This project's main aim is to achieve architectural sustainability through the organization of the building and the efficient use of construction strategies and materials. A combination of passive use of solar energy and natural ventilation is used to reduce carbon dioxide emissions.

The building zones and masses are staggered to allow sunlight in the building, to create shading, and air circulation to achieve human comfort.

The cloud wrap allows the use of solar panels on the facade, while also being used for shading ventilation.

Figure 8.1.6.9.1, Taichung City Cultural Center Competition Entry, Taiwan

Figure 8..1.2.6.9.2, Taichung City Cultural Center Competition Entry, Taiwan, Authors 2019

Figure 8.1.2.6.9.3, Taichung City Cultural Center Competition Entry, Taiwan,

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Sustainability

8.1.7 – LEED 8.1.7.1 – Definition

LEED (Leadership in Energy and Environmental Design) is an internationally recognized green building certification system, Developed by the U.S. Green Building Council (USGBC), was designed and built using strategies aimed at improving performance such as energy savings, water efficiency, CO2 emissions reduction, improved indoor environmental quality, and stewardship of resources and sensitivity to their impacts.

8.1.7.2– LEED Rating System

8.1.7.3– The Evaluation Criteria Sustainable Sites

26 Possible Points

Prerequisite 1 Construction Activity Pollution Prevention

Required 1

Credit 1

Site Selection

Credit 2

Development Density and Community Connectivity

5

Credit 3

Brownfield Redevelopment

1

Credit 4.1

Alternative Transportation—Public Transportation Access

6

Credit 4.2

Alternative Transportation—Bicycle Storage and Changing Rooms

Credit 4.4

Alternative Transportation—Parking Capacity

2

Credit 5.1

Site Development—Protect or Restore Habitat

1

Credit 5.2

Site Development—Maximize Open Space

1

1

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Sustainability

1

Credit 6.1

Stormwater Design—Quantity Control

Credit 6.2

Stormwater Design—Quality Control

1

Credit 7.1

Heat Island Effect—Nonroof

1

Credit 7.2

Heat Island Effect—Roof

1

Credit 8

Light Pollution Reduction

Water Efficiency

1

10 Possible Poi nts

Prerequisite 1 Water Use Reduction

Required 2-4

Credit 1

Water Efficient Landscaping

Credit 2

Innovative Wastewater Technologies

2

Credit 3

Water Use Reduction

2-4

Energy and Atmosphere

35 Possible Points

Prerequisite 1

Fundamental Commissioning of Building Energy Systems

Required

Prerequisite 2

Minimum Energy Performance

Required

Prerequisite 3

Fundamental Refrigerant Management

Required

Credit 1

Optimize Energy Performance

Credit 2

On-site Renewable Energy

1–7

Credit 3

Enhanced Commissioning

2

Credit 4

Enhanced Refrigerant Management

2

Credit 5

Measurement and Verification

3

Credit 6

Green Power

2

Regional Priority Credit 1

1–19

4 Possible Points Regional Priority

1-4

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Sustainability

Indoor Environmental Quality

15 Possible Points

Prerequisite 1

Minimum Indoor Air Quality Performance

Prerequisite 2

Environmental Tobacco Smoke (ETS) Control

Credit 1

Outdoor Air Delivery Monitoring

1

Credit 2

Increased Ventilation

1

Credit 3.1

Construction Indoor Air Quality Management Plan—During Construction

1

Credit 3.2

Construction Indoor Air Quality Management Plan—Before Occupancy

1

Credit 4.1

Low-Emitting Materials—Adhesives and Sealants

1

Credit 4.2

Low-Emitting Materials—Paints and Coatings

1

Credit 4.3

Low-Emitting Materials—Flooring Systems

1

Credit 4.4

Low-Emitting Materials—Composite Wood and Agrifiber Products

1

Credit 5

Indoor Chemical and Pollutant Source Control

1

Controllability of Systems—Lighting

1

Credit 6.2

Controllability of Systems—Thermal Comfort

1

Credit 7.1

Thermal Comfort—Design

Credit 7.2

Thermal Comfort—Verification

1

Credit 8.1

Daylight and Views—Daylight

1

Credit 8.2

Daylight and Views—Views

1

Credit 6.1

Required

Required

1

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Sustainability

Materials and Resources

14 Possible Points

Prerequisite 1

Storage and Collection of Recyclables

Required

Credit 1.1

Building Reuse—Maintain Existing Walls, Floors and Roof

1–3

Credit 1.2

Building Reuse—Maintain Existing Interior Nonstructural Elements

1

Credit 2

Construction Waste Management

1-2

Credit 3

Materials Reuse

1-2

Credit 4

Recycled Content

1-2

Credit 5

Regional Materials

1-2

Credit 6

Rapidly Renewable Materials

1

Credit 7

Certified Wood

1

Innovation in Design

6 Possible Point s

Credit 1

Innovation in Design

Credit 2

LEED Accredited Professional

Regional Priority Credit 1

1-5 1 4 Possible Points

Regional Priority

1-4

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Sustainability

8.1.7.4 – LEED Case Study Stony Brook Millstone Watershed Association Project Designed by Farewell Architect

Project Area: 15,200 m²

Project Year: 2015 Figure 8.1.7.4.1, Farewell Architect , 2015,

This new environmental center, situated on the site of one of the oldest watershed associations in the country.

The project's main aim was to make use of every drop of rainwater. Some of the techniques used are green roof storages, a rain garden that collects and pours water, rain reservoirs, greywater tanks, and a geothermal system that treats the water to be reused. All water data is monitored and displayed to the visitors of the building, and the strategies used are part of the educational program.

The building, LEED platinum certified by the USGBC, provides onsite power generation through a 64 KW solar voltaic array that meets annual energy requirements. Clean, solar energy is used instead of fossil fuels to heat the water in the building's pump system. The use of minimum energy is achieved by windows for natural ventilation and natural lighting, skylights in the roof to enhance light penetration, and using green roofs with high U-value insulation.

Figure 8.1.7.4.2, Farewell Architect , 2015,

Figure 8.1.7.4.3, Farewell Architect , 2015, Illustrated by Author

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Sustainability

8.1.7.5 – LEED Scorecard

The project includes green spaces with no need for irrigation, reducing the amount of water used. The parking includes bios wales; water channels that help remove pollution from water.

Transportation methods that cause less pollution are also introduced to the users of the project. The building is made up of recycled and sustainable materials such as: recycled steel, exhibit cases, natural hardwood, cotton insulation, and acoustic treatment.

Figure 8.1.7.5.1., Stony Brook Millstone Watershed 2012

Figure 8.1.7.5.2, Stony Brook Millstone Watershed 2012, Authors 2019

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Sustainability

8.1.8 – GPRS ( THE GREEN PYRAMID RATING SYSTEM ) 8.1.8.1 – Definition The Green Pyramid Rating Framework could be a national natural rating framework for buildings. It gives authoritative criteria by which the natural accreditations of buildings can be assessed, and the buildings themselves can be appraised. Moreover, the Framework should assist building originators, constructors and engineers to create contemplated choices based upon the natural affect of their choices.

8.1.8.2– GREEN PYRAMID RATING SYSTEM Following :

GREEN

>80 credits

GOLD

60-79 credits

SILVER CERTIFIED

50-59 credits

40-49 credits

8.1.8.3 – GPRS Case study : AUC (The American University In Cairo)

Figure 8.1.8.3, AUC In Cairo faculty of housing exterior shot 2014

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8.1.6.4 – Green Pyramid Rating System Assessment The following table (Table 4-7) represents the assessment of the case study using Green Pyramid Rating System (GPRS) for Public Review. This rating system is comprised of seven categories: (1) Sustainable Site, Accessibility, and Ecology, (2) Energy Efficiency, (3) Water Efficiency, (4) Materials and Resources, (5) Indoor Air Quality, (6) Management, and (7) Innovation and Added Value.

Credits expected

Evidence available

1.M.1 Project Design and Implementation Plan

✓

✓

1.1.1 Desert area development

1

✓

1.1.2 Informal area redevelopment

-

1.1.3 Brownfield site redevelopment

-

1.1.4 Compatibility with National Development Plan

1

✓

1.2.1 Transport infrastructure connection

1

✓

1.2.2 Catering for remote sites

1

✓

1.2.3 Alternative methods of transport

1

✓

1.3.2 Respect for sites of historic or cultural interest

1

✓

1.3.3 Minimizing Pollution during construction

1

✓

Category / sub-category

SUSTAINABLE SITE, ACCESSIBILITY, AND ECOLOGY

1

1.3.1 Protection of habitat

7/10 points

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Sustainability

ENERGY EFFICIENCY

2

2.M.1 Minimum Energy Performance Level

✓

✓

2.M.2 Energy Monitoring & Reporting

✓

✓

2.M.3 Ozone Depletion avoidance

✓

✓

2.1 Energy Efficiency Improvement

6

✓

2.2 Thermal Comfort Strategies

2

✓

2.3 Energy Efficient Appliances

3

✓

2.4 Vertical Transportation Systems

2

✓

2.5 Peak Load Reduction

3

✓

2.6 Renewable Energy Sources

4

✓

2.7 Environmental Impact

4

✓

2.8 Operation and Maintenance

1

✓

2.9 Optimized balance of Energy and Performance

4

✓

2.10 Energy and Carbon Inventories

29/50 points

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Sustainability

WATER EFFICIENCY 3.M.1 Minimum Water Efficiency

✓

✓

3.M.2 Water Use Monitoring

✓

✓

3.1 Indoor Water Efficiency Improvement

5

✓

3.2 Outdoor Water Efficiency Improvement

4

✓

3.3 Efficiency of Water-based Cooling

3

✓

3.4 Water Feature Efficiency

-

3.5 Water Leakage Detection

6

✓

3.6 Efficient water use during construction

3

✓

3.7 Waste Water Management -

-

3.8 Sanitary Used Pipes

4

3

✓

25/50 points MATERIALS AND RESOURCES

4

4.M.1 Schedule of Principal Project Materials

✓

✓

4. M.2 Elimination of exposure to hazardous and toxic materials.

✓

✓

4.1.1 Regionally procured materials

2

✓

4.1.2 Materials fabricated on site

1

✓

4.1.3 Use of readily renewable materials

2

✓

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Sustainability

3

✓

4.1.4 Use of salvaged materials

1

4.1.5 Use of recycled materials

-

4.1.6 Use of lightweight materials

1

✓

4.1.7 Use of higher durability materials

1

✓

4.1.8 Use of prefabricated elements

2

✓

4.1.9 Life Cycle Cost (LCC) analysis of materials in the project

1

✓

11/20 points INDOOR ENVIRONMENTAL QUALITY 5.M.1 Minimum Ventilation and Indoor Air Quality

✓

✓

5.M.2 Control of Smoking in and around the Building

✓

✓

5.M.3 Control of Legionella and other health risks

✓

✓

5.1 Optimized Ventilation

1

✓

5.2 Controlling emissions from building materials

5

✓

5.3 Thermal Comfort

2

✓

5.4 Visual Comfort

2

✓

5.5 Acoustic Comfort

1

✓

5

11/20 points

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MANAGEMENT 6.M.1 Integrated Plan and Method Statement for site operations

✓

✓

6.M.2 Compliance with Health & Safety and Welfare regulations

✓

✓

6.M.3 Demolition Method Statement18

✓

✓

6.1.1 Containers for site materials waste

2

✓

6.1.2 Employing waste recycling workers on site

-

6.1.3 Access for lorries, plant and equipment

1

✓

6.1.3 Identified and separated storage areas

2

✓

6.2.1 Project Waste Management Plan

1

✓

6.2.2 Engaging a company specialized in recycling and disposal

2

✓

6.2.3 Protecting water sources from pollution

2

✓

6.2.4 Waste from mixing equipment -

-

6.2.5 Control of emissions and pollutants

-

6.3.6 Providing a Building User Guide

3

✓

6.3.7 Providing a Periodic Maintenance Schedule

2

✓

6

15/20 points

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Sustainability

INNOVATION AND ADDED VALUE

7

7.1 Cultural Heritage

1

7.2 Exceeding Benchmarks

-

✓

7.3 Innovation 1/3 points The following table represents the resulted calculation through a relationship between credit achieved and credit available. The results of the evaluation using GPRS indicated that the building qualifies for a green pyramid rating level of ‘Silver’.

A

B

C = B/A x 100%

D

E=CxD

Credits Available

Credits Achieved

% Credits Achieved

Category Weight

Category Score

1: Sustainable Site, Accessibility, Ecology

10

7

70%

15%

10.5

2: Energy Efficiency

50

29

58%

25%

14.5

3: Water Efficiency

50

25

50%

30%

15

4: Materials and Resources

20

11

55%

10%

5.5

5: Indoor Environmental Quality

20

11

55%

10%

5.5

6: Management

20

15

75%

10%

7.5

7: Innovation and Added Value

3

1

33%

Bonus

Green Pyramid Category

TOTAL

58.5

GREEN PYRAMID RATING

SILVER

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9

CHAPTER 9

INDIVIDUAL WORK

This chapter includes each group member’s individual work. The individual work consists of mission, vision, and concept statements, concepts, technical studies, and sustainability approaches.

9.1– Ahmed Mohamed Abd El Hamid

Individual Work

“Less is more.” ─Mies van der Rohe

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9.1.1 – Slogan

Individual Work

Reviving Heritage 9.1.2 : Abstract For decades, Rosetta's society has been through cultural and social changes. The urge to follow modernday technologies in order to become more developed, created a generation that is unaware of their history. These changes resulted in a loss of identity, which led to deterioration of heritage and historical monuments, instead of creating a more advanced and developed city.

Revival

Re-Ignite

Heritage

Spread

9.1.3 : Mission The project mission is to solve the problem of Rosetta's heritage deterioration. It can be solved through architectural and urban solution, along with sustainable techniques. This can also be achieved by creating a connection between technology and historical artifacts, appealing to new generations. This strategy will serve as a marketing campaign for Rosetta, making it known to local and internationals tourists, and reviving Rosetta's past identity.

Figure9.1.1.1 Rosetta River, (Author, 2019)

9.1.4 : Objective After studying the social, contextual, environmental, urban, and architectural aspects, it was found that an "Exploratorium" will be the most suitable project for solving the heritage problem. It will allow people to explore and interact with the heritage and past eras that are part of Rosetta's identity.

This project will turn Rosetta into an iconic, historical city, and a great representation of heritage.

Figure9.1.1.2. Al-Mahali Mosque , (Author, 2019)

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9.1 – Concepts

Individual Work

9.1.5 – Concept I : Mood hierarchy Slogan :The spirit path The concept of the project is introducing Rosetta's history to the local and international visitors. This will be accomplished by creating an arranged journey path with levels of mood hierarchy. The journey will begin with an introduction of the historical background of the city. It will end in amusement and a sense of relaxation. This will provide the building users with the necessary information regarding the importance of the city.

Revival

Re-Ignite

Heritage

Spread

Cubes abstraction in different ways changes the mood hierarchy to provide needed data & doing some interactive visuals to put visitors in a different atmosphere, an ancient one, inside a modern building.

PHASE 2

Figure9.1.5.2.Conceptual square Addition, (Author, 2019)

PHASE1

Addition Figure9.1.5.1.Conceptual square, (Author, 2019)

PHASE 3

Figure 9.1.5.3.Conceptual square Form , (Author, 2019)

Inspiration

Figure 9.1.5.6. Habitat 67by moshe safdie (archdaily,2010) (illustrated by authors)

Figure9.1.5.7. Habitat 67-by moshe safdie (archdaily,2010)(illustrated by authors)

Figure9.1.5.4.Conceptual 3D, (Author, 2019)

Figure9.1.5.5. Conceptional Elevation , (Author, 2019)

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9.1.6 – Concept II : Urban Fabric Slogan :Derivation from Heritage As a result of site surveys, it was found that the building interacting with the urban fabric will create a connection with surrounding heritage and the people.

Shows the urban context of Rashid city

Figure 9.1.6.2 Google earth, illustrated by (Author2019)

Figure 9.1.6.1 Base Map by (Author2019)

PHASE I

PHASE 2

Heritage is present in every part of the city. By analyzing the urban fabric, it was found that the different patterns are connected with the heritage sites and monuments.

The masses are developed and refined according to the program.

Figure9.1.6.3.Conceptual sketch, (Author, 2019)

PHASE 3 The conceptual 3D shows the relationship between the final masses and the main path that passes through them.

Figure9.1.6.5.Conceptual masses 3D, (Author, 2019)

Figure9.1.6.4.Conceptual sketch, (Author, 2019)

PHASE 4 Since the path is the main connection between the element of the project, it connects all the different functions, even if the buildings are separated by the path.

Figure9.1.6.6.Conceptual 3D, (Author, 2019)

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9.1.7 – Concept III: The link

philosophy Slogan :Extract of identity

Rosetta should adopt modern techniques and integrate them with traditional buildings, which will lead to decrease in the rate of monument deterioration. Rosetta's people started using concrete and white stone, with no specific style. This shows the negligence of their heritage and creation of a gap between the modern and old architectural styles.

This concept will create a link between modern and old styles, used in transition zones.

The cultural heritage will be preserved in interior spaces, using tangible and intangible techniques.

Old Style

Transition style

Modern style

Figure9.1.7.1.Conceptual sketch, (Author, 2019)

Figure9.1.7.2.Conceptual sketch, (Author, 2019)

At last, collecting all the spectacular monuments, the ancient ones and the new ones too, under one roof gives visitors a great experience by seeing all these artifacts shining in one place.

