One can argue that architecture has the unique quality to manipulate viewer’s emotional response through haptic and other physical experiences. This ability when combine with narratives have been use utilized by churches and other institutions to convey their ideology and to create environments that manipulate viewers to agree with their point of view. Thus this Islamic cultural center is design as an attempt to change the bad perception Muslim community has garnered ever since 9/11. Located at The Parish of Saint Matthew in Pacific Palisades, this center will provide additional cultural education for the existing elementary school and overall cultural experience for church members through programs and exhibitions that are designed not only to introduce people with these foreign cultures, enforce empathy, but also to instill guilt as a prevention method of against acts of prejudice specifically toward Muslims and other minority groups in general. To explain the narrative of Islamic culture, it is important to incorporate Christianity as the beginning just like how the Quran have incorporate old and new testaments. The story will then unfold in series of exhibitions that represent the linear movement of time in spiral manner which delivers the narrative through the use of symbolism, forms, patterns, materials, different qualities of light, and relationship between the existing structures versus the newer additions. It is hope that visitor could see despite the obvious differences between the two structures, one could not be complete without the other.
ISLAMIC CULTURAL CENTER
A STUDY OF NARRATIVE SPACES
RUTH JAHJA/THESIS PROJECT/WOODBURY UNIVERSITY/SPRING 2011
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ARGUMENT The trend of today’s architecture What architecture could provide Historic Precedents: Gothic Cathedrals Felix Nussbaum Haus (1998) Jewish Berlin Museum (1999)
METHODOLOGY Narrative/Emotional Responses/Empathy Case Studies: Vanna Venturi House (1959-64) Cathedral of Our Lady of the Angels (2002)
OUTCOMES Islamic Cultural Center/Museum Case Studies: Classical Islamic Architecture Modern Islamic Architecture Programs
PROJECT Site Analysis:Pacific Palisades Circulation Analysis Program Exhibitions Concept: Research Conceptual Model Scheme 1 Scheme 2 Scheme 3 Light Fixture Furniture
FINAL OUTCOME
BIBLIOGRAPHY
TABLE OF CONTENTS NARRATIVE OF SPACES
1997
2002
Guggenheim Museum Bilbao
Yokohama International Port Terminal
Frank Gehry/ Art Museum/ Bilbao, Spain. Materials: Titanium curves, glass atrium, and limestone.
Foreign Office Architects/ Terminal and Civic Facilities/ Yokohama, Japan.
2005 Turning Torso Santiago Calatrava/ Housing/ Malmo, Sweden. Concrete and steel tower that slowly turning,
Structurals and surfaces folds made with steel and wood decking1.
Notes: 1.Kirsten Kiser, “Foreign Office Architects, Yokohama International Port Terminal, Yokohama, Japan”, Arcspace, October 28, 2002 and December 9, 2010, http://www.arcspace.com/architects/foreign_office/yokohama/yokohama_index.html 2. Kirsten Kiser, “Morphosis, Wayne L. Morse, United States Courthouse”, Arcspace, January 22, 2007 and December 9, 2010, http://www.arcspace.com/architects/morphosis/us_courthouse/us_courthouse.html 3. Kirsten Kiser, “Olympic Architecture 2008, Introduction by Guoxin Ma”, Arcspace, August 11, 2008 and December 9, 2010, http://www.arcspace.com/books/ol_2008/ol_2008.html 4. Zaha Hadid Architects, “MAXXI: MUSEUM OF XXI CENTURY ARTS ”, Zaha Hadid Architects, 2009 and December 9, 2010, http://www.zaha-hadid.com/built-works/maxxi
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2006
2007
Wayne Lyman Morse United States Courthouse
The Bird’s Nest National Stadium
MAXXI: Museum of XXI Century Arts
Morphosis/ Courthouse/ gene, Oregon, USA.
Eu-
Herzog and de Meuron/ Olympic Stadium/ Beijing, China.
Zaha Hadid/ Art Museum/ Rome, Italy.
Security Level IV facility with LEED Gold certification2.
Longest spanning steel structure in the world3.
Up to 50m cast-on site conrete wall4.
2009
Today’s technology allows architect to create aesthetically amazing spaces that incorporate organic forms and unconventional materials. However, many architects have been seduced by technological innovations, such as the advent of digital modeling software and digital fabrication techniques, and have created spaces purely to please aesthetic reason without any specific purpose.
ARGUMENT
THE TREND OF TODAY’S ARCHITECTURE
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Architecture has the ability to tell stories, distort spatial perception and the ability to augment the user’s experience, both good and bad via form, tectonics, circulation and through spatial relationships. The purposeful and well-designed spaces can fundamentally alter a person’s perception which could make for a more memorable experience.
WHAT ARCHITECTURE COULD PROVIDE
One of the strongest symbol in classical church is the plan itself that is a direct reference to cross, Jesus’ transcendence over death, and His promise to return to earth at the end of the world1.
Proportions that use also refer to symbolism such as Holy Trinity (1:3) or twelve apostles (1:12). Other mythical ratios such as Phytagorean and Golden Section also known to enhance the harmony1.
Perfect symmetries and mirrorization in x and y axis also very common in classical church design to emphasize perfection and harmony. Typical gothic architecture plan
Notes: 1. David Stephenson, Heavenly Vaults: From Romanesque to Gothic in European Architecture (New York: Princeton Architectural Press Press, 2005), 155-186. 2. Robert A. Scott, “ What Is the Gothic Look?” in The Gothic Enterprise: A guide to Understand the Medieval Cathedral (London: University of California Press, 2005), 103-120. 3. Radu Dragan and Augustin Ioan, “ Jesus Inside” in Symbols and Language in Sacred Christian Architecture (Lewiston : The Edwin Mellen Press, 1996), 71-79. 4. Robert A. Scott, “ An Image og Heaven” in The Gothic Enterprise: A guide to Understand the Medieval Cathedral (London: University of California Press, 2005), 121-133.
Elements in Gothic architecture
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Stainless glass in Canterbury Cathedral, England
Despite of the solid materials and the height of the walls, the interiors of Gothic churches are very well lit This is because every architecture elements were designs to flood the interior with as much light as possible.
