Abu Dhabi Cultural Center | Graduation Project Thesis Book

ABUDHABI . CULTURAL . CENTER MULTICULTURESCONNECTING

ARC510 | Graduation Project I | Dr. Magdy Ibrahim Tasneem Elmandouh | 1065045 December 2021 | Fall2021-2022 College of Engineering Department of Architecture Graduation Thesis Book

Acknowledgement

I would like to express my greatest thanks to my instructor Dr. Magdy Ibrahim. His continuous support and guidance throughout this journey was what made this happen. Huge thanks go to all my professors at ADU whom I learned a lot from, especially Dr. Fida Isam who helped me a lot in my first year of architecture. Sincere thanks to Mr. Mark Powell, the head of architecture in the Department of Culture and Tourism of Abu Dhabi, for taking the time to answer my questions. My endless special thanks goes to my family, and my parents, who were always by my side supporting & encouraging me to do my best.

TABLE OF &INTRODUCTIONCONTENTSTYPOLOGYBACKGROUND 1.1. Selected Project & Why 1.2. Background Of Selected Type 1.3. History of the Project Type 1.4. Local Current & Future State 1.5. Research Question & Design Implications 1.6. Literature Review04030201 2.1. Precedent Studies Overview 2.2. Precedent 1 2.3. Precedent 2 2.4. Precedent 3 2.5. Precedent 4 2.6. Precedent 5 2.7. Comparison 3.1. Site selection criteria 3.2. Topography and contour 3.3. Natural features 3.4. Environmental analysis 3.5. Zoning & plot regulations 3.6. Historical development of the site 3.7. Site access and street network 3.8. Visual documentation 3.9. Sights and sounds documentation 3.10. Services and infrastructure 3.11 LYNCH Diagrams 3.12. Conclusions, Opportunities, and constraints 4.1. interview METHODOLOGY 4.2. DATA EVALUATION & CONCLUSIONS PRECEDENT STUDIES SITE USERANALYSISFEEDBACK 001003 187175131005077023 188176132006081025 207200191190182203197189179167009082027 171 123073021065127121125119117115113109097057011095049010083035 COLLECTIONDATA 5.1. Functions lists 5.2. Space standards 5.3. Local and international design codes & regulations 5.4. Design objectives0907070605 6.1. Description of the program 6.2. Process & calculations 6.3. Program Analysis 6.4. Program Matrices 7.1. Design Concept Summary 7.2. Site Response 7.3. Form Development 7.4. Program Layout 7.5. Graphics and Process Drawings 8.1. References 8.2. Images References BIBLIOGRAPHYBACKGROUNDCONCEPTUALPROGRAMMINGDESIGN 9.1. Interview Transcript 9.2. Local Standards APPENDIX 201195185173129

List of Figures Figure 1 Multiculturism Responses 12 Figure 2 Abu Dhabi's achievement in psychological connections 13 Figure 3 Multicultural city structure 14 Figure 4 Cultural center activities and their functions - according to Jurėnienė, 2012.. . . . . . . . . . . . . . . . 15 Figure 5 Modern Heritage benefit according to Abu Dhabi's Department of Culture and Tourism ..... 20 Figure 6 Form and open spaces for Rudong Cultural Center ...................................... 25 Figure 7 Rudong Cultural Center Ground Floor Plan ............................................ 26 Figure 8 Blocks Zoning - Rudong Cultural Center .............................................. 26 Figure 9 Nantong Cultural Center Ground Floor Plan Zoning .................................... 28 Figure 10 Nantong Cultural Center Plan to Elevation 28 Figure 11 Precedent 2 - Ground Floor Plan 29 Figure 12 Precedent 2 - First Floor Plan 29 Figure 13 Precedent 2 - Second Floor Plan 29 Figure 14 Precedent 2 - Basement Floor Plan .................................................... 30 Figure 15 Precedent 2 - Third Floor Plan ....................................................... 30 Figure 16 Precedent 2 - Fourth Floor Plan ...................................................... 30 Figure 17 Precedent 2 - Form & Circulation Axes ................................................ 31 Figure 18 Precedent 2 - Public Spaces & Atriums ................................................ 31 Figure 19 Precedent 2 - Horizontal Circulation, Shafts, & Public Staircases .......................... 32 Figure 20 Precedent 2 - Semi-Public, Private, & Service Spaces 32 Figure 21 MÉCA Cultural Center Form Diagram 35 Figure 22 MÉCA Cultural Center Program Diagram 35 Figure 23 Precedent 3 - Ground Floor Plan 39 Figure 24 Precedent 3 - First Floor Plan ........................................................ 39 Figure 25 Precedent 3 - Second Floor Plan ...................................................... 40 Figure 26 Precedent 3 -Third Floor Plan ........................................................ 40 Figure 27 Precedent 3 -Fourth Floor Plan ....................................................... 41 Figure 28 Precedent 3 -Fifth Floor Plan ......................................................... 41 Figure 29 Precedent 3 -Sixth Floor Plan ........................................................ 42 Figure 30 Precedent 3 - Form & Circulation Axes 43 Figure 31 Precedent 3 - Public Spaces & Atriums 43 Figure 32 Precedent 3 - Horizontal Circulation, Shafts, & Public Staircases 44 Figure 33 Precedent 3 - Semi-Public, Private, & Service Spaces .................................... 44 Figure 34 Precedent 3 - Structure Grid & Floor Outline ........................................... 45 Figure 35 Precedent 3 - Floor Outlines ......................................................... 46 Figure 36 Cultural Center Alb'Oru Plan to Elevation ............................................. 49 Figure 37 Cultural Center Alb'Oru GF Lit vs. Dark spaces ......................................... 50 Figure 38 Precedent 4 - Ground Floor Plan ..................................................... 51 Figure 39 Precedent 4 - Basement Floor Plan 51 Figure 40 Precedent 4 - : First Floor Plan 52 Figure 41 Precedent 4 - Site Plan 52 Figure 42 Precedent 4 - Form & Circulation Axes 53 Figure 43 Precedent 4 - Public Spaces & Atriums ................................................ 53 Figure 44 Precedent 4 - Horizontal Circulation, Shafts, & Public Staircases .......................... 54 Figure 45 Precedent 4 - Semi-Public, Private, & Service Spaces .................................... 54 Figure 46 Maunula House Plan to Elevation ..................................................... 57 Figure 47 Maunula House Program Diagram .................................................... 58 Figure 48 Precedent 5 -: First Floor Plan ........................................................ 59 Figure 49 Precedent 5 - Ground Floor Plan 59 Figure 50 Precedent 5 - Second Floor Plan 60 Figure 51 Precedent 5 -Site Plan 60 List of Tables Table 1 Nantong Public Cultural Center Areas 34 Table 2 Nantong Public Cultural Center Classroom Types & Areas 34 Table 3 MECA Cultural Center functions list .................................................. 37 Table 4 MECA Cultural Center Areas ........................................................ 47 Table 5 Cultural Center Alb'Oru Functions List ............................................... 50 Table 6 Cultural Center Alb'Oru Areas ....................................................... 55 Table 7 Maunula House functions list ........................................................ 58 Table 8 Maunula House Areas ............................................................... 63 Table 9 Diagrams Comparison 66 Table 10 Diagrams Comparison 68 Table 11 Diagrams Comparison 2 70 Table 12 Precedent Areas Percentages Comparison .............................................. 71 Table 13 Precedents Areas per capita Comparison .............................................. 72 Table 14 AD Cultural Center Function List ................................................... 131 Table 15 Minimum Area of cultural centers in the UAE according to (DMT, 2020) ................. 175 Table 16 Program Zones Area ............................................................... 175 Table 17 Precedents Area per capita percentages ............................................... 176 Table 18 Selected Precedents Areas and areas per capita 177 Table 19 Average Area per capita + Program Areas for Abu Dhabi 178 Table 20 Finalized Program List 179 Table 21 Functions Grouped Total Areas 180 Figure 52 Precedent 5 - Form & Circulation Axes ................................................ 61 Figure 53 Precedent 5 - Public Spaces & Atriums ................................................ 61 Figure 54 Precedent 5 - Horizontal Circulation, Shafts, & Public Staircases .......................... 62 Figure 55 Precedent 5 - Semi-Public, Private, & Service Spaces .................................... 62 Figure 56 Program Zones Area & Percentages Graph 175 Figure 57 Population - Cultural Center Area Graph 176 Figure 58 Zones Divisions and Areas 181

INTRODUCTION & TYPOLOGY BACKGROUND 1.1. Selected Project & Why 1.2. Background Of Selected Type 1.3. History of the Project Type 1.4. Local Current & Future State 1.5. Research Question & Design Implications 1.6. Literature Review 1 1 2

Introduction & Typology Background Introduction & Typology Background Project | Abu Dhabi Cultural Center: Connecting Multicultures

Many cultural sites have been developed here in Abu Dhabi through the past years, and renovations have been done to some of them. These significantly important sites include Qasr Al Hosn developments, Heritage Village, National Theater, and the museums district in Saadiyat Island. All these cultural sites are closer to being historical or cultural exhibitions where visitors come to know about the Abu Dhabi’s revolution and background. However, there is no specific place or center that is celebrating and connecting the multiculturalism of Abu Dhabi. In other words, Abu Dhabi needs a place that is open to all cultures all the time, for them to come and feel connected to the culture of Abu Dhabi and feel they are part of it. This can be achieved by creating a center that will focus on what connects the multicultural structure of Abu Dhabi, and provide a theme related to this. The theme of the building would combine many activities under the scopes of Learning, Entertainment, Exhibiting, and common Public Activities. Living in UAE means living with +200 nationalities. The outcome of this fact is a multicultural city that is be full of experiences and multiple backgrounds. Many multicultural cities worldwide have used this for their own benefit and developed cultural centers that gather all these nationalities in one exciting building. A vivid an exceptional city like Abu Dhabi deserve the most to have a place where everyone from all countries are welcomed to come, learn, relax,, have fun, and most imortantly celebrate their differences. (Shirk & Klepper,

+200 1.1. Selected Project & Why “Architecture is the outcome of how we deal with the environments, and culture is the result of how architecture responds to the environment”

1992). The way we deal with the environments = Architecture Different Environments = Different Architecture Different Architecture = Different Cultures! RESPONSE ENVIRONMENTSENVIRONMENTSTODIFFERENT ARCHITECTURESARCHITECTUREDIFFERENT DIFFERENTCULTURECULTURES 3 4

These type of spaces weren’t to be accessed freely by citizens, its role was just for the political public gatherings or competitions. As a result, they weren't open to everyone all the time. Pantheon's Activities included oratory, poetry reading, attending theatres, discussing politics, ...etc (Cartwright, 2012). In the Colosseum featured major public entertainments that era which included gladiator fights, wild animal hunts, and executions (Cart wright, Colosseum, 2018). History of the Project Type

Architecture

Cultural centers, museums, and libraries have been considered as cultural ambassadors, that create a cultural bridge between the identity of the city and its residents (Mariano & Vårheim, 2021). National Identity is what expresses the historical continuation of a country towards its future and beyond, and it is what connects a group of people to a specific geographical location (Miller, 2000). This is what gives the cultural centers its significance and makes it one of the tools to express and deliver the identity or the character of the city.

1.2.2. Evolution of Cultural Centers

125AD 5 6

1.2. Background & Description of Selected Type

Image 1: Parthenon; Athens, Greece (447-423BCE) Image 2: Colosseum in Rome, Italy (70 AD) Image 3: Pantheon in Rome, Italy (120-124 AD) 450BCE

1.2.3. Role of Cultural Centers

1.3.1. Ancient Cultural Buildings (450BCE - 125 AD)

1.3.

1.2.1. Migration & Architecture Architecture is the physical expression of the transformations of a city that happened and still happening throughout its history (Beynon, 2009). As seen in many cities worldwide, the historical buildings have delivered the messages of that period of time to everyone who saw it. It expressed how they lived, ate, worked, worshipped and so on. Part of humankind history is the migration of tribes and communities from a place to another either searching for better location, education, money sources, and other. By now, many cultures are living together sharing the same living place, which has delivered us the term ‘multiculturism’.

(Abu Dhabi Department of Municipalities and Transport (DMT), 2020)

Materials Due to the primal building techniques, each country would use their local sources and local architectural style in their cultural buildings. While in the Pantheon (Image 3), it featured one of the first mixed architectural styles: it combines the classical Greek in the porch with the Roman style in the magnificent Dome (Khaled & Dewidar, 2016). Culture

As the immigration rates increased, countries had to create spaces in which their local culture and new cultures are expressed, and at the same time allow for people who are interested in other cultures to come and learn about it. The cultural centers are being more popular now because of the technological trends; people are exposed to cultures worldwide and many of them are eager to get involved with it. Immigrants has a significant impact on a city’s architecture. Either the newcomers would come and change the way the buildings were used to be built according to their knowledge (Donovan, 2008), or the city itself changes the way it looks to be more welcoming and familiar for the multi-cultures (Ehrlich, 2009). These changes are possible to be not accepted by the citizens or original people of the city, as it may be perceived as if their culture is being destroyed or replaced (Beynon, 2009). However, if we look deeply in the history of multicultural cities, we can find that the immigrants’ architecture, business startups, and thoughts are a huge benefit for the city or the country they live in. Moreover, they can encourage the citizens to perceive their home country in a different way (Donovan, 2008).

“Cultural Centre: A Community Facility that provides services that are intended for the enrichment of the public through the enjoyment and appreciation of the arts, culture and/or heritage. A cultural centre acts as a hub of activity by addressing the needs of people and their social, cultural and environmental values. These include museums, arts/performing arts centres, galleries, visitor welcome centres and amphitheatres.”

A Cultural Center is A public building or site for the exhibition or promotion of arts and culture, especially of a particular region or people (Cultural Center, n.d.).

Introduction & Typology Background Introduction & Typology Background

Purpose The ancient cultural buildings were either built to be dedicated for a goddess, or to magnify a ruler, or to per form religious / political events. For instance, the Parthenon (Image1) was built as a temple, that expresses the strength of the Greek at that time (Cartwright, 2012). The Pantheon (Image3) also was probably built as a temple, and also for public gatherings with the emperor (Khaled & Dewidar, 2016). The Colosseum (Image2) was built as a place for public events, and it was the largest amphitheatre in the Roman Empire (Cartwright, Colosseum, 2018).

The form would be grand, rigid, and bulky, to give it that strong presence and to satisfy its role in the commu nity. It had to be designed in the most dominant way to give the impression of solidarity and strength either expressing the country's identity of the ruler's power. As an example, the Parthenon (Image1) combined an old style (Doric) with what was new back then (Ionic). The design was aiming to give the building an aesthetic view of being lifted up, and this was achieved by the columns that get thinner at the top (Cartwright, 2012).

Cultural centers haven't been popular until 10-20 years ago; however, old cultural buildings such as the Colosseums, museums, and opera houses had the same role and the same relationship with the visitors.

1.3.2. Modernism Cultural Buildings (1900 - 1960)

Reaching the modernism era, the cultural buildings started to include activities from all disciplines and interests to invite more visitors to the center.

Materials The most popular and used material was concrete, as a result of its evolution in that time. It allowed for more curved and innovative forms. The Guggenheim Museum consists of reinforced concrete cylinder that takes the form of a swirl curving up to the sky (Perez, 2010).

Image 4: Solomon R. Guggenheim Museum, New York, USA (1939) Image 5: Lincoln Center in New York, USA (1955)

Materials

The plazas at this stage are in every cultural building, especially the ones that allow for outdoor public Room.

The purpose of cultural buildings in that era was more related to the arts and exhibitions more than political or religious reasons. These buildings created exceptional landmarks, and were easier to be accessed by the public.

In this era, the cultural buildings became more open to the community.

Purpose & Culture

Purpose & Culture

1960 1990 Image 6: Pompidou center in Paris, France (1971) Image 7: Sydney Opera House in Sydney, Australia (1973) Image 8: Guggenheim Museum in Bilbao, Spain (1997)

Introduction & Typology Background Introduction & Typology Background

1.3.3. Post-modernism Cultural Buildings (1960 - 1990)

The materials included were common because of the global technology and transportation. Buildings were mainly constructed from Steel and Reinforced Concrete. Pompiduo Center was built using steel, glass, and colored tubes, that gave it its exceptional look (Crook, 2019).

The form is still affected by the technology in which new shapes and designs were achieved in this period. For example, the Sydney Opera House (Image7) have been considered as a ‘masterpiece’ that has also played a huge role in expressing the human ability and creativity (World Heritage Places - The Sydney Opera House, n.d.). In the Pompidou center (Image6), the whole building was placed on the edge of the plot to provide max imum urban outdoor room for the visitors where they can meet, interact, see arts, and practice theatre (Crook, 2019). Architecture Pompidou center designed to feature exposed structure and MEP along with flexible spaces for different pur poses and art exhibitions. It was a successful example of an urban cultural building that was described as an ‘big urban toy’. The remarkable escalator takes the visitors from the ground level to other exterior corridors and viewing decks (Crook, 2019). While the Sydney Opera House consists of 3 groups of interlocking shells placed on a platform of terraces, with a large pedestrian area surrounding the building (World Heritage Places - The Sydney Opera House, n.d.). Coming to the Bilbao Guggenheim's architecture, it features curving and swirling forms that were significantly attractive to the whole world. It has even created a strong keyword ‘Bilbao effect’ which is referred to the transformation effect of such buildings to their cities (Pagnotta, 2013).

