Filmic Architecture: An Emotional Connection_New Media Arts Complex_Graduation Project Thesis by zahraahaider

FILMIC ARCHITECTURE: AN EMOTIONAL CONNECTION NEW MEDIA ARTS COMPLEX ZAHRAA HAIDER (201410622)

A Dissertation submitted to the Department of Architectural Engineering at Ajman University in partial requirements for the degree of Bachelor of Science in Architectural Engineering

Zahraa Haider 201410622

ACKNOWLEDGMENT

This wild journey of 5 years would not have been possible without the support of my family, professors and mentors, and friends. First of all I would like to thank my supervisor, Dr. Alessandro Cece, who believed in me and was continuously supporting me in every problem that occurred during the making of this dissertation. I especially thank him for his encouragement and his constructive criticism that helped me explore beyond my comfort zone. Iâ&#x20AC;&#x2122;d like to extend my gratitude to Ms. Neveen Al-Bandari and Mrs. Reem Aqel whom guided me and put me back on track whenever I went off course. To my family, thank you for encouraging me in all my pursuits and inspiring me to follow my dreams. I am especially grateful to my parents, who supported me emotionally during my hardest times, and guided me through all my turmoils. And finally, to my closest friends and my dearest colleagues, I will never forget the laughter and the tears we shared, the sleepless nights we had working on projects and trying to keep each other awake, and the support and encouragement you gave me. I wish to see you all successful and healthy in whatever paths you choose for yourselves.

ABSTRACT

When we watch movies, we are immersed deeply in it and our emotions are engaged with the narrative. Likewise, architects seek to evoke emotional response through their design. When architecture connects emotionally with the users, the message and meaning it wants to give is felt on a deeper level so it leaves an everlasting impression. The following dissertation studies the relationship between film and architecture and their connection with emotions. Architectural strategies are developed according to film and narrative techniques used in film-making to evoke different emotions in a learning environment. The â&#x20AC;&#x153;New Media Arts Complexâ&#x20AC;? is a place where students learn and create art using the latest technology and mediums, with architecture as a driving tool to for stimulating their emotions to release and enhance this creativity. Precedent case studies have been studied and analyzed thoroughly to understand the spatial relationships and requirements, design decisions and solutions that should be taken into consideration during the design process of this complex. Dubai Design District is the location deemed suitable for this creative state of the art complex. Finally, architectural solutions of the strategies were developed in terms of context, type, materiality and technology to generate a toolbox of ideas to use in the design process.

TABLE OF CONTENTS

Emotional Architecture...............................................02 Architecture in Cinema...............................................06 Cinema in Architecture...............................................16 Conclusion & Goals....................................................18 Strategies and Architectural Solutions: 1. Film Techniques.....................................................20 2. Narrative Techniques..............................................32

Arts and Media Center at the Doon School....................38 La Massana School or Arts..........................................54 Eye Film Institute......................................................66 Sharjah Art Foundation (SAF)â&#x20AC;&#x2122;s New Art Spaces.............88

PHILOSOPHY

PRECEDENT CASE STUDIES

BUILDING PROGRAM

Historical Background..............................................108 New Media Art........................................................111 Comparison of Programs..........................................118 Program.................................................................120 Standards..............................................................122

The Metropolitan City of Dubai..................................130 Site Analysis: Dubai Design District............................132 Site Mood Board......................................................136

Preliminary Design Concept......................................140

SITE ANALYSIS

CONCLUSION

References..............................................................152 Index of Figures......................................................155

PHILOSOPHY

EMOTIONAL ARCHITECTURE As architects we create space, and how people experience space triggers an emotion. We recognize the close relationship a person has with their physical surroundings and create a meaningful space for them that can bring out for example a calm or energizing feeling in them. I believe architecture can evoke emotions for its occupants through the composition of architectural space with its form, materiality, lighting, sounds and textures that all play a role in the emotions usersâ&#x20AC;&#x2122; experience. Take a memorial for example. It can trigger emotions like pride, gratitude or sadness. Other buildings for example can provide sort of a shock or surprise, or it can soften oneâ&#x20AC;&#x2122;s mood, or can feel claustrophobic and suffocating and that can affect your mental health. What emotions can we, as architects, evoke for the users through our designs? For example in designing a hospital, we need to encourage a sense of calmness, trust and hope. In a school, we foster a sense of curiosity, joy and excitement. In an office building, we promote a sense of creativity, productivity and focus. It all comes down to how a place is designed to trigger an emotional response from its users. So is human emotion such an important factor to consider for us architects? Yes, because when architecture connects emotionally with the users, the message and meaning it wants to give is felt on a deeper level so it leaves an everlasting impression.

Daniel Libeskind wrote an article for the CNN Style saying “The most neutral architecture is often the most aggressive. But in buildings that move us, there's an element of care. It's not a question of whether a building makes us feel good or bad. It's about being moved. That's what the word emotion means. What we feel is the sense of intensity, passion and involvement. It's something that goes very deep…As an architect, it's my responsibility to make a personal connection – not just with the physical environment but how it triggers our memories and emotional responses. We can tell when somebody does something just for a quick buck. We can feel that carelessness and the silence it produces.”

“We can tell when somebody does something just for a quick buck. We can feel that carelessness and the silence it produces.”

NARRATIVE ARCHITECTURE: ARCHITECTURE THAT UNFOLDS INTO A STORY Architecture can direct the occupants along its journey, both mentally and physically. It takes them on an â&#x20AC;&#x153;emotional narrativeâ&#x20AC;? which affects where they go, how they behave, and what they remember. You can tell a story with your design using different architectural aspects like materiality, lighting, and sound, to create an architectural journey where the narrative pushes and pulls at different emotions. Emotion can be stimulated if the design concept connects with the users.

Fig.1. The Jewish Museum, Daniel Libeskind.

EMOTIONAL CONNECT: FILM & ARCHITECTURE When we watch movies, we as an audience, are immersed easily and deeply in it. We feel like we have been transported to another place and time, another dimension of imagination. We interpret our own meaning of the story told to us by the director. We enjoy and sympathize with the characters’ actions, our emotions are engaged with the narrative, we imagine and mentally build spaces and places through visual and spatial cues, and we become “one with the movie”. Likewise, architects seek to evoke that emotional response by studying and learning about the needs of the users and applying creative approaches into their designs.

Fig.2. Viewers showing emotion as they’re watching a movie.

The relationship between cinema and architecture is one of reciprocity. Cinema is a temporary construction in which space is embedded, and architecture is a spatial construction in which time is embedded.

ARCHITECTURE IN CINEMA Architectural Cinema is a term that contains different spatial narrative strategies that demonstrate new arrangements of spatial cinema where narratives are shown within the space. Characters, events and architecture are projected into the space to interact with each other, therefore the environment of the cinematic episode is given by the architecture and the meanings of the events are projected on the space.

Despite whether buildings are shown in the film or not, all films have to a certain degree an architectural feature in them. The act of framing an image, the scale, the illumination indicates the establishment of a place. On the contrary, establishing a place is an essential task of architecture. Architects aim to create spaces that bring out a “sense of place” in the minds of the users.

CINEMATIC NARRATIVES – THEORIES & TECHNIQUES Theories and techniques used in the making of film form that is related to an architectural narrative process. 1. ELEMENTS OF FILM FORM 2. PRINCIPLES OF FILM FORM 3. PLOT STRUCTURE AS SPATIAL DIAGRAMS 4. SPATIAL MEMORIES IN CINEMATIC NARRATIVES 5. LOGIC OF FIRST IMPRESSIONS

1. Elements of Film Form To communicate a story to an audience, directors and the production team use basic elements of cinematic form which are: a) Narrative b) Mise-en scene c) Editing/Montage A narrative is the way in which the story is told and constructed. It is the conceptual process of a movie. It is basically what scenes are needed to be shot to express the events in a story. Mise-en scene is how to shoot these events. It deals with the main graphic arrangement of the shots while taking the framing of the image into consideration, the positions and placements of the figures within a frame, the organization and distribution within the space, the relationships of figures and objects and their movements within the frame and their relations in the space. Editing/montage is how to present the shot. It determines how the different separate shots are cut and joined together to suggest continuation, connection and a sense of flow of the events. The transitions and relationships between shots and scenes use patterns, rhythms, continuities and discontinuities to communicate ideas and feelings.

Micro Sequence of Events

Macro Sequence of Events

Overall Composition of Form

Fig.3. Graphic showing how the sequences and events in a film are broken down and ordered to generate the final form.