The quality of light transform every materials, structures, surfaces, ornaments, and geometries into something more devide; a piece of heaven.
Interior of Salisabury Cathedral, England
The very obvious indications of narrative in Cathedrals are the beautiful stained glass windows, paintings, mosaics, and sculptures that describe chronicle of Jesus or many other stories from the bible. The windows serve more than just visual storybooks because it incorporate light into the church, one of the most important elements in Gothic cathedrals that differentiate it from previous architecture movement2. These windows serve as the barrier between the divide and the ordinary peasant3. Light is arguably the essence of Gothic architecture for it become the representation of God and allow the designers to render a slice of heaven in Earth4.
HISTORIC PRECEDENTS: GOTHIC CATHEDRALS
Vertical elements with overwhelming amount of details
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Vault designs in various Gothic Chruches.
But one could argue that the most important message a church want to deliver is the existence of greater being or God. This is achieved not just with the quality of light and extensive symbology, but also the haptic experience that could manipulate one’s perceptions. The extreme verticality of the architectures draws viewer’s eyes upward toward the amazingly detailed vaulted and stained-glass windows, the representation of heaven. The size of the church makes one’s feel smaller whereas the massive details overwhelmed one’s senses, both humbled and for a moment force one to believe that there are greater being out there. The accoustic qualities where every sounds are amplified force one to be quite and even more self cautious about his/her behavior in the space.
HISTORIC PRECEDENTS: GOTHIC CATHEDRALS
Notes: 1. Daniel Libeskind, Daniel Libeskind: The Space of Encounter (New York: Universe Publishing, 2000), 92-96 2. Daniel Libeskind, Breaking Ground (New York: Riverhead Books, 2004), 55-60.
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The Nussbaum Haus
Nussbaum works prior to Nazi regime are exhibited in this area. The paintings represent the happy and tranquil moments.
The Nussbaum Brucke
The bridge building where recently found painting by Nussbaum’s are display. This area bring the past to the future, the intent to preserve his legacy and provide a secure place where his works.
Felix Nussbaum is one of many examples of talented people whose life cut short because of Nazi regime. Libeskind name this The Museum without Exit to describe Nussbaum unfortunate fate. Libeskind creates three different areas in the museum and assigns different materials and spatial quality that distinctive to each compartment2. He does this to represent three different stages of Nussbaum career: Artwork that he made before Holocaust, around hiding from the regime, and recently found after peace1.
The Nussbaum Gang
This inhumane and uncomfortable area are made to exhibit Nussbaum’s works during his exile, where one could feel his frustration through his paintings.
HISTORIC PRECEDENTS: FELIX NUSSBAUM HAUS (1998)
Entrance Located at the existing museum because Libeskind argue that German Jewish history is inseperable and intermingle with German history1.
E.T.A. Hoffmann Garden Outdoor garden that represent the exile and immigration of Jews from Germany1. It is made out of 49 tall pillars with oddly tilted foundation to make visitors feel disorientated; thus remind them how the Jews feel when they arrive at this strange new exodus2.
Axonometric view that include roof plan and underground level
Notes: 1. Daniel Libeskind, Daniel Libeskind: The Space of Encounter (New York: Universe Publishing, 2000), 23-29. 2. Daniel Libeskind, Breaking Ground (New York: Riverhead Books, 2004), 55-60. 3. Peter Eisenman, “The Deconstruction of the Axis. Daniel Libeskind, Jewish Museum, 1989-1999�, Ten Canonical Buildings 1950-2000 (New York: Universe Publishing, 2000), 230-254.
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The axis Which are 3 circulation that lead to gallery, exile garden, and the Holocaust void. It consist of narrow hallways that abruptly penetrated with violent forms and slits. One could argue that this arbitrary relate to the random execution of Jews by Hitler3.
The Holocaust void A dark dead end that represent the gas chamber. It is unheated in winter with no air conditioning during summer2. The only source of light is a little slit at the very top1.
Jewish Berlin Museum by Daniel Libeskind is made to house two thousand years of German Jewish history which disrupted abruptly with the Holocaust. The narrative of the Holocaust is not only visible in the content of the museum but also through the sequence of spaces, void and hallow spaces that inaccessible, narrow hallway, forms, tectonics of the spaces, symbogy, carving on the exterior, and most importantly the use of lighting. Visitors could to certain degree understand, emphatize with who the museum represent, and leave with more memorable experience.
HISTORIC PRECEDENTS: JEWISH BERLIN MUSEUM (1999)
divine guidance In Jewish Berlin Museum, Libeskind makes light penetrate through the solid walls and even reach to the basement. Light ability to overpower the solid steel and concrete suggest its divine quality.
Notes: 1. Daniel Libeskind, Breaking Ground (New York: Riverhead Books, 2004), 55-60.
In this chaotic geometric of the museum that might confuse most of the visitors, light is the most simple element that become the ordering principle by providing a sense of direction and guidance for visitor throughout the space.
HOPE
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In dark and depressing spaces that spread out in this museum, light become the embodiment of hope for people. With the use of narrow and compressed spaces, Libeskind force one to move toward the light. Among all of the symbolisms use in this project, one could argue that light is the most significant one. At first, Libeskind’s idea of the museum is a pitch-black space to illustrate the hopelessness and the condition of gas chamber. But he decided to incorporate light as the representation of hope after he read Yaffa Eliach’s Hasidic Tales of the Holocaust, where she described a trail of white light she saw on the way to concentration camp was the reason she believe the miracle could happen1.
HISTORIC PRECEDENTS: JEWISH BERLIN MUSEUM (1999)
Diagram of two type of lines in second foor plan
Diagram of two type of lines in third foor plan
Notes: 1. Daniel Libeskind, Daniel Libeskind: The Space of Encounter (New York: Universe Publishing, 2000), 23-29. 2. Peter Eisenman, “The Deconstruction of the Axis. Daniel Libeskind, Jewish Museum, 1989-1999�, Ten Canonical Buildings 1950-2000 (New York: Universe Publishing, 2000), 230-254.