7 8

Architecture The form at this stage is flexible due to the evolution of building technology, curved surfaces and slanted ele ments are easier to build. The idea of public plazas in cultural centers started to come to the surface, in which public events became open to everyone and visitors started interacting with each other. The exceptional façades and new materials helped the cultural buildings state their position in the community and helped them get considered as landmarks. Moreover, the architectural style was closer to the people and wasn't rigid or too grand, on the contrary, it was simpler and more humble in scale than historical cultural sites.

19601900

Lincoln Center (Image5) was built as a brand-new center for performing arts in New York (Duffin, et al., n.d.). Guggenheim Museum (Image4) with its organic curves, it forms a well-known landmark for both visitors and pedestrians passing by the building (Perez, 2010).

Introduction & Typology Background Introduction & Typology Background 1.4. Local Current & Future State As per the Department of culture and tourism 2019's report (refer to APPENDIX A), the following categories and the buildings are the ones that are located in the city of Abu Dhabi: Modern Heritage Buildings 1. Cultural Foundation Saadiyat Cultural District Museums 3. Louvre Abu Dhabi 4. Guggenheim Abu Dhabi - 2025 5. Zayed National Museum - 2022/23 51 62 73 48 + 9 Image 9: Cultural Foundation Image 13: Zayed National Museum Image 10: Qasr Al Hosn Image 14: Manarat Al Saadiyat Image 11: Louvre Abu Dhabi Image 15: Bait Al Oud Image 12: Guggenheim Abu Dhabi Image 16: House of Artisans & Bait Al Gahwa Research Question The research question is to be related to the multiculturism and how to attract them to a cultural center. How can architecture help bring multicultures together? Design Implications 1. Architectural Styles 2. Interior Design of the exhibitions 3. Outdoor Urban Spaces 4. Activities to be included 5. Attractions for the public 1.5. Research Question & Design Implications Historic Buildings and Museums 2. Qasr Al Hosn Community Centers 6. Manarat Al Saadiyat 7. Bait Al Oud 8. Bait Al Gahwa 9. House of Artisans 9 10

Conservative Changes

Architecture is the physical expression of the transformations of a city that happened and are still happening throughout its history (Beynon, 2009). As seen in many cities worldwide, the historical buildings have de livered the messages of that period of time to everyone who saw it. It expressed how they lived, ate, worked, worshipped and so on. Part of humankind history is the migration of tribes and communities from a place to another either searching for better location, education, money sources, and other. By now, many cultures are living together sharing the same living place, which has delivered us the term ‘multiculturism’.

Conservative Changes

Common Style Small changes to the city while keeping its original architectural Citystyle finds a common style be tween all newcomers and im plement it to help them feel at home.

2.architectureCitychanges its style

1.6. Literature Review Complete

Another thing to accept about multiculturalism is that it should be thought as if it is an upgrade to the existing architectural style of the building, and not a total replacement (Beynon, 2009). People who are travelling to other countries are more exposed to multiple types of building and architecture, and can have another point of view for better buildings. The changes done are better done when respecting the original culture of the city (Ehrlich, 2009).

Multiculturism Responses 321 Figure 1: Multiculturism Responses 11 12

1.

Complete Changes

Finding A Common Style

1.6.1. Architectural Responses To Multiculturism

Another way to address the multiculturism phenomenon is to use a common architectural style between the citizens and the newcomers. This way you preserve the original culture of the building, and at the same time you helped the visitors to feel they are not away from home (Arif & Cetin, 2011). An example of such a style is the Arabesque. It is an Islamic style that has been used for ages in the Arabic region, and became no longer restricted to the Arab region nowadays. This is because of the multiculturism nature of the city of Anatolia in Turkey that has welcomed immigrants from many cultures, that in a way or another affected some styles that were used locally in those days back (Ghanbari, 2019). It can be perceived as a “phenomenon” that has been improving and gaining accumulations by the history and the various communities using it (Ghanbari, 2019). It was used as a result of the multicultural Islamic community that has been formed in the city, and it is still used till our day. An important thing to consider while designing for a multicultural context is to consider the spatial features of the space and avoid favouring one style over the other styles, this way you maintain the balance between the cultures and again protect the harmony between them (Remali A. M., Salama, Wiedmann, & Ibrahim, 2016). Changes New comers shape the city's

Immigrants has a significant impact on a city’s architecture. Either the newcomers would come and change the way the buildings were used to be built according to their knowledge (Donovan, 2008), or the city itself changes the way it looks to be more welcoming and familiar for the multi-cultures (Ehrlich, 2009). These changes are possible to be not accepted by the citizens or original people of the city, as it may be perceived as if their culture is being destroyed or replaced (Beynon, 2009). However, if we look deeply in the history of multicultural cities, we can find that the immigrants’ architecture, business startups, and thoughts are a huge benefit for the city or the country they live in. Moreover, they can encourage the citizens to perceive their home country in a different way (Donovan, 2008).

Introduction & Typology Background Introduction & Typology Background

What has been achieved - AD

Introduction & Typology Background Introduction & Typology Background

Combining all cultures to live together

1.6.3. Multicultural Urban Spaces

Another example of a multicultural city is Santa Fe in United States. It is common to hear languages, try cui sines, and see beautiful architecture from all over the world, and this is what makes is attractive to users as well as stressing on the idea of accepting all cultures and live together in harmony (Shirk & Klepper, 1992). Europe

1.6.2. Cultural psychological connections with architecture Architecture has always been connected to the cultures throughout the years. It is the outcome of how we deal with the environment around us (Ehrlich, 2009); how we feel about the environment and the ways to improve it. As a result of the increasing rate of Immigration in the world, the importance of the psychological contribu tion of architecture has also increased (Ghanbari, 2019). A multicultural city has two ways to deal with it; either to combine all the cultures together and allow for the interaction between them, or to separate them and divide the country’s community to smaller communities. Since the second solution can eventually lead to tearing up the community (Ghanbari, 2019), it is better to go with the first one. The city of Abu Dhabi is following the first appraoch, in which you can see that all cultures are mixed in the community and no clear divisions of the cultures among the city. To allow for the interaction between the citizens of the country and the newcomers from all around the world, it is important to design the city in a way that always drives them to meet. One way is to initially accommodate groups from multiple cultures in the same or adjacent neighbourhoods (Ghanbari, 2019). This should be done along with spreading the word of understanding culture, similar to what the leaders have done here in UAE, and stress on the power of the multiculturalism as an advantage rather than a disadvantage. Another way is to design new public spaces that are exposed and welcoming to everyone to learn about the country they live in and also share what their cultures to the citizens (Ghanbari, 2019). Addressing multiculturalism should not be done only through economic developments, but also by removing the psychological barriers that may exist between the cultures (Remali A. M., Salama, Weidmann, & Ibrahim, 2018). These ways depend on the psy chological effect where a functional application of architecture can help a lot in getting these cultures together.

According to Remali A. M., Salama, Weidmann, & Ibrahim (2018), a multicultural city can be categorized into 3 main parts: Original community, Developed countries’ Immigrants, and Developing countries’ Immigrants. The change from having 1 community to 3 communities, same like here in Abu Dhabi, have its effects on the social cohesion. To maintain this cohesion, a creation of urban spcaes is needed. This way they can share their thoughts, identities, cultures and have a sense of belongingness (Remali A. M., Salama, Weidmann, & Ibrahim, Toronto2018).

Figure 2: Abu Dhabi's achievement in psychological connections

Figure 3: Multicultural city structure according to Remali A. M., Salama, Weidmann, & Ibrahim (2018) 13 14

Original Community Immigrants from Developed Countries More Urban Spaces To maintain Cohesion • Accessible by everyone • House multiple activities Immigrants from Developing Countries

What can still be achieved - AD Public spaces that are more flexible and visitor-oriented Showing their culture & history to newcomers Allow for more interactions Spreading the words for understanding & tolerance People to come celebrate & present their cultures

is a multicultural city like Abu Dhabi that also had the problem of not having a place for such activities, and that is why they designed cultural spaces that are distributed through the city and good landscaped for people to get to know more about the newcomers (Donovan, 2008).

Multicultural city Structure

an cities have been gradually changing their “social landscape” from single to multi-cultural styles because of the huge impact of globalization and tourism (Remali A. M., Salama, Weidmann, & Ibrahim, 2018).

Introduction & Typology Background Introduction & Typology Background

1.6.4. Inside a Cultural Center Activities Of Cultural Centers

Educational Activities Of Cultural Centers

Tolerance

Cultural Center Activities

Common activities, Outdoor urban spaces, Various Artistic exhibitions, and international symposiums

Popularity of multicultures High quality leisure time

The start of Abu Dhabi's story is ancient, and is not since the Etihad like many people would think. Near the middle of 17th century, Bani Yas tribe were the main core of today's competitive Emirate of Abu Dhabi. Bani Yas was the largest tribe in the region at that time, and they used to called the city of Abu Dhabi as 'Mleih' which means salt in arabic emirati dialect. This is to reference for the gulf and 'Sabkhas' at the coasts of Abu Dhabi where they used to come for fishing, diving and salt collecting (The Story of Abu Dhabi and its people, n.d.).

Figure 4: Cultural center activities and their functions - according to Jurėnienė, 2012. Galleries, Exhibitions, and Theatres Galleries, Exhibitions, and Theatres

Promotion of contemporary culture Education of cultures

The Town

The following phase of Abu Dhabi is a "thriving and prosperous town" that has become a great location for social exchange and hospitality. This was a result of trading goods, pearl diving, and exchanging the stories among cultures. In this period, fishing remained a significant activity that provided the main feeding source for the residents, visitors, and the animals. The pearling industry flourished in this period, and it was an im portant source of income and job opportunities for the Gulf Coast people. The exchange of goods supplied the town of Abu Dhabi with textile, spices, minerals, and others, that were later placed in the market for people to buy and use (The Story of Abu Dhabi and its people, n.d.). The main core of multiculturism was through the trading ships that reached Basra, India, the East coast of Africa and beyond. Qasr Al Hosn was built in this period as a fort to defend Abu Dhabi from invaders, and Sheikh Zayed Bin Khalifa united the tribes of the region and formed partnerships with peoples from other cultures.

Emerging City

1.6.5. Abu Dhabi's Culture Abu Dhabi - 'Mleih' city

"People from all over the world came to live and work in Abu Dhabi, bringing with them their own cultures and adding to the diversity of Emirati life". This resulted in the need for a bigger city to house all these people. As a result, roads started to emerge, and the dwellings started to spread out around Qasr Al Hosn. Shiekh Zayed had a futuristic look in the late 1960s and started to develop the required infrastructure for a contemporary city. He gave priority to dwellings, schools, health services, and transport. Al Maqta' bridge was the first connection between the City of Abu Dhabi and the Mainland, and the airport was the first connection to the rest of the world (The Story of Abu Dhabi and its people, n.d.).

Educational activities are important in cultural centers, but it needs to be used in the right way. Different ways of education must be provided for different users with different age groups. Classrooms, Workshops, and lectures are beneficial for elderly people and youth. While the teenagers and children need a different way of learning. This can be achieved through the play roles, story telling, games, music and art shows (Jurėnienė, 2012).

Another thing that cultural centers deliver to the community is tolerance. Not only tolerance among cultures, but also the tolerance of the younger people to the elderly people. The is because the experience of the elder generation is delivered in the cultural centers, working as a mean of communication through the history (Ju rėnienė, 2012). A cultural center that features different artistic groups, and international symposiums / sem inars would remarkably provoke "the inter-cultural co-operation". When the different artistic groups present and work in the same place, they get to learn about other cultures' art and handicrafts, and this is one of the most important ways to develop tolerance among cultures.

A Global City Heading To Future

15 16

“A person who does not know their past cannot make the best of their present or their future.”

The change rate in this period is increasing, the population is growing bigger and bigger due to the stability.

Protection of cultural heritage

Cinemas, Outdoor areas, Amphitheatres, Terraces, Restaurants, and Cafés. Elderly: Classrooms, Lectures, Libraries, Reading Spaces, and Workshops. Children: Games, play roles, and story telling.

The activities of cultural centers can be divided into 4 main categories: Popularity of multicultures, promotion of contemporary culture, protection of cultural heritage, creation of high-quality leisure time, and education (Jurėnienė, 2012).

Now, Abu Dhabi is the real manifestation of a global city, housing +200 nationalities in the same city that all live in harmony. The people of Abu Dhabi has formed a "small coastal community" that later grew into a town, an emerging city, and finally a global high-rise city that is welcoming and attracting people from all around the world. "Today Abu Dhabi is a dynamic and diverse city that continues to evolve, expand and reinvent itself. Existing buildings will be restored and linked together through the creation of inviting new spaces. A dynamic yet thoughtful interpretation of the indigenous landscape will transform this symbolic city centre into a vibrant new social and cultural destination" (The Story of Abu Dhabi and its people, n.d.).

Sheikh Zayed Bin Sultan Al Nahyan, Founder of the United Arab Emirates

THECITY'MLIEH' THETOWNSMALL » Small cluster of Arish buildings and dwellings » Fishing and diving are the main activities » The Abu Dhabi island is not connected to the mainland » Qasr Al Hosn is built » Exchanging goods, Trade and Pearl Diving are the main Activities » Multiculturism and Introduction of other cultures EMERGINGCITY GLOBALCITY » Mid-rise Towers » Discovery of Oil » The formation of the big city for the future » Al Maqta bridge was built » First AD airport was built to connect to the world » High-rise towers » Oil indsrty, and tourism are the main source of income » Multiculturism is at its maximum with +200 nationalities 1 2 4 3 17 18

Provides Sense of Community & Belongingness

• It demonstrates a high degree of creative or technical achievement during a particular period.

What are the criteria for registering modern heritage?

• It has special association with the life or works of a person, or group of persons, of importance."

"A modern heritage site shall be listed on the Register of Modern Heritage of Abu Dhabi if it is culturally sig nificant and satisfies one or more of the following criteria:

Image 25: UAE's Vision 2021 Figure 5: Modern Heritage benefit according to Abu Dhabi's Department of Culture and Tourism 19 20

• The site is important because of its aesthetic value.

• The site is important in demonstrating the evolution or pattern of Abu Dhabi’s history.

"The modern heritage of Abu Dhabi refers to cultural significant examples of architecture and urbanism that narrate the significant historical, socio-cultural, and economic changes that took place in the Emirate since the distribution of wealth generated from the export of oil" (Modern Heritage , n.d.).

1.6.6. Abu Dhabi's Modern Heritage & Vision 2021 What is Abu Dhabi’s modern heritage?

Image 17: Abu Dhabi Bus Station Image 21: UAE University Image 19: Al Otaiba Building Image 22: Cultural Foundation Image 18: Al Ibrahimi Building Image 23: Sheikh Zayed Bin Sultan Al Thani Mosque Image 20: Zayed Sports City Image 24: Abu Dhabi Chamber of Com merce Industry

• It has strong or special association with a particular community, locality or cultural group for social or cul tural reasons.

It can be any spaces or buildings that has elements in its design, landscape, structure, sites that has a strong potential to be important because of their beauty, location, historical significance, or any connection/values to people of today or the past or the future. It is thought as to be a fundamental element of Abu Dhabi's true heritage and identity. The main significance of the modern heritage is in the site itself and its characteristics such as material, spatial configurations, and forms that help emphasize on its identity, and its connection to the culture (Modern Heritage , n.d.).

Modern Heritage SustainabilityBenefitsbyreducing the demolition and redevelopment Diversify the Economy Nurturing Abu Dhabi to become a cultural capital

Why is Modern Heritage Significant?

• The site is unique, rare, uncommon or contains endangered aspects of Abu Dhabi’s cultural heritage.

• It is important in demonstrating the principal characteristics of a particular type or period.

• It exhibits developments in architecture or technology, monumental arts, town-planning or landscape design" (Modern Heritage , n.d.).

Introduction & Typology Background Introduction & Typology Background

• It has the potential to contribute to an understanding of Abu Dhabi’s history.

It helps to collect the different partial history of Abu Dhabi's city. It gains its importance from its role in empha sizing on the " historic, political, symbolic, social, economic, aesthetic or technological values". The sites that are considered as parts of the modern heritage move share the same elements; which is having an important event or a person that had contributions to Abu Dhabi's history to narrate and express about. As per the examples of these 8 pictures, modern heritage sites or buildings can be important for their beauty, history, or technological presence that are expressed in their architecture of their psychological connection with the visitors (Modern Heritage , n.d.).