2. Principles for Film Form There are generally five principles in a filmâ&#x20AC;&#x2122;s formal system:

FUNCTION SIMILARITY & REPETITION DIFFERENCE & VARIATION

Function is when the different characters and storylines serve a certain function for the movie. Similarity and repetition of elements throughout a film is used to create a theme and an overall message. The differences and variations between the elements are used to create contrast and diversity which is important in maintaining the interest of your audience. For the development, the way in which it progresses reveals the overall form. And finally, unity and disunity are approaches of how a story flows, either predictable or scattered plot points.

DEVELOPMENT UNITY/ DISUNITY

3. Plot Structure as Spatial Diagrams Plot structure is the way that a narrative organizes the story events like flashbacks, ellipsis and other patterns. Plot structure is usually divided into four parts: the exposition, rising action, climax and the conclusion.

4. Spatial Memory in Cinematic Narratives

Fig.4. Bambi (1942). Bambi’s mother warning Bambi of the lack of safety in the meadows.

Fig.5. Bambi (1942). Forest caught on fire and Bambi’s mother gets shot scene.

The story is presented across space and time. For example, in the Disney movie “Bambi” (1942), the story takes place in two specific places: the forest and the meadow. When Bambi goes into the meadow for the first time, his mother warns him that they are unprotected in the meadows. As the plot progresses, Bambi is in the meadows again stranded while there’s gunfire sounds. In the third meadow scene, his mother was shot. So we see that the plot alternates between periods of safety and danger. Safety is represented as the forest and danger is represented by the meadow. The climax of the story is shown by breaking of this pattern when there’s a threat of hunters and fire invading the safe places of the forest. The way the events were staged in a space is important to understand the narrative point of view. Likewise, we have certain spatial and contextual memories attached to different types of architectural spaces and we can derive these memories while we are designing. We can manipulate and play with these memories too to trigger feelings of surprise and attachment.

5. Logic of First Impressions There are three major emotional drives of any narrative according to the famous book “Poetics of Cinema” by David Bordwell: CURIOSITY

SUSPENSE

SURPRISE

The way the plot events are arranged will evoke and satisfy these cognition-based emotions. Curiosity is developed from the past events. What led up to what we’re seeing now? Suspense directs us ahead. What will happen next? Surprise exceeds our expectations and demands that we find other explanations for what has happened. Bordwell further illustrates this point by the following exercise: Which word doesn’t belong amongst this sequence of words?

Skyscraper, Temple, Cathedral, Prayer Most people would say prayer because the first three words indicate a type of building. However, if we change the order of the words like this:

Prayer, Cathedral, Temple, Skyscraper Usually, people would say skyscraper is the odd word because the first three words refer to religion. Psychologists refer to this as the “primacy effect”. Similarly, the beginning of any movie sets a standard or a benchmark against which we judge what happens later. The characters that are introduced, the point at which we enter the story of the movie, and whatever other elements are presented, shape our interpretations. Curiosity, suspense and surprise intents can be driving factors in an architectural narrative. The logic of first impressions in architecture can be influenced to produce moments of surprise when the space and its dynamics can astonish the users and make them rethink the initial ideas and interpretations. This will maintain a continuous interest in the spatial narrative and give a sense of connection and attachment to the space, on the condition that the curiosity and suspense generate exciting memories within the people’s minds. This strategy has been used in films like “The Usual Suspects” (1995), which makes the audience revisit past events and rethink what they thought they knew.

ARCHITECTURE AS A CHARACTER IN FILM The physical world and the abstract concepts of space are connected to our memories, dreams, desires, fears and everyday existence. The way cinema shows architectural space relies on our perception of spaces like bedrooms, attic and basement in our daily life. One of the most famous directors of the 20th century, Alfred Hitchcock, was aware of this. Architecture played an important role in his movies to bring out the cinematic story and to trigger certain emotions associated to that architectural space. “The impact of the image is of the first importance in a medium that directs the concentration of the eye so that it cannot stray. In the theater, the eye wanders, while the word commands. In the cinema, the audience is led wherever the director wishes.” – Alfred Hitchcock I will mention briefly an analysis of three of his films and the meaning of the cinematic spaces:

“In the theater, the eye wanders, while the word commands. In the cinema, the audience is led wherever the director wishes.” 11

1. The Rear Window – The Phenomenon of the Confined The film takes place in the rear courtyard of several apartment buildings in New York City. A magazine photographer was stuck in his apartment with a broken leg, finds interest in the lives of his neighbors seen through his rear window. During a sleepless night, he hears a scream that makes him suspect a murder has taken place. Here, we can see clearly that architecture plays a major character in the story. The character’s actions are connected with the space so architecture is used to reinforce the narrative of the film. A simple architectural element, a rear window, is separating the main character from the world that becomes a gateway, a puzzle, even a reflection of self-analysis.

Fig.6. The Rear Window (1954) photographer L. B. “Jeff” Jefferies.

Fig.7. The Rear Window (1954) the backyard of New York apartments used as contexts of murder and fear.

2. Vertigo – The Phenomenon of the Staircase Stairs and staircases play an important role in cinematic dramaturgy. They are often used as a place of crisis and tension. Hitchcock portrays them from a skewed perspective to evoke a deep unsettling feeling in the users. He shoots the staircase from above to express “vertigo”, or in other words a falling or panicked escape. It also indicated a “search”, a curiosity that prompts the character to seek. Every step going upwards or downwards increases the feeling of suspense in the audience’s mind.

Fig.8. Vertigo (1958).

3. Psycho – The Phenomenon of the Building Type

The two buildings shown in this film, the modern hotel of the main character Norman Bates and his home, the Gothic mansion on top of the hill, form a an architectural composition which serves as a metaphor for the contrasting lives the psychopath leads. This strategy of contrast is also applied somewhere else in the movie. During the scene of the murder of Janet Leigh, the white bathroom of the motel evokes a “controlled sterility” and gains its special image through its contrast with the darkness of Norman’s graveyard. We see that the story depends on architecture to define spatial settings that represent the transition of characters and the plot. So in these examples, we see architecture is being used a tool to stimulate emotional responses in the users. We slowly become familiar with the cinematic spaces, building mental maps through perception and memory. We create our own symbolism for the spaces and what they mean and represent in the cinematic narrative. Likewise, we create mental maps of our space in architecture and project our emotions on the “canvas of architecture”.

Fig.9. Psycho (1960). Gothic mansion

Fig.10. Psycho (1960). Hotel.

CINEMA IN ARCHITECTURE

By understanding the potential of cinema in architecture, we can understand the “poetics of space” and create meaningful, sensitive spaces that evoke responses in people. Architectural narrative creates life to spaces. They engrave stories onto the fabric of spaces that hit an emotional and mental chord in the users. Architecture is story telling in a space using place, time, events and movement through the spaces to bring out the narrative.

An interesting case study for this is Park de la Villette by Bernard Tschumi, located in Paris, France. Tschumi imagined the park to be a system of collisions between points, lines and plans. The most important feature is the “cinematic promenade”, a linear walkway that cuts throughout the park in a curved manner. There are gardens that are aligned with the path and each garden has a “unique conceptual identity”. It is envisioned as a shot or a scene within this sequence of “cinematic montage”. The walkways intersect each other to allow visitors to have unexpected encounters at the points of intersection. To enhance this, the paths are broken down by follies that have don’t symbolize anything in their form or function but serve as “directional vectors” of our perception of space.

Fig.11. Park de la Villette by Bernard Tschumi, located in Paris, France.

Fig.12. Isometric of Park de la Villette by Bernard Tschumi, located in Paris, France.

Just like in a movie, there is a breakdown of the narrative and plot turning points that make the story clear. It helps build up the events in the story to show moments of surprise for example. Similarly, in architecture, architectural narrative can be broken down into spaces and programs which can be organized as a spatial diagram that refers to the architectural narrative. Architectural narrative always has multiple storylines within them with multiple peopleâ&#x20AC;&#x2122;s stories and their multiple emotions, and multiple interpretations. The points where plots meet each other are important to identify as these points are the experience in the space that could change the dynamics of it.

Architectural narrative can also be used as a representational tool during the design process of an architectural project. Stories are the â&#x20AC;&#x153;building blocksâ&#x20AC;? of architectural proposals and help in the important transition of an idea into design. Through different phases of telling the story, ideas, challenges, potentials, and the end results, a project is developed. Architectural narratives are mediums and tools for communication so people can project their memories onto the space and include many meanings and interpretations to it over time.

CHARACTERS IN AN ARCHITECTURAL NARRATIVE

In narrative architecture, there’s a pre-existing plot line, with characters, that is told through spaces perceived by the users. Then the architect takes into consideration the characters of the story which could be the people or factors like context or light or any other elements that are the main design framework during the development of the design. So this brings the question: Are the users in a building the characters in the story or do they perceive the story? In film, people who are the characters in the movie are different than the audience who are watching the movie. However, in architecture, people who are characters of the story could also be the users of the space as well. Basically, the people who use the building become characters of their own story, of the spaces they occupy. “They are the story and the perceiver of the story”.