Inspiration

Old Architecture Rashid Modern architecture Figure9.1.5.4. Kolumba Museum by Peter Zumthor (archdaily,2011)(illustrated by authors)

Figure9.1.7.3.Conceptual sketch, (Author, 2019)

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9.1.8 – Technological Studies

Individual Work

9.1.8 .1- Kinetic Facade Kinetic shading devices can assure sun screen shading but it depends on the sun’s direction and power, therefore they are completely good to use in elevations which have direct view to sun as the southern one. Moreover, it leaves a view to the building at some times of the day, as well as it can give the elevation a good design form.

Figure 9.1.8.1.1 Kinetic Facade shading system, (archdaily,2018)

Figure 9.1.8.1.3,Detailed kinetic shading system, (archdaily,2017)

Figure 9.1.8.1.2 Al Bahar Tower panel Diagram, Abu Dhabi, (archdaily,2017)

Figure 1 9.1.8.1.4,Detailed kinetic shading system, (dezeen.com,2017)

9.1.8 .2- Pavegen Tiles Pavegen tiles generates energy through footsteps. The kinetic energy of steps is transformed to electric energy. The tiles have wireless sensors that collect and store behavioral data of movement, which can later be used to determine the foot traffic in certain areas during peak times.

Figure 9.1.8.2.1,Detailed kinetic shading system, (dezeen.com,2018)

Pavegen

Figure 9.1.8.2.3,Detailed kinetic shading system, (dezeen.com,2018)

Figure 9.1.8.2.2,,Detailed kinetic shading system, (dezeen.com,2018)

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9.1.8 – Technological Studies

Individual Work

9.1.8 .3- Timber Solar Shading Wood is easily shaped, which allows it to be designed and used as solar shading devices. The shading devices can be of any geometrical shape, including squares, rectangles, circles, and any polygons.(agrgreen) Figure 9.1.8.3.1 Timber Solar Shading , (soliner.com,2018)

Figure 9.1.8.3.2 Timber Solar Shading , (soliner.com,2018)

Figure 9.1.8.3.3, Timber Solar Shading (pinterest,2017)

9.1.8 .4- Green Roof-Green Wall The use of green roofs-wall has increased in the past years. The designs have been developed to create efficient integrated systems, and be customized to certain projects. (agrgreen)

Figure 9.1.8.4.3,green roof section (agrgreen,2014)

Figure 9.1.8.4.2,Green wall section, (pinterest,2015)

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9.1.9 – SUSTAINABILTY

Individual Work

A sustainable approach has been established that guides the operations in achieving the goals and sustainability objectives.

The term sustainable development if defined by the ability of adapting in the present time without affecting the future capability to manage their problems.

Figure 9.1.9.1, Sustainability, (theforestcompany.2019)

9.1.9.1-Pillars of sustainability

Social Sustainability

Economical Sustainability

Environmental Sustainability

Cultural Identity Equity

Development Growth

Ecosystem integrity Carrying Capacity

Stability

productivity

Biodiversity

9.1.9.2-Social sustainability Achieving the social sustainability in the project, by providing community awareness that will be fulfilled by making a social entrainment hub for users. Not only this but also open outdoors spaces for the community members for their own advantage. In addition, taking into consideration the culture and respect it by taking inspiration from the surrounding historical places.

9.1.9.3-Environmental sustainability Solar cells will archive a type of sustainability in the project by applying the building to reuse the sun energy it absorbed, therefore, the building will be more qualified to be a LEED gold certified.

9.1.9.4-Economic sustainability The project will play a huge role in becoming the new landmark for the people of Rosetta, it will help in the procedure of saving the heritage monuments from deterioration, moreover, it will rise with the city to a whole new levels.

Figure9.1.8.3.1 ventilation strategy (Pinterest, 2019)

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9.1.10 – Detailed Program Space Name

Area/unit

Individual Work

Number

Exploratorium

m² (net)

Notes

2000

Artifacts Halls

200

5

1000

Rosetta’s monuments from different

VR Hall

300

1

300

Technical room to show the history

Permanent Display

120

1

120

Auditorium

200

1

200

Museum

Rosetta stone show room

1300

exhibition facilities

500

1

500

Artifacts storage

120

1

120

Media Room

150

1

150

Galleries

150

3

450

Foyer Services

420

Entrance Foyer

150

1

150

Ticket Sales Counter

20

1

30

Reception Desk

15

1

15

Customer Service

Service

200

1

200

Including toilets &others

Management Facilities

905

MPU

200

1

200

Director

50

1

50

Meeting Room

40

1

40

Bathrooms with lockers

30

2

60

Services

140

1

140

Educational Library

420

Research Library

120

2

240

Computer Labs

60

2

120

Study Zone

40

2

80

Educ. Facilities

Quiet zone

725

workshops

50

8

400

Children Classes

25

4

100

Crafts Workshops

40

4

160

Outdoor Areas

General workshops

Handy workshops

2480

Outdoor Exhibition

800

1

800

Parking

4.8*2.4

120

1200

Total Area

Including Clinics, cafeterias, others.

8330.5

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9.2 – Amr Salah Abdelhady

Individual Work

“Architecture is really about well-being. I think that people want to feel good in a space… On the one hand it’s about shelter, but it’s also about pleasure.” ─Zaha Hadid

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9.2.1 – Introduction

Individual Work

Egypt is one of the most beautiful places on earth, not only it has 1/3 of overall historical monuments in the world, but also it has a lot of amazing locations for tourists to visit all year long. One of these places is Rosetta, a small city near Alexandria that falls on both the Nile river and the Mediterranean sea, it is also considered as the second city in Egypt which has Islamic monuments.

The city’s population consists of humble people with humble jobs, mostly farming, fishing and making boats. This magnificent city needs to be an attraction for tourists as that will help it to claim a place in the UNESCO project again.

9.2.2 – Mission The mission that the project faces is bringing Rosetta social, economical and political attraction from all aspects, not only for tourism attraction and economy, but also for getting it back in the UNESCO program and consider it one of the heritage sites. Also while doing that, the project must keep its resilience part and to be adaptable enough with whatever natural/artificial disasters its going to face.

9.2.3 – Vision -To use the potentials the city has as existing monuments, views, manpower to put the spot on the city.

-To use the threats the city facing and turn them into assets in the project.

-To raise the awareness to the citizens about their hometown.

Mohamed Khedr, (2007), Rosetta

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9.2.4 – Objective

Individual Work

The project aims to simulate the story of the city historically and shows the people the phases that it went through, and how it faced different eras but yet it still has a significant style that only it owns. Moreover, the project will include all the city not only the site, as it will start from the route at the beginning of the city and moving on till reaches the site to concentrate more on the city and to do that the whole city will be renovated while doing the project.

9.2.5 – Keywords -UNESCO

-Sea and Nile merging

-World heritage site -Renovation -Simulator

-Islamic Architecture -Centrality -Minimalism

9.2.6 – Guidelines.

-All concepts are derivatives from existing things in the city.

-The 3 concepts follow Islamic architecture in severe points, as the city its self has a majority of Muslims, -The urban context of the city is a huge factor of choosing these concepts.

-Users experience was put into consideration while designing the primary forms.

Mohamed Khedr, (2007), Rosetta

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9.2.7 – Concepts

Individual Work

9.2.7.1 – Concept I ( Centrality ) Statement : It demonstrates that Islamic architecture is a sacred form of transmitting the Divine message, which originates from the Spirit to achieve the utmost degree of spirituality.

Figures 9.2.7.1.1, 9.2.7.1.2 & 9.2.7.1.3 illustrate the idea of centrality & how it is presented in human mind which has some similarities with the topography of mountains (Magnum, 2011). .

Figure 9.2.7.1.4 indicates how centrality increases spirituality and isolates the person completely (Johnson,2017).

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9.2.7 – Concepts

Individual Work

9.2.7.1 – Concept I ( Centrality ) The selected plan of a historical house in Rosetta following same concept explains more how it enfolds every zone.

Figure 9.2.7.1.5 A plan of a historical house in Rosetta following the same guidelines of the concept, edited by author (CULTNAT 2018)

Figure 9.2.7.1.6 Section showing the same idea, edited by author (Fredrics, 2018).

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9.2.7 – Concepts

Individual Work

9.2.7.1 – Concept I ( Centrality ) Started by extracting forms from the urban context but applying centrality on them, then adapting it to a regular grid, following basic shapes in the city itself.

Figure 9.2.7.1.7 Basic layout from urban context. (Khedr,2019)

Figure 9.2.7.1.8 centrality sketch with basic section (Smithson,2019)

After adding the two grids, the shown sketch is the final layout with slight changes to adapt some modernism in it to evolve differently

Figure 9.2.7.1.9 Conceptual layout. (Author,2019).

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9.2.7.2 – Concept II ( Harmony Vs Contrast ) Statement: Water in Architecture. It is seen as life-giving, sustaining, and purifying. ... First, it is used practically to provide cooling in hot, dry climates (e.g. the courtyard fountains and pools typically found in the vernacular architecture of the Middle East and North Africa, the origin of Islam)

Figure 9.2.7.2.1 Sea & Nile River

Figure 9.2.7.2.2 Elevation containing two

meeting point (Alahram 2019)

styles(Archnet,2019) .

Water in Rosetta was the inspiration to that concept as it showed the merge between two totally different things just like that merge between sea & Nile, one is bold and classy, the other is vulnerable and obeying. And when that is applied on architecture styles, it fits perfectly the concept, how to merge two different styles within details and still have a unique outcome.

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9.2.7.2 – Concept II ( Harmony Vs Contrast )

Examples of some inspirations and mixtures if styles‌

Figures 9.2.7.2.3, 9.2.7.2.4 & 9.2.7.2.5 Facades having two different styles (modernarch, 2017) .

Moreover the features of the building its self can be from different eras..

Figure 9.2.7.2.6 & 9.2.7.2.7 Integration of styles within the building not only facades(Simonz, 2019) .

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9.2.7.2 – Concept II ( Harmony Vs Contrast ) Here is the Development of the idea into a form...

Figure 9.2.7.2.8 illustration of a simple cubic form of two different materials(Author,2019).

Figure 9.2.7.2.9 Separating the two buildings(Author,2019) .

Figure 9.2.7.2.10 Rotating the buildings based on the climatic orientation(Author,2019).

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9.2.7.2 – Concept II ( Harmony Vs Contrast )

Figure 9.2.7.2.11 applying some of the sustainable features. (Author,2019).

Figure 9.2.7.2.12Adding more architectural features for increasing the aesthetic value (Author,2019). .

Figure 9.2.7.2.13 Adding features to the elevation inspired from the motion of waves (Author,2019).

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9.2.7.3 – Concept III (Constancy) Statement : Constancy in Architecture might be summed up in the statement of Mies Van Derrohe: Less is More. It consists of a continuous quest to strip away the unwanted details and decoration. According to the pioneers of this thought, design is defining the true essence of any object. It is a continuous effort towards simplicity, through honesty of materials and structure.

Figures 9.2.7.3.1 & 9.2.7.3.2 Showing the simplest forms of the concept (arch20,2015).

The constancy in the following examples will help Rosetta in keeping its

identity no matter how many phases it went through, as however the city faced changes, its durable culture value will always remain.

Figures 9.2.7.3.3 & 9.2.7.3.4 Shows the constancy over the years(arch2o,2019). .

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9.2.7.3 – Concept III (Constancy) Developing a basic form that would preserve for the city its identity and will face the changes in a smooth way that will not harm neither the building nor the city. .

Figure 9.2.7.3.5 Illustration of a form(Author,2019). .

❑ Orienting the cube based on functions and climate as done previously..

Figure 9.2.7.3.6 Illustration of a form(Author,2019).

❑ Start zoning the building with different zones, each is based in its proper location.

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9.2.7.3 – Concept III (Constancy) The rest of the zones is arranged in a linear way, simplest sort of arrangement to apply durability a mentioned before..

Figure 9.2.7.3.7 Illustration of a form(Author,2019).

Figure 9.2.7.3.8 Illustration of a form(Author,2019).

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9.2.7.3 – Concept III (Constancy) Finalizing the form with adding some landscape features which gives a huge environmental values and adapting the concept in the elevations to spot it on.

Figure 9.2.7.3.9 Illustration of a form(Author,2019).

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9.2.8 – TECHNICAL STUDIES

Individual Work

9.2.8.1 – Wave Energy Collector ❑ As agreed before, that Rosetta falls on a strategic location on both a river & a sea, therefore, that should be taken into consideration regarding technological aspects.

WEC is a device which absorbs the kinetic energy arising from the vertical motion of waves and use it to generate electricity, desalinize water & pump water inti reservoir, and that would not only benefit the building but the whole city.

Figure 9.2.8.1.1 Mechanism for type A of

Figure 9.2.8.1.2 Real footage of the device

WEC(brainy, 2018).

(EnergySource, 2017).

.

..

Figure 9.2.8.1.3 Mechanism for type B of WEC(brainy, 2019).

Figure 9.2.8.1.4 Real footage of the

.

device in an attached

❑ This device will be attached to a separated building connected to the project which can have more than one usage, but its most important usage will be as a WEC device host.

building(brainy, 2019). .

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9.2.8 – TECHNICAL STUDIES

Individual Work

9.2.8.2 – Dynamic Facades ❑ Dynamic Facades on the sides of the building to adapt to the climate all year long, and even on smaller scale, all day long, as it has a working mechanism that allows the entry of sun rays in specific areas and disallow it in others, which makes the place always in the thermal comfort .

Figures 9.2.8.2.1 & 9.2.8.2.2 iIllustrated details and sketches of the dynamics in the facades(unh, 2014). .

Figure 9.2.8.2.3 Roy Lassen's building in the states with dynamic facades (Lassen,2018).

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9.2.9 – Sustainability

Individual Work

9.2.9.1 – Social Sustainability -Applying Courts to ventilate the building & to use it in activities within the building -Green roofing to some parts of building to apply thermal comfort & to use it in researches.

-Outdoor planting to increase the shading areas around the building to be used in outdoor events.

Figures 9.2.9.1.1, 9.2.9.1.2 & 9.2.9.1.3 Sketches for the social sustainability applied in the building(inhabitat,2018). .

9.2.9.2 – Economic Sustainability -All the materials used in the project will be local materials from the city, as bricks, stones , wood& palm leaf.

-The labor to be used in the project will be also from the city, to solve the unemployment crisis.

-The outcome of the project will help with a part in developing the city more and allow it to receive more people.

Figures 9.2.9.2.1, 9.2.9.2.2 , 9.2.9.2.3 & 9.2.9.1.4 Applied materials from the local city (alahram, 2013). .

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9.2.9 – Sustainability

Individual Work

9.2.9.3 – Environmental Sustainability -Thermal comfort will be applied inside the building by using specific features to fit in Rosetta.

-Some of these features are: Courtyards, Shading devices, Wind Catchers, & extruded facades.

-Water system and planting will be applied within the building to adjust the temperature.

Figures 9.2.9.3.1, 9.2.9.3.2 & 9.2.9.3.3 Sketches for environmental aspects within the building (123rf, 2019). .

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9.3 – ANDREW SAMI

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“Architecture should speak of its time and place, but yearn for timelessness.” ─FRANK GEHRY

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9.3.1 – Mission

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Rosetta has a treasure between their hands and it needs to be used efficiently. so the main mission of the project is to Rosetta back on the map and be care of Historical and heritage sites to be on UNESCO list again that will help to bring tourists again.

9.3.2– Objective Designing a Exploratorium of NARRATIVES will shed light on Rosetta’ s neglected heritage by creating a path through the city that starts and ends at the center of enlightenment, passing through all the important sites and heritage monuments through three concepts: - Story through time - Image of the City - Culture meets nature

9.3.3– Concept I Concept Statement and Illustrations: Story through time To go through the whole exotic experience through place and time in just one place—a multiple spaces, throughout different eras. Taking the whole sum of history and styles that Rosetta is and minimizing it into the project, a unified pathway through which the user gets a full insight. The project will be made into a series of stages with a story to tell, from the earliest we know about Rosetta till the time being. A full experience of architecture, special mood and even sound getting users to live the targeted times one by one, like storytelling.

9.3.3.1.Keywords: 1- Heritage 2- Eras 3- Historical Mood

Figure.9.3.1.: Conceptual Sketch, (Authors, 2019)

Figure 9.3.2: Conceptual Sketch, (Authors, 2019)

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Figure 9.3.3: Conceptual Sketch, (Authors, 2019)

Figure 9.3.4: Conceptual Sketch, (Authors, 2019)

9.3.3.2.Images showing inspiration from the city

Figure 9.3.5 Design proposal of the new capital of Egypt (Real state, 2019)

9.3.4.– Concept II : Image of the City Concept Statement and Illustrations Connecting the project masses with light structures and shading devices inspired formed by the local industries like: Palm Leaves Works So that the highlight of the new project is the patterns & materials of the local creations reflecting the mood & culture of the city.

9.3.4 .1Keywords: 1- Light Structures 2- Mood 3- Different Masses 4- Palm Leaves

Figure 9.3.6: Conceptual Sketch, (Authors, 2019)

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Fig.9.3.7: Conceptual Sketch, (Authors, 2019)

Fig.9.3.8: Conceptual Sketch, (Authors, 2019)

9.3.5– Concept III : Culture meets nature Concept Statement and Illustrations Water is an essential natural element in Rosetta where the Nile & sea meet. Moreover, history & heritage from the greatest point of Rosetta's identity. so this concept merges these two elements in an interlocking masses. The buildings will form interlocking blocks through which water forms lakes & water channels going around through the landscape & the masses. integrating green roofs &water features with recycled stones forming the buildings is as an environmental approach, and a cultural representation.