PRECEDENT STUDIES 2.1. Precedent Studies Overview 2.2. Precedent 1 2.3. Precedent 2 2.4. Precedent 3 2.5. Precedent 4 2.6. Precedent 5 2.7. Comparison 2 21 22

Precedent Studies Precedent Studies 2.1. Precedents Overview CulturalRudongCenter NantongCulturalPublicCenter Architects: TJAD Area: 30,000 m² Year: Country:2020China Architects: TJAD Area: 52,486 m² Year: Country:2018China CulturalMÉCACenter CulturalCenterAlb'Oru MaunulaHouse Architects: BIG Area: 18,000 m² Year: Country:2019France DevauxArchitects:&DevauxArchitectsArea:2,888m²Year:2015Country:France Architects: Country:Area:ArchitectsK2S2,812m²Year:2017Finland 23 24

2.2.1. Reasons of Selection

2.2.2. Design Concept

VIP AirExhibitionreceptionroomscoffeebar Library Reading Children’shallreading room Multimedia reading room Periodical and newspaper reading Readingroomroom for blind people Cultural Center Restaurants, bars Elderly activity rooms Children activity room RehearsalTheatres halls Cosmetic OfficesClassroomsExhibitionroomshalls

The Cultural Center covers an area of 13,861 m2 over 3 floors. The Library covers 28,670 m2 of the whole area, and features 4 stories. It is entered from the second level of the platform. The important spaces such as the read ings rooms are revolving around the atrium and the cen tral reading hall. The Museum covers 9954 m2 distributed among 3 floors.

2.2.4. Conclusions

» Atriums with skylights are ideal for buildings that has deep spaces, and especially when these spaces are read ing rooms, exhibition spaces, and other main halls.

Image 26: Curved edge representing strong waves

Image 28: Rudong Cultural Center Aerial view

It is inspired by the city of Rudong itself, which is known for the name ‘Golden Coast’ from its southern yellow sea waves and sandy beach. This is represented by the curved forms protrud ing up from the curved platform that is also de signed on a smoothly curved landscape (Rudong Culture Center, 2019). The strong presence of the edges of the building represent the strong strikes of the yellow sea’s waves hitting the coastal reefs. “Its ups and downs gradually change in architectural form, which re flects the sea style of surging tide. The dense and compact elevation has excavated a part of the en trance, which is the impression left by the reefs af ter the waves.”

Image 27: Elevation; the façade treatment reveals the entrance Figure 6: Form and open spaces for Rudong Cultural Center

It is built in the same context of the last project, but with a different treatment of the façade and form. It is composed of neat linear treatments combined on the façade and form. It features a huge platform that connects the 3 blocks together providing a public urban space for the center.

Image 29: Elevation; the façade treatment reveals the entrance Figure 7: Blocks Zoning - Rudong Cultural Center

» Combining between Libraries, museums, and cul tural spaces allow for public interactions and sharing interests.

Figure 8: Rudong Cultural Center Ground Floor Plan Museum Office rooms

2.2.3.Program, Spaces, Function It mainly includes a library, a cultural center, and a museum. The 3 functions are separated in the 3 blocks but connected all with a large platform. The platform also features large ramps and staircases for the different levels. The three forms differ in shapes that create a varied architectural interface. The platform is also used for public gathering, outdoor exhibitions, and large-scale public activities. All of the 3 main functions create a cultural atmosphere allowing public interactions through atriums, open spaces for reading, theatres, multipur pose spaces, exhibition halls, lecture halls, and others.

Precedent Studies Precedent Studies 2.2. Precedent 1 | Rudong Cultural Center

25 26

Introduction: The building is slanted through the base periphery which by itself give the building a unique shape. The plazas are all integrated and connected to the main hall / atrium.

“Egrets in the sunglow ahead to fly” They had the challenge of non-historical context and lack of urban spatial characteristics since the context was a new urban district that the architects had to deal with. The team got inspired by the egrets (a type of white birds) that they found in the site and along the riverside during their site studies. The form of the building depicts a white bird opening its wings to the sky in addition to the south curtain walls that open to the lake (Nantong Public Cultural Center / TJAD Time & Space Architecture, 2021).

Image 30: Nantong Public Cultural Center Aerial view

It has an interesting form that features a lot of ar chitectural elements, including extended slabs for shading, inward curves for entrances, slanted walls with diagonal mullions, and perforated screens. Each side of the building is designed to get the maximum views and shaded spaces.

1 Shared Atrium 2 Cultural Center Foyer 3 500 Audience Hall 4 Powder Room 5 Toilet 6 Office 7 Dance Rehearsal 8 Martial Art Fitness 9 10TaekwondoCareerExperience Hall 11 Inner courtyard 12 Coffee and Break Area 13 Exhibition Hall 14 Open for Inspection 15 Service Hall 16 Waiting Area 17 Electronic Reading Area 18 100 Lecture Hall 19 Library Foyer 20 Atrium 21 Newspapers Reading Area 22 Children’s Reading Rooms 23 Reading Room for the Blind 24 Picture Book Reading Room 27 28

Image 32: Nantong Public Cultural Center South Facade looking to the lake

Figure 9: Nantong Cultural Center Ground Floor Plan Zoning

Unfolding: The roof is extended along the building to give the ‘wing effect’. It curved remarkably at the south façade to enhance the views. The functions inside include a black box theatre, a library, an auditorium (cap. of 800), archives, and a comprehen sive activity center for all age groups. The building empha sized on the importance of public cultural service, interac tion, participation, and healthy living which all helped to present a new cultural lifestyle for the city.

» The importance of having a public connection between the different parts of the building. » Atriums represent a good feature in a cultural centeras it can be used for entrances, main halls, and publicgatherings. » Atriums and inner courtyards enhance the indoorquality with its glazing and double/triple heightvolume.

2.3.2. Design Concept

Image 31: Nantong Public Cultural Center Facade

2.3.1. Reasons of Selection

2.2.3.Program, Spaces, Function

The building is comprised of 3 main blocks (figure 4): cultural center (10,000 m2), library (10,000 m2), and ar chives (5,000 m2). However, the form is continuous and aims to connect the three functions by a large atrium in the middle. The design also features Introduction, extension, and unfolding to give the building a look of a fluid seamless block.

Precedent Studies Precedent Studies 2.3. Precedent 2 | Nantong Public Cultural Center

Extension: The main elevation is the south one that is to the lake side (image 21). The building form extends to that side to provide the maximum views for all the functions, the library, cultural center, and the atrium.

Figure 10: Nantong Cultural Center Plan to Elevation

2.2.4. Conclusions

Figure 11: Precedent 2 - Ground Floor Plan Figure 12: Precedent 2 - First Floor Plan Figure 13: Precedent 2 - Second Floor Plan 2.3.5. Drawings Analysis Figure 14: Precedent 2 - Basement Floor Plan Figure 15: Precedent 2 - Third Floor Plan Figure 16: Precedent 2 - Fourth Floor Plan Public Semi Public Atriums Private Services Vertical Shafts Public Stairs Horizontal Circulation Precedent Studies Precedent Studies29 30

Figure 19: Precedent 2 - Horizontal Circulation, Shafts, & Public Staircases Figure 20: Precedent 2 - Semi-Public, Private, & Service Spaces Precedent Studies Precedent Studies31 32

Figure 17: Precedent 2 - Form & Circulation Axes Figure 18: Precedent 2 - Public Spaces & Atriums

HORIZONTAL CIRCULATION, SHAFTS & PUBLIC STAIRCASES

In this one it shows the public spaces distributed throughout the plan, where all 4 wings have open public spac es. The public spaces include the lounges, dining, and the reading spaces. Also it shows that the Atriums are the main connector of these spaces, where we have 3 main atriums: the main one for GF entrances, the library atrium (on the right), and the cultural center atrium (on the left).

PUBLIC SPACES & ATRIUMS

FORM & CIRCULATION AXES

This diagram marks the corridors and the common spaces for horizontal circulation, and they are mostly linear or rectilinear. The shafts are clearly distributed in the 4 wings, with a mean of 2-3 shafts for each wing. Another important feature in this precedent was the public staircases, where here there is one in the library wing and one in the cultural center wing. Both staircases are designed within the geometry of the atriums as shown in figure 13.

The semi public spaces distributed in the 4 wings include the auditorium, classrooms, workshops, library, audio visual rooms, and lecture rooms. The private spaces are dressing rooms, rehearsal rooms, offices and meeting rooms. The services are the toilet shafts which each wing has 1 big unit or 2 smaller units.

SEMI-PUBLIC , PRIVATE & SERVICE SPACES

2.3.6. Diagrams Analysis

The diagram shows the outline of the building with its four main wings that get connected in the middle atri um. This atrium also works as the main central point for the circulation through the building, and it indicates that the circulation access is radial from the atrium to the 4 wings.

Space Type NSM - m2 # Of Units Total - NSM PERCENTAGE Observations Parking Enclosed 2300 2300 7.67% -1F Grand Atrium open 535 1 535 1.78% GF Café + Restaurant open 280 1 280 0.93% GF Foyers open 700 1 700 2.33% GF Reception open 110 1 110 0.37% GF Public Staircases open 50 4 200 0.67% GF, 1F, & 2F Toilets enclosed 185 3 555 1.85% GF, 1F, 2F, & 4F Vertical Circulation enclosed 390 5 1,950 6.50% All floors Inner Atriums / Courtyards open 3,320 1 3,320 11.07% All Floors Auditorium enclosed 900 1 900 3.00% GF Property RoomManagement enclosed 105 1 105 0.35% 1F,2F Offices enclosed 200 1 140 0.47% GF+1F Lounge open 375 1 375 1.25% 1F Powder Room enclosed 50 2 100 0.33% GF+1F Dressing Room enclosed 20 2 40 0.13% 2F Dance Rehearsal enclosed 100+110+400 1 620 2.07% GF,1F,2F Martial Art Fitness enclosed 100 1 100 0.33% GF Taekwondo enclosed 100 1 100 0.33% GF Artworks enclosed 30 1 30 0.10% 2F Career ExperienceHall enclosed 350 1 350 1.17% GF Classrooms enclosed 860 1 860 2.87% GF,1F,2F Public Event Hall open 270 1 270 0.90% 1F Rest Area open 100 1 100 0.33% 2F NewspapersAreaReading enclosed 100 1 100 0.33% GF Children’sRoomReading enclosed 160 1 160 0.53% GF Reading room for the blind enclosed 40 1 40 0.13% GF Picture Book RoomReading enclosed 275 1 275 0.92% GF Multimedia AudioVisual Room enclosed 125 1 125 0.42% 1F Rest Areas open 270 1 270 0.90% 1F Reading Rooms enclosed 840 1 840 2.80% 1F Free Shelf Library enclosed 115 1 315 1.05% 2F Nantong Public CulturalCenter Public Functions – 9,950 m2 Cultural Center - 4,090 m2 Library – 2,535 m2 2.3.7. Area Analysis blind enclosed 40 1 40 0.13% GF Picture Book RoomReading enclosed 275 1 275 0.92% GF Multimedia AudioVisual Room enclosed 125 1 125 0.42% 1F Rest Areas open 270 1 270 0.90% 1F Reading Rooms enclosed 840 1 840 2.80% 1F Free Shelf Library enclosed 115 1 315 1.05% 2F Distribution Center enclosed 70 1 160 0.53% 2F Cataloging & repairing enclosed 30 1 30 0.10% 2F Show Training Rooms enclosed 220 1 220 0.73% Exhibition Hall enclosed 225 1 225 0.75% GF Service Hall open 70 1 70 0.23% GF Waiting Area enclosed 145 1 145 0.48% GF ElectronicAreaReading enclosed 135 1 135 0.45% GF Lecture Hall enclosed 120 1 120 0.40% GF Digital Room enclosed 80 1 80 0.27% 1F Archive services enclosed 375 1 375 1.25% 1F Treasure Library enclosed 70 1 70 0.23% 1F Archive Warehouses enclosed 1780 1 1,780 5.93% 2F,3F ElectronicCollectionReceiving enclosed 35 1 35 0.12% 4F Single Offices enclosed 15 3 45 0.15% 4F Office Rooms enclosed 23 5 115 0.38% 4F TOTAL NSM 19,770 CIRCULATION 2,700 9.00% MECHANICAL + STORAGE 2,150 7.17% TOTAL GSM 30,000 Archives – 3,195 m2 Classroom Type NSM - m2 # Of Units Total - NSM Observations Handcraft Classroom enclosed 30 1 30 1F Chess Classroom enclosed 45 2 90 1F Piano Rooms enclosed 9.5 12 114 1F Music Classrooms enclosed 125 1 125 1F,2F English Classroom enclosed 70 1 70 2F Art & Calligraphy enclosed 60 1 60 2F Robot Hall enclosed 60 1 60 1F Aircraft Model Room enclosed 60 1 60 1F Animation Hall enclosed 70 1 70 1F Public Event Hall open 270 1 270 1F Table 1: Nantong Public Cultural Center Areas Table 2: Nantong Public Cultural Center Classroom Types & Areas Precedent Studies Precedent Studies33 34

Image 34: MÉCA Cultural Center Urban Landscape

2.4.2. Design Concept

2.4.1. Reasons of Selection

It has a unique form that houses a public urban space in the middle of the first floor, reached by multiple ramps and public steps/staircases. The form has a strong language that helped it be come a landmark to the city. The use of local materials in a rough texture en hanced the form, as well as the altered openings to control sunlight.

Precedent Studies Precedent Studies 2.4. Precedent 3 | MÉCA Cultural Center

Figure 21: MÉCA Cultural Center Program Diagram

Figure 22: MÉCA Cultural Center Form Diagram Image 35: MÉCA Cultural Center Form and Context Diagrams 35 36

Image 33: MÉCA Cultural Center Aerial view

The building is conceived as a single loop of cultur al institutions and a public space by extruding the pavement of the promenade to become the ramp that leads into the urban living room the façade with glimpses into the stage towers of OARA and the offices of ALCA, and the rooftop enclosing the sky-lit galleries of FRAC (MÉCA Cultural Center / BIG, 2019).

Precedent Studies Precedent Studies Table 3: MECA Cultural Center functions list Image 36: MECA Cultural Center functions diagram 2.4.3.Program, Spaces, Function The cultural center mainly houses 3 art firms functions together with the common urban space. The spaces inside are divided to public spaces, FRAC spaces, OARA Spaces, and ALCA Spaces. Shared Spaces: ALCA Spaces –RIGHT SIDE OARA Spaces –LEFT SIDE FRAC Spaces –TOP FLOOR CommonFRACRestaurantGFreceptionGeneralGalleryCaféBarShopUrbanroomCloakroom AdministrationResourcesCenterAudiovisualroomAquitaineFilming AdministrationResidencesAuditoriumReceptionArtists ExhibitionAdministrationReceptionSpaceConservationResourcesCenterAuditoriumRoofTerrace 2.4.4. Conclusions » Public urban rooms are the main feature of cultural buildings » Large public urban rooms have a stronger impact and a more structured presence when it is connected to the pedestrian level of the city or context. » Being shaded is also another feature that would encourage people to access it. » Combining the feature of learning and having fun and interactions with others add a unique experience Image 37: MECA Cultural Center Staircase facing waterfront Image 38: MECA Cultural Center First Floor Shaded Plaza 37 38

Public Semi Public Atriums Private Services Vertical Shafts Public Stairs Horizontal Circulation Figure 23: Precedent 3 - Ground Floor Plan Figure 24: Precedent 3 - First Floor Plan Figure 25: Precedent 3 - Second Floor Plan Figure 26: Precedent 3 -Third Floor Plan Precedent Studies Precedent Studies39 40

Public Semi Public Atriums Private Services Vertical Shafts Public Stairs Horizontal Circulation Figure 27: Precedent 3 -Fourth Floor Plan Figure 28: Precedent 3 -Fifth Floor Plan Figure 29: Precedent 3 -Sixth Floor Plan Image 39: Precedent 3 - Long Section Image 40: Precedent 3 - Cross Section Precedent Studies Precedent Studies41 42

2.4.6. Diagrams Analysis

This diagram marks the corridors and the common spaces for horizontal circulation, and they are mostly linear or rectilinear. The shafts are clearly distributed in the 2 sides of the building, and the public staircase is located inside the public hall.

FORM & CIRCULATION AXES

Figure 32: Precedent 3 - Horizontal Circulation, Shafts, & Public Staircases

Figure 33: Precedent 3 - Semi-Public, Private, & Service Spaces 44

Precedent Studies Precedent Studies43

PUBLIC SPACES & ATRIUMS

In this one it shows the public spaces in the middle of the GF Plan (on the left) which included the reception hall, gallery, and the restaurant. There no atriums inside the building, instead, a large outdoor urban room on the FF brings people together.