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Another very important symbolism in this museum lies in the forms itself. Libeskind’s name for this museum, “Between the Lines” clearly describe the parti and the forms of the museum. Just like Gothic churches use cross as the basic form for the floorplan because its significant, Libeskind use two types of lines to describe the narrative of German Jewish; one straight line that broken into many fragments and one torturous continuous line1. The continuous line later manifest as the solid, the museum itself, while the straight line translate as the void that cut through the Jewish Museum as the representation of Holocaust2. Libeskind’s diagram of the project
HISTORIC PRECEDENTS: JEWISH BERLIN MUSEUM (1999)
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Through the incorporation of form, light, materiality, symbology, and ornamentation to express the design narrative and through the manipulation of spatial relationships, this project will attempt to illicit an emotional reaction from the user. Classically, symbology has been utilized mostly for the expression of religious typologies and propaganda. Ornamentation and symbology have been replicated extensively and have not fully been incorporated or mined as a design imperative. These techniques became propaganda methods used to recruit as many followers as possible while displaying ideas of power or dominance, simultaneously. Now, it is use to represent sensitive topics where both the buildings and programs go hand in hand to change awareness in a positive way. Libeskind incorporate people’s stories and his personal experience into haptic space through the use of materials, light, solid versus void, and symbolism.
METHODOLOGY
NARRATIVES/ EMOTIONAL RESPONSES/ EMPHATY/
Notes: 1. Marvin Trachtenberg & Isabelle Hyman, Architecture from Prehistory to Postmodernity (New York: Harry N. Abrams, Incorporated, 2002), 505. 2. William J.R. Curtis, Modern Architecture Since 1900 (New York: Phaidon Press, Inc, 2009), 560.
20 A triangulated roof and a faux chimney allowed American people to visualize the eccentric building as a house due to its resemblance with traditional homes
Venturi used minimalist trademarks such as ribbon window and glass-towall window. In essence, during the process of eliminating cultural references from their building, minimalists actually create their own culture.
From a minimalist standpoint, the house would be the ultimate bizarre building; one could argue that his design is a mockery of ‘orthodox modern architecture’
During this period of time, modern architecture had rejected any type of symbolism and ornamentations in their building. Architects proposed what known to be international style that strips any sign of uniqueness or individuality of the building with minimalist design. It was not until Robert Venturi rebelled from this mainstream design with his famous quote, “less is bore” that perfectly captured the condition of American architecture in his time1. Robert Venturi expressed his boredom toward minimalist architecture theoretically through Complexity and Contradiction in Architecture and physically with Vanna Venturi House2.
CASE STUDY : VANNA VENTURI HOUSE(1959-64)
materials
solid vs. void Based on the name, Cathedral of Our Lady of the Angels should be dedicated to the women of Los Angeles. Unfortunately, cathedral’s architectures do not exude feminine feelings. the cathedral proudly characterizes masculinity with the thick concrete walls, clean geometry, and harsh edges.
Cathedral of Our Lady of Angels seems to support society’s view of female as mere accessories, because a building that is dedicated to women only uses the feminine elements as mere decoration.
Notes: 1. Alborg White, Jose Rafael Moneo: Cathedral of Our Lady of the Angels (arcspace.com, 2002). Web. 16 Nov. 2010. 2. True Confession. Building Design (ProQuest, 2003). 14. Web. 16 Nov. 2010. 3. Jack Milles. Our Lady of the Freeways: Is Los Angeles’ New Cathedral Worth the Price? Commonweal (ProQuest, 2003) 13-18, Web. 16 Nov. 2010
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ornamentation symbolism Virgin Mary sculpture by Robert Graham welcomes everyone at the entrance. Unique from the other Virgin Mary statues, the one in Our Lady of the Angels is made with the hybrid of multiple racial origins which truthfully represents the Catholic women that are not only made out of Caucasian women3
In this hostile city, the existence of a community gathering such as church is essential to ease the tension. Ironically, Angelinos had more than they asked for when the nation’s largest and grandest cathedral—Cathedral of Our Lady of the Angels—was build at the heart of the city. Designed by award winning architect, Jose Rafel Moneo1, this post-modern cathedral represents spirituality through journey of solitude and ritual with the help of light to guide2. Located a block away from the Disney Concert Hall, this exuberant cathedral occupies 3.3 million cubic foot of space that consists a of worship place, a bell tower, a mausoleum, a cloister garden, a rectory, an underground parking, a plaza, a café, and a gift shop. Despite the beautiful architecture qualities, this house of worship becomes a monument of people’s ignorance of class and gender issues.
CASE STUDY 2: CATHEDRAL OF OUR LADY OF ANGELS(2002)
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This project will attempt to repair the bad public image Islam has garnered post 9-11 through the modernization and the incorporation of symbology. The museum will help educate the public about Islam, while providing textural and haptic feedback, as well as provide a space for the incorporation of cultural differences.
OUTCOMES
ISLAMIC CULTURAL CENTER/MUSEUM
The base of belief on why there are no visual representation in Islamic architecture: “You shall not make for yourself an idol, whether in the form of anything that is in heaven above, or that is on the earth beneath, or that is in the water under the earth.� Exodus 20:4, Deuteronomy 5:8
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Hagia Sophia, Istambul, Turkey; a Byzantine Chruch turn into Ottoman Mosque.