9.3.5.1- Keywords: 1- water features 2- Focal point 3- environment 4- History & Heritage

Figure 9.3.9: Conceptual Sketch, (Authors, 2019)

Figure 9.3.10: Conceptual Sketch, (Authors, 2019)

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9.3.5.2Inspiration :

Figure 9.3.11: Conceptual Sketch, ( Bisson, 2011)

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Figure 9.3.12: Conceptual Sketch, (Bisson, 2011)

Figure 9.3.13:NL Architects Unveils Ascending Green-Roofed Staircase Office (inhabitat,2019)

Figure 9.3.14:NL Architects Unveils Ascending Green-Roofed Staircase Office (inhabitat,2019)

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9.3.6. Technological Study I: Louvered Rooftop is the best solution for maximizing the usable open air seating. Its framework is used for shading and it is adjusted to work with any architectural style, it is also made to comfort the open air environment to the visitors and to control the climate changes as sunlight, rain & shade to reassure their presence only when requested.

Figure 9.3.15:Example of application of the louvered roofs, (Sesc Guarulhos, 2016).

Figure 9.3.16: Example of application of the louvered roofs, (JOHN, 2015 ).

Advantages: - Has a solar battery to store and re-use solar energy.

- -Louvers can go for all possible angles, horizontal or vertical however the designer is willing to put them.

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They can be used from far distances by remote controls.

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They can be from different materials, such as metals which can be used in most environments.

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They fit with any architectural style/material.

- They contain a full drain system to avoid rainwater dripping.

- Some louvers even has a solar batteries to store and generate solar energy from the sun.

Figure 9.3.17: Opening angles (JOHN, 2015)

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9.3.7– Technological Study II:

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The fabric used in this arrangement creates unique, creative architectural techniques. The structural and construction aspects of the building combined with beauty and efficiency are of great advantage to the project.

Figure 9.3.18: Ventilated Façade that creates various effects of shadow and beautiful light indoor (filipe,2016).

Figure 9.3.19: Various opening and shaped of ventilated façade that creates a beautiful scene and elevation also (filipe,2016).

Advantages of ventilated façade: -

Energy savings.

Acoustic insulation.

Better performance against damp.

Protection against water.

Hides the building’s services.

Easy to install and replace.

Aesthetic value.

Durability and low maintenance.

Figure 9.3.20: section shows the structure and technology of ventilated facades (Santos,2018)

Figure 9.3.21: section shows the structure and technology of ventilated facades (Santos,2018)

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9.3.8.Technological Study III:

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Kinetic Tiles ( pavegen ) Pave Gen is a flooring system, made up of triangular tiles, that generate kinetic energy powered by people's footsteps. This energy can be utilized in electric element of the building.

Figure 9.3.22: Pavegen tiles system(Alessandro, 2017)

Use of kinetic tiles : 1. Energy Reduction: the tiles generate energy powered by steps.

2. Community Engagement: the people engage in powering parts of the building and reducing the energy used.

Figure 9.3.23: Pavegen tiles system(Alessandro, 2017)

3. Data Gathering: the tiles are made up of wireless sensors that collect and store information of the movement of users, which can be used to calculate the visiting rates of the building.

Figure 9.3.24: Pavegen tiles system(Alessandro, 2017)

Figure 9.3.25: Pavegen tiles system(Alessandro, 2017)

Figure 9.3.27: Pavegen tiles Illustration system(Alessandro, 2017) Figure 9.3.26: Pavegen tiles system(Alessandro, 2017)

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9.3.9.Sustainability:

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9.3.9.1.Environmental sustainability It's applied in my project in many ways 1. The use of clay in the form of compressed earth blocks (CEB), as a sustainable and renewable material to reduce energy consumption.

2. The use of transparent concrete to increase natural lighting in some areas to reduce electricity consumption.

3. The use of roof gardens and green elements to reduce the temperature.

4. The use of recycled gray water for irrigation and watering of gardens.

5. The use of shading devices and solar panels to reduce the direct sunlight and generate solar energy.

9.3.9.2.Economical sustainability

Figure 9.3.28: Environmental sustainability application

It's applied in my project in many ways 1. The use of solar panels for reduction of non-renewable energy sources' high cost.

2. Reduction of artificial lighting elements and the use of concrete blocks and shading devices for energy moderation..

9.3.9.3.Social sustainability

Figure 9.3.29: Economical sustainability application

It's applied in my project in many ways 1. Interaction of visitors with the project.

2. The development of skills of children by introducing them to modern educational ways integrated with technology.

3. Interaction between visitors and researchers for brainstorming and idea exchanging, creating improved results.

Figure 9.3.30: Social sustainability application

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9.4 – KHALED ASSEM MOUSSA

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9.4.1 – Mission Rosetta’s value is found right in front of the community and yet they can’t get a use of it it needs to be used in the correct way.

The main mission of the project is to put Rosetta back on the map of concern among the world historical heritage sites list by the UNISCO. This will help bringing back tourists

Figure 9.4.1.1 Islamic Era (MOA, n.d.)

9.4.2 – Objective The Exploratorium of narratives will help in getting the light back on Rosetta’s neglected heritage. This can occur by achieving certain goals creating a path.

This Path will be the start point till you reach the destination our project like it’s the main part of enlightenment to help the UNISCO putting back Rosetta in it’s list.

The route will pass through all the important historical monuments that once put Rosetta on that list.

The main goals are:

Figure 9.4.1.2Mamluk Era (MOA, n.d.)

1. Culture and nature combination through sustainable approach 2. To help in making the city image better 3. A story telling project

Figure 9.4.1.3 Domaqsis Mosque , by Author, 2019

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9,4.3 –Concept I Slogan : Ups & Down • Concept statement: To make the present and the past meet through a journey. This journey can be summed up in Ups & Downs inspired from all the heritage ups & downs throughout time The Route inside the project will allow the visitors to : • The visitors will be introduced first to Rosetta’s heritage and history before getting into the city urban route. So, through the Exploratorium they will be educated about the heritage even before reaching there • This diagram applied in my main pedestrian spin.

• Environmental Optimization.

• Diversity within harmony.

Ups & Downs Graph • Integrating Spaces.

Building

Main Artery

Main Artery Figure 9.4.3.1ENVIRONMENTAL OPTIMIZATIAN, by Author 2019

Figure 9.4.3.2 Main Artery, by Author 2019

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9.4.4 –Concept II Slogan : Explicit Vision • It comes from integrating the explicit vision and topography of site, although we have a strong Nile view so that’s is an advantage.

• Visitor will have a straight view on Nile from starting his journey from the entrance of building to the end.

TERRACE BACKGROUND

PUBLIC

Nile River

Before Editing

Nile River Nile River

TOPOGRAPHY

Visibility

Final relation between historical element Inspiration :

New Egyptian Museum

Figure 9.4..4.1 New Egyptian Museum

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9.4.5– Concept III Slogan : Development Triangle Bogaz Region

• It came from integrating development triangle that government refer and the pure square of Islamic architecture building also using the center of plaza for social participation.

Rosetta Heritage

Form Generation : New Rosetta

1 Figure 9.4.5.1 Development triangle, by Author 2019

2

3

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Figure 9.4.5.2 Elevation façade, jefer

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9.4.6- Inspiration

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9.4.7- Technical 9.4.7.1 Technological studies and sustainable approaches. : Monodraughts: -those devices are attached to the roof of manodraught and ventilator according to open space needs.

Photovoltaic

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9.4.8- Environmental 9.4.8.1 sustainable recycled concrete High Recycled mixture ofConcrete High recycling mixture gives more opportunities to a sustainable future through earning LEED Certification and can help earn LEED certification without affecting the uses and advantages of ordinary mixture of concrete.

GREEN ROOFS : The green roof system is an extension of the existing roof which cover a root repellent system, waters, plants, filter cloth, waterproofing system with high quality.

GREEN FAÇADE Green facades supply natural beaty, a very good air quality, low noise. Most people love the vitality these living landscapes bring to the building=gd they live in.

Cultivate roofed insulator on the south to reduce and minimized the heat in the building.

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9.5 – MIRNA SAMIR FAHMY

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“Simplicity is the ultimate sophistication.” ─LEONARD DA VINCI.

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9.5–INDIVIDUAL WORK 9.5.1-Mission Aiming to express the historical value of Rosetta, to raise the city as one of the most important heritage sites and make it back on the map to be considered as one of the most important cities of heritage sites on UNESCO list ; which will also have positive impact on economics.

9.5.2-Vision Looking forward to be using the historical importance of the city as an opportunity to maintain the development process of Rosetta .

9.5.3-Objective - revival of the historical value of the city - Offering a place to tell a story of the historical city to the world - Express the identity of Rosetta

- Turn the city to be a landmark - Express the importance of Rosetta’s location

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9.5.4-Concept 1: Connecting Monuments 9.5.4.1-Concept Statement Rosetta is one of the most important historical sites that should be rise and getting back it’s value

Figures 9.5.4.1.2 connecting the historical sites with each other

Figures 9.5.4.1.1 the map shows the historical sites of rosetta, (rashid book)

The historical sites: 1-Ramadan house 2-Barqouli’s house 3-Al-Urabi Mosque 4-Al-Smadi Mosque 5-Damaskis the hanging Mosque 6-Jalal house 7-Tunisian house 8-Azzouz Path

9-Maharm house 10-Al-Gendi Mosque 11-The local museum 12-Thabet house 13-Rashid museum 14-Asfour house 15-Zaghloul Mosque 16-Shaheen Mill 17-Qabdawan Mosque

Points share more than one historical monument Figure 9.5.4.1.3 higher monuments density zones , (author 2019)

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9.5.4.2–Concept phases: Determination of the historical sites on Rosetta’s map and connect the monuments to each other result share points that should be rise to increase the value of Rosetta to be Exploratorium . Finally the result led to three proposals of the same share points :

Proposal 1

Proposal 3

Proposal 2

Figure 9.5.4.2.1 extrude to the higher monuments parts to make it more attractive and increase the value . (author, 2019)

9.5.4.3- Inspiration: Exhibition Center Of Otog, Kuan Wang

Figure9.5.4.3.1 extrusion from edges to make it more attractive for visitors . (arch2o, 2018)

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9.5.5- Concept 2 : Expressing Value

9.5.5.1-Concept Statement: -Symbolism Expressing the value by breaking the issues and the project starts to overcome it and rise.

The value of Rosetta

The issue that happened to Rosetta

Figure 9.5.5.1.1 assuming the black color is the issue / problem that happened to Rosetta which caused it to get out if the UNESCO world heritage sites

Figure 9.5.5.1.2 concept inspiration development from the breakings

Figure 9.5.5.1.3 section shows the intersection of levels and masses

9.5.5.2- Inspiration: Liyang Museum, China

Figure 9.5.5.2.1 Liiyang museum (CROX, 2019)

Figure 9.5.5.2.2 Liiyang museum (CROX, 2019)

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9.5.6-Concept 3: Architecture style 9.5.6.1- Concept Statement The skyline of Rosetta has a variety of building heights. According to this, Making intersection of the skyline from four directions, resulting a maze which will make the project more attractive to the visitors and make them excited to explore more.

Figure 9.5.6.1.1 skyline of Rosetta (Rashid book)

Figure 9.5.6.1.2 height variety of the skyline (author,2019)

Figure 9.5.6.1.3 intersection of heights from 4 directions (Author, 2019)

Figure 9.5.6.1.5 maze voids (Author, 2019)

Figure 9.5.6.1.4 a maze is resulted from the intersection (Author, 2019)

Figure 9.5.6.1.6 transfer voids into masses with heigh variety (Author, 2019)

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9.5.7- Technological Studies : 9.5.7.1- Green Facades: A training system for green plants that allows the creation of green facades. it applied for external and internal designs or virtual divisions between different zones .

The Green system consists of fasteners, cables, rods and fittings that are applied according To the project .most of these materials are manufactured in stainless steel .

9.5.7.2- Solar Wings .

Figure 9.5.7.1.1 MFO PARK,Oerlikton Architect raderschall landschafts architekten, Zurich

Figure 9.5.7.1.2 shows the Stainless steel wires used and its accessories

A mesh design fabric to shade the outdoor areas or even the building is to reduce the heat gain, inspired from the Arabic mashrabiya

Figure 9.5.7.2.1 Apple Dubai Mall by foster and partners and the mesh details

Made completely of lightweight carbon fiber, each wing has multiple layers of tubes forming a thick net. Following the study of sun angles, the rods have been divide in higher concentricity where the solar radiation is the most strong over the year.

Figure 9.5.7.2.2 The shading creating by the mesh

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9.5.7.3-Tensile Membrane Structure: - The project required outdoor spaces - Tensile membrane canopies are used above roof structures that provide shade and protection from weather conditions such as sun, and rain because of it’s strong material that it would be suitable for this - Canopy tensile membrane structure allow height verities Figure 9.5.7.3.1 The King Abdul-Aziz Center for World Culture

Figure 9.5.7.3.3 canopy height variety Guggenhiem Helsinki. (noarchitecture, 2014)

Figure 9.5.7.3.2 Guggenhiem Helsinki. (noarchitecture, 2014)

9.5.7.4-Flexible facades Panels Facades that can adopted to different orientations according to use and need it could give different orientations in a flexible way to give natural light or shading according to use and need Figure 9.5.7.4.1 King Fahad National Library | Gerber Architekten

Figure 9.5.7.4.2 King Fahad National Library | Gerber Architekten

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9.5.8-Sustainability: 9.5.8.1- Environmental sustainability Skylights and courts provides natural source for light and ventilation instead of non renewable sources which make pollution to the environment.

Cladding and green roofs decrease the heat gain of the buildings .

Earth building material decrease carbon emission and gives good indoor environment such as rammed earth and CEB

Figure 9.5.8.1.1 Petroleum research center in Jeddah by zaha hadid

9.5.8.2- Economic Sustainability Use renewable energy sources such as sun and kinetic energy produced from water falls for electricity Use local material in construction such as rammed earth, clay, compressed earth blocks and bamboo Figure 9.5.8.2.1 : New Artist Residency In Senegal / Toshiko Mori illustrates how they use catch crops for the roof

9.5.8.3- Social Sustainability 1) Kids - Introducing technologies to them in fun way using Virtual reality and Hologram movies.

- Improving their mental intelligence by providing them a place to invent and improve their skills.

2) Adults - Raising awareness about the new techniques and innovations in the project.

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9.6 – NOURHAN YEHIA DIAB

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“You do not stumble upon your heritage. It’s there, waiting to be explored and shared.” ─Robbie Robertson

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9.6.1 – Mission The project concept aims to shed the light on and revive Rosetta’s neglected heritage. The main goal is to help the people understand the value of the city’s rich past and preserve its identity, while integrating the past with the present and the future; passing down the torch to more generations to come.

9.6.2 – Vision The project’s vision is to not only have Rosetta seen and appreciated by the world, but to also have it declared as a World Heritage Site by the UNESCO. Rosetta shall become an open Exploratorium,

9.6.3 – Slogan “An Ode to Rosetta’s Heritage.”

“Heritage is a torch passed down through generations, lighting the way into the future.”

Figure 9.6. Light Shed Upon Rosetta’s Heritage & Identity, (Author, 2019)

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9.6.4 – Concept I Concept Statement “Rosetta’s Revival of Identity” In order to revive Rosetta’s past identity, a connection between the past, present, and future, harmony must be achieved in the form and space of the building.

According to Plato, the number “three” is symbolic of the triangle, and the triangle is the simplest spatial shape. The triangle is a symbol of understanding and harmony between generations, and provides a connection the past, present, and future. Therefore, when used properly, it will form a connection between the past heritage and what the ancestor left and the present generations ─ passing down the heritage torch through generations.

Figure 9.6.4.1. Conceptual Triangle Layout, (Author, 2019)

Figure 9.6.4.3. Conceptual 3D, (Author, 2019)

Figure 9.6.4.4. show a conceptual section of the main interactive Exploratorium, with tilted screens to allow visibility and interaction between zones.

Figure 9.6.4.2. Mass Development, (Author, 2019)

` ` Figure 9.6.4.4. Conceptual Section, (Author, 2019)

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9.6.5 – Concept II Concept Statement “The Heritage Bridge.”

“Seeing something once is better than hearing it a hundred times.” ─Lisa See. Seeing something instead of just hearing stories and viewing smaller simulations creates a sense of openness to experience and acceptance of situations. This can be established by creating the building on elevating contours that will allow the users to view the whole city’s heritage. The buildings will be connected with bridges, moving towards the heritage. The form of the masses will be semi-circular in order to make use of the Nile River view.

Nile River View Heritage View

Figure 9.6.5.1. Mass Layout and Views, (Author, 2019)

The difference in heights allow users inside and outside the buildings to have a clear view of the whole city. This will allow the visitors to always have a clear image of the heritage monuments, and as a result become more aware and educated about Rosetta’s heritage problem.

Nile River View Heritage View Figure 9.6.5.2 Conceptual 3D Showing Views, (Author, 2019)

Figure 9.6.5.3 Longitudinal Section Showing Building Heights and Bridge Vision Lines, (Author, 2019)

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9.6.6 – Concept III

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Concept Statement “Blending with the Urban Context” Rosetta has a very rich urban fabric that developed throughout the years of change and urban growth. One of the key elements of a successful project is creating a building that integrates and blends in with the existing context. This creates a sense of harmony between the project and surroundings.

Figure 9.6.6.1 Rosetta’s Urban Fabric (Author, 2019)

Figure 9.6.6.2 Rosetta’s Urban Fabric Abstraction (Author, 2019)

Figure 9.6.6.3 Rosetta’s Urban Fabric Project Route (Author, 2019)

Figure 9.6.6.4 (Author, 2019)

Conceptual 3D Route

Each zone will have a different height and footprint, making the building blend in with the urban context.