HORIZONTAL CIRCULATION, SHAFTS & PUBLIC STAIRCASES

Figure 30: Precedent 3 - Form & Circulation Axes Figure 31: Precedent 3 - Public Spaces & Atriums

The semi public spaces distributed in the GF plan is mainly the auditorium. The private spaces are offices and meeting rooms. The services are the toilet shafts, storage spaces, and a cloakroom.

The diagram shows the outline of the building with the highlighted parts representing the main 2 vertical ele ments of the form. The circulation comes in a radial relationship that the main starting point is from the middle plaza into the building.

SEMI-PUBLIC , PRIVATE & SERVICE SPACES

4th + 5th Floors Combined Top Floor Figure 35: Precedent 3 - Floor Outlines Precedent Studies Precedent Studies45 46

The floor outlines shown in the diagram indicate that each level has a different periphery than the previous one. The GF has the largest Area, then from the 1st floor to the 3rd the floor outline splits into 2 smaller ones, the 4th floor to the 5th floor the floor outline grows gradually larger until the final floor which has the terrace on the left.

The structure grid is following the Cartesian system of perpendicular lines. The right and left part have a small er span than the middle one, since there's no columns in the middle spaces. The 4th, 5th, and 6th floors are cantilevering with strong steel truss structure to allow the large span.

STRUCTURE GRID & FLOOR OUTLINE

Ground + 1st Floor 2nd to 3rd Floors 4th + 5th Floors Combined Top Floor Figure 34: Precedent 3 - Structure Grid & Floor Outline

FLOOR OUTLINES

Space NSM - m2 # Of Units Total - NSM Percetages Observations Lobby + Gallery 1,820 1 1820 10.10% GF Auditorium 860 1 860 4.80% GF Café + Restaurant 245 1 245 1.40% GF Public Toilets 65 1 65 1.40% GF Cloakroom 35 1 35 0.20% GF Public Staircases 100 1 100 0.60% 1 on GF + 2 on 5th F Exhibition Spaces 2,825 1 2,825 15.70% 5th F + 6th F Offices 1,315 1 1,315 7.30% GF, 1st F, & 3rd F Audio Visual 155 1 155 0.90% 1st F Resources Center 385 1 385 2.10% 1st F Meeting Rooms 215 1 215 1.20% 2nd F Services 70 4 280 1.60% GF to 3rd F Vertical Circulation 55 7 385 2.10% GF to 3rd F Storage 20 1 20 0.10% 4th F Flexible Spaces 315 1 315 1.80% GF Offices 160 1 160 0.90% 1st F, & 3rd F Lecture Room 60 1 60 0.30% 3rd F Show Training Rooms 220 1 220 1.20% 2nd F Artists Residences + Services 330 1 330 1.80% 2nd F Toilets 20 7 140 0.80% All 7 Floors Vertical Circulation 55 6 330 1.80% GF to 5th F Storage 255 1 240 1.30% 3rd F, 4th F, 5th F Offices 850 1 850 4.70% 4th F & 6th F Resources Center 150 1 150 0.80% 5th F Auditorium 180 1 180 1.00% 6th F Conservation 315 1 315 1.80% 6th F Vertical Circulation 120 7 840 4.70% All 7 Floors Delivery 270 1 270 1.50% GF TOTAL NSM 13,105 CIRCULATION 14% 2,600 14.40% MECHANICAL AREAS 2% 430 2.40% STRUCTURAL FEATURES 10% 1,865 10.40% TOTAL GSM 18,000 OUTDOOR SPACES 5,020 FRAC Functions – 2,335 m2 OARA Functions – 1,795 m2 ECLA Functions - 2,755 m2 enclosedenclosedenclosedenclosedenclosedenclosedAdditional Functions enclosedenclosedenclosedenclosedenclosedenclosedenclosedenclosedenclosedenclosedenclosedenclosedenclosedenclosedenclosedenclosedopenopenopen MECA Cultural Center TypePublic Functions – 5,950 m2 enclosedopenopen 2.4.7. Area Analysis Table 4: MECA Cultural Center Areas Precedent Studies47

The spaces are all gathered under one large seamless box, with all its different requirements from dark spaces to lit spaces. Dark spaces are included in the auditorium block, which consists of dressing rooms, rehearsal rooms, artists’ rooms, technical rooms, administration, and public reception. The lit spaces that are dedicated for mediation and concentration are the reading spaces, media library, and other functions included in the open plan. All these spaces are overlooking the city and the sea in a panoramic scene as if the box is floating above the surrounding trees.

2.5.1. Reasons of Selection

» The functions that doesn’t need light can be perfectly fitted in the middle of the block to allow the other functions to be placed at the periphery and benefit from the daylight and the views.

2.5.3. Program, Spaces, Functions

Figure 36: Cultural Center Alb'Oru Plan to Elevation

» Site trees can be used within the design to achieve both sustainability and shaded public spaces.

It was built as the main part of an urban renova tion in the city of Bastia. The aim was to achieve a place that would boost the relations and interac tions of people using cultural activities. It was not designed for the neighbourhood limits; it was de signed to be opened for all citizens of Bastia. The architects treated the site as a large park opened to the city; they preserved the fauna and designed the spaces to benefit from the pines shadows (Cultural Center Alb'Oru / Devaux & Devaux Architectes + atel'erarchitecture, 2016).

2.5.4. Conclusions

List 49 50

Image 41: Cultural Center Alb'Oru Pedestrian View Image 42: Cultural Center Alb'Oru Shadows by the surrounding forest trees.

Lit Spaces Dark Spaces Outdoor Spaces 0 Entrance 9 Activity room 10 Square 11 Gallery 12 Reception 14 Bar 17 Studio reception 18 Studio 19 media library 1 Technical room 2 Stand storage 3 Retractable stand 4 Stage 5 Equipment storage 6 Technician changing room 7 dressing room 8 Artist common room 15 Projection room 20 Book preparation room 21 Storehouse 22 Technical footbridge 13 Terrace 16 Balcony 23 Access balcony

Table 5: Cultural Center Alb'Oru Functions

To examine a cultural center with a smaller area than the previous cases, and also because of its seamless form that features a lot of nicely shaded areas beneath.

“The project specifications demanded: an innova tive and creative place, a place of contrasts, shad ows and lights, luminous and soft for the lecture spaces, dark and sonorous for the auditorium. The answer to this demand is literal and radical.” (Cul tural Center Alb'Oru / Devaux & Devaux Archi tectes + atel'erarchitecture, 2016)

Figure 37: Cultural Center Alb'Oru GF Lit vs. Dark spaces

2.5.2. Design Concept

Precedent Studies Precedent Studies 2.5. Precedent 4 | Cultural Center Alb'Oru

Figure 38: Precedent 4 - Ground Floor Plan Figure 39: Precedent 4 - Basement Floor Plan 0 Entrance 1 Technical room 2 Stand storage 3 Retractable stand 4 Stage 5 Equipment storage 6 Technician changing 7roomdressing room 8 Artist common room 9 Activity room 10 Square 11 Gallery 12 Reception 13 Terrace 14 Bar 15 Projection room 16 Balcony 17 Studio reception 18 Studio 19 media library 20 Book preparation room 21 Storehouse 22 Technical footbridge 23 Access balcony 0 Entrance 1 Technical room 2 Stand storage 3 Retractable stand 4 Stage 5 Equipment storage 6 Technician changing 7roomdressing room 8 Artist common room 9 Activity room 10 Square 11 Gallery 12 Reception 13 Terrace 14 Bar 15 Projection room 16 Balcony 17 Studio reception 18 Studio 19 media library 20 Book preparation room 21 Storehouse 22 Technical footbridge 23 Access balcony 2.5.5. Drawings Analysis Public Semi Public Atriums Private Services Vertical Shafts Public Stairs Horizontal Circulation Figure 40: Precedent 4 - : First Floor Plan Figure 41: Precedent 4 - Site Plan 0 Entrance 1 Technical room 2 Stand storage 3 Retractable stand 4 Stage 5 Equipment storage 6 Technician changing 7roomdressing room 8 Artist common room 9 Activity room 10 Square 11 Gallery 12 Reception 13 Terrace 14 Bar 15 Projection room 16 Balcony 17 Studio reception 18 Studio 19 media library 20 Book preparation room 21 Storehouse 22 Technical footbridge 23 Access balcony Precedent Studies Precedent Studies51 52

Figure 43: Precedent 4 - Public Spaces & Atriums

2.5.6. Diagrams Analysis

Figure 45: Precedent 4 - Semi-Public, Private, & Service Spaces

Precedent Studies Precedent Studies53 54

Figure 42: Precedent 4 - Form & Circulation Axes

The semi public spaces are the auditorium and the studio rooms. The private spaces in this case study are very limited, and it includes only a technician room in the FF and a book service station in the 2F. Services are clear ly distributed around the auditorium block inlcuding toilets, storages, and technical rooms

This diagram marks the corridors that are linear through the building. The shafts are less important in this case, as 4 interior public staircases help enhance the vertical circulation without the need for many enclosed shafts. There are outdoor public spaces as well attached to the public terraces going from the basement to the GF.

The diagram shows the outline of the building that is mainly a rectangular box. The circulation axis is rectilin ear, going around the auditorium's block.

HORIZONTAL CIRCULATION, SHAFTS & PUBLIC STAIRCASES

SEMI-PUBLIC , PRIVATE & SERVICE SPACES

The terraces here include a large stepped terrace wrapping around the building. The public spaces are all locat ed in the lit part of the building, that include the reception, gllaery, cafe, and activity rooms.

FORM & CIRCULATION AXES

Figure 44: Precedent 4 - Horizontal Circulation, Shafts, & Public Staircases

PUBLIC SPACES & TERRACES

Space Type NSM - m2 Percentage Observations Receptions open 305m² 0.079 BF+GF Public Staircases open 525m² 0.136 All Floors Toilets enclosed 245m² 0.063 All Floors Vertical Circulation enclosed 105m² 0.027 All Floors Auditorium enclosed 505m² 0.13 GF Technical Room enclosed 285m² 0.0735 BF Technician Changing Room enclosed 33m² 0.009 BF Dressing Room enclosed 23m² 0.006 BF Artist common room enclosed 61m² 0.016 BF Activity Room enclosed 118m² 0.03 BF Gallery open 125m² 0.032 GF Bar open 57m² 0.015 GF Projection Room enclosed 20m² 0.005 GF Media Library open 500m² 0.129 FF Book Preparation Room enclosed 48m² 0.012 FF Storehouse enclosed 70m² 0.018 FF CIRCULATION 22.5% 825m² 21.30% TOTAL NSM 3873 Outdoor Urban room 603m ² Terraces 482m ² TOTAL GSM 4958 Cultural Center Alb'Oru 2.5.7. Area Analysis Table 6: Cultural Center Alb'Oru Areas Precedent Studies55

Private

» The response to context can affect the form of the building, and it can be a potential for a more interesting solution.

MultipurposeCaféExhibitionGamingMusicLearningSpaceSpacesClassroomsSpaceHall

2.6.2. Design Concept

YouthLibrary& Adults Area

Figure 46: Maunula House Plan to Elevation

Image 43: Maunula House Pedestrian View Image 44: Maunula House Night View

Precedent Studies Precedent Studies 2.6. Precedent 5 | Maunula House

It is about 3,100 m2 , including spaces that fit all age groups. The form is like a continuous line of circulation with all the functions clustered around it. As a result of its limited space and users, the functions are less varied and more focused to what the neighbourhood needs. The spaces inside can be divided to the shared function which are for the public use, and the private functions which are used by the staff or the teachers as well as the technical spaces

Working

Designed to be the central cultural and learning hub of a neighborhood being renewed. It is a center of public services to residents of all ages. The adult education center, the library and the youth center cooperate seamlessly, enabling the co-usage and a high utilization rate of the spaces (Maunula House / K2S Architects, 2017).

2.6.3. Program, Spaces, Functions

» Atriums, skylights, and raised ceilings can provide more relaxation for the visitors and allow them to feel in a huge space rather than a tight one.

Figure 47: Maunula House Program Diagram Table 7: Maunula House functions list Shared functions Functions

A simple façade, yet a striking profile and a unique edgy plan. It serves a smaller neighbourhood7200 residents- which would help to see what are the minimum areas for the cultural center func tions. Also, the culture of Helsinki is conserva tive of their identity and they carefully choose the buildings architecture and physical appearance. It fits a lot of functions in its linear form.

2.6.4. Conclusions

2.6.1. Reasons of Selection

» The response to neighbourhood citizens of the site can save time for the architect and directly know what to include in such a center.

MeetingOffices MonitoringRehearsalITTeachers’RoomsroomroomRoomsSpace 57 58

Figure 48: Precedent 5 - Ground Floor Plan Figure 49: Precedent 5 -: First Floor Plan 17 IT room 18 Kitchen 19 Learning Space 20 Music class 21 Mentoring Space 22 Office / Meeting 23roomTeacher's room 24 Staff Kitchen 25 Changing room 26 Storage 27 Technical Space 17 IT room 18 Kitchen 19 Learning Space 20 Music class 21 Mentoring Space 22 Office / Meeting 23roomTeacher's room 24 Staff Kitchen 25 Changing room 26 Storage 27 Technical Space 2.6.5. Drawings Analysis 1 Library 2 Youth and adult's 3areaChildren Space 4 Working Space 5 Story Telling Space 6 Lobby and Exhibi tion Space 7 Info 8 Grocery Store 9 Multi-purpose Hall 10 Cafe 11 Kitchen and Living room 12 Contact Space 13 Game Room 14 Billiards 15 Girls' room 16 Music Rehearsal21RoomLibraryYouthand adult's 3areaChildren Space 4 Working Space 5 Story Telling Space 6 Lobby and Exhibi tion Space 7 Info 8 Grocery Store 9 Multi-purpose Hall 10 Cafe 11 Kitchen and Living room 12 Contact Space 13 Game Room 14 Billiards 15 Girls' room 16 Music Rehearsal Room 17 IT room 18 Kitchen 19 Learning Space 20 Music class 21 Mentoring Space 22 Office / Meeting 23roomTeacher's room 24 Staff Kitchen 25 Changing room 26 Storage 27 Technical Space Public Semi Public Atriums Private Services Vertical Shafts Public Stairs Horizontal Circulation Figure 50: Precedent 5 - Second Floor Plan Figure 51: Precedent 5 -Site Plan 1 Library 2 Youth and adult's 3areaChildren Space 4 Working Space 5 Story Telling Space 6 Lobby and Exhibi tion Space 7 Info 8 Grocery Store 9 Multi-purpose Hall 10 Cafe 11 Kitchen and Living room 12 Contact Space 13 Game Room 14 Billiards 15 Girls' room 16 Music Rehearsal Room Precedent Studies Precedent Studies59 60

Figure 55: Precedent 5 - Semi-Public, Private, & Service Spaces

Precedent Studies Precedent Studies61 62

Figure 54: Precedent 5 - Horizontal Circulation, Shafts, & Public Staircases

SEMI-PUBLIC , PRIVATE & SERVICE SPACES

Figure 52: Precedent 5 - Form & Circulation Axes Figure 53: Precedent 5 - Public Spaces & Atriums

HORIZONTAL CIRCULATION, SHAFTS & PUBLIC STAIRCASES

This diagram marks the corridors and the common spaces for horizontal circulation mainly located in the middle of the building to link the functions of the two wings together. The shafts are distributed at the back of the buildings, and 1 public staircase is adjacent to the lit and shaded facade of the building.

The diagram shows the outline of the building with its linear circulation axis, that is following the angle of the form, PUBLIC SPACES & ATRIUMS

2.6.6. Diagrams Analysis

FORM & CIRCULATION AXES

In this one it shows the public spaces to the left wing of the building, which include the reading spaces, public lounges, and the restaurants. The atrium to the left is over looking the library and the gallery spaces.

The semi public spaces distributed in the left wing including the private working spaces, classrooms, and men toring spaces. The private spaces are dressing rooms, rehearsal rooms, offices and meeting rooms. The services are the toilet shafts, storage, and technical rooms.