Despite current society portrayal of Islam as mortal enemy for Christianity, these two religions actually resembled each other. These similarities not only apparent in both religions set of belief but also manifest in their architecture. One could easily see the likeness between late Romanesque Church, The Hagia Sophia, and The Great Mosque in Cordoba. As a matter of fact, both houses of prayers have been used both as Cathedral and Mosque during the change of regimes. Both buildings used same elements such as columns, arches, and even same obsession with heaven that visible in extensive and beautiful representation of heaven at their domes. Regardless of all the similarities with Hagia Sophia, Great Mosque of Cordoba marked the maturity of mosque architecture with its elements and specific programs. The Great Mosque of Cordoba, Spain; repurpose as Cathedral in 1236
CASE STUDY: CLASSIC ISLAMIC ARCHITECTURES
The Museum of Islamic Art, Quatar, Doha. I.M. Pei. 2008)
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Assyafaah Mosque. Singapore. Tan Kok Hiang and Forum Architects. 2004
L’Institut du Monde Arabe, Paris, France. Jean Nouvel. 1987
Intricate geometric patterns is one of the inherit characteristic from this architecture which can be applied in different scale, from the form of the building to the intricate calligraphy and wall/ shade patterns. In I.M. Pei’s project, he also included a courtyard (sahn) with fountain as part of the building while Assyafaah Mosque still has domes despite of the boxy exterior. But the most important qualities from all the modern Islamic architecture is the quality of light, which seems to be the common symbolism that transcend different cultures and religions.
CASE STUDY 2: MODERN ISLAMIC ARCHITECTURES
ENTRY
Lobby Receptions
EDUCATION
Exhibition Spaces Multi-use Classrooms Auditoriums for speaking engagements
ENTERTAINMENT
Outdoor Courtyard Stage Cafe
SUPPORT
Offices Storages
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For the entry sequence, I want to create a welcoming and what appear to be familiar spaces for general public to ease the transition from outside to the unfamiliar journey later on. To achieve this, I use the similarity of history, set of belief, and even architecture elements between Islam and Christianity. In spite of general American believe that Islam is a totally different religion, one might be surprise to find out that both religion actually share a same old testament and monotheism belief. What extremely different are their interpretation and the cultures that practice this religion. As for exhibition spaces, it is important to express the history of Islamic culture and how it people perception affect their culture before and after 9/11 using exhibitions, symbolism, light qualities, materials, and quality of spaces. As communities with mentality that American has been attacked by particular Islamic extremists that only represent few percent of Muslims, an educated journey that basically show how wrong one’s prejudice might be uncomfortable and even insulting just like Jewish Berlin Museum.
Outdoor courtyard is an important element in Islamic architecture because the preciousness of oasis in the middle of dessert. This courtyard will also be an oasis that helps ease visitors’ tensions after their journey in exhibition area. Other than serene landscape and water fountain, this courtyard will also include much less familiarization of vast Islamic cultures that spread throughout the world by entertaining viewers with shows of cultures (dance, fashion, etc.) and foods at the café.
This Islamic cultural center/museum will attempt to change viewers’ bad perception of Muslim’s culture by familiarize public with this vast culture through education and entertainment. Programs that will fall into education category are exhibition, multi-use classrooms, and auditorium. As for entertainment category, there will be open courtyard with fountain and café where different Islamic cultures will be exhibited during different period of time. It is also necessary for this museum to have their supporting elements such as offices and storages.
PROGRAMS
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Photographs of the site
ISLAMIC CULTURAL CENTER
PARISH OF SAINT MATTHEW/PACIFIC PALISADES
AMERICAN BORN 84.5%
WHITE 88.6%
ENGLISH ANCESTRY 11.4%
OTHER 2.3%
BLACK 0.4%
GERMAN ANCESTRY 10.1%
ASIAN 5.5%
LATINO 3.2%
FOREIGN BORN 15.5% BORN IN CANADA
WHITE
ASIAN
OTHER
LATINO
BLACK
FOREIGN BORN
AMERICAN BORN
BORN IN IRAN
Majority of the population in Pacific Palisades are white, have English or German ancestry, and mostly born in America. This is quite an anomaly for Los Angeles area which famously known for its diversity. In fact, Pacific Palisades have higher percentage of White ethnicity and American born citizen when compared to Los Angeles County in general (74% of white population and 36.2% of foreign born people).
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2
10K/MILE ---
REDONDO BEACH 10,073/MILE 2
SANTA MONICA 10,179.7/MILE 2 LOS ANGELES (CITY) 7,876.9/MILE 2
5K/MILE2 ---
MANHATTAN BEACH 8,613.7/MILE 2
LOS ANGELES COUNTY 2,344.1/MILE 2
2
1K/MILE ---
PACIFIC PALISADES 1,048/MILE 2 Population density graph
Based on 2008 Los Angeles Department of City Planning, Pacific Palisades 25,507 population with 1,048 people per square miles. Thus, putting Palisades population density lower than Los Angeles County in general. When compared with the other neighboring beach city such as Santa Monica, Manhattan Beach, and Redondo Beach; Pacific Palisades have significantly lower density, Once could easily understand this statistic as soon as they witness the spreading of houses throughout the hills, thus signifies the affluent nature of this community.
SITE ANALYSIS:PACIFIC PALISADES POPULATION
EDUCATION LEVEL 5000 ---
4,920 HOUSEHOLDS
2500 ---
2,603 HOUSEHOLDS
1000 --500 ---
576
| 20K
834
970 | 40K
| 60K
| 125K
| 168K
Income diagram
HOUSEHOLDS INCOME
5000 ---
6,258
6,246
INCOME
EDUCATION
2500 --3,603 1000 --500 ---
413
1,132
| LESS THAN HIGHSCHOOL
| HIGHSCHOOL
| SOME COLLEGE
| BACHELOR’S DEGREE
| MASTER’S DEGREE OR HIGHER
Education diagram
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6,000 ---
AGE 35-49 6,340 AGE 50-64 5,274 AGE >65 4,173
3,000 --AGE 0-10 3,586
2.4 PEOPLE PER HOUSEHOLD
AVERAGE FOR L.A. CITY, LOW FOR L.A. COUNTY
AGE 19-34 2,451
AGE 11-18 2,117
MEDIAN HOUSEHOLD INCOME $168,000
1,000 ---
HIGH FOR L.A. CITY, HIGH FOR L.A. COUNTY
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MARRIED 30.8%
NEVER MARRY 10.3%
MEN
NEVER MARRY 8.3%
WOMEN
Age statistic
MARRIED 34.4%
WIDOWED 1.3%
WIDOWED 4.85% DIVORCED 6% DIVORCED 10.3%
Average household statistics
This community have a considerably old median age at 46 years old when compared to Los Angeles city and Los Angeles County in general. With this old median age, there is a strong sense of traditional values which would be visible based on the marriage and household statiistics. Based on those data, Palisades have a low percentage of single family household where family in this area usually consist of 2.4 family members with very high income median. Palisades also have very high percentage of people who are/had been married. Another tradional values that visible from statistics is the importance of college education.