Figure 9.6.6.5 Conceptual 3DUrban Fabric Abstraction (Author, 2019)

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9.6.7 – Inspirations

Figure 9.6.7.1. Green Reflective Façade, (Dunn, 2019)

Figure 9.6.7.4. ("ARCHITECTURE MODEL on Instagram”) VIA @arqpedia (Alnes . 2019)

Figure 9.6.7.2. Light, "24 hours in pictures", (McCall ,2019)

Figure 9.6.7.3. Interactive Façade, Nikhani,2019)

Figure 9.6.7.5. Green Roof, (MVRDV, 2019).

Figure 9.6.7.6. Dynamic Bamboo Façade, (Keegan, 2019).

Figure 9.6.7.7. Al Maraya Concert Hall, (Dhafer Alshehri, 2019)

Figure 9.6.7.8. Royal Ontario Museum, (Nikreates, 2019)

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9.6.8– Technical Studies Green Walls & Roofs Using green walls and roofs help neutralize the building’s carbon footprint. These systems also use treated water and can have water reservoirs harvesting rainwater for later uses.

Figure 9.6.8.1.Green Wall Details, (Pinterest, 2019)

Figure 9.6.8.2. Milan Expo, (2015)

Solar Panels Using renewable energy, solar power, harvested

by solar panels and photovoltaic cells to provide energy to the building.

Figure 9.6.8.3.Green Roof Details, (Pinterest, 2019)

Figure 9.6.8.4.Solar Panel Dynamics, (Pinterest, 2019)

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Pavegen Tiles Pavegen tiles are a flooring system which generates electricity when stepped on. Every step taken by a user can be used to power LED lights, data collection, and environmental monitoring.

This happens through a wireless system that transfers data. This can be applied in the project in the main pathways and open exhibition routes.

Figure 9.6.8.5.Pavegen Tiles, (Pavegen, 2019)

Dynamic Faรงades Interactive facades have mechanisms that allow sun to go through the openings during the day. They also give the building a sense of flexibility with the everoccurring movement.

They can also be made of sustainable and renewable materials such as bamboo.

Figure 9.6.8.6. Dynamic Bamboo Faรงade, (Keegan, 2019).

Figure 9.6.8.7. Dynamic Faรงade Detail, (SOM, 2019).

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9.6.9 – Sustainability Environmental & Economic Sustainability

Figure 9.6.9.1., Sustainability Factors (Norman, 2019)

In order to achieve environmental and economic sustainability, green architectural techniques must be used. Reduction of energy and material use must be achieved.

Reduction of the use of carbon-emitting materials and non-renewable energy must occur.

All of this can happen by using renewable energy sources such as the sun, wind, and water, in which Rosetta is abundant in all three.

Harvesting rainwater and treatment of graywater might also help in saving and minimizing the consumption of water sources. If all these techniques are applied, both environmental and economic sustainability will be achieved.

Social Sustainability The social sustainability will be achieved by creating an integration of activities, paths, and heritage that creates a friendly learning environment and forms a connection between the users.

Figure 9.6.9.2. Yongsan National Urban Park Master Plan (Social Sustainability.(Weiss/Manfredi, 2012)

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9.6.10 – Zoning The main and largest zone will contain the interactive Exploratorium, the heart of my project. The surrounding zones will include museums, temporary exhibition, administrative offices. educational zones, kid zones, documentation zones, and facilities to serve the users.

INTERACTIVE MUSEUM

ADMINISTRAITION

TEMPORARY EXHIBITIONS

KID’S ZONE

SERVICES & FACILITIES

INTERACTIVE EXPLORATORIUM

EDUCATIONAL WORKSHOPS- SEMINARSLIBRARY

DATA DOCUMENTATION

Figure 9.6.10.1.Preliminary Zoning Diagram(Author, 2019)

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9.7 – OMNEYA AHMED HEGAZY

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“An idea is salvation by imagination” ─ Frank Llyod Wright

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9.7.1 – Mission

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To help redirecting the focus on Rosetta and it’s prosperous heritage. Promote the lives of the people there and make people increase the awareness about the history.

9.7.2 – Vision and objectives Put Rosetta on the touristic map again. Aim to get Rosetta back in the UNICCO preserved world sites through our project. By shedding the concentration again on Rosetta’s Heritage with the help of the local and external communities to become a world heritage destination.

• • • •

Turn the potentials into assets Draw Rosetta back as a world heritage site Rosetta as a touristic destination Motivational for cultural and historical awareness among the youth • Sustainable • Adaptable

9.7.3 – Abstract History is a part of our present without history there will be no present. Thus we need to preserve our history and develop it in order not to loss our identity. It plays a huge part in forming the cultural identity of Rosetta and it’s built environment.

Rosetta has always been known for with its very rich heritage that has gone to waste for the past years and neglicance.

Figure (9.7.3.1) showing some of the historical heritage in Rosetta that was once declared a world heritage site with them.

(Author, 2019)

The Exploratorium of Rosetta narratives will be the spark to enhance our heritage on so many levels social, economic and cultural.

“Heritage is a tool for community improvement and development” Heritage conservation in Rosetta (Rashid): A tool for community improvement and development, 2011

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9.7.4 – Concepts

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9.7.4.1 – Concept I (Routes of heritage through exploration) Slogan : Connecting the heritage to tell a story Concept statement: Using the relevant historical geographic references from the houses and monuments heritage surrounding the site with a hierarchical chronical order to adapt the connections in the form of the building in such a way to link the story telling within the form.

Keywords: Connection, Heritage, story telling, ambiance, hierarchy, dates

Rosetta Exploratorium of narratives

Heritage monuments at Rosetta

Connecting the monuments together in chronical connection

Take the form of the connection

Scope on Rosetta again through the project

• Pin the historical houses that put Rosetta to be a world heritage. According to a chronicle order • Connect them together • Take the form in such a way to tell a story, each side represent era and a masterpiece.

• Focus and scope on Rosetta again to connect It’s potentials and put it on the touristic heritage map.

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9.7.4 – Concepts

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9.7.4.1 – Concept I (Routes of heritage through exploration) Phase 1

Connecting the heritage to tell a story

Figure (9.7.4.1.2.) abstract of the net connecting the historical monument (Author 2019)

• Each program in the project is connected by the bridges and connections inspired from the net formed between the monuments.

• The aim of the bridges or connections is to connect the spaces of the project and make the visitors move across them in a story telling Figure (9.7.4.1.1.)showing connection scenario from one function to another through a between historical houses and monuments hologram in Rosetta • Each intersecting point represent a chronicle era (Author, 2019 ) Map Source: Rosetta of the heritage monuments monuments Phase 2

1

2

4

3

Figure (9.7.4.1.3.)project programs connected using the net (Author 2019)

1. Adding the programs abstract the net.

2. Connecting the bridges between the programs.

Each intersecting point represent era 3. Bridges connections outdoor to make people feel the ambiance of the city.

4. Space programs with different heights to give heights diversity

Administration and entrance Exploratorium Library and documentation center Bridge /connection Permanent museum & exhibition Workshops

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9.7.4 – Concepts

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9.7.4.1 – Concept I (Routes of heritage through exploration) Phase 3

Figure (9.7.4.1.4.) Winner of the Building to Building Pedestrian Bridge Challenge / sanzpont (Archdaily 2019)

Figure (9.7.4.1.5.)project programs connected using the net (Author 2019)

Bridge Filed of sight

Figure (9.7.4.1.6)hologram along the bridges from inside That shows the story of the heritage (Author 2019)

Inspirations

Figure (9.7.4.1.8.) interactive screens Figure (9.7.4.1.9.) 360 panorama at At national park welten (Archdaily) National park (archdaily)

Figure (9.7.4.1.7.) intersecting point showing era simulation (author 2019)

Figure (9.7.4.1.10.) national park welten for elevation inspiration archdaily)

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9.7.4.2 – Concept II ( Movement and tranquility ) Slogan : identify in the core Concept statement: “Objects seem to be something over and above the material components that make them up.” Shaun Murray (design studio ENIAtype) Movement and tranquility the movement from narrow to bigger space there is nothing interesting so you move inspired from the Islamic heritage in Rosetta, the building is more than just the composition and form it’s the materials the deepest connection that is clearly shown in the Islamic principle adapted that the space is more than what it’s actually is connection encouraging the idea of focusing on Rosetta again by drawing attention to details. Movement and tranquility will be used in all the project programs from indoor to outdoor.

Keywords: Principles of Islamic architecture, historic buildings preservations, aesthetic, using the meaning of visuals, Movement and tranquility, core, Islamic architecture principles, arrival and approach, reflectivity, underground, natural and interruption of heritage.

Phase 1

Centrality

Entering from narrow to bigger

Harmony space proportions Interesting wide space

Courtyard sustainable approach

Filed of sight from in to out VOIDS

SOLID

FLUIDITY

Filed of sight from out to in

AIR Figure (9.7.4.2.1.) achieving tranquility of movement on all aspects of the building (author 2019)

Figure (9.7.4.2.2.) entering from narrow to bigger with feeling of Tranquility (Author 2019)

EARTH

WATER

Figure (9.7.4.2.3.) connection between the existing sources to form tranquility (Author 2019)

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9.8.4.2 – Concept II (Movement and tranquility ) Phase 2 2.. .shifting within the surrounding sources (Soli, Void, air, Fluidity, earth and water

3. Achieving the tranquility of movement

1.Extrude the form

4. Trying to achieve building self shade and outdoor max shading 5.Form development

Figure (9.8.4.2.4) form development with achieving tranquility of movement on all the project aspects (author)

Inspirations

Figure (9.8.4.2.5.) WELLNESS CENTER an ecofriendly tranquility center (Dezeen 2017)

Figure (9.8.4.2.6.) tranquility in the indoor and outdoor spaces Deezen,2017)

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9.7.4.3 – Concept III (SUPPORT THE GROWTH) Slogan : developing & preserving the heritage Concept statement: Raising the community awareness to help in the development again and putting it in the scope of being world heritage site. By adapting the urban fabric with the site climate studies to encourage the participating by blending.

Keywords: Ignition, development, community, heritage, shattered, infrastructure bad conditions, support, growth, expansion,, embracing imperfections, support, growth, expansion, elevated Concept development:

Prevailing wind

Site location

urban fabric analysis from solid and void

Prevailing wind

Figure (9.7.4.3.1.prevailing wind and solid and void around the selected site (author)

Support can Be done by the people

Support for a better vison

Support Figure (9.7.4.3.2.) from overlaying of the solid and void of the context and the climatic analysis (author)

Support can Be done to the people

Support for the city

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9.7.4.3 – Concept III (SUPPORT THE GROWTH) Phase 2

Figure (9.7.4.3.3) from overlaying of the solid and void of the context and the climatic analysis and adaption (author) Administration and entrance Exploratorium Library and documentation center Bridge /connection Permanent museum & exhibition Workshops Figure (9.7.4.3..4) form extrude (author)

Figure (9.7.4.3.5.) program addition (author)

street Nile river

Figure (9.7.4.3.6) form development (author)

Figure (9.7.4.3.7.) section inspiration as the site is closer to the Nile river will help with the gaps to create better air circulation. (author)

Figure (9.7.4.3.8.) elevation development adapting with the prevailing wind and inspired from the urban fabric also (author)

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9.7.5 – TECHNICAL STUDIES

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9.7.5.1 – dynamic façade Dynamic façade used in bahar tower inspired from el masherbya façade’s moveable components are semitransparent PTFE (polytetrafluoroethylene) panels, which are combined in arrays much like umbrellas. Each array opens and closes in direct reaction to the sun’s position, allowing indirect sunlight to enter the building while blocking the strongest rays to prevent glare and heat gain. While the system improves the comfort and light in the spaces inside, it also reduces the need for artificial lighting and overall cooling loads BREATHE BRICK façade A mock-up of Both Landscape and Architecture’s biomimetic masonry system; The chimney effect brings air into the space through air filtering blocks; Details of the integrated structural system.

Primarily, the masonry system is designed to filter particles from outdoor air before introducing that air to the indoors. Secondarily, the masonry system reduces fossil-fuel energy consumption associated with ventilation.

Lastly, the wall captures particles, which may be a material resource, and allows for a thermodynamic transfer of energy between the sun, the masonry, and the incoming air.”

Figure 9.7.5.1.1 el bahar tower (archdaily, 2017)

Figure 9.7.5.1.2 breathe break technique Air movement (JOHN STOUGHTON 2017)

Figure 9.7.5.1.3 the brick design details (JOHN STOUGHTON 2017)

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9.7.5 – TECHNICAL STUDIES

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9.7.5.2 – technological interaction Interactive technologies within the building • visual art and music can provide profound sensory experiences Figure 9.7.5.2.1 • Projections of wall texts on the floor the will let the user explore a new experience.

Figure 9.7.5.2.2

Figure 9.7.5.2.2 wall text for the exhibition is projected onto the floor instead of the more customary position on the wall.(MAD’s 2012 exhibition The Art of Scent)

Figure 9.7.5.2.1 interaction with part of the exhibition MAD’s 2012 exhibition The Art of Scent

9.7.5.3 – green roofs and green facades For a more sustainable approach • Use of green roofs and green walls will help to minimize the building heat. Helps in increasing the greens and decrease carbon also it can be used as an outdoor area within the building.

Figure 9.7.5.3.1 green roof and green wall systems to increase sustainability (archdaily, 2016)

9.7.5.4 – Convert building to a more energy efficient building Use of solar panels • To help in producing energy for the building that it will become more energy efficient Use Pavegen for power generating • Convert the power of footsteps into electricity and increase walkability

Figure 9.7.5.4.1 The rooftop of Figure 9.7.5.4.2 Pavegen’s the Futurium museum is covered kinetic walkway in South African mall in London with solar panels in Berlin, Germany,

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9.6.6 – Sustainability Environmental

&

Economic&

social

Sustainability Achieving a sustainable life to the community indirectly in such a way that the project will be able to adapt with the environmental problems that the earth is facing lately.

Utilizing the local materials in architecture,

with the green building approach • Aspects: • Building orientation • Recycling materials

SOCIAL SUSTAINABILITY

• Using local materials

ENVIRONMENTA L SUSTAINABILITY

ECONOMIC SUSTAINABILITY

• Using appropriate techniques

Social sustainability will be achieved in the project by creating common places outdoors and pedestrian path that are defined and raise the targeted groups awareness about the social sustainability through the project Economic sustainability : will be achieved through the project by using local labors and materials Environmental suitability can be used sing various techniques suggested strategy is Green building Green building is the practice of creating structures and using processes responsible a

and

building's

that are environmentally

resource-efficient

life-cycle

from

siting

throughout to

design,

construction, operation, maintenance, renovation and deconstruction.

Figure 9.7.6.1 (archdaily 2016)

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9.8 – SAMA HAMDY ELSAMAN

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“When We Learn About The Past, We Gather Strength For The Future” ─Hank Smith

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9.8.1 – Mission

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The main mission is to raise the cultural awareness of Rosetta's people to understand Rosetta's potentials and values, and to highlight Rosetta on the international and regional touristic map in such a way when increase the aspects on a cultural and touristic level the economic level will be increased.

9.8.2 – Vision THE EXPLORATORIUM OF NARRATIVES walking through the routes of monuments heritage sites till they reach the destination where a story telling of the history of heritage Rosetta will be presented. how it will put Rosetta again to its valued as a touristic destination to view Rosetta from the tower which allows visibility over Rosetta.

9.8.3 – Objectives

Express the identity

Job opportunities

Turn the city to

of Rosetta through

for People of

a landmark

it's culture and

Rosetta.

place.

historical identity

Amal M. Safwat El-Alfy, (1993), Rosetta Monuments

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9.8.4 – Concepts

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9.8.4.1 – Concept I ( Reflection of City Image ) Keywords : Levels - Tower - Interaction Rosetta is full of not only building monuments but also scenery views looking over the Nile. The main goal behind the project is to express Rosetta’s history as well as to create visual interaction and strong bond between the building users and Rosetta ancient times.

The more the users develop a bond with the building, the more they will care about

Figure 9.8.4.1.2 The Viewing Platform Photograph

by Geoffrey Williams (Pinterest, 2018)

it turning it into remarkable project .

Figure 9.8.4.1.1 Visual Interaction in levels, Sketch by Author 2019 Figure 9.8.4.1.3 Conceptional Elevation - Going From Down To The Top , Sketch By Author.

Exhibition hall shows the interaction between the users and technology used (moquette, 3d showing video, and other technological equipment) to express the history of a city as shown in (Figure 9.8.4.1.5) Figure 9.8.4.1.5 A Slice of Rosetta, Elastique, 2017

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9.8.4.2 – Concept II ( Merging Old and New) Keywords : Islamic architectural Developing – Variety – Merging Rosetta is a city known of its ancient buildings that tell many stories about its history. One of the concepts is taking

the old architecture in Rosetta into another level and develop it to keep up with nowadays architecture. To achieve

New

Old

this purpose, three styles (old architecture, modern architecture and Islamic post-modern architecture) can be merged coming up with a project expressing variety of eras as shown in (Figure 9.8.4.2.2)

Figure 9.8.4.2.1 JA House / Maria Ines Costa + Filipe Pina archeticts (Archdaily, 2014) Illustrated By Author, 2019.

Proposal 1: The project will include three significant styles. Each building or element in the project will represent a style. For

example, one building will express old architecture, another building will express Islamic post-modern architecture, and a bridge or shading device will represent modern architecture acting as bond connecting the two buildings together as Figure 9.8.4.2.2 Proposal 1, Conceptional 3D , Sketch by Author.

shown in (Figure 9.8.4.2.1)

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Proposal 2: The project will include the same three styles. Each building in the project will represent a style looking over each other as shown in (Figure 9.8.4.2.3).