2.6.7. Area Analysis Table 8: Maunula House Areas SPACE TYPE OBSERVATIONS Public Staircases open GF,1F Vertical Circulation enclosed All Floors Library open GF Working Space enclosed GF Story Telling Space enclosed GF Lobby & SpaceExhibition open 1F Info enclosed GF,1F Multipurpose Hall enclosed 1F Café open 1F Kitchen & RoomLiving enclosed 1F Contact Space Semi-open 1F Game Room enclosed 1F Billiards enclosed 1F Girl’s room enclosed 1F MusicRoomRehearsal enclosed 1F IT room enclosed 1F Kitchen Semi-open 1F Learning Space enclosed 2F Music class enclosed 2F Monitoring Space enclosed 2F Office/MeetingRoom enclosed 1F,2F Teacher’s room enclosed 2F Staff Kitchen enclosed 2F rooms/WCChanging enclosed 1F Storage enclosed GF,1F,2F Technical Space enclosed GF CIRCULATION TOTAL NSM 200 6.90% 2,888 Maunula House 122m² 4.20% 157m² 5.40% 198m² 6.90% 121m² 4.20% 117m² 4.10% 21m² 0.70% 413m² 14.30% 115m² 4.00% 30m² 1.00% 58m² 2.00% 24m² 0.80% 33m² 1.10% 24m² 0.80% 27m² 0.90% 24m² 0.80% 58m² 2.00% 46m² 1.60% 104m² 3.60% 84m² 2.90% 55m² 1.90% 233m² 8.10% 433m² 15.00% 37m² 1.30% 21m² 0.70% NSM - m2 PERCENTAGE 35m² 1.20% 98m² 3.40% Precedent Studies63

*Large Urban room for socializationHousing3functions in the same Volume

*Large Urban room for socializationHousing3functions in the same Volume

Context Urban city, near to other activity centers Adjacent to a cultural Park from a side and looking to a lake from the other side It is constructed on a park-like site near to the waterfront area of an urban city Waterfront between a river & a train Station Situated in Neighborhood that is being renewed

*The vast connectingplatformthe3blocks at different heights along with panoramic staircases

Year of Construction 2018 2020 2015 2019 2017 Built Area 52,486 m² 30,000 m² 4,958 m² 18,000 m² 2,888 Context Urban city, near to other activity centers Adjacent to a cultural Park from a side and looking to a lake from the other side It is constructed on a park-like site near to the waterfront area of an urban city Waterfront between a river & a train Station Situated in Neighborhood that is being renewed

*Providingcultureallthe spaces that need daylight to be at the periphery around the dark spaces placed in the middle

STYLE & ComparisonCULTURE

STYLE & ComparisonCULTURE

1 seamless block that is protruding above another one creating shadows and terraces A Loop with a large urban space in the middle The elevation of gives an indication that the building is a simple block attached to the supermarket Geometry Smooth curves for the blocks and the platforms, along with straight lines facade Curves, slanted walls, and glass panels, along with diagonal and straight lines facade Right angles, rectangular paneled façade and straight lines Right angles, 2 large vertical volumes supporting 1 Horizontal volume

*The integration with the cuty's nature and

Nantong Public Cultural Center Cultural Center Alb'Oru Maunula House

Precedent Studies Precedent Studies 2.7. Precedents Comparison 2.7.1. Characteristics

FUTURISTIC It was the first place in China to be developed into a modern city into a modern city Showcase the economic power of the city and its presence Other cultural sites include the temples and the tombs 65 66

Location Nantong, China Nantong, China Bastia, France Bordeaux, France Helsinki, Finland 2019 2017

Form 3 main blocks with different heights connected at a multilevel platform 3 functions smoothly connected at the middle with a triple height volume/atrium

*The atrium being used as a major connection between the three functions and also as an entrance/main hall

MINIMALISM It represents a center for a bigger city After the war, Bastia gradually emerged as a key economic centre CONTEMPORARY Greatest city of France Major center of business, trade, and an international tourist destination CONSERVATIVE It's current plan (2017 21), is to make it "the most functional city in the world"

FUTURISTIC It was the first place in China to be developed into a modern city into a modern city Showcase the economic power of the city and its presence Other cultural sites include the temples and the tombs

*It has a striking elevation despite of the simple material used, the functions and circulation inside are effective despite the limited area.

Form 3 main blocks with different heights connected at a multilevel platform 3 functions smoothly connected at the middle with a triple height volume/atrium 1 seamless block that is protruding above another one creating shadows and terraces A Loop with a large urban space in the middle The elevation of gives an indication that the building is a simple block attached to the supermarket Geometry Smooth curves for the blocks and the platforms, along with straight lines facade Curves, slanted walls, and glass panels, along with diagonal and straight lines facade Right angles, rectangular paneled façade and straight lines Right angles, 2 large vertical volumes supporting 1 Horizontal volume

Year of Construction 2018 2020 2015

Built Area 52,486 m² 30,000 m² 4,958 m² 18,000 m² 2,888

*The integration with the cuty's nature and *Providingcultureallthe spaces that need daylight to be at the periphery around the dark spaces placed in the middle

Nantong Public Cultural Center Cultural Center Alb'Oru Maunula House

*The atrium being used as a major connection between the three functions and also as an entrance/main hall

*It has a striking elevation despite of the simple material used, the functions and circulation inside are effective despite the limited area. MINIMALISM It represents a center for a bigger city After the war, Bastia gradually emerged as a key economic centre CONTEMPORARY Greatest city of France Major center of business, trade, and an international tourist destination CONSERVATIVE It's current plan (2017 21), is to make it "the most functional city in the world"

The plan geometry is mostly composed of two wings with a sharp angle

*The use of atriums with skylights in each block to provide daylight

Rudong MÉCA Cultural Center Cultural Center Location Nantong, China Nantong, China Bastia, France Bordeaux, France Helsinki, Finland

Table 9: Diagrams Comparison Rudong MÉCA Cultural Center Cultural Center

*The vast connectingplatformthe3blocks at different heights along with panoramic staircases

*The use of atriums with skylights in each block to provide daylight

The plan geometry is mostly composed of two wings with a sharp angle Interesting Features

Interesting Features

o Public Staircase were included in all four cases, all providing a good experience for the visitors

o Vertical shafts are repeated after a certain distance for ease of access

CONCLUSIONS

Nantong Public Cultural Center MÉCA Cultural Center

o Public Staircase were included in all four cases, all providing a good experience for the visitors

o Public Staircase were included in all four cases, all providing o Vertical shafts are repeated after a certain distance for ease

Nantong Public Cultural Center

2. Vertical shafts are repeated after a certain distance for ease of access

o Middle Atriums are good to be used for radial circulation modes

o Vertical shafts are repeated after a certain distance for ease of access

2.7.2. Diagrams

1. Public Staircase were included in all four cases, all providing a good expe rience for the visitors

3. Middle Atriums are good to be used for radial circulation modes

Table 10: Diagrams Comparison

MÉCA Cultural Center Cultural Center Alb'Oru Maunula House

Precedent Studies Precedent Studies67 68

o Middle Atriums are good to be used for radial circulation modes

o Middle Atriums are good to be used for radial circulation

Nantong Public Cultural Center MÉCA Cultural Center Cultural Center Alb'Oru Maunula House

Precedent Studies Precedent Studies69 70

CONCLUSIONS

1. Public Shared Spaces, Foyers and Lounges have strong relationships with the atriums 2. Private Spaces and Semi-Public Spaces are to placed on the outer periph ery of the atriums’ zones Outdoor Urban Rooms are the key to an in and out lively cultural center Urban Rooms can include Terraces, Small balconies, GF plazas, and raised public area

2.7.3. Areas Percentages Table 12: Precedent Areas Percentages Comparison Total Built Area Reception Hall 605 m2 2.01% 1,820 m2 10.10% 305 m2 7.88% 42 m2 1.45% Registration Area 110 m2 0.37% 55 m2 1.90% Atriums 3,320 m2 11.00% Foyers 700 m2 2.33% 900 m2 860 m2 505 m2 500 users 336 users 152 users 1.8 m /user 2.5 m /user 3.3 m2/user Dressing Rooms/Powder Rooms 140 m2 0.47% 23 m2 0.59% 120 m2 60 m2 100 users 42 users 1.2 m /user 1.4 m /user Public Event Hall/Multipurpose Room 270 m2 0.90% 233 m2 8.07% Gallery / Exhibition Hall 225 m2 0.75% 2,825 m2 15.70% 125 m2 3.23% 42 m2 1.45% Artists Common Room 61 m2 1.58% Toilets 555 m2 1.85% 345 m2 1.91% 245 m2 6.33% 122 m2 4.22% Mechanical/Storage 2,150 m2 7.17% 430 m2 2.39% 70 m2 1.81% 157 m2 5.44% Offices/Meeting Rooms 360 m2 1.20% 2,325 m2 12.90% 268 m2 Public Lounges / Rest Areas 745 m2 2.48% 118 m2 3.05% 174 m2 6.02% Café / Restaurants / Bar 280 m2 0.93% 245 m2 1.36% 57 m2 1.47% 58 m2 2.00% Audio Visual Rooms 125 m2 0.42% 155 m2 0.86% Libraries 185 m2 0.62% 500 m2 12.90% 433 m2 15.00% Reading Spaces 1,550 m2 5.17% Private Working Space 37 m2 1.28% Public Staircases 200 m2 0.67% 100 m2 0.56% 525 m2 13.60% 35 m2 1.21% Vertical Shafts 1,950 m2 6.50% 950 m2 5.28% 105 m2 2.71% 98 m2 3.40% Horizontal Circulation 2,700 m2 9.00% 2,600 m2 14.40% 825 m2 21.30% 200 m2 6.93% Classrooms Reading Room 1,090 m2 3.63% 528 m2 18.30% Kitchen 54 m2 1.87% Rehearsal Halls / Show Training Rooms 840 m2 2.80% 220 m2 1.22% 58 m2 2.00% Gaming 51 m2 1.77% Digital Rooms 115 m2 0.38% 20 m2 0.52% IT Room 24 m2 0.83% Library + Archives Services 475 m2 1.58% 48 m2 1.24% Archive Warehouses 1,780 m2 5.93% Technical Spaces 198 m2 6.86% Terraces/Urban Rooms 5,020 m2 27.90% 482 m2 12.40% Lecture Room 0.40% 0.33% 30 000 m² 18,000 m² 3,873 m² 2,888 m² Auditorium 3.00% 4.78% 13.00% Cultural Center Cultural Center Nantong Public MÉCA Cultural Center Alb'Oru Maunula House 2.7.4. Areas per capita Table 13: Precedents Areas per capita Comparison Total Area | Number of Users 30000m² 2,300,000 18000m² 980,130 3873m² 50,000 3342m² 7,200 Reception Hall 605m² 0 0003m /user 1820m² 0.0019m² user 305m² 0 0061m² user 42m² 0.0058m²/user Registration Area 110m² 0 0000m /user 55m² 0 0076m²/user Atriums 3320m² 0 0014m /user 475m² 0.0660m²/user Foyers 700m² 0 0003m /user 900m² 860m² 505m² 500 users 336 users 152 users 1.8 m2/user 2.5 m2/user 3.3 m2/user Dressing Rooms/Powder Rooms 140m² 0 0001m /user 23m 0 0005m² user 120m² 60m² 100 users 42 users 1.2 m2/user 1.4 m2/user Public Event Hall/Multipurpose Room 270m² 0 0001m /user 233m² 0 0324m²/user Gallery / Exhibition Hall 225m² 0 0001m /user 2825m² 0.0029m² user 125m² 0 0025m² user 42m² 0.0058m²/user Artists Common Room 61m 0 0012m² user Toilets 555m² 0 0002m /user 345m² 0 0004m² user 245m² 0 0049m² user 122m² 0 0169m²/user Mechanical/Storage 2150m² 0 0009m /user 430m² 0 0004m² user 70m 0 0014m² user 157m² 0 0218m²/user Offices/Meeting Rooms 360m² 0 0002m /user 2325m² 0 0024m² user 268m² 0 0372m²/user Public Lounges Rest Areas 745m² 0 0003m /user 118m² 0 0024m² user 174m² 0 0242m²/user Café Restaurants / Bar 280m² 0 0001m /user 245m² 0.0002m² user 57m 0 0011m² user 58m² 0.0081m²/user Audio Visual Rooms 125m² 0 0001m /user 155m² 0 0002m² user Libraries 185m² 0 0001m /user 500m² 0 0100m² user 433m² 0 0601m²/user Reading Spaces 1550m² 0 0007m /user Private Working Space 37m² 0 0051m²/user Public Staircases 200m² 0 0001m /user 100m² 0.0001m² user 525m² 0 0105m² user 35m² 0.0049m²/user Vertical Shafts 1950m² 0 0008m /user 950m² 0 0010m² user 105m² 0 0021m² user 98m² 0 0136m²/user Horizontal Circulation 2700m² 0 0012m /user 2600m² 0.0027m² user 825m² 0 0165m² user 200m² 0.0278m²/user Classrooms / Reading Room 1090m² 0 0005m /user 528m² 0 0733m²/user Kitchen 54m² 0 0075m²/user Rehearsal Halls / Show Training Rooms 840m² 0 0004m /user 220m² 0.0002m² user 58m² 0.0081m²/user Gaming 51m² 0 0071m²/user Digital Rooms 115m² 0 0001m /user 20m 0 0004m² user IT Room 24m² 0 0033m²/user Library Archives Services 475m² 0 0002m /user 48m 0 0010m² user Archive Warehouses 1780m² 0 0008m /user Technical Spaces 198m² 0 0275m²/user Terraces/Urban Rooms 5020m² 0.0051m² user 482m² 0 0096m² user Nantong Public MÉCA Cultural Center Alb'Oru Maunula House Cultural Center Cultural0Center0001m² user Auditorium 0 0004m /user 0 0009m² user 0 0101m² user Lecture Room 0 0001m /user Precedent Studies Precedent Studies71 72

SITE ANALYSIS 3.1.Site selection criteria 3.2.Topography and contour 3.3. Natural features 3.4. Environmental analysis 3.5. Zoning and plot regulations and codes 3.6. Historical development of the site 3.7. Site access and street network 3.8. Visual documentation 3.9. Sights and sounds documentation 3.10. Services and infrastructure 3.11 LYNCH Diagrams 3.12. Conclusions, Opportunities, and constraints3 73 74

The plot is surrounded by different land uses. Corniche beach, and Alkubeirah Garden are both dedicated for entertainment. Nation towers represent a commercial and residential landmark, while the Federal National Council, Federal Court of AD, and Capital Police Directorate are governmental sites.

The site is located at the top left corner of Abu Dhabi downtown, at the corniche coast. The site itself is a parking space, and it is next to a park from the right and to the landmarks nation towers from the left.

Site Analysis Site Analysis

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Site Location

Site Immediate Surroundings & Heights

The plot is surrounded by different land uses. Corniche beach, and Alkubei rah Garden are both dedicated for entertainment. Nation towers represent a commercial and residential landmark, while the Federal National Coun cil, Federal Court of AD, and Capital Police Directorate are governmental sites.

3.1. SITE SELECTION CRITERIA 77 78

The optimum site for a cultural center in a vivid city like Abu Dhabi has to be firstly located on a main road, so that it can be reached easily and pointed out by the residents as a new landmark in the context. The site is accessed by one of the major roads in Abu Dhabi, which is Corniche Road. It comes at intersection with Al Khaleej Al Arabi Street about 2 blocks to the right, and with King Abdullah Bin Abdulaziz Saud Street about 2 blocks to the left.

3.1.1. Location on a Main Road

Site Analysis Site Analysis

3.1.2. Diverse Views

3.1.3. Cultural Significance

Corniche area is a special site with a lot of memories and a lot of cultural spots that made it a suitable choice. The site is opposite to Alkaser area which houses two of the most impor tant cultural landmarks in AD; Emirates Heritage club and Abu Dhabi Theater. Both are historical sites regularly visited by tourists. The site is also next to other 2 cultural sites that are modern: Zayed the founder’s Memorial, and the Visitor center next to it. Fatima Bint Hazza Cultural Foundation and ACDB Department of culture and tourism are both private cultural sites located near to the proposed site.

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Fourthly, sufficient area was needed to occupy the variety of functions in a cultural center. The cases were ranging from 3,000m2 to 30,000m2 of total area including all floors, and this site excluding the setback is about 21,000 m2. This area would help to provide public plazas and common open spaces throughout the center.

Site Analysis Site Analysis

3.1.4. Area

3.3.1. Man-made The site is bordered with 3 types of fauna. The first is landscape trees, and it is located on the Northwest side of the plot to the corniche road. The sec ond type is the palm trees, which are located along the left and lower sides of the plot. The third one include a number of Ghaf trees; some of them are located at the lower side of the plot and the rest are inside the garden.

3.2. TOPOGRAPHY & CONTOUR

3.3. NATURAL FEATURES 81 82

The current state of the site is a parking area that is about flat; on the long path there is about 1m difference. The lowest point is at the minor road and the highest point is the one that is the nearest to the corniche road. Cutting the site in the other way shows also 1m of height difference, the lowest point is the one near to the Nation Towers and the highest one is the one at the right corner next to the garden.