CONCLUSIONS & GOALS So far we’ve looked at the relationship between film and architecture and their connection with emotions. We’ve seen how each plays a significant role in the other. Similarities between architecture and cinema were portrayed in the different techniques and theories of cinematic narratives. Architecture played a fundamental character in movies as well, presented clearly in Hitchcock’s movies. Cinema, on the other hand, is used as a representational communication tool for the design process of an architectural project. It’s used to tell stories within spaces with the users as the characters, perceivers and interpreters of these stories. My goal in this thesis is to look at stimulating emotions in users from a different angle using various film techniques, camera works and narrative techniques used in movies to display and evoke different emotions and translating that into architectural features in a learning environment. The most suitable program I found for this is a “New Media Arts Complex”, where students will learn and create art using the latest technology and mediums, with architecture as a driving tool to for stimulating their emotions to release and enhance this creativity.

FILM TECHNIQUES

STRATEGIES & ARCHITECTURAL SOLUTIONS

As explained earlier in the example of the movie “Vertigo”, the camera angle at which a scene is shot can dramatically affect the way we perceive this scene. By using different angles and perspectives to portray an event, a point of view is created where the camera is put in such a way to display a perspective on an environment or event. From various camera angles used in film making, the following are the camera angles I chose as my strategies that I will translate into architecture in my project: 1. Framing using objects 2. Dark silhouettes against back light Camera movements are also used to increase the quality of storytelling. They’re moved for many reasons and in multiple complex combinations to alter the viewer’s sense of time, speed and space. They’re used to follow actions or characters, to expose information, to focus the attention of the audience on certain details and emphasize a point of view of a shot. 3. Dolly zoom-out/vertigo effect 4. Proximity/zoom shots 5. Dutch angle/tilt

1. Framing Using Objects In cinema, framing events through a foreground object gives sort of an intimate feel, as if you were spying. This technique tends to focus the attention of the audience on the scene playing in front of them. It’s more “visually compelling” than using a normal frame with no foreground objects. Steven Spielberg, one of the most renowned directors of our time, uses this film technique in his movie “Minority Report” (2002).

Fig.13. Minority Report (2002).

Fig.14. Diane Keaton Beverly Hills House.

Fig.15. Manuel Cervantes Cespedes by CC Arquitectos.

Fig.16. Encanto hotel in Acapulco Mexico.

Fig.17. Mayor Wine Cellar by Álvaro Siza. Image courtesy of Duccio Malagamba.

Fig.18. Teshima Art Museum by Ryue Nishizawa in Kagawa, Japan.

Fig.19. Two-family Apartment Houses by Staehelin Meyer Architekten.

To translate that into architecture, I can play with the form and openings of my project. I want to capture a continuously dynamic scenario within a frame. To direct the eyes to a specific setting, to overlook on a certain view, to “spy on” or observe the different stories going on in the surroundings.

2. Dark Silhouette Against Back Light Silhouettes scenes in films are used to engage the audience into the story without revealing too much information. It sets the mood for the scene. They’re used to intensify quiet drama, develop suspense, create a feeling of isolation or emphasize a certain moment.

For example in Hitchcock’s movie “Suspicion” (1941), in the scene where the silhouette of the actor was shown carrying a glass of milk, Hitchcock used this approach to focus the audience on a threat, to make the audience wonder if the milk is poisoned. Later in the movie, this character is pressuring another character to drink the milk. Without the silhouette scene, we wouldn’t have suspected that the milk was poisoned.

Fig.20. Suspicion (1941).

Another example that shows the effectiveness of using silhouette is in Leonardo DiCaprio’s movie “Catch Me if You Can” (2002), during the scene where DiCaprio meets his father in the bar. The dark mood of the lighting reflects the intense tension between the characters. Fig.21. Catch Me if You Can (2002).

In architecture, the play of light and shadow and the use of silhouetting and high contrast is used enhance the mood and intensify the experience of the space. In my project, I want to use this technique to evoke curiosity in the users. By walking through the same path, or entering the same space throughout the day will be a different experience, so thereâ&#x20AC;&#x2122;s a sense of mystery and wonder of how the light and shadow will perform depending on the time of the day.

Fig.24. RCR (Rafael Aranda, Carme Pigem, Ramon Vilalta). Bodegas Bell-Lloc in PalamĂłs, Girona.

Fig.25. Louvre Museum by Jean Nouvel, Abu Dhabi, UAE.

Fig.22. Islamic screen.

Fig.23. Natural lighting in architecture.

Fig.26. Image courtesy of Mustafa A.Hadi.

3. Dolly Zoom-Out/Vertigo Effect

Fig.27. Vertigo (1958).

Fig.28. Ratatouille (2007).

Earlier, I talked about Hitchcock’s movie “Vertigo”, where he used staircases to create an unnerving scene of falling and panic. Hence the name “vertigo effect”, where the dolly zoomout film technique is most commonly known as. The dolly zoom-out shot creates a dizzying effect that is perfect for suspenseful scenes. It works by overlapping two layers: one shot is of a smoothly zoomed out shot with the camera lens and the other one is the camera on the dolly moving closer to the subject. The contrast of the push and pull movement in the shot creates a contrast to generate a visual variety, piques an interest and sparks excitement in the viewer.

The contrast in architecture is also used to develop visual interest, excitement, and drama. For my project, I’d like to explore contrast from different aspects like materiality, texture, colors, and form. Adding contrast and variations in materiality and texture will serve as a “visual weight” in the space, to attract the attention of the users, to elicit surprise or a shock in a way. The use of different colors is known to evoke all types of emotions. For example, the use of red gives a bold and exciting feeling. Black displays a powerful and elegant atmosphere. In the form, investigating the solid-void relationship can serve to give contrast and prevent a feeling of heaviness and bulkiness in the building.

Fig.29. Sharjah Art Foundation New Art Spaces, Sharjah, UAE.

Fig.31. Biblioteca Pio IX., Rome, by King Roselli Architetti.

Fig.30. Platform of Arts and Creativity José de Guimarães International Arts Center Guimarães.

Fig.32. MVRDV Madrid.

4. Proximity/Zoom Shots Directors use this technique to control the intensity of the emotions displayed or to heighten the atmosphere of the scene. A close-up shot will fill the screen with emotion and moving away to a wider angle will dissolve that emotion. These variations are a way of manipulating when the audience feels intensity or relaxation.

daylighting and shadows, to give a feeling of intensified emotions as the user gets closer to these openings.

Fig.35. Ronchamp Church by Le Corbusier.

Fig.33. Jurassic World (2015).

Fig.36. Section of Ronchamp Church by Le Corbusier.

Fig.34. The Great Gatsby (2013).

The first thing that popped into my head when I read about this effect was Notre Dame du Haut designed by Le Corbusier in Ronchamp, France. The small openings of the windows that narrow as they penetrate to the exterior remind me of this proximity effect. It is like the users on the inside get a particularly “zoomed-in” shot of the exterior surroundings. Of course, the way the light infiltrates plays an important role too to heighten the sensations felt in the space. This would be interesting to apply to my project, with the help of

Another way this approach would be a useful application in my project is through the “Venturi Effect”. It is a phenomenon created by a fluid’s natural tendency to equalize pressure across two or more zones. It is a passive cooling method that is achieved by wide openings converging into narrower areas. It is a sustainable approach at enhancing natural ventilation throughout the building.

Fig.37. The Venturi Effect.

Fig.38. Interior of Ronchamp Church by Le Corbusier.

Fig.39. Kindergarden in the UnitĂŠ d'habitation by Le Corbusier.

5. Dutch Angle/Tilt

Dutch angle is executed by rotating the camera to the side until the subjects of the scene are tilted and the horizon is not parallel with the bottom line of the frame. This method is used to portray a sense of unease and disorientation in the audienceâ&#x20AC;&#x2122;s mind. It adds an unsettling feeling to a particular scene.

Fig.40. Mission: Impossible (1996).

Fig.41. High Trestle Trail Bridge between Madrid and Woodward.

A way to implement this in architecture is through the tilted framing of walkways and paths. Itâ&#x20AC;&#x2122;ll evoke a sense of disorientation and excitement through the journey of walking through these passages. Perhaps even giving an impression of mystery and arousing wonder and exploration to what spaces would be revealed at the end of these routes.

Fig. 42. Rhythm in architecture by Pabloach.