For example, the smallest building will express old architecture, the largest

building (Plaza) will express Islamic post-modern architecture, and the building in-between will represent modern architecture showing the development of architecture through out different eras in Rosetta as shown in (Figure 9.8.4.2.4)

Figure 9.8.4.2.3 Keaton Cizek (Pinterest, 2017) Illustrated By Author, 2019.

Old Architecture Modern Architecture Islamic Post-modern Architecture

Figure 9.8.4.2.4 Proposal 2, Conceptional 3D , Sketch by Author

Figure 9.8.4.2.5 Proposal 2, Circulation Plan , Sketch by Author

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9.8.4.3 – Concept III ( Islamic Architecture ) Keywords : Urban Context – Heights Variety – Complex – Skittered

This figure (9.8.4.3.3) shows out the variety of heights that carved out from Rosetta’s

skyline , since that the most of Rosetta’s architecture is Islamic thus the idea of “markka” is taken to form a complex with a variety in elevations to make a story telling of Rosetta history.

Figure 9.8.4.3.1 Solid and void Base Map by Author, 2019.

Figure 9.8.4.3.2 Solid and void Urban Fabric

Taking a part of urban fabric in Rosetta after analyze it turns out consisting of square and straight lines forming a complex with a variety of heights as in Rosetta buildings (fig.9.8.4.3.2)

Figure 9.8.4.3.3 After the urban fabric carved out into a complex, Conceptional 3D, Sketch by Author.2019

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9.8.5 – TECHNICAL STUDIES

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9.8.5.1 – Lightning ( Interior )

Figure 9.8.5.1.1 Coe Lux Artificial Windows (Spain magazine, 2018)

Conlux® Is An Optical System Based On Nanotechnology To Artificially Reproduce The Natural Light And Visual Appearance Of The Sun And Sky. Lighting Features • • • • • • • •

Type of source LED (not dimmable) Max power consumption (W) 300 Typical power consumption (W) 270 Power input 100-240 V~ 50/60 Hz Device dimensions 2.3 x 1.6 x 0.7 m Weight 300 kg Sky-light size 0.9 x 0.5 m Suggested area for a unit Up to 20 m2 Figure 9.8.5.1.2 Coe Lux (Spain magazine, 2018)

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Technical Details:

Top View

Figure 9.8.5.1.3 Coe Lux 45LC (Spain magazine, 2018)

Side View

Figure 9.8.5.1.4 Coe Lux 45LC (Spain magazine, 2018)

Front View

Figure 9.8.5.1.5 Coe Lux 45LC (Spain magazine, 2018)

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9.8.5.2 – Living Wall Systems – LWS ( Indoor )

Design 1

Design 2

Figure 9.8.5.2.1 Diagrams of the alternative designs for indoor LWS (Armijo's Moya, 2016)

Installing Indoor Living Wall System in 8 Simple Steps:

Figure 9.8.5.2.2 LWS Installation (Live Wall, 2006)

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Benefits of LWS in more than one field :

Figure 9.8.5.2.3 Benefits of LWS (Armijo's Moya, 2016)

Living Wall Systems Businesswise (In Terms of Economy) : • •

• •

•

Sound insulation effect of the vegetation absorbs up to 18 dba of the street noise.

The evaporation of the plants cools the facade in a natural manner (by -7°C to 15°C). The plants also serve as a sunscreen.

The layer of air behind the panels has a cooling effect, too.

The leaves temper the speed of the wind along the facade. This, as well as the shadow of the vegetation, reduces the temperature fluctuations on the facade.

The facade is protected against the influence of the sun and the rain.

Figure 9.8.5.2.4 Bangkok, Thailand, Wison Tungthunya, 2011

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9.8.5.3 – Louvers ( Façade )

1 3 5 7 9 11 13 15

2 4 6 8 10 12 14

17 16 18

1.

2.

3.

4.

5.

6.

Figure 9.8.5.3.1 Kiefer Technic Showroom Facade Diagram responding to Sun orientation and wind, UNISTUDIO, NETHERLANDS – GRONINGEN, 2011

Pebbles from “the var” Watertight cover lacquered steel Motor LT CSI METEOR Pulley Steel cable Galvanized steel housing for motor

7. Access trapdoor 8. Handle for manual operation 9. Square tube section 45x45mm 10. Horizontal hinge 11. Rail tube 12. Sliding aluminum chassis

13.

14.

15.

16.

17.

18.

Sun filtered by metal slatted folding shutters Teflon roller guide inside U section tube Fixed aluminum chassis Stone filling Insulation Reinforced concrete slab

Figure 9.8.5.3.2 Strip Of Six Apartments in France / CAB Architects (Archdaily,2007)

Louvers In Façade : •

• • • •

It is a window with horizontal or vertical strips that allow for sun and air to enter and prevent direct sunlight and rain.

It can be fixed or mechanically movable.

They are utilized for natural ventilation and temperature control.

Respond of façade to climatic changes It improves the amount of sunlight in the winter and prevents the effects of sun power in the summer

Figure 9.8.5.3.3 Loblolly House, Maryland, USA, 2013

Figure 9.8.5.3.4 Fuschia Villa "81" Vietnam, 2013

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9.8.5.4 – Kinetic Pavements ( Outdoor )

Figure 9.8.5.4.2 Kinetic Tiles, Pave on, 2006

Figure 9.8.5.4.1 Kinetic Tiles, Pave on, 2006

Adding Kinetic Pavement tiles to the pedestrian pathways can generate energy from footsteps which is then fed to generators as usable electricity

Figure 9.8.5.4.3 Energy Harvesting Using Kinetic Pavements, Blogthinkbig, 2015

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Kinetic Pavement Installation

Figure 9.8.5.4.4 Kinetic Tiles Installation Diagram, Pave on, 2006

Figure 9.8.5.4.5 Kinetic Tiles Installation, Pave on, 2006

What is Piezoelectricity?

The scientific principle of piezoelectricity is the reason that makes kinetic tiles work in the first place. Electrical current is created once the piezoelectric disc is subjected to mechanical pressure (i.e: something steps on it). This technology is first discovered by Jacques and Pierre Curie in 1880, but nowadays this technology is applied to the flooring.

Figure 9.8.5.4.5 Piezoelectric sensor, ONSCALE, Pierre Curie and Jacques Curie Discovered It in 1880

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9.9 – Yousef Ali Ahmed

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“In order to carry a positive action, we must develop here a positive vision” ─Dalai Lama

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9.9.1 - Abstract Due to Rashid residents desire to grow and to apply technology in different fields of their lives, the city loses its history for decades, and nowadays we live in modern times,

9.9.2 - Mission Try to help the city to restore it to its old state, as the country's thriving tourism approach. The problem faced by many Egyptian cities today is the fact that they have neglected government and society, leading to a deterioration in tourism.

The best way of achieving this is to introduce tourists and culture to the port square in the dominant position that encourages travelers to enjoy a more fair experience and know more about its history.

9.9.3 - Objective Resolution of the city neglect problem through the development of a solid methodology. The right solution that we want society to feel excited about its town again is to minimize the urban poverty, tourists and the contact between society in order to illustrate Egyptian hospitality not just through negligence but also through tourist interest as it is required in light of the harbor process

Figures (9.9.1) Abu Mandur mosque (Davidson, 2011)

Figures (9.9.2) Rosetta Cornish (Mostafa, 2017)

Figures (9.9.3) Abu Mandur mosque (Davidson, 2011)

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9.9.4 – Concept I (Resurrection)

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The resurrection of the ancient Pharaohs and their belief that there is a better life than this after death, life symbolized by day, light and sun. Death is symbolized by night, darkness and stars.

The journey inside the building starts from inside the ground where darkness and narrow corridors symbolize the tombs of the ancient Egyptians and the visitor continues to climb to higher levels in the building until he sees natural light for the first time and that symbolizes life after death.

Figures (9.9.4.1) Sand watch (libguides, 2016)

The sensation resulting from the narrow entrance and the steep descent of the stairs leading to the building and the narrow corridors and dark light and then the immediate shift of light and the sun and large areas and high altitudes is a sense inspired by the journey of offerings at the ancient Pharaohs.

Form Generation.

•

Pure Cubic form

•

Divide the cubic into two pyramids

•

Move the two pyramids to represent the two side (Darkness and light)

•

Divide the cubic into two sides dark and light

•

The circulation beginning from underground via the darkness mode rising up to the light side

Sections.

•

Pure Cubic form

•

Entrance

•

Dark Side

•

Light side

•

Elevator

•

The pyramids section

Figure (9.9.4.2) Conceptual section for the concept (Author, 2019)

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9.9.5 – Concept II (Wave Breaker)

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The concept is modeled on a wave breaker which enclosed Nile and the Mediterranean Sea and is used as the natural ventilation windbreaker in a forum.

Make the principal view of the forms as a door to the Rosetta open to the coastal countries.

Figures (9.9.5.1) Waves Breakers of Rosetta coast (Author, 2019)

•

Separate Zones

•

•

Use different heights as reflection for the sun

Transfer Zoning to the shape of the wave-breaker

•

Separate areas of a different height to achieve structure of reflections

1- Design a building with a roof which reduces the influence of the sun on the building in the direct line of the sun.

2-Museum Design likes a project gate.

Figure (9.9.5.2) Conceptual section for the concept (Author, 2019)

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9.9.6 – Concept II (Ordering The Informal Pattern) The challenge in this definition of a new design in the projects Site from the standard grid of architecture, and everyone knows this modular grid comes from the theories of architecture and from the conceptual site with a spontaneous, informal grid that includes various modular grids and the image of the town identified with the different height, shape and material and also different for the citizens.

•

Figure (9.9.6.1) Site Location with grid map (Author, 2019)

The methodology for the four main areas of the Exploratory and how the main access from the main road connected to the Nile

•

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Figure (9.9.6.2) grid map (Pintrest, 2019)

The exploratory has the four main areas related to the main idea of the project

Figure (9.9.6.3) Conceptual model for the concept (Author, 2019)

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9.9.7 – Technical Studies

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9.9.7.1 – kinetic façade A dynamic façade is one that changes powerfully rather than being inactive or settled, permitting movement to happened on a building’s surface. This encourages to make what the modeler Buckminster More full called a skin-like articulation’ affect, and is an expansion of the concept that a building's envelope is an dynamic gadget rather than fair a box.

Figure (9.9.7.1) Kinetic Façade (Dezone, 2017)

Figure (9.9.7.2) Kinetic Façade (archdaily, 2017)

9.9.7.2 – The Wall Display Control The Screen Touch Wall is a clever and modern technology and the control wall makes a huge impact in a lot of museums that can connect with the video and show on the wall to know the content and get the details and the graphics and apps that can be turned into a futuristic world of interactive learning, and they have a lot of categories for children and adults as well, So learn about the historical so tourist sites, and also feel and connect and explore Rosetta by touching the screen (u-touch, 2015).

Figure (9.9.7.3) The Screen Touch wall (U-Touch, 2015)

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9.9.8 – Sustainability Unlike traditional black tar roofs, green roofs reduce energy costs by absorbing heat instead of attracting it and providing natural insulation for buildings.

Green roofs help reduce the Urban Heat Island Effect, a condition in which urban environments absorb and trap heat.

Another important benefit of green roofs is their ability to reduce and slow stormwater runoff in urban environments.

Additionally, this natural protection against extreme heat enables green roofs to last twice as long as traditional rooftops.Green roof and wall are part of urban surfaces and part of biodiversity and that surfaces will help to absorb solar heat and these layers protect the building and waterproof membrane, and also minimize urban temperatures and provide some boost to air pollution and also bring comfort and feeling to the spaces.

9.9.9 – Inspirations

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Pictorial meadows green roof seed mix Green estate Green roof substrate Filter layer Drainage layer Protection mat Water proof membrane Insulation Vapor control layer Plywood deck

Figure (9.9.8.1) Green wall and roof mythology (DEWODY, 2005)

Figure (9.9.9.1) Inspirations collage (Author, 2019)

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9.9.10 – Program

Space Name

Individual Work

m²

Numb er

Foyer Services

m² (net)

Notes

420

Total Area

Entrance Foyer

150

1

150

Museum main entrance, including information desks and lounges

Shops

20

5

100

Distributed all over the place

905

Total Area

Management Facilities MPU

200

1

200

Administrative offices

12

10

120

Office facilities for 12 10 people

1820

Total area including 7 halls

Interactive Exhibition Artifacts Halls

200

5

1000

Rosetta’s monuments from different eras

VR Hall

300

1

300

Technical room to show the history in a technological way

1300

Total Area

Museum collection exhibition facilities

500

1

500

Educational Library

420

Total Area

Documentation Center

360

Total Area

Educational Facilities

725

Total Area

Outdoor Areas

2480

Total Area

1200

It’s a ratio depends on the building footprint

Parking

4.8*2.

4

120

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10

CHAPTER 10

BIBLIOGRAPHY

Bibliography

Chapter 1: History and Current Conditions Davidson, M. (2011). Stock Photo - , Abu Mandur mosque. Retrieved 2 December 2019, from https://www.alamy.com/stock-photo-replica-of-the-rosetta-stone-at-fortrosetta-formerly-known-as-fort-32583276.html Mustafa, W. (2017). Rosetta Cornish. Retrieved 2 December 2019, from https://upload.wikimedia.org/wikipedia/commons/9/9f/Rashid_For_Wiki-46.jpg Anani, I. (1993). Rashid's book in history describes a study in history, archeology and tourism. Cairo: Ministry of Culture - Egyptian Antiquities Authority.

Chapter 2: Urban Analysis Eaea.gov.eg. (2019). http://www.eaea.gov.eg/statisticsdetal.php?id=135 Google earth (2019) https://earth.google.com/web/@31.41639505,30.39105847,5.68492824a,21608.1695679 6d,35y,360h,0t,0r

Chapter 3: Problem and Project Selection Centre, U. (2019). Historic quarters and monuments of Rosetta/Rachid - UNESCO World Heritage Centre. Retrieved 1 December 2019, from https://whc.unesco.org/en/tentativelists/1831/ déco, C., & aime, C. (2019). Pinterest : les photos déco les plus épinglées en avril 2015. Retrieved 1 December 2019, from https://www.cotemaison.fr/onaime/diaporama/pinterest-les-photos-deco-les-plus-epinglees-en-avril-2015_24554.html Department of the Environment and Energy. (2019). Retrieved 1 December 2019, from https://www.environment.gov.au/heritage/about/world/world-heritage-criteria Dunn, E. (2019). Stunning Glass Facade Building and Architecture Concept 41 Rockindeco. Retrieved 1 December 2019, from https://rockindeco.com/5646/stunningglass-facade-building-architecture-concept/stunning-glass-facade-building-andarchitecture-concept-41/ Madkour, M. (2018). Architectural Environmental Compatibility as an Approach to Conserve the Identity of Heritage Cities in Egypt Case Study: Rosetta City. International Journal of Environmental Science & Sustainable Development, 2(2).

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Meyer, G. (2019). Restoration of Rosetta city to be included in World Heritage List Egypt Today. Retrieved 1 December 2019, from https://khentiamentiu.blogspot.com/2018/08/restoration-of-rosetta-city-to-be.html National Museum of Qatar / Atelier Jean Nouvel. (2019). Retrieved 1 December 2019, from https://www.archdaily.com/913989/national-museum-of-qatar-atelier-jeannouvel?ad_medium=gallery Tawab, A. A. (2019). The Assessment of Historic Towns’ Outstanding Universal Value Based on the Interchange of Human Values They Exhibit. Heritage, 2(3), 1874-1891.

Chapter 5: Design Issues Anon, (2020). [online] Available at: https://theculturetrip.com/europe/france/articles/thetop-10-things-to-do-in-louvre-tuileries-paris/ https://www.archdaily.com/tag/louvre-abu-dhabi.

Nas.gov.sg. (2020). [online] Available at: http://www.nas.gov.sg/archivesonline/data/pdfdoc/20150516001/ihc_and_galleri es_factsheet_-_final.pdf.

PORTICO. (2020). ARCHITECTURAL CONCEPTS: CIRCULATION — PORTICO. [online] Available at: http://portico.space/journal//architectural-concepts-circulation.

London City Hall. (2020). Case study description. [online] Available at: https://londoncityhall.wordpress.com/case-study-description/.

UKEssays.com. (2020). Concept of Flexibility in Architecture. [online] Available at: https://www.ukessays.com/essays/architecture/the-concept-of-flexibility.php.

Vocabulary.com. (2020). Copenhagen - Dictionary Definition. [online] Available at: https://www.vocabulary.com/dictionary/Copenhagen.

Lexico Dictionaries | English. (2020). English Dictionary, Thesaurus, & Grammar Help | Lexico.com. [online] Available at: https://www.lexico.com. the way we live. (2020). flexibility in architecture. [online] Available at: https://thewaywelive.wordpress.com/2007/11/15/flexibility-in-architecture/.

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Concept 3 ArchDaily. (2011). Gallery of Kolumba Museum / Peter Zumthor - 2. [online] Available at: https://www.archdaily.com/72192/kolumba-musuem-peter-zumthor/1custom?next_project=no.

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Jordahn, S. (2018). Pavegen offers a flooring solution to power future smart cities. [online] Dezeen. Available at: https://www.dezeen.com/2017/10/27/movie-mini-livingpavegen-flooring-system-power-future-smart-cities-video/.

Pavegen. (2018). Pavegen - Global leader in harvesting energy and data from footfall.. [online] Available at: https://pavegen.com/.