Site Analysis Site Analysis

Site Analysis Site Analysis 3.4.1. 21 March The sun is leaning towards the south side indicating that the Northern side would have more shadows. The southern side gets the most direct sunlight, especially at the midday hours. The sun rises at 6.30AM, and sets at about 6.30PM. The day length is nearly 12 hours. Altitude: 66° Azimuth: 178 3.4. ENVIRONMENTAL ANALYSIS | SUN + SHADE 83 84

Site Analysis Site Analysis 3.4.2. 21 June The sun is perpendicular on the site indicating that less shadows will cast. The sun would hit the Northern side in the sunrise and the sunset more than the southern side. The sun is at a higher angle than in the other seasons. The sun rises at 5.30AM, and sets at about 7.15PM. The day length is about Altitude:14hours.90°Azimuth: -150° 85 86

Site Analysis Site Analysis 3.4.3. 21 September The sun is leaning towards the south side indicating that the Northern side would have more shadows. The southern side gets the most direct sunlight, especially at the midday hours. The sun rises at 6AM, and sets at about 6PM. The day is about 12h. Altitude: 66° Azimuth: -173° 87 88

Altitude: 42° Azimuth: -178°

89 90

Site Analysis Site Analysis 3.4.4. 21 December

*Conclusion: As a result of the voids, and the limited buildings bordering the site, shading solutions are needed the whole time of the year. This is also more important at the North-West façade that needs to be well shaded for visitors to enjoy it without being annoyed with the direct sunlight at the afternoon.

The sun is leaning more towards the south side indicating that the North ern side would have the most shadows. The southern side gets the most direct sunlight at an angle that is the lowest compared to other seasons. The sun rises at 7.00AM, and sets at about 5.30PM. A winter day is about 10 hours and a half.

Site Analysis Site Analysis

As shown in the right diagrams, the site is being strongly hit by wind mostly coming from the direction of the corniche. This is because of the fact that the site is an empty plot, and the surrounding buildings aren't close enough to affect the wind passing through the plot. The yellow color marks the velocity of 4.75 - 5.00 m/s while the green and blue colors rep resent lower values.

The lower diagram is a bar chart describing the velocity of the wind as per the months of the year. Marked in orange are the months which have the fastest velocity ranges and are cool months at the same time.

3.4.5. Wind Speed & Direction

*November to April will be the ideal months for public plaza event in the cultural center, as the wind will be cool and it will give a nice breeze through the courtyards and the openings.

3.4. ENVIRONMENTAL ANALYSIS | WIND 91 92

The highest temperatures in AD ranges between 43° to 45° in the months from April to October, and the month with longest period of high temperature are July and August with full 30 days. The lowest temperatures differ from 14° to 20° start ing from November and ending in February. December and January are the coolest month with +15 days of cold breezes.

As shown in the table, more humidity means less comfortable weather as the mois ture increases in the air. The Annual Relative humidity is 61.3%. The months with the lowest average dew point are January, and February, while the months with highest are July, and August.

3.4.7. Precipitation + Cloudiness

* The highlighted months - November to April - represent the months that have overcast skies which would be pleasant for outdoor activities.

3.4.8. Humidity

Site Analysis Site Analysis

* The highlighted months - November to April - represent the months that have the most comfortable weather for outdoor activities. 93 94

3.4.6. Temperature

The sunny days are about consistent in all months, and the month with the sunniest days - more than 23 days - are from May to October. The months with the longest period of overcast skies – more than 1.5 days - are December, January, and March.

* The highlighted months - November to March - represent the best time for public events and experiencing urban spaces

3.4. ENVIRONMENTAL ANALYSIS | CLIMATE

This diagram also shows the number of precipitation days which is less than 2 days throughout the year.

The site is surrounded with 2 main recreational areas; Corniche Beach and Alkhubeirah Park. Another major zone is the commercial one, which include the Nation Towers plot at the North West of the site, and the Ra disson Blu Hotel next to it. Remarkably, the South West of the site is a large governmental zone, located next to another residential zone. The zones that are less in size are the health care and the services zones.

The site is relatively close to many cultural sites, especially in the areas of corniche and Saadiayt Island. The closest cultural locations are the Zayed memorial, Hertiage Village, and the Abu Dhabi Theater which are located in Al Marina Area. Next comes Qasr Al Hosn development which includes the fort, the cultural foundation, House of Artisans, and Bait Al Gahwa. Bait Al Oud is a small villa near Al Muroor area, and the national theater is an old cultural site located near to Al Wahda Mall area. Last is the cultural district of Saadiyat Island which include The louvre museum, and Manarat AlSaadiyat, and in the future the Zayed National Museum and the Guggenheim.

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3.5.1. Land Use

Site Analysis Site Analysis 3.5. Zoning & Plot Regulations

3.5.2. Cultural Landmarks

Site Analysis Site Analysis 3.6.1. Corniche Coastline Development + Plot Relationship

Starting with 1984, the plot was only 125 meters away from the water, and it was totally opened to the Arabian Gulf without any man-made islands or barriers. In 2000, the Marina district and Lulu island have been devel oped, and the coastline was shifted only about 5 meters. Currently, the zayed port on the top right has been completed. Most remarkably, the coastline now is 230 meters in distance from the edge of the plot. This means that there has been a difference of 100m in 37 years.

The coastline of Abu Dhabi's island has rapidly frown in the last 40 years.

3.6. HISTORICAL DEVELOPMENT OF THE SITE 97 98

2010 - Present As the strength of Abu Dh A bi incre A seD, the A rchitectur A l style of the builDings grew stronger A n D more striking to the viewers of the corniche coA st when vieweD from A ll the eye levels, peDestri A n, c A rs, A n D pl A nes.

A lot of signs of modernity showed up in the city, low-rise and mid-rise towers were built at the corniche to start shaping the city and express the strength of it.

1970 - 1985 These aerial photos shows the corniche coasts of Abu Dhabi in the era of development after the discovery of oil, as the streets and the residential construction start to emerge.

Before 1970

This map shows AD in 1963, in which the only development there was at the middle of the corniche shores. A cluster of Arish and mud buildings were next to the shores for residents and workers. While Qasr Al Hosn is located at a distance from this cluster with its dominant design. 1985-2010

Site Analysis Site Analysis

3.6.3. Corniche Material Use

Buildings and mid-rsie towers used to be built from original local materials like Arish, mud, stone, and mangroves. While nowadays high-rise towers are attracting the eyes at the corniche side with the use of curved reflective glass façades and also shiny steel mullions and frames. The original materials are still used in the historic and the cultural sites, but they don't show much in the skyline of the city.

1985 2021 101 102

3.6.2. Corniche Skyline Development As discussed in the history of the site, Abu Dhabi’s architectural language was rapidly changing along the last 30 years. It was at first consisting of rectangular and square shaped houses. After that in the 1985, low-rise and mid-rise towers showed up at the corniche shores, but still maintaining the 90 degrees rigid designs. Nowdays, high-rise tower are the most dom inant structures shown in the city, and the have different forms ranging from the regular rectangles to the curvy forms and sloped rooftops.

1985 2021

2007: The site used to be a part of a larger park 125m away from the corniche coast

3.6.4. Plot Development 2007-2021

2010: Four temporary buildings were added in the lower half.

2009: It became a large parking area, and the rest of the park was kept.

2011: 3 temporary buildings were added, two of them had solar panels on top.

Site Analysis Site Analysis103 104

2012: It returned to be a large empty parking area. 2014: It returned to be a large empty parking area.

2013: A single temporary building was added to the top right corner of the site.

Site Analysis Site Analysis105 106

2016: Another T-shaped temporary building was added to the top right part.

2017: It returned to be a large empty parking area. 2019: A new construction started on the right side. 2018: Another T-shaped temporary building was added to the top right part. 2020: COVID19 testing temporary building was added until September 2021. Site Analysis Site Analysis107 108

3.7.3. Bus Transportation

*Site is easy to be accessed by public transportations.

There are two parallel cycle tracks in the site, one is along the corniche and the other one is on the opposite site of the street.

There are 2 bus stations that are on the edge of the site, and one is on the opposite side of the corniche street.

3.7.2. Cycle Tracks

Site Analysis Site Analysis

*An additional zebra crossing would be needed to cross the corniche street directly to the site.

The site can be accessed using the tunnels to cross from the corniche edge to the site edge. For pedestrians from adjacent blocks, zebra crossings are available, 2 on each edge of the site including the near park.

3.7.1. Pedestrian

*Tracks can be continued to reach the chosen plot.

3.7. SITE ACCESS 109 110

The plot chosen for the center is all hardscape, covered with asphalt, and this was a result of it being used as a public Parking space. The setback in cludes landscape grass (marked with orange in the diagram), along with some 45-degree parking spaces (marked with dark red). Another softs cape element is Alkubeirah garden located right next to the plot.

Site Analysis Site Analysis

3.7.4. Hardscape Vs. Softscape

3.7.5. Solid Vs. Void

The site is having a less dense context than the adjacent plots, which cre ates more voids around the plot. The largest solid spot in the context is the Nation Towers shopping mall block. Then comes the container-like blocks between the plot and the garden. Then comes the Federal National Coun cil which consists of a rectangular block topped with a dome.

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3.8. Visual Documentation

3.8.2. Surrounding Materials + Tonality

Site Analysis Site Analysis

The styles around the site present a huge variety. To the left of the site is the nation towers, which is designed with the international style architec ture. On the right there's a new development of a cafés-like with the style of contemporary chipping containers. At the back of the site is the huge block of governmental buildings, they are all fallowing the local architectural style that features domes, arcades, and thick columns.

The materials and color palettes around the site are also rich. The dominant colors are the beige and brown because of the governmental zone at the back, and the bright colors are the yellow and red of the cafés development and the blue of the nation towers. The main materials are plaster, concrete, glass, Aluminium, and steel.

3.8.1. Surrounding Style + Situation

B. Temporary There are two temporary noise sources that are existing as per November 2021. The nation towers plot is featuring some updates for its landscape, and that is causing a huge noise. There is also another construction to the right of the site, and both are expected to last for a short period of time.

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Site Analysis Site Analysis 3.9.3. Sources of Noise

A. Permanent This diagram shows the street noise analysis. The corniche main street is wide - nearly 10 meters - and it creates a permanent noise source to the site. It is not felt when standing for 5-10 minutes in the site, but when staying for longer periods it is more sensible. Then comes the secondary streets around the plot, the nation towers is a famous building with it's commercial outlets, and it expects the highest number of visitors in the morning for breakfast and in the evening. The site itself is a quite area, and the adjacent park helps to narrow down the noise reaching to the site.

* A buffer zone can be created to the side of the corniche road to help reduce the noise effect.

3.9. Sights and sounds documentation

1 3 4 2

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Since the site is a parking area, no drainage or utilities existed inside the plot area except for the light poles. On the periphery of the site setback, the light poles are distributed - marked in yellow - as well as the sewage utilities where 5 units are near corniche street, 1 is opposite to the nation towers, and two are at the back of the site. There is one water supply at the top left corner of the site. One elec tricity box at the bottom right corner of the site next to a sewage drainage unit and a light pole

Picture 2: Electricity box, light pole, and sewage unit at the site's bottom right Picturecorner.

Picture 1: Light poles inside the plot line

Picture 3: Sewage drainage at the back of the site.

Site Analysis Site Analysis 3.10. Services and infrastructure 3.11.1. Site Utilities

4: Electrical utility and storm draiange

Site Analysis Site Analysis

3.10.1. Landmarks and Edges

3.11. Lynch Diagrams

This diagram shows another edges of the site, which is Alkhaleej Alarabi street. It forms the most important node of the site with the corniche road, both are main roads of the city of Abu Dhabi. The districts surrounding the site are divided to a high-rise district to the west of the site and a lowrise district at the east and south of the site.

The site is marked by three main landmarks, the ADNOC HQ tower, Nation Towers, and Etihad Towers. The all present a remarkable corner next to the site. For the edges, the corniche road by itself present an edge that can be used while illustrating the location of the site. Another important edge is King Abdullah bin Abdulaziz Saud street, which is the one between ADNOC HQ tower and Etihad towers.

3.10.2. Districts, Edges, and Nodes

119 120

Potential for sea related activities + Views to the sea

3.11.1.654321 Findings

3.11.2.

High sun exposure No Shade almost all year High Temperatures

Corniche Street represent a permanent noise source Noisy functions to be closer to the street side Public spaces, urban rooms, restaurants, ... The site is at 230m offset from the seafront, seen at +8

Shading Devices Passive CourtyardsCooling

3.11.3. Constraints Site Analysis Site Analysis

Themeterssiteis located right next to a park Bus stations and cycle lanes exist near to the site The site is hit by relatively high speed wind Functions that need views should be on the FF / 2F (cafés, lounges, reading spaces, ...) The public spaces of the center can be connected to the adjacent garden. The site can be easily reached by public transpor tation, cyclists, and by pe destrians, a cross walk can be added on cornich Rd. Courtyards, alternations of openings and plaza level can help filter the wind and slow it down in the summer

3.12. Conclusions

Corniche Rd. is a major street that making changes may be difficult Adjacent park to allow for more connections to the city Geometry of the site is having a rectangular ratio that may be a constraint Continuing cycle tracks to encourage the pedestrian friendly city approach Potential traffic jam near the site as it is near to many landmarks and major intersections Cultural significance of the site, can recall the old corniche coastline in the site Wind near the seafront may be more humid Opportunities

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USER'S FEEDBACK 4.1. interview METHODOLOGY 4.2. DATA EVALUATION & CONCLUSIONS 4 123 124

5. Expectations for AD's future cultural centers Cultural centers Attractions 125 126

Head of Architecture - The department of Culture & Tourism Abu Dhabi Experience 2012-Present | Head of Architecture - The Department of Culture & Tourism AD 2011-2012 | Architect, Designer - Abu Dhabi 2007-2011 | Architect, Design Coordinator - Abu Dhabi 2005-2008 | Associate Architect - Austin-Smith: Lord LLP Education Liverpool John Moores University 1994-1996 | Diploma with Distinctions, Architecture 1990-1993 | Upper Class Second BA hons, Architecture METHODOLOGY

2. Multiculturism in Abu Dhabi vs Other Cities

User's Feedback

3. Effect of Multiculturism on AD's Architecture

1. Culture & Architecture of Abu Dhabi to foreigners

The interview was composed of 8 questions that were mainly about:

6.

The chosen data collection method was conducting an interview. The aim was to ask questions to someone who is charge of the cultural buildings or centers here in Abu Dhabi to able to learn about what should be con sidered in local centers and what should be avoided. As advised by Dr. Magdy Ibrahim, an interview was con ducted with Mr. Mark Kyffin Powell, who happens to be the head of Architecture in the Department of Culture and Tourism in Abu Dhabi. He also worked on Qasr Al Hosn development, and this was a great potential for more question to come. The interview timing and method were planned through emails, and the interview was conducted through Microsoft Teams. It took place on 16th of November, 2021 from 10.00-11.30 AM.

Mark Kyffin Powell

It included the conservation of Abu Dhabi’s oldest and most significant heritage structure and its flagship mod ern heritage building, ‘The Cultural Foundation’.

2. Qasr Al Hosn Development 2007-2018

4.1. INTERVIEW

1. The Bluecoat, Liverpool Uk 2005-2008 He worked as a project manager with his team to deliver the redevelopment and the refurbishment of Liver pool's oldest city center building.