Families statistics
SITE ANALYSIS:PACIFIC PALISADES SOCIO ECONOMIC
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Photographs of Saint Matthew Church
The Parish of Saint Matthew is part of Episcopal Diocese of Los Angeles, thus making this an Anglican Church. What unique about this branch of Christianity is that they are the mixture of Roman Catholic and Protestant. Anglican Churches believe in same core values as Roman Catholic but practice church autonomy by State instead of by Pope and Vatican. The open-mindness of this Episcopal Church can be seen in their belief of full civil equality for same-sex couples and allow them to be married in their churces at the states where this marriage is legally approve.
SITE ANALYSIS: ST. MATTHEW’S PARISH CHURCH
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Photographs of Saint Matthew School
Gensler and Lake|Flato create a masterplan for Saint Matthew’s Parish School that taylor specificly for Californian weather and accentuate the organic nature of the surrounding site. This desire not only visible on their architecture, but also from the use of California-native plants for the landscaping. This concept is very similiar with the ideology of Islamic architecture where it will differ from one area to another due to the fact that it will adapt itself and merge with existing architecture, surrounding materials, and to carter for site-specific climate.
SITE ANALYSIS: ST. MATTHEW’S PARISH SCHOOL
VISITOR and CHURCH PARKING LOT
LEGEND
Students Parents Church attendee
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OTHER SCHOOL BUILDINGS
STREET FROM CHURCH Site circulation diagram
SITE ANALYSIS: CIRCULATION
PROGRAMS
Museum exhibition
Positive connotations of Islam
Cultural Experience
TARGET AUDIENCE
History of Islam. Islam’s contribution to world’s culture, art, and science. Positive Islamic values.
Everyone
Temporary exhibits from different Islamic cultures. Ability to enjoy food, general customs, wardrobes, music, and art from diffrent cultures at relaxing environment.
Museum exhibition
Similarities between Islam and Christianity in both ideology and history.
Art exhibition
To increase emphaty and instill guilt. Exhibition of photo jurnalism with strong emphasize at Muslim children. Exhibition of conceptual arts regarding Islam.
Multi-media classroom
To increase emphaty and instill guilt. Less about lecture, more from speaking engagements and testimonial of American-born Muslim, etc,
Similarities between Islam with themselves Example of inequalities
PROGRAMS DEFINITION
Active learning
Notes: 1. Todd D. Nelson, Handbook of Prejudice, Stereptyping, and Discrimination (New York: Psychology Press, 2009), 23-38
Adults
Church members
Students
Students
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Visitors
Museum exhibition
Museum exhibition
Museum exhibition
Art exhibition
Cultural experience
Enforce similarities
Positive connotations
Instill guilt
Instill guilt
Positive connotations
Art exhibition
The programs for this cultural center is derived from Todd D. Nelson book, Handbook of Prejudice, Stereptyping, and Discrimination to provide scientic way one could prevent prejudice and discrimination against Muslim. All the programs are aimed to intoduce viewer to this foreign culture, give positive connotations, enforce similiarities, increase emphaty, and instill guilt. This book stated that kids as young as the age of six are prone to acts of prejudice that they learn from media, which raise the credibility of this type of facility in elementary school. The fact that the visitors of this site is not limited to students give the opportunity to spread the message even further.
Multi--media classroom
Students
Cultural experience Positive connotations (daily)
LEGEND
Students Parents Church attendee
Experience in guided environment
Program sequences for visitors and students
As far as the sequences goes, visitors will start their experience by exhibitions that aim to show similiarities, then introduce positive associations, before finally view exhibitions that aim to instill guilt and increase emphaty. This sequence will correspone with timeline diagram of Islam. For the students, it is best for them to experience this guilt in control environment with teacher who could further explains what they have seen.
SITE ANALYSIS: PROGRAMS
Notes: 1.Phil Coomes, “Steve McCurry: Retrospective”, BBC, July 8, 2010 and May 12, 2011,http://www.bbc.co.uk/blogs/photoblog/2010/07/steve_mccurry_retrospective.html 2.Alice B. Miller, “Steve McCurry”, Hasselblad USA, 2009 and May 12, 2011, http://www.hasselbladusa.com/user-showcase/steve-mccurry.aspx 3.Steve McCurry, “About Steve”, Steve McCurry, 2010 and May 12, 2011, http://www.stevemccurry.com/main.php
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Steve McCurry. 1982-2002
Steve McCurry is a famous photojournalist who best known for the photograph of then anonymous Afgan girl that published as a cover of National Geographic1 where it is regarded as the ‘The Most Recognize Photograph’ in the history of the magazine. Through his lenses, McCurry able to capture the human emotion that deliver to the viewer with beautifully color-soaked portraits and/or photojournalism scenes2. Although his work is not limited to war photographs3, some of his series that will be exhibited in this cultural center deals with war in Middle East. McCurry able not only to report what occur in those areas but also provoke one’s emotions, emphaty, and tremendous amount of guilts in the most beautiful, striking, and shocking way possible.
ART WORKS FOR EXHIBITION:PHOTOJOURNALISM
Notes: 1.Joanna Pitman, “Unveiled: New Art from the Middle East at Saatchi Gallery”, The Times, January 27, 2009 and March 28, 2011, http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/article5592197.ece 2.Anna Altman, “Never Quite Filling the Void: Kader Attia”, Art in America, September 24, 2009 and March 28, 2011, http://www.artinamericamagazine.com/news-opinion/conversations/2009-09-24/kader-attia/
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Kader Attia. Ghost. 2008
Ghost by Kader Attia in Aluminium Foil sculptures of Muslim women in prayer as part of Saatchi’s Gallery exhibition Unveiled: New Art from the Middle East. The installation consist of 240 figures where one could hear the murmur of their prayer1. The artist himself the overarching theme of hiswork as the exploration of tension between Le Plein (The complete) and Le Vide (The void)2. This concept definately apparent in Ghost, where the empty shell of these figures allow visitor to look pass their different heritage but directly to the suffering from these group of people. Through the use of the void, Attia have successfully deliver the complete story that represent Muslim women from various race and origins.