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(Amr Salah) THE MEANING OF CENTRALITY Technique of densifying built space (2019) http://www.festivalarchitettura.it/festival/En/Magazine_Detail.asp?ID =157&pmagazine=1 Water in architectural features (2015) http://architecture.rmit.edu.au/projects/new-harmony/ Mies-Van-DerRohe durability ideas (2011) https://chicago.curbed.com/2015/3/27/9981636/iit-architecturalhistory Wave Energy Collector in coastal areas (2018) https://www.nemos.org/waveenergy Façade Ideas for different usages. (2019) https://www.archdaily.com/328353/monolit-office-building-iglooarchitecture Pillars of Sustainability in architecture (2019) https://www.123rf.com/photo_123061728_sutaiability-approachesfor-different-usages .html

Andrew Samy Cielotech Online. (n.d.). Pavegen Systems – Cielotech Online. [online] Available at: https://cielotech.wordpress.com/tag/pavegen-systems ArchDaily. (n.d.). Megalithic Museum / CVDB arquitectos + Tiago Filipe Santos + P-06 Atelier. [online] Available at: https://www.archdaily.com/872899/megalithicmuseum-cvdb-arquitectos-associados-plus-tiago-filipe-santos.

John Rocco Sales. (n.d.). Equinox Louvered Roof — John Rocco Sales. [online] Available at: https://www.johnroccosales.com/equinox-louvered-roof.

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ArchDaily. (2020). King Abdullah Petroleum Studies and Research Centre / Zaha Hadid Architects. [online] Available at: https://www.archdaily.com/882341/kingabdullah-petroleum-studies-and-research-centre-zaha-hadid-architects.

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Landezine.com. (2020). MFO Park by Raderschall ÂŤ Landscape Architecture Platform | Landezine. [online] Available at: http://landezine.com/index.php/2009/07/mfopark-switzerland/.

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11

CHAPTER 11

List of Figures

List of Figures

Chapter 1: History and Current Conditions o Figure 1.1.1 Abu Mandur Mosque, Google image, illustrated by Author 2019. o Figure 1.1.2 El-Cornish street at rosetta, google image, illustrated by Author 2019. o Figure 1.1.3. Rosetta’s Location, Google Image, illustrated by Author 2019. o Figure 1.2.1 Rosetta’s Historical Timeline (Authors, 2019). o Figure 1.3.1 scripts of Mesopotamian civilization, google image o Figure 1.3.2 Ptolemaic Era.(MOA, n.d.) o Figure 1.3.3 Islamic Era (MOA, n.d.)

o Figure 1.3.4 Mamluk Era (MOA, n.d.) o Figure 1.3.5 Ottoman Era, Sophia, turks in palestine by alexander aaronsohn. o Figure 1.3.6 French Campaign , napoleon's campaign.jefer o Figure 1.3.7 British Conquest , Frezer campaign by anntonio. o Figure,1.41 Rosetta Stone, clip art o Figure 1.4.2 Abu Shahin Mill Plan, MOA n,d o Figure 1.4.3 Azzouz Bathhouse,by Author 2019

o Figure,1.5.1Al-Mahali Mosque ,by Author 2019 o Figure,1.5.2 Al-Abbasi Mosques , warehouse o Figure 1.5.3 Domaqsis Mosque , by Author, 2019 o Figure,1.6.1 Arab Killy House, by Author 2019 o Figure 1.6.2 Al Baqraqali House, By Author, 2019 o Figure 1.6.3 Al-amasyali House , By Author, 2019 o Figure 1.7.1 Rosetta’s Heritage Houses, Authors, 2019

List of Figures| 345

List of Figures

Chapter 2: Urban Analysis o Figure 2.1.1.1 Land use base map, Authors, 2019) o Figure 2.1.1.2 educational building , Authors, 2019) o Figure 2.1.1.3 residential buildings , Authors, 2019) o Figure 2.1.1.4 6 Industrial building , Authors, 2019) o Figure 2.1.2.1 Building heights base map, Authors, 2019) o Figure 2.1.2.2 4 levels height, Authors, 2019) o Figure 2.1.2.3 5 levels height, Authors, 2019)

o Figure 2.1.2.4 6 levels height and above , Authors, 2019) o Figure 2.1.3.1 Building conditions base map, Authors, 2019) o Figure 2.1.3.2 Damaged Condition , Authors, 2019) o Figure 2.1.3.3 Poor Condition , Authors, 2019) o Figure 2.1.3.4 Good Condition , Authors, 2019) o Figure 2.1.4.1 Streets base map, (Authors, 2019) o Figure 2.1.4.2 Local street , (Authors, 2019)

o Figure 2.1.4.3 Minor street , (Authors, 2019) o Figure 2.1.4.4 Major street , (Authors, 2019) o Figure 2.1.5.1 Solid and void base map, (Authors, 2019) o Figure 2.1.5.2 solid and void , (Authors, 2019) o Figure 2.1.7.1 Heritage sites base map, (Authors, 2019) o Fig. 2.2.1 ( Rosetta 2014, Nadaoka 2015 ) o Figure 2.3.1.1 main road Heritage sites base map, (illustrated by Authors, 2019) o Figure 2.3.1.2 Skyline elevation of historical buildings , (Authors, 2019) o Figure 2.3.2.1 elevation sketch , (Authors, 2019) o Figure 2.3.2.2 elevation sketch , (Authors, 2019) o Figure 2.3.2.3 elevation sketch , (Authors, 2019) o Figure 2.3.2.4 elevation, (Authors, 2019)

List of Figures| 346

List of Figures

o Figure 2.3.2.5 elevation, (Authors, 2019) o Figure 2.3.2.6 elevation, (Authors, 2019) o Figure 2.3.2.7 elevation, (Authors, 2019) o Figure 2.3.2.8 elevation, (Authors, 2019) o Figure 2.3.2.9 elevation, (Authors, 2019) o Figure 2.5.1 Mobility illustration , (Authors, 2019)

Chapter 3: Problem and Project Selection o Figure 3.2.1. Interviewee A, Aâ&#x20AC;&#x2122;am Hassan, (Authors, 2019) o Figure 3.2.2. Interviewee B, Samir, (Authors, 2019) o Figure 3.2.3. Interviewee C, Ayman, (Authors, 2019) o Figure 3.4.1. Deteriorated Heritage Buildings, Authors, 2019) o Figure 3.4.2. Historical Mosques transformed to Commercial Markets, Authors, 2019) o Figure 3.4.3. Flooded Historical Mosque, Authors, 2019) o Figure 3.6.1. Project Short-term and Long-term Vision, Authors, 2019) o Figure 3.6.2. Project Objectives, Authors, 2019)

Chapter4: Site Selection o Figure (4.1.1), Selection criteria diagram,(Authors,2019). o Figure (4.2.1), Selected Sites,(Authors,2019). o Figure (4.2.2), Site 1, Google Earth, (2019) Illustrated by Authors, 2019).

o Figure (4.2.3), Site 2, Google Earth, (2019) Illustrated by Authors, 2019). o Figure (4.2.4), Site 3, Google Earth, (2019) Illustrated by Authors, 2019). o Figure (4.2.4), Site 3, Google Earth, (2019) Illustrated by Authors, 2019). o Figure (4.2.1.1), Site 1 Location ,(Authors,2019). o Figure (4.2.1.2), Site 1 collage ,(Authors,2019).

List of Figures| 347

List of Figures

Chapter 4: Site Selection o Figure (4.2.1.1.1), Site 1 Land-use,(Authors,2019). o Figure (4.2.1.1.2), Site 1 Land-use diagram,(Authors,2019). o Figure (4.2.1.1.3), Site 1 Land-use pictures,(Authors,2019). o Figure (4.2.1.2.1), Site 1 Building condition ,(Authors,2019). o Figure (4.2.1.2.2), Site 1 Building Heights diagram,(Authors,2019). o Figure (4.2.1.2.3), Site 1 Building Heights,(Authors,2019). o Figure (4.2.1.3.2), Site 1 Accessibility &road hierarchy,(Authors,2019).

o Figure (4.2.1.3.2), Site 1 Accessibility &road hierarchy pictures ,(Authors,2019). o Figure (4.2.1.4.1), Site 1 Building conditions (Authors,2019). o Figure(4.2.1.4.2), Site 1 Building Conditions diagram,(Authors,2019). o Figure (4.2.1.4.3), Site 1 Building Conditions ,(Authors,2019). o Figure (4.2.1.5.1), Site 1 Solid and void ,(Authors,2019). o Figure (4.2.1.5.2), Site 1 solid and void diagram,(Authors,2019). o Figure (4.2.1.6.1), swot analysis diagram,(Authors,2019).

o Figure (4.2.2.1), Site 2 Location,(Authors,2019). o Figure (4.2.1.2), Site 2 collage ,(Authors,2019). o Figure (4.2.2.1.1), Site 2 Land-use,(Authors,2019). o Figure (4.2.2.1.2), Site 2 Land-use diagram,(Authors,2019). o Figure (4.2.2.1.3), Site 2 Land-use pictures,(Authors,2019). o Figure (4.2.2.2.1), Site 2 Building Heights ,(Authors,2019). o Figure (4.2.2.2.2), Site 2 Building Heights diagram,(Authors,2019). o Figure (4.2.2.2.3), Site 2 Building Heights pictures,(Authors,2019). o Figure (4.2.2.3.1), Site 2 Accessibility& Road hierarchy,(Authors,2019 o Figure (4.2.2.3.2), Site 2 Accessibility &road hierarchy pictures,(Authors,2019). o Figure (4.2.2.4.1), Site 2 Building Condition ,(Authors,2019). o Figure (4.2.2.4.2), Site 2 Building Condition diagram,(Authors,2019).

List of Figures| 348

List of Figures

o Figure (4.2.2.1.3), Site 2 Land-use pictures,(Authors,2019). o Figure (4.2.2.4.3), Site 2 Building Conditions pictures,(Authors,2019). o Figure (4.2.2.5.1), Site 2 Solid and void ,(Authors,209). o Figure (4.2.2.5.2), Site 2 solid and void diagram,(Authors,2019). o Figure (4.2.2.6.1), swot analysis diagram,(Authors,2019). o Figure (4.2.3.1), Site 3 Location ,(Authors,2019). o Figure (4.2.3.2), Site 3 collage ,(Authors,2019). o Figure (4.2.3.1.1), Site 3 Land-use,(Authors,2019). o Figure (4.2.3.1.2), Site 2 Land-use diagram,(Authors,2019). o Figure (4.2.3.1.3), Site 3 Land-use pictures,(Authors,2019). o Figure (4.2.3.2.1), Site 3 Building Heights ,(Authors,2019). o Figure (4.2.3.2.2), Site 3 Building Heights diagram,(Authors,2019).

o Figure (4.2.3.2.3), Site 3 Building Heights pictures,(Authors,2019). o Figure (4.2.3.2.1), Site 3 Building Condition,(Authors,2019). o Figure (4.2.3.2.2), Site 3 Building Condition diagram,(Authors,2019). o Figure (4.2.3.2.3), Site 3 Building Condition pictures,(Authors,2019). o Figure (4.2.3.5.1), Site 3 Solid and void ,(Authors,2019). o Figure(4.2.3.5.2), Site 3 solid and void diagram,(Authors,2019). o Figure (4.2.2.6.1), swot analysis diagram,(Authors,2019). o Figure (4.3.1), Site 1, Google Earth, (2019) Illustrated by Authors, 2019) o Figure (4.3.2), Site 2, Google Earth, (2019) Illustrated by Authors, 2019) o Figure (4.3.3), Site 3, Google Earth, (2019) Illustrated by Authors, 2019) o Figure (4.1.), Selection criteria diagram,(Authors,2019).

List of Figures| 349

List of Figures

Chapter 5: Design Issues o Figure 5.6.4.4 , building structure system . (noarchitecture, 2014) o Figure 5.7.2.1 . Architectural visibility Authors, (2019) o Figure 5.7.3.1 ,the whole view is visible for the building . The Museum of Islamic Art (Gunet Khurana, 2012) o Figure 5.7.3.2, View from inside louvre museum pyramid (mark czerniec, 2016)

o Figure 5.7.3.3 View from outside louvre museum pyramid, (mark czerniec, 2016) o Figure 5.7.3.4 . use of contemporary color platte (Emden 2019) o Figure 5.8.2.1 Thermal comfort Authors, (2019) o Figure 5.8.3.1 , physical comfort aspects, (simscale 2012) o Figure 5.8.4.1 Landscaping museum as land art roof as a common space with a view o Figure 5.8.4.2 Elevation of Biesbosch Museum Island Figure 5.8.4.3. form (jean Nouvel, 2017) o Figure 5.8.4.4 mood light colors (jean Nouvle, 2017) o Figure 5.9.1.1 color mood o Figure 5.9.2.1 Pompidou Málag.( Javier Pérez De La Fuente,2016) Illustrated by Authors 2019 o Figure 5.9.3.1.1 ,Gran Canary Arena By LLps Architects ,2015, Illustrated by Author o Figure 5.9.3.2.1 the museum of Qatar. (iwan baan, 2019) o Figure 5.9.4.1 Building internal mood. ( olson kundig,2018) o Figure 5.9.4.2 , building exterior mood. (olson kuding, 2018) o Figure 5.10.1.1 Iconfinder , (2019) o Figure 5.10.2.1 , Access control (isrmag , 2019) o Figure 5.10.4.1 Fire damages Zaha’s Baku cultural centre o Figure 5.10.4.2 Using materials that resists the building from fire , Authors, (2019) o Figure 5.10.4.3 Detail of the fiber-reinforced concrete and polyester skin

o Figure 5.10.4.4 , Fire damages Zaha’s Baku cultural center, Illustration by authors, (2019)

List of Figures| 350

List of Figures

Chapter 6: Case Studies o Figure 6.1.1 The exterior of the Jewish museum (ArchDaily,2010) o Figure 6.1.2 Jewish community emigrating after the nazi persecution (Kulturbesitz) o Figure 6.1.3 Modern Berlin (King, 2019) o Figure 6.1.4 Modern Berlin (King, 2019) o Figure 6.1.5 Data source Google Maps o Figure 6.1.6 Data source (Andenmatten, 2012) o Figure 6.1.7 concept Chamber Work (Libeskind, 2010)

o Figure 6.1.8.1 the routes zoning graph (Authors, 2019) o Figure 6.1.8.2 vertical Zoning (Espacestemps, 2012) o Figure 6.1.8.3 bassement floor (Andenmatten, 2015) o Figure 6.1.8.4 ground floor (Andenmatten, 2015) o Figure 6.1.8.5 first floor (Andenmatten, 2015) o Figure 6.1.8.6 second floor (Andenmatten, 2015) o Figure 6.1.8.7 third floor Andenmatten, 2015)

o Figure 6.1.9.1 vertical circulation Tess O'Mearas, 2015) o Figure 6.1.9 .2the routes and zoning (Authors, 2019) o Figure 6.1.9.3 circulation (ArchDaily,2010) illustrated by (Authors, 2019) o Figure 6.1.10.1 (Denis Esakov, 2010),Illustrated by Authors, 2019 o Figure 6.1.10.2 Void cuts through the zigzagging which exhibitions are organized (Archdaily 2010) o Figure6.1.10.3 (Denis Esakov, 2010) o Figure 6.1.10..4 section/elevation (Arhcdaily, 2010) o Figure 6.1.10.5section/elevation (Arhcdaily, 2010) o Figure 6.1.11 structure (Arhcdaily, 2010) o Figure 6.1.12.1mood dark colors (Arhcdaily, 2010) o Figure 6.1.12.3 image (Arhcdaily, 2010)

List of Figures| 351

List of Figures

o Figure 6.1.13.1 mood dark colors (Arhcdaily, 2010) o Figure 6.1.13.2 living the experience (Arhcdaily, 2010) o Figure 6.1.13.3 all the groups can sense the story telling (Arhcdaily, 2010) o Figure 6.2.1 The exterior of the Odunpazari modern museum. (kengo kuma and associates, 2019) o Figure 6.2.1 turkey unique location (dewdeny, 2019) o Figure 6.2.4 surrounded by the local ottmon houses made of timber ( Markovina, 2014) o Figure 6.2.6.1 Data source Google Maps o Figure 6.2.6.2. site accessibility from the surrounded streets (kengo kuma and associates, 2019) o Figure 6.2.6.3 museum within the fabric (Harrouk, 2019)

o Figure 6.2.7 concept development and visibility (Harrouk, 2019) o Figure 6.2.8.1 Timber structural system, Pinterest, 2017 o Figure 6.2.8.2 timber-lined square skylight, Pinterest, 2017 o Figure 6.2.9horizontal zoning (Harrouk, 2019) o Figure 6.2.10.1section showing the skylight (Arhcdaily, 2019) (illustrated by authors ) o Figure 6.2.10.2 showing the exterior skin of the building (Arhcdaily, 2019) (illustrated by authors )

o Figure 6.2.10.3 showing the skylight (Arhcdaily, 2019) (illustrated by authors ) o Figure 6.2.10..5showing the exterior with outdoor (Arhcdaily, 2019) (illustrated by authors ) o Figure 6.2.10.4showing the skylight (Arhcdaily, 2019) (illustrated by authors ) o Figure 6.2.11.1 showing the skylight (Arhcdaily, 2019) (illustrated by authors ) o Figure 6.2.11.3 showing the skylight (Arhcdaily, 2019) (illustrated by authors ) o Figure 6.2.11.4.3showing the skylight (Arhcdaily, 2019) (illustrated by authors ) o Figure 6.3.1.1. Jeju Cultural Heritage Center, (poly.m.ur, 2008)