He is the Head of Architecture for Abu Dhabi’s Department of Culture & Tourism. He is a past Branch Presi dent and long-standing member of the Royal Institute of British Architects and a former member of The Insti tute of Historic Building Conservators. He has studied and worked in the field of Architecture for over 23 years and has extensively worked on a num ber of complex and demanding projects in the Arts, Culture and Heritage Sectors. He worked on many important projects both in Liverpool and Abu Dhabi, that many of them were related to culture, some of these projects are:

4. Qasr Al Hosn Development Considerations

Providing spaces for outdoor exhibitions and galleries for the good weather

4321

Visitors need to stay longer to understand more about its culture and architecture

Think about and recall the values and the experiences of the ancient people of the country

Be true to the memories of the people of that place to ensure engagement

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765

Architecture to be something that people of the place are proud of and proud to share

A platform is needed for all cultures to allow for other cultures' events and celebrations Materials

It can be built following the Emirati architecture, and from inside feature different activities and events that relate to all other cultures and not just the local one

It should be something that makes people of that place proud to showcase to other nations

Expectations for AD's future cultural centers

It can help spread the word of understanding other cultures and appreciate their identities

There is no immediate effect on the Architecture as it's unique sense is still present Retain & Showcase the two buildings; The fort and The Cultural Foundation

It represents a tolerant cosmopolitan cultural community that recognize other cultures

ExperienceSpatial Controls Light Contrast & Harmony

Minimalism was the key to the successful conservative design that allowed the different activities while preserving the Emirati heritage and identity

User's Feedback User's Feedback

Multiculturism Effect on AD'S Architecture Qasr Al Hosn Development Considerations

Multicultures are more spread out through the city rather than forming small groups

The growth of the city can be read through its architecture

Multiculturism of AD VS other cities

Form Culture & Architecture of AD to foreigners

It has strong communities of expats similar to what in Liverpool

Research the culture represented and be a physical manifestation of that culture

Cultural centers Attractions

How to Demonstrate culture in a building

Plenty of beautiful architecture, but not appreciated because of the car culture

Potentials for a multicultural center

It is good to have and retain the distinct Arabic, Abu Dhabi inclusive style in the future Design new facilities that are following the traditional architecture (cafés, mosque, ...) International style is good to an extent, because otherwise all cities would look the same

It has some examples of recognition of other cultures similar to other cities ( churches,...) Connect the buildings on-site to create harmony; achieved through the landscape design

Visual and Physical accessibility of the center attracts visitors and develop curiosity

4.2. DATA EVALUATION & CONCLUSIONS

DATA COLLECTION 5.1. Functions lists 5.2. Space standards 5.3. Local and international design codes & regulations 5.4. Design objectives 5 129 130

Data Collection Data Collection PUBLIC – OPEN SEMIPUBLIC – CLOSED PRIVATE- CLOSED Reception TerracesFoyersMultipurposePublicLoungesExhbitionGalleriesAtriumsCourtyardsDiningRestaurantsCafesOutdoorRegistrationHallAreasUrbanSpacesHallsHallsEventHallRoom AudioLectureClassroomsCinemasAuditoriumsRoomVisualRoomsLibrariesReadingAreasGamingDigitalRoomsToiletsArchiveWarehousesArchivesBookServicesPrivateWorkingSpaceGroupWorkrooms OfficesMeeting Rooms Dressing Rooms Artists Common Room Rehearsal Halls IT Room SERVICES - CLOSED Mechanical TechnicalKitchenStorageSpacesSpaces 5.1. FUNCTIONS LIST The cultural center is to be designed including spaces that are directly accessed by public, others that need registration/payment/membership, and others that are to tally private. The public spaces include the places were public can enjoy their time eating, drinking coffee, resting in the lounges, attend events, and view art pieces or exhibitions. The semi-public spaces are open to public upon their registration, like the auditorium, cinema, classrooms, libraries, and reading areas. The private spaces are dedicated for staff members and artists only. Table 14: AD Cultural Center Function List 5.2. Space Standards 5.2.1. Auditoriums / Theatres 131 132

Data Collection Data Collection133 134

Data Collection Data Collection135 136

Data Collection Data Collection137 138

Data Collection Data Collection139 140

Data Collection Data Collection141 142

Data Collection Data Collection 5.2.2. Dressing / Powder Rooms 5.2.3. Cinemas 143 144

Data Collection Data Collection 5.2.4. Audio Visual Room 5.2.5. Gallery / Exhibition Halls 145 146

Data Collection Data Collection 5.2.6. Archives 5.2.7. Libraries 147 148

Data Collection Data Collection149 150

Data Collection Data Collection151 152

Data Collection Data Collection 5.2.8. Reading Spaces 153 154

Data Collection Data Collection 5.2.9. Restaurants / Dining 155 156

Data Collection Data Collection157 158

Data Collection Data Collection 5.2.10. Classrooms 5.2.11. Private Working Spaces 159 160

Data Collection Data Collection 5.2.12. Offices 161 162

Data Collection Data Collection163 164

Data Collection Data Collection 5.2.13. Meeting Rooms 165 166

Data Collection Data Collection 5.3. Local Standards 5.3.1. Cultural Center Category 5.3.2. Cultural Center Min. Plot and Gross Area 5.3.3. Area per Employee for Cultural Centers 167 168

Data Collection Data Collection169 170

5.4. Design Objectives 171 172

PROGRAMMING 6.1. Description of the program 6.2. Process & calculations 6.3. Program Analysis 6.4. Program MatriCES 6 173 174

SemiPublic10860m²Public35%9000m²29% Center and the MECA Cultural Center were both serving large cities with a large number of us ers, Nantong City in China and Bordeaux in France respectively. As a result, the number of users were repre sented by the latest number of residents in those cities. Nantong city has about 2,300,000 residents (Nantong, China Population, n.d.), and Bordeaux city has 980,130 citizens according to World Population Review web site. The other two precedents had different typology, as they are serving smaller neighbourhoods. Cultural Center Alb'Oru is serving Bastia neighbourhood of 50,000 residents (Population de Bastia (20200), n.d.). The Maunula House has the smallest area as it serves the least number of residents; 7200 citizens (Maunula neigh bourhood - introduction, n.d.). 17: Precedents 57: Population Cultural Center UAE

Circulation6500m²21%Facilties4800m²Private&Spaces15% Category Total Area Public Spaces 10860m² Semi-Public 9000m² Facilities & Private Spaces 6500m² Circulation 311604800m²m² Table 15: Program Zones Area Table 16: Minimum Area of cultural centers in the UAE according to (DMT, 2020) Figure 56: Program Zones Area & Percentages Graph City City Popultion Total Built Area Area per capita 30000m² 18000m² 3873m² 3342m² 0.0130m²/capita 0.0184m²/capita 0.0775m²/capita 0.4642m²/capita Nantong, China Bordeaux, France Bastia, Italy Helsinki, Finland 2,300,000 980,130 50,000 7,200 Nantong Public MÉCA CulturalAlb'OruCenter Maunula House Cultural Center Cultural Center 6.2. Process & calculations 1. Determining Number of users 35000m²30000m²25000m²20000m²15000m²10000m²5000m²0m² 0 500,000 1,000,000 1,500,000 2,000,000 2,500,000 AreaCenterCultural Population of City / Neighborhood The case studies that were analysed before had different areas and different types of users. The Nantong Pub lic Cultural

Table

Area per capita percentages Figure

The program is divided into 3 main categories + circulation. Since it is a cultural center, the circulation repre sents a major category including vertical and horizontal circulation. The largest zone is the public zone, and it represents all the functions that can be easily accessed by the visitors without any need for registration or tickets. It is also divided into indoor and outdoor spaces, the indoor spac es include: reception hall, lounges, event hall, ans the foyers. The outdoor spaces include the terraces and the urban rooms/spaces in the landscape of the project. Next comes the semi-public spaces, which counts for 29% of the center. It includes the spaces that need the vis itors registration for them to access. Libraries, reading spaces, classrooms, auditorium, cinema, working spaces and galleries are all considered as semi-public spaces in this center. The third and final category represent the Facilities and the Private spaces. The facilities include restaurants, cafes, prayer rooms, and rehearsal halls. Whereas the private spaces include the administration functions (offices, and meeting rooms) and the service rooms (Toilets, IT, Mechanical, Storages, and registration areas).

-

Programming Programming

Area Graph Population Min. Plot Area Standard Min. Total Area 80000 10000m² 21000m² Area of cultural centers in

175 176

6.1. Description of Program

Programming Programming Total Area | Number of Users 30000m² 2,300,000 18000m² 980,130 3873m² 50,000 3342m² 7,200 Reception Hall 605m² 0 0003m /user 1820m² 0 0019m² user 305m² 0 0061m² user 42m² 0 0058m²/user Registration Area 110m² 0 0000m /user 55m² 0 0076m²/user Atriums 3320m² 0 0014m /user 475m² 0 0660m²/user Foyers 700m² 0 0003m /user 900m² 860m² 505m² 500 users 336 users 152 users 1.8 m2/user 2.5 m2/user 3.3 m2/user Dressing Rooms/Powder Rooms 140m² 0 0001m /user 23m 0 0005m² user 120m² 60m² 100 users 42 users 1.2 m2/user 1.4 m2/user Public Event Hall/Multipurpose Room 270m² 0 0001m /user 233m² 0 0324m²/user Gallery / Exhibition Hall 225m² 0 0001m /user 2825m² 0 0029m² user 125m² 0 0025m² user 42m² 0 0058m²/user Artists Common Room 61m 0 0012m² user Toilets 555m² 0 0002m /user 345m² 0.0004m² user 245m² 0 0049m² user 122m² 0.0169m²/user Mechanical/Storage 2150m² 0 0009m /user 430m² 0 0004m² user 70m 0 0014m² user 157m² 0 0218m²/user Offices/Meeting Rooms 360m² 0 0002m /user 2325m² 0.0024m² user 268m² 0.0372m²/user Public Lounges Rest Areas 745m² 0 0003m /user 118m² 0 0024m² user 174m² 0 0242m²/user Café Restaurants / Bar 280m² 0 0001m /user 245m² 0 0002m² user 57m 0 0011m² user 58m² 0 0081m²/user Audio Visual Rooms 125m² 0 0001m /user 155m² 0 0002m² user Libraries 185m² 0 0001m /user 500m² 0 0100m² user 433m² 0.0601m²/user Reading Spaces 1550m² 0 0007m /user Private Working Space 37m² 0 0051m²/user Public Staircases 200m² 0 0001m /user 100m² 0 0001m² user 525m² 0 0105m² user 35m² 0 0049m²/user Vertical Shafts 1950m² 0 0008m /user 950m² 0 0010m² user 105m² 0 0021m² user 98m² 0 0136m²/user Horizontal Circulation 2700m² 0 0012m /user 2600m² 0 0027m² user 825m² 0 0165m² user 200m² 0 0278m²/user Classrooms / Reading Room 1090m² 0 0005m /user 528m² 0.0733m²/user Kitchen 54m² 0.0075m²/user Rehearsal Halls / Show Training Rooms 840m² 0 0004m /user 220m² 0 0002m² user 58m² 0 0081m²/user Gaming 51m² 0 0071m²/user Digital Rooms 115m² 0 0001m /user 20m 0 0004m² user IT Room 24m² 0.0033m²/user Library Archives Services 475m² 0 0002m /user 48m 0 0010m² user Archive Warehouses 1780m² 0 0008m /user Technical Spaces 198m² 0 0275m²/user Terraces/Urban Rooms 5020m² 0 0051m² user 482m² 0 0096m² user Nantong Public MÉCA Cultural Center Alb'Oru Maunula House Cultural Center Cultural0Center.0001m² user Auditorium 0 0004m /user 0.0009m² user 0 0101m² user Lecture Room 0 0001m /user 2. Calculating + Comparing Area per capita This table shows the 4 precedents with their total areas and area per capita numbers. The first two case studies are closes to Abu Dhabi's population, and this is why the percentages were more accurate than the other two buildings. As a result, the first two list of area per capita ratios were picked for further analysis. Table 18: Selected Precedents Areas and areas per capita Total Served ProgramPopulationList Average Area per capita Area for AD Reception Hall 0 0011m²/user 1600 6m² Registration Area 0 0000m²/user 72 2m Foyers 0.0003m²/user 459 6m² Dressing Rooms/Powder Rooms 0 0001m²/user 91 9m Public Event Hall/Multipurpose Room 0 0001m²/user 177.3m² Gallery / Exhibition Hall 0.0015m²/user 2250 0m² Artists Common Room 0 0001m²/user 92 1m Toilets 0 0003m²/user 447.9m² Mechanical/Storage 0.0007m²/user 1037 0m² Offices/Meeting Rooms 0.0013m²/user 1909 1m² Public Lounges / Rest Areas 0 0003m²/user 489.1m² Café / Restaurants / Bar 0 0002m²/user 280 6m² Audio Visual Rooms 0 0001m²/user 160.4m² Libraries 0.0001m²/user 121 5m² Reading Spaces 0.0007m²/user 1017 6m² Private Working Space 0 0003m²/user 388.0m² Public Staircases 0 0001m²/user 142.7m² Vertical Shafts 0 0009m²/user 1371 9m² Horizontal Circulation 0 0019m²/user 2889 1m² Classrooms / Reading Room 0.0005m²/user 715 6m² Kitchen 0 0004m²/user 566 3m² Rehearsal Halls / Show Training Rooms 0.0003m²/user 445 2m² Gaming 0 0004m²/user 534.8m² Digital Rooms 0.0001m²/user 75 5m IT Room 0.0002m²/user 251.7m² Library Archives Services 0.0002m²/user 311.8m² Archive Warehouses 0.0008m²/user 1168 6m² Technical Spaces 0 0014m²/user 2076 221873m²8m² Terraces/Urban Rooms 0.0051m²/user 7733 9m² Total Percentage & Area 0 0198m²/user 29921 7m² 1,510,000 users Abu Dhabi Cultural Center LectureAuditoriumRoom 957.9m²856m00.0006m²/user0001m²/user 3. Average area per capita This table shows the selected 2 precedents ratios' av erage. The missing ratios were taken from the other 2 cases. The next step was to multiply all the ratios by the population of Abu Dhabi to get the areas of the functions accordingly. The total gross area was about 23,000 which is a bit close to the number got from the Population-Area Graph. 35000m²30000m²25000m²20000m²15000m²10000m²5000m²0m² 0 500,000 1,000,000 1,500,000 2,000,000 2,500,000 AreaCenterCultural Population of City Neighborhood Table 19: Average Area per capita + Program Areas for Abu Dhabi 177 178

Programming Programming Category Name Area Type Units Total Area No. Users Observation Reception Hall 1600m² OPEN 1 1600m² All Visitors GF Foyers 450m² OPEN 2 900m² / GF - Before Auditoirum Public Event RoomHall/Multipurpose 180m² OPEN 2 360m² 200 USERS (100 per unit) GF+FF Public Lounges / Rest Areas 250m² OPEN 4 1000m² All Visitors All Floors + FurnitureFlexible Lecture Room 85m² ENCLOSED 4 340m² 240 USERS (60 per unit) FF Audio Visual Rooms 160m² ENCLOSED 2 320m² 100 USERS (50 per unit) FF Libraries 350m² SEMI-ENCLOSED 2 700m² / GF+FF Reading Spaces 1000m² OPEN 1 1000m² 500 USERS GF+FF Group Working Space 50m² SEMI-ENCLOSED 10 500m² 50 USERS (5 per unit) FF Private Working Space 30m² SEMI-ENCLOSED 15 450m² 15 USERS (1 per unit) FF Workshops 60m² SEMI-ENCLOSED 4 240m² 60 USERS (15 per unit) FF Classrooms 60m² SEMI-ENCLOSED 20 1200m² 480 USERS (24 per classroom) FF Digital Rooms 80m² SEMI-ENCLOSED 1 80m² 16 USERS FF Gallery / Exhibition Hall 2250m² OPEN 1 2250m² / GF Artists Common Room 100m² ENCLOSED 1 100m² 10 USERS 2F Auditorium 960m² SEMI-ENCLOSED 1 960m² 480 USERS GF Cinema 500m² SEMI-ENCLOSED 1 500m² 300 USERS GF Gaming Room 180m² SEMI-ENCLOSED 2 360m² 70 USERS FF Dressing Rooms/Powder Rooms 10m² ENCLOSED 4 40m² 40 USERS (4 per unit) GF - Next Auditoriumto Dining Area 500m² OPEN 1 500m² 300 USERS 3F - For Views Restaurants 300m² OPEN 1 300m² 150 USERS 3F Cafés 150m² OPEN 2 300m² 100 USERS (50 per unit) 3F + 1 small at GF Kitchen (for readers/staff) 50m² OPEN 4 200m² / All Floors Prayer Rooms 50m² OPEN 8 400m² 240 USERS (32 per unit) All Floors Rehearsal Halls Show Training Rooms 150m² ENCLOSED 3 450m² / FF Toilets 150m² ENCLOSED 4 600m² 100 USERS (25 per floor) All Floors Storage 100m² ENCLOSED 4 400m² / All Floors Mechanical 100m² ENCLOSED 4 400m² / Basement Registration Area 70m² OPEN 2 140m² / GF Technical Spaces 1000m² ENCLOSED 1 1000m² / Basement Meeting Rooms 50m² ENCLOSED 5 250m² 60 USERS (12 per room) 2F Single Offices 10m² ENCLOSED 5 50m² 5 users (1 per room) 2F Group Offices 35m² ENCLOSED 12 420m² 50 users (3-4 per room) 2F IT Room 125m² ENCLOSED 2 250m² / 2F Library Archives Services 300m² ENCLOSED 1 300m² / GF Archive Warehouses 500m² ENCLOSED 1 500m² / Basement Public Staircases 50m² OPEN 4 200m² All Visitors All Floors Vertical Shafts 400m² ENCLOSED 4 1600m² All Visitors All Floors Horizontal Circulation 3000m² OPEN 1 3000m² All Visitors All Floors 24160m² Urban Rooms+Amphitherater 6000m² OPEN 1 6000m² All Visitors GF Terraces 1000m² OPEN 1 1000m² All Visitors All Floors 31160m² LearningMuseumServices Total Area PublicOutdoorAdministrativeSpacesCirculationActivitiesFacilitiesEnterntainment 4. Final Program Table Table 20: Finalized Program List 6.3.1. Functions Group Total Areas Category Total Area Category 1000600030001600100022501200100010001600m²900m360mm²340m320m700mm²500m450m240mm²80m²m²100m960m500m360m40m²500m300m300m200m400m450m600m400m400m140mm²250m50m²420m250m300m500m200mm²m²m²m² 31160m² Facilities 2190m² Enterntainment 1820m² PublicLearningActivitiesMuseum 4800483038601770254023507000m²m²m²m²m²m²m²OutdoorAdministrativeServicesCirculationSpaces 6.3. Program Analysis Table 21: Functions Grouped Total Areas 179 180

Programming Programming 6.3.2. Zones Divisions and Areas Figure 58: Zones Divisions and Areas 6.4. Program MatriCES 6.4.1. Program Summary Matrix 181 182

Programming Programming 6.4.2. Learning, Museum, & Entertainment Spaces Matrix 6.4.3. Public Spaces Matrix 6.4.4. Facilities, Services, & Administrative Spaces Matrix 183 184

CONCEPTUAL DESIGN BACKGROUND 7.1. Design Concept Summary 7.2. Site ResponsE 7.3. FORM DEVELOPMENT 7.4. Program Layout 7.5. Graphics and Process Drawings 7 185 186

The center to be the place where all multicultures come together to celebrate their identities and head together to their common future in the beautiful city of Abu Dhabi

As for the center to allow for a continuous and smooth flow of the pedestrians, these 3 axes are to be considered as plaza areas to connect to the surrounding buildings. Existing conditions The highlighted areas represent the plot and the adjacent development of the metal compartments and cafés area.