ART WORKS FOR EXHIBITION:GHOST
Notes: 1.Lalla Essaydi, “Lalla Essaydi Harem”, Edwynn Houk Gallery, November 4, 2010 and March 28, 2011,http://www.houkgallery.com/exhibitions/2010-11-04_lalla-essaydi/ 2.Acelya Yonac, “Lalla Essaydi’s Haunting Photography Flaring Morocco”, Swide, March 25, 2011 and March 28, 2011, http://www.swide.com/luxury-magazine/Faces/Artists/lalla-essaydi/2011/3/25
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Lalla Essaydi. Harem. 2009.
Lalla Essaydi is Moroccan born American photographer with work dedicated toward women, especially Muslim women1. In this particular body of work, instead of using Islamic calligraphy that written in henna all over the model, Essaydi render the model to their background using fabric and tattoo that mimic the pattern of Moroccan palace Dar al Basha1, the setting for Harem. In her latest visually enticing works, she successfully create dialogue about the emerging Islamic feminism in very delicate yet obvious way. As for the title itself,Essaydi explained that Harem, which came from ‘Haram’ (Arabic word of sin)2, is not a romanticize place of lust as European might envision. Instead it is a place of secrecy, fully controlled by men, where women live in golden cage.
ART WORKS FOR EXHIBITION:HAREM
Notes: 1.Deborah Sontag, “The Intersection of Islam, America and Identity ”, New York Times, June 4, 2009 and March 28, 2011,http://www.nytimes.com/2009/06/07/arts/design/07sont.html?_r=1&th&emc=th 2.Asma Ahmed Shikoh, “Home (2003-2005)”, Asma Shikoh, 2006 and March 28, 2011, http://www.asmashikoh.com/gallery2.htm
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Asma Ahmed Shikoh. Home. 2003-2005.
Asma Ahmed Shikoh is Pakistani painter who migrated to Queens in 2002 after marrying her fiance, a business consultant in New York1. Home represent Shikoh’s personal journey as an immigrant, trying to derive ‘home’ from this foreign country especially after 9/111. In Vanwyck Boulevard, she paint New York subway map in Urdu style while at Self-portraits, she dressed Liberty Statue as herself: a Pakistani bride, an expecting mother, and finally a mother in this new country2. It is interesting to understand 9/11 through a muslim perspective who not only have to struggle adjusting to new environment and new dynamic in relationship, but also prejudice from the natives.
ART WORKS FOR EXHIBITION:HOME
632-660 Arab Expansion
611-632 Muhammad the Prophet
570-610 A Man’s Journey Muhammad was born around 570 A.D. in Mecca. When he was approximately 40 years old, he received revelations that become the basis of Islam.1
In the next 12 years Muhammad would spread his preaching in Mecca until he moved to Medina due to the threat from traders from his native city. In the rest of his lifetime, Muhammad would establish separation between Islam with Judaism and Christianity, conquer Mecca, and completed his preaching.1
Notes: 1. Henri Stierlin, Islam Volume 1: Early Architecture from Baghdad to Cordoba (Italy: Taschen Verlag GmbH, 1996), 15-18
After the dead of the Prophet, several caliphs lead Arabic Muslim community. The second caliph initiated Islamic expansion throughout the ancient world which resulted in the fall of Palestine, Syria, and most importantly the captured of Jerusalem in 638. 1
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650-1260 The Golden Age Islam achieve the highest period under Abbasids Empire where Islamic expansion spread throughout the world and prosperity that allow advance culture, arts, science, architecture, etc.
1260 onward The Decline of Islam The end of Islamic Golden Age start from the crusade, follow by Mongol Expansion, and the rise of Ottoman Empire.
American Muslim Post 9/11
Islam becomes synonymous with terrorism and spread of violence. As a result, Muslim American becomes the subject of prejudice and discrimination.
9/11/2001
CONCEPT: NARRATIVE OF ISLAMIC CULTURE
Notes: 1. Issam El-Said and Ayse Parman, Geometric Concepts in Islamic Art (Palo Alto: Dale Seymour Publication1976), 114 2. Keith Critchlow, Islamic Patterns: An Analytical and Cosmological Approach (Vermount: Inner Tradition, 1999), 24-32
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HEAVEN
EARTH materiality
HUMAN consciousness
One of very dominant elements of Islamic culture is the use of geometric patterns for their writings, arts, and most evidently in architecture. Through basic geometry forms, proportion systems, various ordering system, and creativity from the master’s; Islamic culture left us with infinite numbers of these intricate patterns1. Arguably, there are three basic geometry shapes that always in constant use because it symbolizes heaven, earth, and human2. Those shapes are: circle/hexagon, square, and equilateral triangle. These primary shapes have unique ability to fill a surface without leaving any gap2.
CONCEPT: GEOMETRY ANALYSIS
First conceptural model
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Second conceptual model
These conceptual models attempt to represent Islamic culture journey through time that start with humble one man journey (Prophet Muhammad) followed by the golden age and their decline. In term of geometry, the white element could be perceived as continuous and loop back as loose representation of circle. It create through series of triangles to represent humanity journey while square is represent by the existing site. Two-sided material is use to achieve different interior vs. exterior perspective as a reference on how different Islamic images are betweem those who understand vs. outsider.
CONCEPT: CONCEPTUAL MODEL 1&2
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Thrid conceptural model
Third model sketches
The third conceptual model is attempting to convey the ideas that imbedded in the first conceptual model while working with the site, existing building, and understanding of the circulation. The circulation itself can be divided into three categories based on it users; students, parents, and church-goers. This model also attempt to make the spiraling circulation more visible.