Fig.43. Paper Snake by Kengo Kuma.

Fig.44. Serra Dourada Club - Alphaville / Gustavo Penna.

SUMMARY

Fig.45. Table 1 summarizing the film technique strategies

NARRATIVE TECHNIQUES

STRATEGIES & ARCHITECTURAL SOLUTIONS

In order to make a story line more interesting, complex, and complete, strategies are used to relay information to the audience and to develop the narrative. These strategies are known as â&#x20AC;&#x153;narrative techniquesâ&#x20AC;?. I looked at six different narrative techniques and translated them into architectural typologies to help me create a plot in my project.

Fig.46. Table 2 summarizing the narrative technique strategies.

Fig.47. Mind map of architectural strategies and solutions.

PRECEDENT CASE STUDIES 36

ARTS AND MEDIA CENTRE AT THE DOON SCHOOL Location: Dehra Dun, Uttrakhand, India Category: Educational Type: Boarding school Area of the center: 2,350 m2 Total area of school: 290,000 m2 Year completed: 2010

39 Fig.48. Image courtesy of Amit-Pasricha.

Fig.49. Image highlighting the center within the boarding school context. Image courtesy of Amit-Pasricha.

Fig.50. Context

Concept The experience the architect wanted the users to feel through this building was that of a journey of an artist, interpreted as a main axis that runs from the east to the west along the length of the site, breaking down into â&#x20AC;&#x153;lung spacesâ&#x20AC;?. This central spine encourages one to travel, to pause, to take a turn, to wander, and to reflect. The building massing is contemporary, bold and abstract. The complex attempts to inspire the spirit of creativity into the heart of the campus. A bold contemporary building that intertwines the past with the present and leads the school into the future.

Fig.52. Diagram illustrating the concept

Fig.51. Diagram illustrating the accessibility and parking

Fig. 53. The main axis. Image courtesy of Amit-Pasricha.

Macroclimate

Topography

The climate of Dehradun is moderate due to its location close to the Himalayas. In summers, temperatures range between 17 C to 36 C and in the winter from 5 C to 24 C.

The natural topography and foliage in the site is well-preserved. The difference in the levels between the building and the landscaped garden with the existing trees are well preserved and integrated in the building design.

(â&#x20AC;&#x153;Weather in Dehradun.â&#x20AC;? My India, My India)

Microclimate During the colder seasons like winters, monsoon and post monsoon, where prevailing winds come from mostly from the north and east, orientation of the building is taken into consideration, openings are less in size, and courtyards are smaller to avoid the cold winds. Openings are wider and courtyards are bigger in the southern side to let in the cool breeze of summers into the building. The way the openings are put promotes passive cooling in terms of cross-ventilation throughout the building. It also increases maximum heat gain during the colder seasons when warmth from the sun is required.

Fig.56. Site plan view from Google Earth

Fig.54. Sun direction (left) and prevailing winds direction during the year. (Indian Meteorological Department. Government of India. Ministry of Earth Sciences)

Fig. 57. Landscape preserved and integrated with the building. Image courtesy of Amit-Pasricha.

Fig.55. Diagram showing courtyard openings (blue) and building openings (red).

Function, Form and Geometry The building is split into two blocks â&#x20AC;&#x201C; one consisting of art studios where painting, ceramic, sculpture and textile arts are taught. The other block contains the other functions like the lecture hall, media center, and galleries. They're connected by an internal bridge on the first floor. The bridge is a 6 m double height gallery where it is also used as a distribution space into the studios and other functions that surround it. Lighting enters through a series of skylights that run along the axis and most studios open into courtyards and terraces throughout the building that allow for easy interaction between the users and to promote cross ventilation.

Fig.58. Table 3 showing the approximate areas of spaces.

Fig.59. Ground floor plan (Khosla Associates)

Fig.60. First floor plan (Khosla Associates)

Fig.61. Gallery. Image courtesy of Bharath Ramamrutham.

Fig.63. Animation graphics studio. Image courtesy of Bharath Ramamrutham.

Fig.62. Museum. Image courtesy of Bharath Ramamrutham.

Fig.64. Open spaces highlighted in green. Ground floor plan (top) and first floor plan (bottom).

46 Fig.65. Courtyard. Image courtesy of Bharath Ramamrutham.

Fig.66. Terraces. Image courtesy of Bharath Ramamrutham.

47 Fig.67. Courtyard. Image courtesy of Bharath Ramamrutham.

Fig.68. Circulation. Ground floor plan (left) and first floor plan (right).

Fig.69. Students entering the site. Image courtesy of Bharath Ramamrutham.

Fig.70. Corridor. Image courtesy of Bharath Ramamrutham.

Fig.71. Main Entrance. Image courtesy of Bharath Ramamrutham.

Materiality Thereâ&#x20AC;&#x2122;s an interesting use of different materials in this project. Most of the facades are covered with brick that is placed next to olive colored corrugated metal sheets and glass that are set against a spine of yellow colored slate. Local stone is used in the courtyards and in specific grey kota stone is used for the flooring. All these materials are very durable and blend effortlessly with the natural surroundings.

Fig.72. Side elevation. Image courtesy of Amit-Pasricha.

Fig.73. Back entrance. Image courtesy of Bharath Ramamrutham.

Fig.74. Main entrance. Image courtesy of Amit-Pasricha.

Sustainability The following strategies were used to reduce the impact of the proposed building on natural environment: To reduce building footprint, the building was designed using the old art school building and headmaster’s residence. Existing trees were preserved and protected on site. Top soil left from construction was stored and preserved for later use. Passive design technologies were implemented to achieve thermal comfort and to reduce demand for conventional energy The building is also sensitive to climate issues and responds to them in the following ways: 1. The building is orientated from east to west to take advantage of maximum amount of northern light to minimize using artificial lighting during the day.

Fig.75. Skylights highlighted in blue.

Fig.76. Museum. Image courtesy of Bharath Ramamrutham

2. The temperature within building is kept between 16C to 27C by several techniques: • Cross ventilation of all the studios and galleries • Filtered north light through the skylight system • Indirect light through the courtyards. • Through the stack effect, exhaust systems in the skylights flush out the hot air and humidity in peak summer • Projections on the south and west side protects the internal volumes from the fierce summer sun. (grihaindia)

The building has a TERI (The Energy and Resource Institute) Griha Green Rating. Fig.77. Use of natural lighting through skylight system. Image courtesy of Bharath Ramamrutham.

Fig.78. Projection of mass to provide shade. Image courtesy of Bharath Ramamrutham.

Fig.79. Courtyard. Image courtesy of Bharath Ramamrutham.

LA MASSANA SCHOOL OF ARTS Location: Barcelona, Spain Category: Educational Area: 11,000 m2 Completion:2017

54 Fig.80. Image courtesy of Duccio Malagamba

Fig.81. Associated with the University of Barcelona, La Massana School of Arts is a hybrid building offering degrees in visual arts and design, applied arts and an extensive high school program for local students. Image courtesy of IĂąigo Bujedo-Aguirre. Fig.82. View of La Massana School from residential building. Image courtesy of IĂąigo Bujedo-Aguirre.

Surroundings and Accessibility La Massana School of Arts is located behind the famous “Boqueria Market”. The building is surrounded by residential buildings mostly. In between all these buildings is the Plaza De La Gardenia. There’s a local road from behind the building where you can access the building. Fig.85. Nearby market and public plaza. Image courtesy of Jordi Miralles.

Fig.83. Context.

Fig.86. Residential buildings attached to the school. Image taken from Google Earth.

Fig.84. Site plan (Estudio Carme Pinós). La Massana School (red) is surrounded by residential buildings (black) and a market (right) and a local road from the back (purple).

Fig.87. Residential buildings opposite to the school. Image taken from Google Earth.

Fig.88. Panoramic shot of the school with the surroundings. Image courtesy of Estudio Carme Pinós.

Concept Fragmented and dynamic massing compositional strategies were used to lighten the impact of the building on the neighborhood. The building is split, in terms of both volumetrics and faรงade, to respond to and achieve harmony with the surrounding urban web and to make the building look more compact. To reduce the bulkiness of the building and to give it a unique and more sculptural character, the part of the building facing the plaza is split into two rotating volumes that produce different terraces.

Fig.89. Sun-breakers. Image courtesy of Duccio Malagamba.

The challenge here was faced in the public space full of people. Sun breakers were added on this main faรงade as a solution to this, by still allowing the students to view the outside but at the same time creating privacy for them.

Fig.90. Aerial view render. (Estudio Carme Pinรณs).

Macroclimate Barcelonaâ&#x20AC;&#x2122;s climate is Mediterranean climate with mild winters and hot summers. Temperatures range from 4 C to 18 C in the winter and from 12 C to 30 C in the summer.