SinceRELOCATINGthedevelopmentincludeprefab compartments and food trucks, relocating it is suggested to provide more space for the center. A possible location is to the nearest park.

CONTEXT AXES

SITE ACCESS

Cultural centers in Abu Dhabi including Qasr Al hosn, Cultural foundation, and Manarat Al Saadiyat are all standing for and exhibiting the UAE's history, culture, and traditions. However, there is no such a center that allows for other culture's events or exhibitions to happen. The multicultures living here in the UAE are the most important power of the UAE, and the power of this unity can be celebrated by appreciating the smaller units that formed this bigger picture of a tolerant futuristic city. RESPONSE

'MLEIH' CULTURAL CENTER

7.1. Design CONCEPT SUMMARY 7.2. SITE

In this project, all nations would be welcomed to come and show their cultures through events, festivals, and celebrations. The centre would allow for flexible interiors that would be easily changed according to the time and the event. Experiences of old ancestors of Abu Dhabi are to be recalled in the design of the center, such as the tent volume, shards of light, and sand dunes volumes that opens its arms to the visitors. The word 'Mleih' is taken from the history of the city of Abu Dhabi back in the 1950s and 1960s.

The site became accessible by 6 main points, 4 of them exist ed, and 2 of them were created after relocation of the cafés area. The pedestrian and bus access are also there, 187 188

thatRecallingRECALLtheoldcornichecoastlinewas125meterawayfromtheplotforvisitorstoseeandforelderlypeopletorecalltheirmemories. TakingEXPERIENCEsomeabstractelementsfromBedouin'sancientlifeandrepresentthehospitalityculturerelatedtoit UNITY

Locals used to come to for fishing and diving, and they called the corniche area as Mleih - the word for salt in the Emirati Arabic dialect.

Concept Design & Backgroud Concept Design & Backgroud

3. OLD COASTLINE OFFSET

1. Plot Grid

Slanted cuts that follow the grid cut the side volumes to create a natural effect that drag people to the inner plaza.

Concept Design & Backgroud Concept Design & Backgroud 7.3. Form Development 7.4. Program Layout

The 2F is dedicated for the cafés, restaurants, and dining areas that are attached to a large terrace shaded by the highest volume.

The highlighted areas are used the most in event timings, where people can go up and still watch the events happening on the Ground Floor Plazas. 189 190

2. MAIN VOLUMES Extruding the volumes, the red volumes mark the longitudinal ones that will be used for public events and areas that need to be accessible at the pedestrian level. The elevated volume is dedicated for functions that need more quite areas.

5. ROOF TERRACE

4. INTO THE PLAZA

The coastline of the corniche in 1984 cut the building, and a water feature can represent the idea to the visitors. Another cut is at the back to ensure continuity with the context.

The highlighted areas represent the plot and the adjacent development of the metal compartments and cafés area.

6. UPPER VOLUMES ADJUSTS

Concept Design & Backgroud Concept Design & Backgroud 5004003002001000 7.5. Graphics & Process DrawingS SITE PLAN SECTION A-A SECTION B-BEXPERIENCE BA BA 191 192

Concept Design & Backgroud Concept Design & Backgroud193 194

GRADUATION PROJECT II 7.1. Design Concept Summary 7.2. Site ResponsE 7.3. FORM DEVELOPMENT 7.4. Program Layout 7.5. Graphics and Process Drawings 8 195 196

BIBLIOGRAPHY 8.1. References 8.2. Images References 8 201 202

Bilbiography Bilbiography 8.1. References Abu Dhabi Department of Municipalities and Transport (DMT). (2020). Abu Dhabi Community Fcility Planning Standards. 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Bilbiography Bilbiography Miller, D. (2000). Citizenship and National Identity. Modern Heritage . (n.d.). Retrieved from Abu Dhabi Culture: https://abudhabiculture. Nantongae/en/learn/cultural-programmes/modern-heritagePublicCulturalCenter/TJADTime&Space Architecture. (2021, August 25). 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Guggenheim Museum, New York, USA (1939) 7 Image 5: Lincoln Center in New York, USA (1955) .................................................................................................. 7 Image 6: Pompidou center in Paris, France (1971) 8 Image 7: Sydney Opera House in Sydney, Australia (1973) 8 Image 8: Guggenheim Museum in Bilbao, Spain (1997) 8 Image 9: Cultural Foundation 9 Image 10: Zayed National Museum 9 Image 11: Qasr Al Hosn 9 Image 12: Manarat Al Saadiyat ................................................................................................................... 9 Image 13: Louvre Abu Dhabi 9 Image 14: Bait Al Oud 9 Image 15: Guggenheim Abu Dhabi 9 Image 16: House of Artisans & Bait Al Gahwa 9 Image 17: Abu Dhabi Bus Station 19 Image 18: UAE University 19 Image 19: Al Ibrahimi Building ................................................................................................................. 19 Image 20: Sheikh Zayed Bin Sultan Al Thani Mosque 19 Image 21: Al Otaiba Building 19 Image 22: Cultural Foundation 19 Image 23: Zayed Sports City 19 Image 24: Abu Dhabi Chamber of Commerce Industry 19 Image 25: UAE's Vision 2021 20 Image 26: Rudong Cultural Center Aerial view .................................................................................................... 25 Image 27: Curved edge representing strong waves 25 Image 28: Elevation; the façade treatment reveals the entrance 25 Image 29: Elevation; the façade treatment reveals the entrance 26 Image 30: Nantong Public Cultural Center Aerial view 27 Image 31: Nantong Public Cultural Center Facade 27 Image 32: Nantong Public Cultural Center South Facade looking to the lake 27 Image 33: MÉCA Cultural Center Aerial view ..................................................................................................... 35 Image 34: MÉCA Cultural Center Urban Landscape 35 Image 35: MÉCA Cultural Center Form and Context Diagrams 36 Image 36: MECA Cultural Center functions diagram 37 Image 37: MECA Cultural Center First Floor Shaded Plaza 38 Image 38: MECA Cultural Center Staircase facing waterfront 38 Image 39: Precedent 3 - Long Section 42 Image 40: Precedent 3 - Cross Section 42 Image 41: Cultural Center Alb'Oru Pedestrian View 49 Image 42: Cultural Center Alb'Oru Shadows by the surrounding forest trees. 49 Image 43: Maunula House Pedestrian View 57 Image 44: Maunula House Night View 57 8.2. Images References 205 206

APPENDIX 9.1. Interview Transcript 9.2. Local Standards 9 207 208

• Clear delineation of Ground + mezzanine with the body of the building functioning different to the base. Lack of public realm design and a definite requirement for parking controls in downtown.

• Liverpool is an equally multicultural city due to its port origins, trade triangle links and attracting migrant workers. A place of transience too

I don’t think multiculturalism has an immediate effect on the Architecture of Abu Dhabi as it has retained its unique sense of place through its Architecture and urbanism. There are one off pieces which do demonstrate a recognition of other cultures, faiths which again are similar to other cities around the world (i.e. St Andrews Church and the former St Joseph’s church which was on the Corniche) but personally I feel it is good to see a distinct Arabic, Abu Dhabi style to the city which make this place unique and different to other places in the world and indeed even different other places within the Emirates. Abu Dhabi is different to Dubai, to Sharjah to RAK etc despite the similar climate and context conditions; each city has different master planning, archi tecture, and feelings yet they work harmoniously and compliment one another. Whilst being a United nation, it does demonstrates the identities of those seven emirates, and I think the pride of unity is greater when you have the pride of individuals who make that unity.

• Buildings of the 1960 early international style, then there is an apparent over stretching to add pan Arabian motifs now there is an greater international style with subtle motif but I would like to see a more intel lectual approach to the modern architecture such as the House of Artisans, The Cultural Foundation building, Ibrahimi Restaurant building on Electra, the Al Dana travel building next to Central Market, The Washing Machine Façade Building on Electra, Sheikh Zayed Stadium, Abu Dhabi Bus Station and Al Bateen Mall etc.

• Abu Dhabi has strong communities of expats in the similar way that Liverpool does. Huge Chinese community in Liverpool which is comparable with the Filipino, Indian, Jordanian, British, American etc. community in AD but in AD they are dispersed among the community rather than forming a quarter of the city. Singapore reference, New York References Multi-cultures of Abu Dhabi are more spread out through the city more than other cities that has smaller com munities, and both urban planning choices work for different purposes.

• Similar issues elsewhere in the world i.e. Reyner Banham: Los Angeles The Architecture of Four Ecolo gies. This is what caused the revolution of buildings like Frank Gehry's designs, crazy statues at the street scape which is the only things you see.

These types of buildings are only experienced by the pedestrian, which can only be in winter months. Limited curb width and shop doors opening into it limits that experiences.

Use of international style is beneficial to an extent, because otherwise the world would become anonymous and cities would no longer be distinguished from each other.

Appendix Appendix 9.1. Interview Transcript

As a result, there was a need for a interstitial language to find a mediator between the fort and the cultural foundation that is harmonized and softened to the more natural topography of the fort and kind of linked in the rigid geometry of the cultural foundation. This is what came up with the Voronoi language based on the cracked earth of a Sabkha, a kind of a mud flat so that it related to both.

• Both AD and Liverpool are tolerant cosmopolitan cultural community cities which recognise other cultures and communities within buildings which are of their city. Reference: The Arabic Arts Festival at the Bluecoat in Liverpool.

4. What are the major aspects that you considered as a team while working on the Cultural Founda tion and Qasr Al Hosn Site Development? Which was the hardest? That’s a big question to answer but mainly to retain and showcase the two significant cultural buildings on the site and restore them authentically to the eras of origin in a contextual setting for them to be read with their immediate topography and then to connect them with an interstitial park-scape that would provide a place to showcase and preserve Emirati Heritage and Identity whilst allowing community engagement to create a new layer of history to the site. Qasr Al hosn clearly being a building of traditional heritage - Abu Dhabi's oldest and most significant herit age building - and on the other side of the site the cultural foundation there for being the building of modern heritage. They were two anchors so that one is looking to the past and one was looking to a less immediate past, and then creating a around them a landscape that allows people to understand how those buildings have been made in these areas. Recreating the barren sand-scape that the fort stood in back in the 1940s and 1950s made a relationship between the context and architecture, and similarly with the cultural foundation building to relate more to its urban environment of concrete and pure geometry that connected it into the city grid. The fort is all about the Qibla orientation and the cultural foundation is more of the Cartesian city grid geometry.

• Car Culture: restricted views of buildings due to heat and a lack of quality, shading and space within the public realm to walk. All what you get to see is the bottom of the buildings from the car window.

1. On the first years of you living in Abu Dhabi, how did you perceive its architecture?

You can read the growth of the city through its architecture. You can see the buildings of 1960s with its low rise designs and different materials. Also the patterning of Arabic motifs within the 1970s and 1980s including mashrabiya, facade weaving, and triangular arches that express the culture of the place without it being a pat tern, and using it in a more intellectual or structural way.

2. As a reflection on your background, how do you find the multiculturism of Abu Dhabi in comparison to Liverpool?

3. In your opinion, how does the multiculturism affect the architecture of Abu Dhabi; especially cul tural centers?

The challenge was to make barrenness beautiful. Minimalism is a very difficult architectural thing to pull of, because it can either look like you have done nothing or you can do too much that you would need to hold yourself back, but we wanted it to just become a simple park scape that allowed us to do programs and ac tivities to celebrate Emirati heritage and identity. This includes Emirati dances, falconry, story telling, water feauters to talk about the rich maritime heritage of UAE from fishing to pearling to sea chantees and have places to put a jalboat or a daw on the site. This is where we then realized that we had to create other buildings on the site, and that it just couldn't be about the fort and the cultural foundation because we needed to include food and beverages, car parking, and mosques. The mosque was the biggest challenge because there was a 209 210

There are some quality pieces of architecture that aren't appreciated because the public realm doesn’t allow walking, and encourage the use of cars. Instead, improving public realm, increasing the shade, and providing sustainable forms of cooling would help Abu Dhabi's architecture to be more appreciated.

Appendix Appendix211 212

A cultural center's role here comes to engage with people and make them understand that other cultures aren't aliens and the things that they don't like about them are actually nice, this way you wouldn't need those mag netrons. Ignorance about cultures is what causes the fear of bad things happening. Remove the requirements for the extra security measures that may affect the journey of your visitors, that may put fear and concern in people's minds.

mosque om the site which we removed, and we had to choose either to build anther one on the site of either the same size or bigger. In doing something bigger it meant that the cultural building and the fort would be compromised of being the most invisible elements on the site. What we decided to do is to carry on the voronoi language and try to create a building that felt it is a part of the landscape - a habitable piece of landscape - , but the mass of it was still becoming too big. This is why we decided to shatter the mosque into separate buildings which all responded to the component parts of prayer. There was an entrance hall that become another build ing, female entrance hall, female ablution, female prayer room and male prayer room all were separated into multiple buildings. This way it didn't become overpowering in terms of the composition of elements that make up the whole site. That was the hardest thing, to keep the composition clear to the original concept of having a diagonal line that splits the site between traditional and modern and not allow other elements to overpower the significance of the fort and the cultural foundation building.

7. How to attract people to a cultural center in the presence of Qasr Al Hosn Development? Be true to the culture to create an ‘Architecture’ in an appropriate ‘Place’ which is relative to the emotions, experiences, engagement and memories of the people of that place. The Architecture should be something that the people of that place are proud of and proud to share with others as an explanation of their traditions, cus toms, evolution and act as an enduring legacy for continuation by their children. This should be done through Architecture (materials, light, spatial controls, layering, masking, contrasts and harmony) to create an abstract of an experience rather than a 2 dimensional projection which pictures what it is or was like to be in a particu lar Whatplace.attracts people to Qasr Al Hosn I think could be ease of accessibility and car parking right next to the building, but for me it is seeing that building which is the birth of Abu Dhabi grow from a watch tower into a fort into a palace and being able to make it highly visible in the heart of city where you can see how the nation has evolved from those humble origins to something across the way now which are the surrounding towers. The ability to see the full evolution and how it is visually and physically accessible was the main attraction, and that's how it always was. It was always the heart of the community and the support for many. The development made people curious to visit and at the same time highly visible and accessible and clearly true to its origins.

5. What were the architectural elements that helped Qasr Al Hosn Development to become the most important cultural landmark? The elements were already there QAH and the CFB. The skill was providing minimal complementary inter ventions to support without overshadowing these two key buildings. The creation of a terra form architecture to be as one with the landscape habitable landforms that are subservient but striking through there humility. Barrenness that is beautiful representations of the past to be enjoyed in the present. To take the young on a journey into the past whilst allowing the older generations a place to reminisce and spark stories of their child hood to be passed on from generation to generation a place where the tangible is preserved to be a platform for the intangible heritage of the UAE to be transmitted and also preserved

8. If there is one thing that you want to change in the cultural sites here in Abu Dhabi, what would that be and why? To be able to remove the requirement for Magnetrons, bag searches and other security measures at the entry of cultural sites. This mars the experience, adversely affects the mindset of visitors before entry. Unfortunately the world may need to change first.

6. If a new cultural center is being proposed, what are your architectural expectations? To research the culture it represents. To be a physical manifestation of that culture. Think of Expo how some pavilions are successful in doing that through an architectural form and how others rely on images and tech nology to take you to a place a ritual a tradition. Style-wise, something makes people of that places proud to be there and proud to showcase this to other na tions that they feel is demonstrative to their culture. This can be achieved by either physical appearance, direct representation of the materials that they have been using, or an emotional connection of how they lived. An example for this was the way Bedouin used to cross sand dunes and deserts and being guided by the sky with the sense of gathering around the fire sharing the meals; 'my meal isn't my meal alone, my meal is the meal of many'.

Appendix Appendix 9.2. Abu Dhabi's cultural sites 213 214

Sheikh Zayed Bin Sultan Al Nahyan, Founder of the United Arab Emirates

“A person who does not know their past cannot make the best of their present or their future.”