CONCEPT: CONCEPTUAL MODEL 3
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CONCEPT: MATERIALS
Fourth model sketches
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Fourth conceptual model
This model attempt to solve the difference existing and new architecture language mainly on the exterior facede. To maintain the idea of breaking through, the new addition will have the geometric language that will gradually become less extreme and toward the end become a line in elevation to mimic the existing architecture. It also incorporate the existing rigid geometry to be the structure although the structure become less rigid as it moving further from the building..
EXTERIOR FACADE
Roof Floorplan
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First Floorplan
Basement Floorplan
SCHEME 1: DRAWINGS
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Scheme 1 model
SCHEME 1: PHOTOGRAPHS
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Scheme 2 model
SCHEME 2: RENDERINGS
Sketch
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Rendering
Unroll pattern
Stainless steel structure, bended Empty Frosted clear glass Yellow glass with green screen and etched lines
Axonometric drawing
CUSTOM LIGHT FIXTURE
FINAL OUTCOME 04.30.2011.
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Renderings of exterior and exhibition space
SITE PLAN
B-9
B-8
B-10
B-7
ROOF PLAN
B-9
1/8" = 1' - 0"
B-3
B-2
B-4
B-8
B-10
OFFICE OPEN TO BELOW
B-5
OPEN TO BELOW
OPEN TO BELOW
B-6
B-7
MEZZANINE FLOOR PLAN 1/8" = 1' - 0"
STORAGE
B-3
A-7
B-2
CONFERENCE
THE DAWN OF ISLAMIC CULTURE EXHIBITION
A-8
A-6 OFFICE
GOLDEN AGE OF ISLAM EXHIBITION
OPEN TO BELOW
Roof plan
RECEPTIONIST/ OFFICE
A-5 A-1 BEGININNIG OF ISLAM EXHIBITION LOBBY
OPEN TO BELOW
EARLY ISLAMIC EXHIBITION
A-2 SEATING
A-3 A-4
GROUND FLOOR PLAN 1/8" = 1' - 0"
B-2
A-8
EXHIBITION OF GHOSTS BY KADER ATTIA
SEATING AREA
EXHIBITION OF HAREM SERIES BY LALLA ESSAYDI
B-1
SEATING AREA EXHIBITION OF PAINTING BY ASMA AHMED SHIKOH
RESTROOM
CLASSROOM TEACHER OFFICE
CLASSROOM
TEACHER OFFICE
RESTROOM
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B-3
B-2
B-4
OFFICE OPEN TO BELOW
B-5
OPEN TO BELOW
OPEN TO BELOW
B-6
MEZZANINE FLOOR PLAN 1/8" = 1' - 0"
Mezzanine plan
PLANS
STORAGE
B-3
A-7
B-2
CONFERENCE
THE DAWN OF ISLAMIC CULTURE EXHIBITION
A-8
A-6 OFFICE
GOLDEN AGE OF ISLAM EXHIBITION
OPEN TO BELOW
RECEPTIONIST/ OFFICE
A-5 A-1 BEGININNIG OF ISLAM EXHIBITION LOBBY
EARLY ISLAMIC EXHIBITION
OPEN TO BELOW
A-2 SEATING
A-3 A-4
GROUND FLOOR PLAN 1/8" = 1' - 0"
Ground plan
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B-9
B-8
B-10
B-7
B-2
Material selections
ROOF PLAN
A-8
1/8" = 1' - 0"
EXHIBITION OF GHOSTS BY KADER ATTIA
B-3
B-2
B-4
SEATING AREA
EXHIBITION OF HAREM SERIES BY LALLA ESSAYDI
B-1
OFFICE OPEN TO BELOW
B-5
OPEN TO BELOW
OPEN TO BELOW
B-6
SEATING AREA EXHIBITION OF PAINTING BY ASMA AHMED SHIKOH MEZZANINE FLOOR PLAN 1/8" = 1' - 0"
Furniture selections
RESTROOM
CLASSROOM TEACHER OFFICE
TEACHER OFFICE
RESTROOM STORAGE
B-3
A-7
B-2
CONFERENCE
CLASSROOM
THE DAWN OF ISLAMIC CULTURE EXHIBITION
A-8
A-6 OFFICE
GOLDEN AGE OF ISLAM EXHIBITION
OPEN TO BELOW
Basement plan RECEPTIONIST/ OFFICE
A-5 A-1 BEGININNIG OF ISLAM EXHIBITION LOBBY
OPEN TO BELOW
EARLY ISLAMIC EXHIBITION
A-2 SEATING
A-3 A-4
GROUND FLOOR PLAN 1/8" = 1' - 0"
B-2
A-8
EXHIBITION OF GHOSTS BY KADER ATTIA
SEATING AREA
EXHIBITION OF HAREM SERIES BY LALLA ESSAYDI
B-1
SEATING AREA EXHIBITION OF PAINTING BY ASMA AHMED SHIKOH
RESTROOM
CLASSROOM TEACHER OFFICE
CLASSROOM
TEACHER OFFICE
RESTROOM
followed by a story of rejection, betrayal, and successful conquest
Unfold wall of second exhibition space
the narrative begin with one Man’s humble journey
Unfold wall of first exhibition space
SECTION A-1
SECTION A-2
SECTION A-3
SECTION A-4
SECTION A-5
SECTION A-6
1/8" = 1' - 0"
1/8" = 1' - 0"
1/8" = 1' - 0"
1/8" = 1' - 0"
1/8" = 1' - 0"
1/8" = 1' - 0"
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Unfold wall of third exhibition space
Unfold wall of fourth exhibition space
SECTION A-7
SECTION A-8
1/8" = 1' - 0"
1/8" = 1' - 0"
Perspective of fifth gallery space
Series of sections for exhibition ramps
SECTIONS
SECTION BB-9 1/8" = 1' - 0"
SECTION B-10 1/8" = 1' - 0"
SECTION B-8
SECTION B-7
SECTION B-6
1/8" = 1' - 0"
1/8" = 1' - 0"
1/8" = 1' - 0"
SECTION B-5
SECTION B-4
1/8" = 1' - 0"
1/8" = 1' - 0"
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SECTION B-8
SECTION B-7
SECTION B-6
1/8" = 1' - 0"
1/8" = 1' - 0"
1/8" = 1' - 0"
SECTION B-5
SECTION B-4
1/8" = 1' - 0"
1/8" = 1' - 0"
SECTION B-3
SECTION B-2
SECTION B-1
1/8" = 1' - 0"
1/8" = 1' - 0"
1/8" = 1' - 0"
Series of sections for the second ramps that goes to the roof