Microclimate Barcelona isnâ&#x20AC;&#x2122;t normally windy, but sea breezes from the south do come in occasionally in summer and from the north west in winter. As a response to this, the terraces were placed on the northern side in order to enjoy the cool breezes and folding louvered shutters were placed on the southern side.

Fig.93. Louvered shutters in the southern side. Image courtesy of Duccio Malagamba.

Fig.91. Sun direction (left) and prevailing winds (right).

Fig.94. Closer shot of the louvered shutters. Image taken from Google Earth.

Topography Barcelona is covered with small hills, most of them urbanized, however the site is situated in a fairly flat urbanized land so there were no topography challenges.

Fig.92. Terraces on the northern side. Image courtesy of Duccio Malagamba.

Function The plan is basically two L-shaped volumes integrated around an atrium. It consists of studios and workshops, with large windows that are hidden behind a ventilated skin of ceramic louvers. The atrium, the heart of the building, has stepped sky bridges at every level to transfer the students from one wing to the other. Throughout the day, the atrium receives direct sunlight from different sides. View corridors run through the entire building and end at large terraces on the main faĂ§ade. Corridors on the other side face a light well that the building shares with the residential building on the block. All these strategies add a complexity to the circulation, enhancing the experience of the studentsâ&#x20AC;&#x2122; constant movement through the building.

Fig.96. Schematic building layout. (Estudio Carme PinĂłs).

Fig.95. Table 4 showing the approximate areas of spaces.

Fig.97. Basement floor plan. (Estudio Carme Pinรณs).

Fig.98. Ground floor plan. (Estudio Carme Pinรณs).

Fig.99. First floor plan. (Estudio Carme Pinรณs).

Fig.100. Third floor plan. (Estudio Carme Pinรณs).

Fig.101. Section through atrium and patio. (Estudio Carme Pinรณs).

Fig.102. A sunken student lounge overlooks a light court with classroom corridors around it. Image courtesy of Duccio Malagamba.

Fig.103. Studio and classroom wings surround a central atrium crisscrossed by bridges and lined with windows like a street. Image courtesy of Duccio Malagamba.

Fig.104. Terrace overlooking the plaza. Image courtesy of Duccio Malagamba.

Fig.105. A painting studio has windows behind the ceramic louvers of the main faรงade. Image courtesy of Duccio Malagamba.

Fig.106. Main entrance. Variety of materials used in harmony. Image courtesy of Duccio Malagamba.

EYE FILM INSTITUTE

Location: Amsterdam, The Netherlands Category: Cultural Area: 3,250 m2 Completion: 2009 â&#x20AC;&#x201C; 2011

Fig.107. Eye Film Institute. Image courtesy of DMAA.

Urban Implementation Situated in the heart of Amsterdam, in the riverside area, the Eye Film Institute is a visual landmark in the new Amsterdam Noord quarter. The area used to be a secluded wasteland, very secured and inaccessible to the public. It used to be the former headquarters for the oil company Shell, but after they moved their new headquarters elsewhere, the area started to develop into a vital expansion area. The Overhoeks Tower is the only reminder of what this area used to be. The building’s remarkable and exciting appearance compliments the city’s culture and emphasizes Amsterdam’s role as a world-renowned cultural site.

Fig.108. Eye Film Institute. Image courtesy of DMAA.

Fig.109. Context

Fig.110. Site plan. Diagram courtesy of DMAA.

Fig.111. Aerial view. Image courtesy of DMAA.

Accessibility The Film Institute can be accessed from various directions in different ways. On the northern side, thereâ&#x20AC;&#x2122;s a road that leads into the public underground parking. On the east-west, a cycle route and a footpath allows for access along the river. The ferry rides to Noord present a slow approach scenic view of the building before visitors continue their way to the ferry station.

Fig.112. Accessibility. Diagram courtesy of DMAA.

Fig.113. View of the institute from a ride in the ferry. Image courtesy of DMAA.

Promenade Connection The shore strip in the institute’s outdoor area is expressed as a long, stepped access ramp that goes parallel to the river and is connected directly to the existing promenade in front of the Overhoek Tower. This serves as a crucial part of the dramatic composition. Visitors access the building over a mild slope so as they’re walking, there’s an optical change of the surrounding city and the water widens. The transparency and spatial density escalate into an exciting moment before reaching the building in a gradual manner.

Fig.114. Shoreline. Diagram courtesy of DMAA.

Fig.115. Eye Film Institute with the Overhoek Tower. Photo by Ralph Richter, courtesy of Eye Film Institute.

Fig.116. View from the northern shore. Image courtesy of DMAA.

Project Description “Film is an illusion created by the scenic coordination of light, space, and movement, which becomes real through projection. In architecture, the interplay between these parameters defines the intensity and effectiveness of the individual spatial perception significantly. They are understood to be integrative components of spatial enactment, their effect being projected through sequences of human motion and unfolded in multi-layered ways. “ – DMAA

Fig.117. Concept sketch. Courtesy of DMAA.

Design Principle The building’s concept and urban implementation are based on overlaying two creative practices where at their core, they consist of both reality and fiction, real experience and illusion. The film institute’s concept becomes the story board, the scenography architecture. “By delivering a dynamic interplay, the building’s assigned role oscillates between acting as the urban scenery’s protagonist and as a dramaturgical element placed in front of a heterogeneous landscape setting.” – DMAA In between land and water, historical center and modern development area, the institute embraces many aspects from each of these viewpoints, so there’s like an exchange or a dialogue between the building and its surround-

ings. Its luminosity conquers the city’s natural divide and lifeline, the IJ river, and it is represented by its interaction with the surroundings, its geometry and positioning. The area has a communicative effect that goes beyond the confines of the building so it transforms the visit to the institute to an “encounter between urban reality and cinematographic fiction”. The cultural institute is a multi-functional meeting point of the highest functionality and sustainability in which the architectural composition and formulation complies in many ways.

“By delivering a dynamic interplay, the building’s assigned role oscillates between acting as the urban scenery’s protagonist and as a dramaturgical element placed in front of a heterogeneous landscape setting.”

Form & Geometry The primary design parameters are reference to the local urban structure, spatial configuration and light incidence. In order to create permanent optical changes throughout the day, smooth, crystalline surfaces reflect the incoming light in different ways. Movement and light are both important parameters of film as a medium and are reflected on the buildingâ&#x20AC;&#x2122;s exterior as an architectural depiction of them. The southern faĂ§ade, mainly the wide opening, shows the spirit of its surroundings and of the city center on the opposite side. They increase the attractiveness and appeal of the view from the shore on the northern side.

74 Fig.119. View from inside the building to the city center. Image courtesy of DMAA.

Fig.118. Form used to widen view. Image courtesy of DMAA.

Fig.120. View from Overhoek Park. Photo by Ralph Richter, courtesy of Eye Film Institute.

75 Fig.121. View from the northern shore. Night view. Photo by Ralph Richter, courtesy of Eye Film Institute.

Macroclimate Amsterdamâ&#x20AC;&#x2122;s climate is an oceanic climate. Both winters and summers are considered mild, ranging from 1 C to 22 C throughout the year.

Microclimate Most of the prevailing winds in Amsterdam come from the west or south west. It is strongly influenced by its proximity to the North Sea. The sun path leans more towards the south, therefore the main entrance, openings and terraces were designed on the southern side to maximize heat gain.

Fig.122. Sun path (left) and prevailing winds (right).

Fig.123. The main entrance, openings and terraces were designed on the southern side to maximize heat gain. Image courtesy of DMAA.

Fig.124. Not many openings. Photo by Ralph Richter, courtesy of Eye Film Institute.

Function The sequence of the spaces is dynamic and recognizable from the building’s external geometry. It develops on the inside as consistent spatial and visual succession of spaces. The promenade acts like the entrance to the building, progressing on the inside along the south facing glass wall. The path to the ticket and information counter is distinguished by “optical relationships” with the outdoors and dynamic spatial impacts. The foyer represents the communication area and central access and extends into a spacious terrace on the riverside. Standing there, the interior’s full dimension unfolds. All the internal paths and their relationships are integrated into this area. The whole idea is to define a clear orientation and unobstructed routes. It is the beginning an ending point of each visit. Terraced steps lead to the projection rooms, the exhibition area, and the restaurant. Steps to the underground level show the offices, canteen, film lab and a restoration workshop.

Fig.125. Table 5 showing the approximate areas of spaces.

Fig.126. Diagram showing functions. Courtesy of Eye Film Institute.

Fig.127. Level 00. Courtesy of DMAA.