List of Figures| 352

List of Figures

o Figure 6.3.2.1. Form Development, (poly.m.ur, 2008), Illustrated by Authors, 2019. o Figure 6.3.3.1. Faรงade Light Distribution & Function, (poly.m.ur, 2008) o Figure 6.3.4.1. Internal Circulation, (poly.m.ur, 2008) o Figure 6.3.4.2. Connection between Exhibition and Exterior Spaces, (poly.m.ur, 2008) o Figure 6.3.4.3. Administrative Zone, (poly.m.ur, 2008) o Figure 6.3.4.4. Educational Zone & Workshops, (poly.m.ur, 2008) o Figure 6.3.5.1.Interior & Exterior Zones of the Building, (poly.m.ur, 2008)

o Figure 6.3.6.1. Sunlight and Daylight Distribution on Spaces, (poly.m.ur, 2008) o Figure 6.3.6.2. Shaded Outdoor Circulation, (poly.m.ur, 2008) o Figure 6.3.7.1. Inclined Wall Structure, (poly.m.ur, 2008). o Figure 6.3.7.2. Structural Section Showing the Columns and Beams, (poly.m.ur, 2008). o Figure 6.3.8.1.Elevation, (poly.m.ur, 2008) o Figure 6.3.8.2.Opening Distribution of Facade, (poly.m.ur, 2008), Illustrated by Authors, 2019.

o Figure 6.3.8.2. Section Showing Inclined External Walls, (poly.m.ur, 2008) o Figure 6.3.9.1. Circulation , (poly.m.ur, 2008), Illustrated by Authors o Figure 6.3.9.2. Building Image, (poly.m.ur, 2008) o Figure 6.3.8.2. Internal Mood, (poly.m.ur, 2008) o Figure 6.4.1 The exterior of the Palestinian Museum, (ArchDaily,2017) o Figure 6.4..2 picture of the land (Shlevich) o Figure 6.4.3 The borders and the lost identity (GHARABLI) o Figure 6.4.4 Data source Google Maps o Figure 6.4.5 the site within the topography of the land (Dezeen 2017) o Figure 6.4.5 topography (Dezeen 2017) o Figure 6.4.6 zoning Diagram o Figure 6.4.6.2 zoning development (HPARC)

List of Figures|353

List of Figures

o Figure 6..4.6.3 zoning underground floor (Arhcdaily, 2017) o Figure 6.4.7 circulation (Arhcdaily, 2017) o Figure 6.4.8.1 elevation (Archdaily, 2017) o Figure 6.4.8.2 elevation/ section (Archdaily, 2010) o Figure 6.4.8.3 section/elevation (Arhcdaily, 2017) o Figure 6.4.9 The interior of the gallery (Emden, 2019) o Figure 6.4.11.1 mood in the terrace(Arhcdaily, 2010)

o Figure 6.4.11.2 use of contemporary color platte (Emden 2019) o Figure 6.4.11.3 use of contemporary color platte (Emden 2019) o Figure 6.4.11.4 mage (Arhcdaily, 2017) o Figure 6.5.1 The exterior louvre Abu Dhabi (ArchDaily,2010) o Figure 6.5.2 the louvre museum (Archdaily, 2010) o Figure 6.5.3 (Abudhabi, 2017) o Figure 6.5.4 Louvre museum (ArchDaily 2010)

o Figure 6.5.6 Data source Google Maps o Figure 6.5.8.1 how light is reflecting on form (Archidaily, 2010) o Figure 6.5.8.2 light and people how its reflected form (ArchiDaily) o Figure 6.5.8.3 form (ArchiDaily, 2010) o Figure 6.5.9 Zoning o Figure 6.5.10.1 circulation (ArchDaily,2010) o Figure 6.5.10.2 circulation (Arhcdaily, 2010) o Figure 6.5.11.1 section/elevation (Arhcdaily, 2010) o Figure 6.5.11.2 section/elevation (Arhcdaily, 2010) o Figure 6.1.12 construction (Arhcdaily, 2010) o Figure 6.5.12.1 structure joint ( Arhcdaily, 2010) o Figure 6.5.12.2 structure joint (Arhcdaily, 2010)

List of Figures| 354

List of Figures

o Figure 6.5.13.1 mood light with shades(Arhcdaily, 2010) o Figure 6.5.13.2 mood light colors (Arhcdaily, 2010) o Figure 6.5.13 image (Arhcdaily, 2010) o Figure 6.5.13 image (Arhcdaily, 2010) o Figure 6.5.14 image (Arhcdaily, 2010) o Figure 6.6.1. The National Museum of Qatar (Aerial Shot), (Iwan Baan, 2019) o Figure 6.6.2.1. The National Museum of Qatar Context & Skyline, (Paul Cowan, 2019) o Figure 6.6.2.1. The National Museum of Qatar Context, (Jimmy Baikovicius, 2019) o Figure 6.6.3.1.Building Characteristics, (Iwan Baan, 2019), Illustrated by Authors, Figure 6.6.3.2.Building Characteristics, (Iwan Baan, 2019), Illustrated by Authors, Figure 6.6.6.1. Desert Rose Mineral, (Google, 2019) o Figure 6.6.6.2. Concept Sketch, (Philippe MenĂŠtrey, 2019)

o Figure 6.6.6.3. Building Form, (Iwan Baan, 2019) o Figure 6.6.6.3. Building Form Sketch, (Iwan Baan, 2019), Edited by Authors, 2019 o Figure 6.6.7.1 Horizontal Circulation, (Atelier Jean Nouvel, 2019), Illustrated by o Figure 6.6.8.1. Building Outline, (Atelier Jean Nouvel, 2019) o Figure 6.6.8.2. Building Zoning, (Atelier Jean Nouvel, 2019), Illustrated by Authors, 2019 o Figure 6.6.9.1. Building Section Analysis, (Atelier Jean Nouvel, 2019), Illustrated by Authors, 2019

o Figure 6.6.9.2. Elevation Form Analysis, (Iwan Baan, 2019), Illustrated by Authors, 2019 o Figure 6.6.9.3(Iwan Baan, 2019) o Figure 6.6.10.1 Construction Period, (Atelier Jean Nouvel, 2019) o Figure 6.6.10.2 Panel Construction, (Philippe MenĂŠtrey), 2013, Illustrated by Authors, 2019

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List of Figures

o Figure 6.6.10.3. Panel Application on Steel Framework, (Sketched by Philippe MenĂŠtrey, 2013), Illustrated by Authors, 2019 o Figure 6.6.11.1. Building Circulation, (Iwan Baan, 2019), Illustrated by Authors, 2019 o Figure 6.6.11.2. Building Image, (Iwan Baan, 2019) o Figure 6.6.11.3.1. Interior Mood, (Iwan Baan, 2019) o Figure 6.6.11.3.2. Attractive, Interactive Colors, (Iwan Baan, 2019) o Figure 6.6.11.3.3. Heights of Interior Spaces, (Iwan Baan, 2019)

o Figure 6.6.12.1. Interactive Video Graphics, (Iwan Baan, 2019) o Figure 6.6.12.2. Aquarium, (Iwan Baan, 2019) o Figure 6.6.12.3. Building Exterior Shot, (Iwan Baan, 2019) o Figure 6.6.12.4. Building Connection with Sheikh Abdullahâ&#x20AC;&#x2122;s Palace, (Iwan Baan, 2019) o Figure 6.7.1. Luxor Temple, (Google, 2019) o Figure 6.7.2. Zoning. (Fathy, 2017), Illustrated by Authors, 2019) o Figure 6.7.3. Circulation, (Fathy, 2017), Illustrated by Authors, 2019)

o Figure 6.7.4.1. Section Analysis. (Fathy, 2017), Illustrated by Authors, 2019) o Figure 6.7.4.2. Elevation Analysis. (Fathy, 2017), Illustrated by Authors, 2019) o Figure 6.7.4.3. Heights and Architectural Elements. (Fathy, 2017), Illustrated by Authors, 2019) o Figure 6.7.5.1. Section Showing Air Circulation through Building. (Fathy, 2017), Illustrated by Authors, 2019) o Figure 6.7.5.2. Green Elements (Palm Trees). (Fathy, 2017), Illustrated by Authors, 2019) o Figure 6.7.5.3. Wind Catcher Section (Air Circulation). (Fathy, 2017), Illustrated by Authors, 2019) o Figure 6.7.6.1. Circulation. (Fathy, 2017), Illustrated by Authors, 2019) o Figure 6.7.6.1. Architectural Elements Iddentity. (Fathy, 2017), Illustrated by Authors, 2019)

List of Figures| 356

List of Figures

o Figure 6.8.1 Wadi el hitan museum with the context( ) o Figure 6.8.2.1 Wadi el hitan ( Authors, 2019 ). o Figure 6.8.2.2 Wadi el hitan ( Authors, 2019 ). o Figure 6.8.3.1 Wadi el hitan ( Authors, 2019 ). o Figure 6.8.3.2 Wadi el hitan ( Authors, 2019 ). o Figure 6.8.3.3 Wadi el hitan ( Authors, 2019 ). o Figure 6.8.4.1 Local material(Al Wattan, 2016 ).

o Figure 6.8.6.1 Data source Google Maps o Figure 6.8.7.1 Concept diagram (Authors, 2019) o Figure 6.8.8.1 zoning (Authors, 2019) o Figure 6.8.9.1 Circulation (Authors, 2019) o Figure 6.8.10.1 Site topography (Authors, 2019) o Figure 6.8.10.2 topography (Authors, 2019) o Figure 6.8.10.3 Site topography (Authors, 2019)

o Figure 6.8.11.1 UNISCO (illustrated by (Authors, 2019) o Figure 6.8.11.2 UNISCO (illustrated by (Authors, 2019) o Figure 6.8.11.3 UNISCO (illustrated by (Authors, 2019) o Figure 6.8.12 UNISCO (illustrated by (Authors, 2019)

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List of Figures

Chapter 7: Space Program & Standards o Figure 7.1.1 Real footages of the zones (libguides, 2016) o Figure 7.1.2 Real footages of the zones (libguides, 2018) o Figure 7.1.3 Real footages of the zones (lexpoonline, 2015) o Figure 7.1.4Real footages of the zones (libguides, 2016) o Figure 7.1.5 Bubble Zoning illustrated by authors (authors, 2019) o Figure 7.1.2.1 Function Zoning illustrated by authors (authors, 2019) o Figure 7.2.1 Illustration of interactive exhibition (metmuseum,2019). o Figure 7.2.2 Tour guide with visitors. (museumfacts , 2019). o Figure 7.2.3 Direction Signs (VectorStock, 2019) o Table 7.1.2.1 Inspired from Rem Koolhaas’s design program (2019) o Table 7.3.1 Inspired from David Chipperfield's museum & Neufert’s Book (2019) o Table 7.3.2 Inspired from David Chipperfield's museum & Neufert’s Book (2019) o Table 7.3.3 Inspired from David Chipperfield's museum & Neufert’s Book (2019)

o Figure7.4.1.1.1 Functional scheme (Buxton,2015 ) (Kister,2012) o Figure 7.4.1.2.1 Functional scheme (Buxton,2015 ) (Kister,2012) o Figure 7.4.1.2.2 Three modes of expansion: a Block addition; b Extension; c New building (Buxton,2015 ) o Figure 7.4.1.3.1 A Possible Layout For A Small Exploratorium (Buxton,2015 ) o Figure 7.4.1.3.2 A Possible Layout For A Small Exploratorium (Buxton,2015 ) o Figure 7.4.2.1 A Possible Layout Diagram For A Small Museum (Buxton,2015 )

o Figure 7.4.2.2 Flow Diagram Of Collection Item Movements In The Operation Of Collection Services: Exhibitions, Conservation And Collections Management (Buxton,2015 ) o Figure 7.4.2.3 Two Basic Massing Concepts That Allow Public Areas To Reorganized On One Level (Buxton,2015 )

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List of Figures

o Figure 7.4.2.4 A Layout Concept Showing A Clear Relationship Between Museum Functions And An Approach To Zoning And Expansion (Neufert,n.D) o Figure 7.4.2.4 A Layout Concept Showing A Clear Relationship Between Museum Functions And An Approach To Zoning And Expansion (Neufert,n.D) o Figure 7.4.2.1.1 Method Of Layout In Open-access Storage Areas (Buxton,2015 ) o Figure 7.4.2.2.1 Exhibition arrangement (Neufert,n.D) o Figure 7.4.2.2.2Exhibition components (Neufert,n.D) o Figure 7.4.3.1. Seat Dimensions , (Neufert, n.D) o Figure 7.4.3.2 Vision Lines of Auditorium, (Neufert, n.D) o Figure 7.4.3.3 Section Of Auditorium , (Neufert, n.D) o Figure 7.4.3.4. Stage Vision Angle, (Neufert, n.D) o Figure 7.4.3.1.1 Lights Angles , (Neufert,n.D) o Figure 7.4.3.1.2 Section For Exhibition , (Neufert,n.D)

o Figure 7.4.4.1 Example Company Shows Structural System And Work Flow (Neufert,n.D)(authors,2019) o Figure 7.4.4.2 Production Sequence, (Neufert,n.D) o Figure 7.4.4.3Example Company Shows Structural System And Work Flow (Neufert,n.D) o Figure 7.4.4.4 Relationship Between Materials, Equipment And Work Spaces, (Neufert,n.D) o Figure 7.4.4.5 Types And Dimensions Of Trolleys, (Neufert,n.D)

o Figure 7.4.4.6 Example Carpentry , (Neufert,n.D) o Figure 7.4.4.7 Workshop Plan With Work Sequence, (Neufert,n.D)(authors,2019) o Figure 7.4.4.2.1 Classrooms proposal (Neufert,n.D) o Figure 7.4.4.2.2 seats dimensions (Neufert,n.D)

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List of Figures

o Figure 7.4.4.2.3 Classrooms proposal (Neufert,n.D) o Figure 7.4.5.1.1 Entrance Lobby (Neufert,n.D) o Figure 7.4.5.1.2 Entrance Lobby (Neufert,n.D) o Figure 7.4.5.1.3Entrance Lobby (Neufert,n.D)

o Figure 7.4.5.2.1 Single Office Layout (Neufert,n.D) o Figure 7.4.5.2.2: Double Office Layout (Neufert,n.D) o Figure 7.4.5.2.3Open Plan Layout (Neufert,n.D) o Figure 7.4.5.3.1 Small Meeting Room Layout (Neufert,n.D) o Figure 7.4.5.3.2 Medium Meeting Room Layout (Neufert,n.D) o Figure 7.4.5.3.3 Large Meeting Room Layout (Neufert,n.D) o Figure 7.4.5.4.1 Large Meeting Room Layout (Neufert,n.D)

o Figure 7.4.5.5.1 Restaurant dimensions (Neufert,n.D) o Figure 7.4.5.6.1 Archive dimensions (Neufert,n.D) o Figure 7.4.5.6.2 Archive dimensions (Neufert,n.D) o Figure 7.4.5.6.3 Archive dimensions (Neufert,n.D) o Figure 7.4.6.1 Library Dimensions, (Neufert,n.D) o Figure 7.4.6.2 Library Dimensions, (Neufert,n.D) o Figure 7.4.6.3 Library Dimensions, (Neufert,n.D) o Figure 7.4.6.4 Library Dimensions, (Neufert,n.D)

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List of Figures

Chapter 8: Sustainability o Figure 8.4.4.6 Example Carpentry , (Neufert,n.D)

o Figure 8.4.4.7 Workshop Plan With Work Sequence, (Neufert,n.D)(authors,2019) o Figure 8.4.4.2.1 Classrooms proposal (Neufert,n.D) o Figure 8.4.4.2.2 seats dimensions (Neufert,n.D) o Figure 8.4.4.2.3 Classrooms proposal (Neufert,n.D) o Figure 8.4.5.1.1 Entrance Lobby (Neufert,n.D) o Figure 8.4.5.1.2 Entrance Lobby (Neufert,n.D) o Figure 8.4.5.1.3Entrance Lobby (Neufert,n.D) o Figure 8.4.5.2.1 Single Office Layout (Neufert,n.D) o Figure 8.4.5.2.2: Double Office Layout (Neufert,n.D) o Figure 8.4.5.2.3Open Plan Layout (Neufert,n.D) o Figure 8.4.5.3.1 Small Meeting Room Layout (Neufert,n.D) o Figure 8.4.5.3.2 Medium Meeting Room Layout (Neufert,n.D) o Figure 8.4.5.3.3 Large Meeting Room Layout (Neufert,n.D) o Figure 8.4.5.4.1 Large Meeting Room Layout (Neufert,n.D) o Figure 8.4.5.5.1 Restaurant dimensions (Neufert,n.D) o Figure 8.4.5.6.1 Archive dimensions (Neufert,n.D) o Figure 8.4.5.6.2 Archive dimensions (Neufert,n.D) o Figure 8.4.5.6.3 Archive dimensions (Neufert,n.D) o Figure 8.4.6.1 Library Dimensions, (Neufert,n.D)

o Figure 8.4.6.2 Library Dimensions, (Neufert,n.D) o Figure 8.4.6.3 Library Dimensions, (Neufert,n.D) o Figure 8.4.6.4 Library Dimensions, (Neufert,n.D)