SECTIONS
Ground floor reflected ceiling plan
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WALL SCONE
RECESSED FLUORESCENT STRIP
LED RECESSED
TRACK LIGHTING
Basement reflected ceiling plan
Lobby rendering with the custom light fixture BASEMENT REFLECTED CEILING PLAN 1/8" = 1' - 0"
REFLECTED CEILING PLANS
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Photographs of 1/2� scale detail model of the entry
DETAIL MODEL
Altman, Anna. “Never Quite Filling the Void: Kader Attia.” Art in America. September 24, 2009 and March 28, 2011, http://www.artinamericamagazine.com/news opinion/conversations/2009-09-24/kader-attia/ Critchlow, Keith, Islamic Patterns: An Analytical and Cosmological Approach (Vermount: Inner Tradition,1999), 24-32 Coomes, Phil. “Steve McCurry: Retrospective.” BBC. July 8, 2010 and May 12, 2011, http://www.bbc.co.uk/blogs/photoblog/2010/07/steve_mccurry_retrospec tive.html Curtis, William J.R., Modern Architecture Since 1900 (New York: Phaidon Press, Inc, 2009), 560. Dragan, Radu and Augustin Ioan, “ Jesus Inside” in Symbols and Language in Sacred Christian Architecture (Lewiston : The Edwin Mellen Press, 1996), 71-79. Eisenman, Peter, “The Deconstruction of the Axis. Daniel Libeskind, Jewish Museum, 1989-1999”, Ten Canonical Buildings 1950-2000 (New York: Universe Publishing, 2000), 230-254. El-Said, Issam and Ayse Parman, Geometric Concepts in Islamic Art (Palo Alto: Dale Seymour Publication1976), 114 Essaydi, Lalla. “Lalla Essaydi Harem.” Edwynn Houk Gallery. November 4, 2010 and March 28, 2011,http://www.houkgallery.com/exhibitions/2010-11-04_lalla essaydi/ Kiser, Kirsten, “Foreign Office Architects, Yokohama International Port Terminal, Yokohama, Japan”, Arcspace, October 28, 2002 and December 9, 2010, http:// www.arcspace.com/architects/foreign_office/yokohama/yokohama_index.html Kiser, Kirsten, “Morphosis, Wayne L. Morse, United States Courthouse”, Arcspace, January 22, 2007 and December 9, 2010, http://www.arcspace.com/archi tects/morphosis/us_courthouse/us_courthouse.html Kiser, Kirsten, “Olympic Architecture 2008, Introduction by Guoxin Ma”, Arcspace, August 11, 2008 and December 9, 2010, http://www.arcspace.com/books/ ol_2008/ol_2008.html Libeskind, Daniel, Breaking Ground (New York: Riverhead Books, 2004), 55-60. Libeskind, Daniel, Daniel Libeskind: The Space of Encounter (New York: Universe Publishing, 2000), 92-96 McCurry, Steve. “About Steve.” Steve McCurry. 2010 and May 12, 2011, http://www.stevemccurry.com/main.php Miller, Alice B. “Steve McCurry.” Hasselbald USA. 2009 and May 12, 2011, http://www.hasselbladusa.com/user-showcase/steve-mccurry.aspx Milles, Jack. Our Lady of the Freeways: Is Los Angeles’ New Cathedral Worth the Price? Commonweal (ProQuest, 2003) 13-18, Web. 16 Nov. 2009 Pitman, Joanna. “Unveiled: New Art from the Middle East at Saatchi Gallery” The Times. January 27, 2009 and March 28, 2011, http://entertainment.timesonline. co.uk/tol/arts_and_entertainment/visual_arts/article5592197.ece Scoot, Robert A., “ What Is the Gothic Look?” in The Gothic Enterprise: A guide to Understand the Medieval Cathedral (London: University of California Press, 2005), 103-120. Scoot, Robert A., “ An Image og Heaven” in The Gothic Enterprise: A guide to Understand the Medieval Cathedral (London: University of California Press, 2005), 121-133.
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Shikoh, Asma Ahmed, “Home (2003-2005)”, Asma Shikoh, 2006 and March 28, 2011, http://www.asmashikoh.com/gallery2.htm Sontag, Deborah, “The Intersection of Islam, America and Identity ”, New York Times, June 4, 2009 and March 28, 2011,http://www.nytimes.com/2009/06/07/ arts/design/07sont.html?_r=1&th&emc=th Stephenson, David, Heavenly Vaults: From Romanesque to Gothic in European Architecture (New York: Princeton Architectural Press Press, 2005), 155-186. Zaha Hadid Architects, “MAXXI: MUSEUM OF XXI CENTURY ARTS ”, Zaha Hadid Architects, 2009 and December 9, 2010, http://www.zaha-hadid. com/built-works/maxxi Stierlin, Henri, Islam Volume 1: Early Architecture from Baghdad to Cordoba (Italy: Taschen Verlag GmbH, 1996), 15-18 Trachtenberg, Marvin and Isabelle Hyman, Architecture from Prehistory to Postmodernity (New York: Harry N. Abrams, Incorporated, 2002), 505. True Confession. Building Design (ProQuest, 2003). 14. Web. 16 Nov. 2009. White, Alborg, Jose Rafael Moneo: Cathedral of Our Lady of the Angels (arcspace.com, 2002). Web. 16 Nov. 2009. Yonal, Acelya. “Lalla Essaydi’s Haunting Photography Flaring Morocco.” Swide, March 25, 2011 and March 28, 2011, http://www.swide.com/luxury-magazine/ Faces/Artists/lalla-essaydi/2011/3/25
BIBLIOGRAPHY NARRATIVE OF SPACES