Fig.128. Level 01. Courtesy of DMAA.

Fig.129. Level 03. Courtesy of DMAA.

Fig.130. Level 04. Courtesy of DMAA.

Fig.131. Section 01. Courtesy of DMAA.

Fig.132. Back entrance. Photo by Ralph Richter, courtesy of Eye Film Institute.

Fig.133. From inside the ramp in the back entrance. Photo by Ralph Richter, courtesy of Eye Film Institute.

Fig.134. From back entrance ramp towards terrace. Photo by Ralph Richter, courtesy of Eye Film Institute.

Fig.135. Section 02. Courtesy of DMAA.

Fig.136. Film theatre. Courtesy of Eye Film Institute.

Fig.137. Museum shop. Courtesy of Eye Film Institute.

Fig.138. Exhibition space. Courtesy of Eye Film Institute.

Fig.139. Human-scale view. Image courtesy of Wojtek Gurak.

Fig.140. Overlooking the arena/foyer. (Archello)

Fig.141. Terrace. Courtesy of DMAA.

Fig.142. Arena/foyer. Courtesy of DMAA.

Fig.145. Exhibition space. Courtesy of Eye Film Institute.

Fig.146. To film theatre 4. Courtesy of DMAA.

Fig.147. Private room. Courtesy of Eye Film Institute.

Fig.143. Main entrance. Courtesy of DMAA.

On the highest level, thereâ&#x20AC;&#x2122;s a private room for exclusive receptions. It has a precisely positioned floor to ceiling window that focuses the view on the water and the city center, like a painting, to emphasize the location of this unique area. Fig.144. Restaurant. Courtesy of DMAA.

Fig.148. Spaces volume diagram. Courtesy of DMAA.

Structure The building consists of a sitemixed concrete base that encloses on itself and the vertical circulation channels, and a steel structure that defines the unique shape of the form resting on top of it. The structure is self supporting where the weight is spread to both of the cantilevering ends of the building. During the construction phase, two supports were used to absorb the loads before this self-supporting effect took place. There are five supports in the core of the building that carry the span of the structure, in which three of these are integrated visibly in the arena.

Fig.149. Building during construction phase. (ABT Consulting Engineers).

Fig.150. Building during construction phase. Main entrance. (ABT Consulting Engineers).

Fig.151. Building during construction phase. Aerial view. (ABT Consulting Engineers).

Fig.152. Construction detail. Courtesy of DMAA.

Materiality The exterior shell of the building consists of aluminum-plated panels that rest on a prefabricated, insulated and sealed wood. Oak parquet flooring and white walls and ceilings establish a solid interior design that allows a variety of used. In the exhibition area, charcoal-gray polished concrete flooring to give a neutral yet tough surface. Dark, non reflecting material used in screening theaters to serve as a classical cinema. Acoustics is not only important in theaters but also in large spaces for gatherings and exhibitions, where acoustical issues need to be addressed. In order to reduce reverberations in these rooms, the acoustical plaster â&#x20AC;&#x153;BASWAphonâ&#x20AC;? was used as ceiling cladding. It absorbs sound by its high porosity and remains discrete due to its smooth finish.

Fig.153. BASWAphon.

Fig.154. Elevation. Courtesy of DMAA.

Fig.155. Aluminum-plated panels. Courtesy of DMAA.

SHARJAH ART FOUNDATION (SAF) NEW ART SPACES Location: Heart of Sharjah, Sharjah, UAE Category: Art Institute Area: 1,860 m2 Completed: 2013 Consultants: Godwin Austen Johnson in collaboration with the design team from SAF

Fig.156. Sharjah Art Foundationâ&#x20AC;&#x2122;s new art spaces. Image courtesy of Haupt & Binder.

Fig.157. Context

Context

Accessibility

Sharjah is widely considered the UAE’s cultural city. The city first developed around the creek, now considered its heritage area with restored homes and museums dedicated to Emirati customs. The area, known as the “Heart of Sharjah”, one of the UAE’s longest running and most complex urban development projects, regarded as the urban representation of the city’s built environment cultural identity, is anticipated to be complete by 2025. The area is around 3.5 ha and will reemerge in the structure of the core of the old historic settlement. The urban development is characterized by clusters of courtyard buildings with almost windowless peripheral walls that form narrow alleyways. Many of the existing buildings in this area are former traditional Emarati family homes which have been preserved and restored over the past 50 years. SAF’s new art spaces is part of this adaptive re-use approach in the urban development. The buildings harmonize with the existing urban fragments as well as its past use and history to revive the area and revitalize contemporary art, which is quite suitable within the culturally rich layered urban context.

You can access the site from the main road, Corniche Road, by Sharjah Creek. You can enter a service road right before Al Zahra Mosque and park your car in the designated parking areas and reach the site by foot.

Fig.158. Aerial view. Image courtesy of Haupt & Binder.

Fig.159. Surroundings. (heartofsharjah)

Concept: Rediscovering the Magic of Urban Spaces The project reinterprets previously existing or documented architectural remnants within the site and readapts its historic architectural elements and materiality to new uses in an attempt to maintain the placeâ&#x20AC;&#x2122;s historic footprint. The aim is to have a balance between the creation of fluid and open contemporary spaces with a celebration of the unique traditional urban characteristics. Due to the increasing importance of culture and art in the UAE, the construction of spaces, galleries and workshops for art was decided. With new multi-functional art spaces, these exhibition buildings accommodate a variety of interior and exterior spaces to experience art. Most of the interior spaces are connected to open air courtyards and terraces in the roof top. These spaces provide a place for SAFâ&#x20AC;&#x2122;s increasing activities and the needs of its community. In exterior spaces, art is meant to be experienced against a reading of the site, the surrounding landmarks, and further into the rest of the site with its historic layers. The outcome is an integrated experience that alters and contextualizes the reading of both the artwork and the site. The project is remarkable in its modesty, less about size and gigantism and more about being energetic and ambitious.

Fig.160. View from residential building. Image courtesy of Haupt & Binder.

Form & Geometry The restored traditional aspects of architecture are thick peripheral walls, wandering alleys and interconnected rooftops, were all once inhabited outdoor residential spaces. The roof becomes a continuation of the urban space, providing views into the courtyards, alleys and exhibition spaces to intensify the perception of artwork and to also provide panoramic views across the urban layers.

Fig.161. Mass and void.

Macroclimate

Fig.162. Sun path (left) and prevailing winds (right)

The climate in Sharjah is a desert climate, generally very hot and dry. Temperatures in summer (especially during July and August) can exceed 40 C, and minimum average temperature can fall to 17 C (mostly during January and February) during the winter months.

Microclimate The cool prevailing winds come from the north west and the warm prevailing winds come from the south east. The sun path leans more towards the south. In order to respond to these climatic conditions, narrow internal corridors, openings and the orientation of the buildings has been taken into consideration .

Topography Sharjahâ&#x20AC;&#x2122;s topography is primarily flat, especially near the coast. Sand dunes and mountains run more towards the south-east, near the borders of Oman.

Fig.163. Narrow corridors. Image courtesy of Wegweisend.

Fig.165. Thick peripheral walls. Image courtesy of Haupt & Binder.

Fig.168. Narrow openings. Image courtesy of Haupt & Binder.

Fig.166. Long thin vertical openings. Image courtesy of Haupt & Binder.

Fig.167. Long thin vertical openings. Image courtesy of Haupt & Binder.

Fig.169. Narrow paths with deep openings. Image courtesy of Haupt & Binder.

Due to the intensity of the desert climate, skylights and windows on the peripheral walls of the buildings are vertically long and thin in size to let in daylight but minimize heat gain.

Fig.164. Diagram showing narrow corridors.

Fig.170. Ground floor plan. Image courtesy of Haupt & Binder.

Function The project consists of five exhibition buildings that provide interiors to experience art along with exterior spaces like courtyards, alleyways and an interconnected roofscape. Each exhibition building has a spatial quality in terms of scale and lighting to provide a range of more contextualized and abstracted frameworks for displaying and perceiving art.

Fig.171. Table 6 showing the approximate areas of spaces.

Fig.174. Gallery space. (SAF)

Fig.172. Gallery space. Image courtesy of Haupt &

Binder.

Fig.175. Exhibition mezzanine. Image courtesy of Haupt

& Binder.

Fig.173. Gallery space opening to courtyard. Image courte-

sy of Haupt & Binder.

Fig.176. Courtyard. Image courtesy of Haupt & Binder.

Fig.177. “Horsemen for Adore perfumes stories”. Exhibition by Shawky.

Fig.178. Courtyard. Image courtesy of Kunst und Grün.