List of Figures| 361

List of Figures

Chapter 9: Individual Work â&#x20AC;&#x201C; Ahmed Mohamed Abd El Hamid o Figure9.1.1.1 Rosetta River, (Author, 2019) o Figure9.1.1.2. Al-Mahali Mosque , (Author, 2019) o Figure9.1.5.1.Conceptual square, (Author, 2019) o Figure9.1.5.2.Conceptual square Addition, (Author, 2019) o Figure 9.1.5.3.Conceptual square Form , (Author, 2019) o Figure9.1.5.4.Conceptual 3D, (Author, 2019)

o Figure9.1.5.5. Conceptional Elevation , (Author, 2019) o Figure 9.1.5.6. Habitat 67- by moshe safdie (archdaily,2010)(illustrated by authors) o Figure9.1.5.7. Habitat 67-by moshe safdie (archdaily,2010)(illustrated by authors) o Figure 9.1.6.1 Base Map by (Author2019) o Figure 9.1.6.2 Google earth, illustrated by (Author2019) o Figure9.1.6.3.Conceptual sketch, (Author, 2019) o Figure9.1.6.4.Conceptual sketch, (Author, 2019)

o Figure9.1.6.5.Conceptual masses 3D, (Author, 2019) o Figure9.1.6.6.Conceptual 3D, (Author, 2019) o Figure9.1.7.1.Conceptual sketch, (Author, 2019) o Figure9.1.7.2.Conceptual sketch, (Author, 2019) o Figure9.1.7.3.Conceptual sketch, (Author, 2019) o Figure 9.1.8.1.1 Kinetic Facade shading system, (archdaily,2018) o Figure 9.1.8.1.2 Al Bahar Tower panel Diagram, Abu Dhabi, (archdaily,2017) o Figure 9.1.8.1.3,Detailed kinetic shading system, (archdaily,2017) o Figure 1 9.1.8.1.4,Detailed kinetic shading system, (dezeen.com,2017) o Figure 9.1.8.2.1,Detailed kinetic shading system, (dezeen.com,2017) o Figure 9.1.8.2.3,Detailed kinetic shading system, (dezeen.com,2018) o Figure 9.1.8.2.2,,Detailed kinetic shading system, (dezeen.com,2018) o Figure9.1.8.3.1 venitation strategy (Pinterest, 2019)

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List of Figures

Amr Salah o Figure 9.2.7.1.1 illustrates the idea of centrality (Magnum, 2011) o Figure 9.2.7.1.2 Shows how it is presented in human mind (Magnum, 2011)

o Figure 9.2.7.1.3 Similarities with the topography of mountains (Magnum, 2011). o Figure 9.2.7.1.4 indicates how centrality increases spirituality and isolates the person completely (Johnson,2017). o Figure 9.2.7.1.5 A plan of a historical house in Rosetta following the same guidelines of the concept, edited by author (CULTNAT 2018) o Figure 9.2.7.1.6 Section showing the same idea, edited by author (Fredrics, 2018). o Figure 9.2.7.1.7 Basic layout from urban context. (Khedr,2019) o Figure 9.2.7.1.8 centrality sketch with basic section (Smithson,2019) o Figure 9.2.7.1.9 Conceptual layout. (Author,2019). o Figure 9.2.7.2.1 Sea & Nile River meeting point (Alahram 2019) o Figure 9.2.7.2.2 Elevation containing two styles(Archnet,2019) o Figure 9.2.7.2.3 Facades having two different styles (modernarch, 2017) o Figure 9.2.7.2.4 Facades having two different styles (modernarch, 2017) o Figure 9.2.7.2.5 Facades having two different styles (modernarch, 2017) o Figure 9.2.7.2.6 Integration of styles within the building not only facades (Simonz, 2019) o Figure 9.2.7.2.7 Integration of styles within the building not only facades (Simonz, 2019) o Figure 9.2.7.2.8 illustration of a simple cubic form of two different materials(Author,2019).

o Figure 9.2.7.2.9 Separating the two buildings(Author,2019) o Figure 9.2.7.2.10 Rotating the buildings based on the climatic orientation(Author,2019). o Figure 9.2.7.2.11 applying some of the sustainable features. (Author,2019). o Figure 9.2.7.2.12Adding more architectural features for increasing the aesthetic value (Author,2019).

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List of Figures

o Figure 9.2.7.2.13 Adding features to the elevation inspired from the motion of waves (Author,2019). o Figure 9.2.7.3.1 Showing the simplest forms of the concept (arch20,2015). o Figure 9.2.7.3.2 Showing the simplest forms of the concept (arch20,2015). o Figure 9.2.7.3.3 Shows the constancy over the years(arch20,2019). o Figure 9.2.7.3.3 Shows the constancy over the years(arch20,2019). o Figure 9.2.7.3.5 Illustration of a form(Author,2019). o Figure 9.2.7.3.6 Illustration of a form(Author,2019). o Figure 9.2.7.3.7 Illustration of a form(Author,2019). o Figure 9.2.7.3.8 Illustration of a form(Author,2019). o Figure 9.2.7.3.9 Illustration of a form(Author,2019). o Figure 9.2.8.1.1 Mechanism for type A of WEC(brainy, 2018). o Figure 9.2.8.1.2 Real footage of the device (EnergySource, 2017). o Figure 9.2.8.1.3 Mechanism for type B of WEC(brainy, 2019). o Figure 9.2.8.1.4 Real footage of the device in an attached building(brainy, 2019). o Figure 9.2.8.2.1 iIllustrated details and sketches of the dynamics in the facades(unh, 2014). o Figure 9.2.8.2.2 iIllustrated details and sketches of the dynamics in the facades(unh,

2014). o Figure 9.2.8.2.3 Roy Lassen's building in the states with dynamic facades (Lassen,2018) o Figure 9.2.9.1.1 Sketches for the social sustainability applied in the building(inhabitat,2018). o Figure 9.2.9.1.2 Sketches for the social sustainability applied in the building(inhabitat,2018). o Figure 9.2.9.1.3 Sketches for the social sustainability applied in the building(inhabitat,2018). o Figure 9.2.9.2.1 Applied materials from the local city (alahram, 2013).

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List of Figures

o Figure 9.2.9.2.2 Applied materials from the local city (alahram, 2013). o Figure 9.2.9.2.3 Applied materials from the local city (alahram, 2013). o Figure 9.2.9.2.4 Applied materials from the local city (alahram, 2013). o Figure 9.2.9.3.1 Sketches for environmental aspects within the building (123rf, 2019). o Figure 9.2.9.3.2 Sketches for environmental aspects within the building (123rf, 2019). o Figure 9.2.9.3.3 Sketches for environmental aspects within the building (123rf, 2019).

Andrew Samy o o o o o o o o o o o o o o o o o o o o o

Figure.9.3.1.: Conceptual Sketch, (Authors, 2019) Figure 9.3.2: Conceptual Sketch, (Authors, 2019) Figure 9.3.3: Conceptual Sketch, (Authors, 2019) Figure 9.3.4: Conceptual Sketch, (Authors, 2019) Figure 9.3.5 Design proposal of the new capital of Egypt (Real state, 2019) Figure 9.3.6: Conceptual Sketch, (Authors, 2019) Fig.9.3.7: Conceptual Sketch, (Authors, 2019) Fig.9.3.8: Conceptual Sketch, (Authors, 2019) Figure 9.3.9: Conceptual Sketch, (Authors, 2019) Figure 9.3.10: Conceptual Sketch, (Authors, 2019) Figure 9.3.11: Conceptual Sketch, ( Bisson, 2011) Figure 9.3.12: Conceptual Sketch, (Bisson, 2011) Figure 9.3.13:NL Architects Unveils Ascending Green-Roofed Staircase Office (inhabitat,2019) Figure 9.3.14:NL Architects Unveils Ascending Green-Roofed Staircase Office (inhabitat,2019) Figure 9.3.15:Example of application of the louvered roofs, (Sesc Guarulhos, n.d.).

Figure 9.3.16: Example of application of the louvered roofs, (JOHN, 2015 ).

Figure 9.3.17: Opening angles (JOHN, 2015) Figure 9.3.18: Ventilated Faรงade that creates various effects of shadow and beautiful light indoor (filipe,2016).

Figure 9.3.19: Various opening and shaped of ventilated faรงade that creates a beautiful scene and elevation also (filipe,2016).

Figure 9.3.20: section shows the structure and technology of ventilated facades (Santos,2018) Figure 9.3.21: section shows the structure and technology of ventilated facades (Santos,2018)

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List of Figures

o o o o o o o o o

Figure 9.3.22: Pavegen tiles system(Alessandro, 2017) Figure 9.3.23: Pavegen tiles system(Alessandro, 2017) Figure 9.3.24: Pavegen tiles system(Alessandro, 2017) Figure 9.3.25: Pavegen tiles system(Alessandro, 2017) Figure 9.3.26: Pavegen tiles system(Alessandro, 2017) Figure 9.3.27: Pavegen tiles Illustration system(Alessandro, 2017) Figure 9.3.28: Environmental sustainability application Figure 9.3.29: Economical sustainability application Figure 9.3.30: Social sustainability application

Mirna Samir o o o o o o o o o o o o o o o o o o o o o o o o o o o

Figures 9.5.4.1.1 the map shows the historical sites of rosetta, (rashid book) Figures 9.5.4.1.2 connecting the historical sites with each other Figure 9.5.4.1.3 higher monuments density zones , (author 2019) Figure 9.5.4.2.1 extrude to the higher monuments parts to make it more attractive and increase the value . (author, 2019) Figure9.5.4.3.1 extrusion from edges to make it more attractive for visitors . (arch2o, 2018) Figure 9.5.5.1.1 assuming the black color is the issue / problem that happened to Rosetta which caused it to get out if the UNESCO world heritage sites Figure 9.5.5.1.2 concept inspiration development from the breakings Figure 9.5.5.1.3 section shows the intersection of levels and masses Figure 9.5.5.2.1 Liiyang museum (CROX, 2019) Figure 9.5.5.2.2 Liiyang museum (CROX, 2019) Figure 9.5.6.1.1 skyline of Rosetta (Rashid book) Figure 9.5.6.1.2 height variety of the skyline (author,2019) Figure 9.5.6.1.3 intersection of heights from 4 directions (Author, 2019) Figure 9.5.6.1.4 a maze is resulted from the intersection (Author, 2019) Figure 9.5.6.1.5 maze voids (Author, 2019) Figure 9.5.6.1.6 transfer voids into masses with heigh variety (Author, 2019) Figure 9.5.7.1.1 MFO PARK,Oerlikton Architect raderschall landschafts architekten, Zurich Figure 9.5.7.1.2 shows the Stainless steel wires used and its accessories Figure 9.5.7.2.1 Apple Dubai Mall by foster and partners and the mesh details Figure 9.5.7.2.2 The shading creating by the mesh Figure 9.5.7.3.1 The King Abdul-Aziz Center for World Culture Figure 9.5.7.3.2 Guggenhiem Helsinki. (noarchitecture, 2014) Figure 9.5.7.3.3 canopy height variety Guggenhiem Helsinki. (noarchitecture, 2014) Figure 9.5.7.4.1 King Fahad National Library | Gerber Architekten Figure 9.5.7.4.2 King Fahad National Library | Gerber Architekten Figure 9.5.8.1.1 Petroleum research center in Jeddah by zaha hadid Figure 9.5.8.2.1 : New Artist Residency In Senegal / Toshiko Mori illustrates how they use catch crops for the roof

List of Figures| 366

Nourhan Yehia

List of Figures

o Figure 9.6. Light Shed Upon Rosetta’s Heritage & Identity, (Author, 2019) o Figure 9.6.4.1. Conceptual Triangle Layout, (Author, 2019) o Figure 9.6.4.2. Mass Development, (Author, 2019) o Figure 9.6.4.3. Conceptual 3D, (Author, 2019) o Figure 9.6.4.4. Conceptual Section, (Author, 2019) o Figure 9.6.5.1. Mass Layout and Views, (Author, 2019) o Figure 9.6.5.2 Conceptual 3D Showing Views, (Author, 2019) o Figure 9.6.5.3 Longitudinal Section Showing Building Heights and Bridge Vision Lines, (Author, 2019) o Figure 9.6.6.1 Rosetta’s Urban Fabric (Author, 2019) o Figure 9.6.6.2 Rosetta’s Urban Fabric Abstraction (Author, 2019) o Figure 9.6.6.3 Rosetta’s Urban Fabric Project Route (Author, 2019) o Figure 9.6.6.4 Conceptual 3D Route (Author, 2019) o Figure 9.6.6.5 Conceptual 3D- Urban Fabric Abstraction (Author, 2019)

o Figure 9.6.7.1. Green Reflective Façade, (Dunn, 2019) o Figure 9.6.7.2. Light, "24 hours in pictures", (McCall ,2019) o Figure 9.6.7.3. Interactive Façade, Nikhani,2019) o Figure 9.6.7.4. ("ARCHITECTURE MODEL on Instagram”) VIA @arqpedia (Alnes . 2019) o Figure 9.6.7.5. Green Roof, (MVRDV, 2019). o Figure 9.6.7.6. Dynamic Bamboo Façade, (Keegan, 2019). o Figure 9.6.7.7. Al Maraya Concert Hall, (Dhafer Alshehri, 2019)

o Figure 9.6.7.8. Royal Ontario Museum, (Nikreates, 2019) o Figure 9.6.8.1.Green Wall Details, (Pinterest, 2019) o Figure 9.6.8.2. Milan Expo, (2015) o Figure 9.6.8.3.Green Roof Details, (Pinterest, 2019) o Figure 9.6.8.4.Green Roof Details, (Pinterest, 2019) o Figure 9.6.8.5.Solar Panel Dynamics, (Pinterest, 2019)

List of Figures| 367

List of Figures

o Figure 9.6.8.6.Pavegen Tiles, (Pavegen, 2019) o Figure 9.6.8.6. Dynamic Bamboo Faรงade, (Keegan, 2019). o Figure 9.6.8.7. Dynamic Faรงade Detail, (SOM, 2019). o Figure 9.6.9.1., Sustainability Factors (Norman, 2019) o Figure

9.6.9.2.

Yongsan

National

Urban

Park

Master

Plan

(Social

Sustainability.(Weiss/Manfredi, 2012) o Figure 9.6.10.1..Preliminary Zoning Diagram(Author, 2019)

Omneya Ahmed o Figure (9.7.3.1) showing some of the historical heritage in Rosetta that was once declared a world heritage site with them. (Author, 2019) o Figure (9.7.4.1.1.)showing connection between historical houses and monuments in Rosetta (Author, 2019 ) Map Source: Rosetta monuments o Figure (9.7.4.1.2.) abstract of the net connecting the historical monument (Author 2019) o Figure (9.7.4.1.3.)project programs connected using the net (Author 2019) o Figure (9.7.4.1.4.) Winner of the Building to Building Pedestrian Bridge Challenge / sanzpont (Archdaily 2019) o Figure (9.7.4.1.5.)project programs connected using the net (Author 2019) o Figure (9.7.4.1.6)hologram along the bridges from inside that shows the story of the heritage (Author 2019) o Figure (9.7.4.1.7.) intersecting point showing era simulation (author 2019) o Figure (9.7.4.1.8.) interactive screens at national park welten (Archdaily) o Figure (9.7.4.1.9.) 360 panorama at national park (archdaily) o Figure (9.7.4.1.10.) national park welten for elevation inspiration o Figure (9.7.4.2.1.) achieving tranquility of movement on all aspects of the building (author 2019) o Figure (9.7.4.2.2.) entering from narrow to bigger with feeling ofTranquility (Author 2019) o Figure (9.7.4.2.3.) connection between the existing sources to form tranquility (Author 2019) o Figure (9.8.4.2.4) form development with achieving tranquility of movement on all the project aspects (author) o Figure (9.8.4.2.5.) WELLNESS CENTERan eco-friendly tranquility center (Dezeen 2017) o Figure (9.8.4.2.6.) tranquility in the indoor and outdoor spaces Deezen,2017 o Figure (9.7.4.3.1.prevailing wind and solid and void around the selected site (author) o Figure (9.7.4.3.2.) from overlaying of the solid and void of the context and the climatic analysis (author) o Figure (9.7.4.3.1.prevailing wind and solid and void around the selected site (author)

List of Figures| 368

List of Figures

o Figure (9.7.4.3.2.) from overlaying of the solid and void of the context and the climatic analysis (author) o Figure (9.7.4.3.3) from overlaying of the solid and void of the context and the climatic analysis and adaption (author) o Figure (9.7.4.3..4) form extrude (author)

Sama Hamdy o Figure 9.8.4.1.1 Visual Interaction in levels, Sketch by Author 2019 o Figure 9.8.4.1.2 The Viewing Platform Photograph by Geoffrey Williams (Pinterest, 2018) o Figure 9.8.4.1.3 Conceptional Elevation - Going From Down To The Top , Sketch By Author. o Figure 9.8.4.1.5 A Slice of Rosetta, Elastique, 2017 o Figure 9.8.4.2.1 JA House / Maria Ines Costa + Filipe Pina archeticts (Archdaily, 2014) Illustrated By Author, 2019. o Figure 9.8.4.2.2 Proposal 1, Conceptional 3D , Sketch by Author. o Figure 9.8.4.2.3 Keaton Cizek (Pinterest, 2017) Illustrated By Author, 2019. o Figure 9.8.4.2.4 Proposal 2, Conceptional 3D , Sketch by Author

o Figure 9.8.4.2.5 Proposal 2, Circulation Plan , Sketch by Author o Figure 9.8.4.3.1 Solid and void Base Map by Author, 2019. o Figure 9.8.4.3.2 Solid and void Urban Fabric o Figure 9.8.4.3.3 After the urban fabric carved out into a complex, Conceptional 3D, Sketch

by Author.2019 o Figure 9.8.5.1.1 Coe Lux Artificial Windows (Spain magazine, 2018) o Figure 9.8.5.1.2 Coe Lux (Spain magazine, 2018) o Figure 9.8.5.1.3 Coe Lux 45LC (Spain magazine, 2018) o Figure 9.8.5.1.4 Coe Lux 45LC (Spain magazine, 2018) o Figure 9.8.5.1.5 Coe Lux 45LC (Spain magazine, 2018) o Figure 9.8.5.2.1 Diagrams of the alternative designs for indoor LWS (Armijo's Moya, 2016) o Figure 9.8.5.2.2 LWS Installation (Live Wall, 2006) o Figure 9.8.5.2.3 Benefits of LWS (Armijo's Moya, 2016) o Figure 9.8.5.2.4 Bangkok, Thailand, Wison Tungthunya, 2011

List of Figures| 369