Fig.179. Natural lighting. Image courtesy of Haupt & Binder.

Fig.180. Art exhibition.

Fig.181. Roofscape. Image courtesy of Haupt & Binder.

Fig.182. Indoor circulation used for exhibitions. Image courtesy of Haupt & Binder.

Fig.183. Outdoor circulation used for different social events. Image courtesy of Haupt & Binder.

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Fig.184. Access and circulation.

Fig.185. Entry to the ramp. Image courtesy of Haupt & Binder.

Fig.186. Ramp going towards the roof. Image courtesy of Haupt & Binder.

Fig.187. Rooftop. Image courtesy of Haupt & Binder.

Fig.188. Rooftop used for exhibitions. Image courtesy of Haupt & Binder.

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102 Fig.189. Harmony between historic and contemporary material. Image courtesy of Haupt & Binder.

Materiality & Structure The type of historic building materials used were chosen to be able to cope with the climate's extreme heat and high humidity, especially in summer. Coral stone, gypsum, lime and plaster were common materials used in the past. As part of the restoration urban development project, careful consideration to the materiality and structure was taken into account. While some parts of the project have been reconstructed to give it a more contemporary look, other parts were left exposed to its original form. This displayed a balance between modern material and historic material, achieving a harmony between the past and present. Foundation and the structure of the building were tested and adapted to the necessary requirements to make this building functional.

Fig.190. Exhibition space under construction. Image courtesy of Haupt & Binder.

Fig.191. Corrugated metal ceiling. Image courtesy of Haupt & Binder.

Fig.192. Steel structure. Image courtesy of Haupt & Binder.

Fig.193. Coral stone. Image courtesy of Haupt & Binder.

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Sustainability Environmental

Materials & colors

Courtyards

Narrow openings & corridors

Fig.194. Social interactions.

104

Orientation

Social The intentions of this restoration and repurposing of these buildings is to create a distinctive sense of place to the district. This means the creation of new attractions and amenities to promote social interactivity in the community. Another goal is to enhance walkability within the district and improve the overall accessibility. All means of moving around will be integrated in a way to provide visitors with more convenient ways to appreciate and enjoy the arts and cultural hub of Sharjah.

Economic : Adaptability By carefully renovating historical buildings, restoring and constructing new structures following traditional architecture and repurposing these buildings.

Fig.195. During renovation phase. Image courtesy of Haupt & Binder.

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BUILDING PROGRAM 106

107

HISTORICAL BACKGROUND Audio and visual technologies were experimented with since the 19th century. Artists have incorporated film, photography, television, radio, computers and the Internet into their artworks and artistic practices as these new technologies have been emerging. Components of artworks that were created during different historical periods, illustrated an essential aspect of our relationship with technology and its evolution.

19th CENTURY 1830’s British mechanical engineer and mathematician Charles Babbage (1791 – 1871) invents the analytical engine, a precursor to the modern day computer. Using punch cards, it is able to calculate numerical data.

French artist and chemist Louis Daguerre (1787 – 1851) develops the daguerreotype, an early form of photography.

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1890’s American inventor Thomas Edison (1847 – 1931) helps develop the kinetograph and kinetoscope – devices that enable individual viewing of short films. French filmmakers Auguste Lumière (1862 – 1954) and Louis Lumière (1864 – 1948) introduce films to the public.

Radio is developed by numerous inventors throughout the late 19th and early 20th centuries: • Serbian-American inventor Nikola Tesla (1856 – 1943) invents the Tesla coil, an induction coil for radio technology; • German physicist Heinrich Hertz is the first to broadcast electromagnetic waves; • Russian physicist Alexander Stepanovich Popov (1859 – 1906) introduces the application of electromagnetic waves over long distances; • Italian inventor Guglielmo Marconi (1874 – 1937) further develops wireless telegraphy (the diffusion of messages via the radio).

20th CENTURY 1920’s Film and radio become increasingly popular.

The following discoveries help develop the beginning of television: • Scottish inventor John Logie Baird (1888 – 1946) gives the first public demonstration of a television system; • Russian-American inventor Vladimir Kozmich Zworykin (1889 – 1982) develops a system of transmitting and receiving information with cathode ray tube (CRT) technology (a fluorescent screen that depicts images with an electronic beam); • American inventor Philo Taylor Farnsworth (1906 – 1971) conceives of the complete operating principles for electronic televisions.

1930’s Hungarian artist Laszlo Moholy-Nagy, associated with the German Bauhaus school that combines crafts and fine arts, creates the Light-Space-Modulator. This lighting equipment installation depicts the play of light and movement.

1940’s The University of Pennsylvania builds ENIAC (Electronic Numerical Integrator and Computer), which uses switches for computer-programming control; the computer is so big that it takes up an entire room.

1950s Television becomes widespread in households.

1960’s The Internet is developed, although it is reserved for university researchers, the military, and the U.S. government's secret services.

The following influential art movements emerge and evolve over the decades: • Fluxus: Artists, composers and designers work together to combine artistic media and disciplines; • Conceptual Art: Artists focus on the idea, the process and language more than on the aesthetics and materials of the art object; • Video Art: Inexpensive portable video cameras become available to the general public and are integrated into artistic practices. 109

1970’s Annual gatherings for artists working with computers begin to form. These include Ars Electronica in Austria and SIGGRAPH (Special Interest Group on Computer Graphics and Interactive Techniques) in the United States.

1980’s Personal computers (PCs) become more accessible and affordable.

1990’s The Internet explodes into a popular medium for distributing and sharing content (e-mail, publishing, commerce, file-sharing and online gaming).

PCs become more powerful. Users can now manipulate images, construct Web sites, use 3D software, and edit video and audio content.

Universities begin to offer programs in "New Media and Design.”

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Museums, galleries and other art institutions begin to collect and exhibit media art.

21st CENTURY Media art is constantly expanding, and new technologies are being used at a rapid pace.

Open source software is popularized. It allows people to freely use and modify existing software.

Video games and Web interfaces such as Flickr, MySpace, YouTube, Facebook and Second Life become new material for

Museums and other institutions begin to develop policies and procedures for documentation and conservation strategies specific to media artworks.

“Media Art: History, Installation and Conservation.” Haida Gambling Games, Government of Canada, Department of Canadian Heritage, Canadian Heritage Information Network

NEW MEDIA ART A key feature of contemporary art is “Medium”. “Media” refers to the methodologies, materials, mechanisms, technologies and devices in which an artwork is created. It is an effect transmitted through a substance. “New media art” is artwork produced using the newest media technologies. It often involves interaction between the observers and the artwork, or between the artist and the observer. By integrating emerging technologies into their artworks, artists are pushing the limits and redefining the traditional categories of art.

Fig.196. “Forest of Lamps” Mori Building Digital Art Museum, Tokyo, Japan. Image courtesy to Time Out New York, Time Out

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LENS-BASED ART Film making is the process of making a film intended for theatrical exhibition. It contains a number of stages including the initial idea or story, screenwriting, casting, shooting, sound recording, editing, and screening the final finished product to an audience using a variety of technologies and cinematic techniques.

An art form that relies on using video technology as a visual and audio medium is video art. One of the main differences between video art and theatrical cinema is video art doesn’t rely on the conditions that define theatrical cinema. It may not employ the use of actors, dialogue, narrative or plot.

Fig.197. “Planar Mosaic”. Yorgo Alexopoulos 2012.

Fig.198. Superman Returns (2006). Image courtesy of Julia Courtenay.

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Fig.199. “City And Color”. 2015. Photographer Matthieu Venot. 2017 IPA 2nd place award winner for “Professional Architecture, Buildings” category.

An artist uses photography as a medium to bring something to life by capturing what you see around you in an artistic way to express a message, an idea or an emotion.

113

THREE-DIMENSIONAL ART

Fig.200. Mechanical Woman Walking by Mark Galt.

Kinetic art is an art form that uses any medium that involves movement perceivable by the observer or relies on motion for its effect. The earliest examples of kinetic art are canvas paintings that extend the observerâ&#x20AC;&#x2122;s perspective of the artwork and integrate multidimensional movement. Today, kinetic art often refers to three-dimensional sculptures and figures that can move naturally or are operated by a machine. It also includes a wide variety or overlapping styles and techniques. Robotic art is any artwork that utilizes machine and automated or robotic technology, connected with computer technology and sensors. It falls under the category of kinetic arts, but what differentiates it is the use of a computer program.

Fig.201. â&#x20AC;&#x153;Cloud III.â&#x20AC;? 7.6 meter tall all stainless kinetic wind powered sculpture. Engineered for extreme high winds yet spins in 2mph. By Anthony Howe.

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Sound utilized as a primary medium is an artistic discipline called sound art. Similar to other types of contemporary art, sound art may be integrative in nature or used in hybrid forms. Acoustics, psychoacoustics, noise music, soundscapes, audio media, sculpture, architecture, film, video, environmental sounds and other aspects of contemporary arts may employ sound art as an element in these areas. Audiovisual art is a form of abstract kinetic art and sound set or music interconnecting with each other. It includes audio visual installations and performances, visual music and abstract film. Light art is an art form in which the medium of expression is light. Light art can be the interplay of light in an architectural space. It can also be used in sculptures in which the sculpture produces light, or light is used to form a “sculpture” by manipulating light, colors and shadows.

Fig.202. “Space-Speech-Speed” 1998 / 2001. Image courtesy of Frank Vinken.

Fig.203. “Soundscape.” Milan Design Week 2018

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DIGITAL TECHNOLOGY ART Interactive digital art is an art form that involves the observer in a way in which the observer can move in, on, around, or become a part of the installation. This type of art features computers, interfaces, and sensors to respond to heat, motion and other kinds of inputs the artist programmed them to respond to. Multimedia and graphics art is two-dimensional visual artistic expression. It includes various forms of engraving, printmaking, calligraphy, typography, computer graphics and bindery. Virtual art is the combination of art and technology. Virtual art can consist of virtual reality, augmented reality, or a mix of both, therefore can be seen in other fields of production such as video games and movies.

Fig.204. â&#x20AC;&#x153;Wallsâ&#x20AC;? by Venkatesh Sompari

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Fig.205. “Borderless World” Mori Building Digital Art Museum, Tokyo, Japan. Image courtesy of Stella Lee.

Fig.206. Tilt Brush by Google. Creating art using virtual reality. Image courtesy of the Royal Academy of Arts.

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COMPARISON OF PROGRAMS My program being an educational center for the new emerging media art fields, case studies that respond architecturally to programs similar to the program I want to do have been studied in detail. In the first case study, the Art and Media Center at the Doon School presents a complex program of traditional and contemporary art spaces, with a museum, a gallery, a lecture hall and a small library. Spaces make up almost 60% of the program and the rest is for open spaces, circulation and services. La Massana School of Arts focused more on the circulation of the students through the building with the huge atrium in the center and the spaces surrounding it. Spaces make up almost 50% of the program and the rest is for circulation, open spaces and services. The implementation of a fabrication lab and a prototype workshop to assist the students in the creative process of making artworks was a helpful application to add to my program. As lens-based art is a part of my program, the Eye Film Institute was essential in learning how screening spaces and their services integrate together while interrelating to the circulation and open spaces that make up 30% of the program. SAFâ&#x20AC;&#x2122;s new art spaces was beneficial in learning the architectural responses to the contextual and climatic issues of the UAE. Despite narrow corridors and courtyards (circulation and open spaces) making up a higher percentage of the program, the form and geometry of the building contributed to effective architectural response.

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Fig.207. Table 7 showing areas of zones and chart 1 showing percentage of the zones in Art and Media center at the Doon School.

Fig.208. Table 8 showing areas of zones and chart 2 showing percentage of the zones in La Massana School of Arts.

Fig.209. Table 9 showing areas of zones and chart 3 showing percentage of the zones in The Eye Film Institute.

Fig.210. Table 10 showing areas of zones and chart 4 showing percentage of the zones in SAFâ&#x20AC;&#x2122;s new art spaces.

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TOTAL AREA

Fig.211. Program formulation.

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8,315

Fig.212. Final program.

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STANDARDS MUSEUM AND GALLERIES GENERAL

Fig.213. Functional scheme.

Fig.214. Daylighting in exhibition spaces.

MUSEUM AND GALLERIES DISPLAY ROOMS

Fig.215. Layout of display rooms.

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Fig.216. Human-scale views.

CINEMAS

Fig.217. Optimal auditorium. Fig.219. Generalized ground floor plan of a larger auditorium

Fig.220. Wide screen projection equipment. Fig.218. Cinema seating.

FABRICATION LAB

Fig.221. Projection room.

COMPUTER LAB

Fig.222. Fabrication lab layout.

Fig.223. Teaching computer lab.

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RESTAURANT/CAFE

OFFICES

Fig.224. Space requirements for server and diner.

Fig.226. Space requirements.

Fig.225. Table/seating plans.

Fig.227. Computer workstations requirements.

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TRANSPORT

Fig.228. Inter-urban roads cross sections.

Fig.229. Cycle path.

Fig.230. Examples of the layout of street space in built-up areas.

Fig.231. Cycle traffic and storage.

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TRANSPORT

Fig.232. Vehicle turning.

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Fig.233. Types of parking.

Fig.234. Parking spaces.

Fig.235. Design elements that show parking integration with surroundings.

Fig.236. Parking layout with landscape.

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SITE ANALYSIS 128

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THE METROPOLITAN CITY OF DUBAI For its rise as a global city, its rapid development, and for being the most populous city in the region, Dubai was deemed the most suitable destination for this proposed project. Three sites were chosen and briefly analyzed, to conclude to the most satisfactory and convenient location for the project requirements. The first location in mind is the Dubai Design District (D3). D3 is a development dedicated to the design community to nourish talent and grant a home for the creative thinkers in the region. The district is surrounded by Ras Al Khor sanctuary, Business Bay, Downtown Dubai and the waterfront of Dubai Creek. It can be accessed from different locations, including the Ras Al Khor road, Dubai-Al Ain road, and Financial Centre road. Phase 1 of the development has been completed in 2015, with 11 office buildings, and now phase 2, designed by Foster and Partners is under construction, that will consist of workshops, studios and showrooms. There is one bus stop station there, so a future metro and tram route may be proposed. Many positive views from the site include Dubai’s skyline, the waterfront, and many landmarks, including the tallest tower in the world, Burj Khalifa, Emirates Towers, and the Dubai Frame. Another site suggestion was in Al Sufooh district, close to Knowledge Village, an educational zone, and Al Sufooh Beach. The site is surrounded by low rise residential villas and some mixed-use high rise buildings. It is accessible from Sheikh Zayed road and from there into a main road. The site’s

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proximity to public transportation that include tram and bus stations, is a major advantage. Views consist of the high rise towers on Sheikh Zayed road, Burj Al Arab on the north-east side and Al Sufooh Beach to the north-west. In Al Wasl district, behind City Walk, was another chosen alternate site. It is encompassed by low and midrise residential and mixed-use buildings. Accessibility to the site from the east is through Sheikh Zayed road and from the north through Al Wasl road. For public transportation, the nearest metro station is Burj Khalifa station, and from there the bus can be taken to a station near the site. Some significant neighboring landmarks include City walk, the Green Planet, Al Khazzan Park, Dubai Petroleum Supply Authority, and Burj Khalifa. Taking into consideration the surrounding context, accessibility, circulation, public transportation, and views, and evaluating the opportunities and constraints in the three site proposals, it can be concluded that the first site in Dubai Design District is deemed the most fitting for the project. Besides the obvious reason that it is Dubai’s leading destination of art, design and culture and it is home to the growing community of creative thinkers, the waterfront and skyline views are strong visual features in the site.

Fig.237. Dubai Design District

Fig.238. Al Sufooh District

Fig.239. Al Wasl District

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Fig.240. Location

Fig.241. Neighborhood Context, Zoning and Site.

Fig.242. Circulation, Vehicular Accessibility and Public Transportation

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SITE ANALYSIS DUBAI DESIGN DISTRICT

Fig.243. Dimensions

Fig.244. Climatic

Fig.245. Natural

& Area

Factors

and Man-made features

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Fig.246. Site visit.

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135

Fig.247. Site mood board

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137

CONCLUSION 138

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PRELIMINARY DESIGN CONCEPT Taking into consideration the philosophy, the precedent case studies, the formulated program, and the site analysis, the architectural strategies (film techniques and narrative techniques) have been combined and translated into architectural design elements in terms of context, type, materiality and technology. One section of my “architectural film” is showing scenes of frame story and foreshadowing using the technique of framing. In response to the context, as a way to frame the different views surrounding the site, I propose using the two main visual axis (Fig.248. Top) as paths through the buildings that have a visual connection throughout the site. (Fig.248. Bottom) Another suggestion is having a canopy over the waterfront (Fig.249) in which under the canopy, the waterfront is framed (Fig.253), while Dubai’s skyline (Fig.251) and Ras Al Khor Wildlife Sanctuary (Fig.252) views are framed through openings at the top. In terms of the form, the building can be used to frame these views (Fig.250) as well. The roof of the building (Fig.254) can be done in such a way in which it “foreshadows” how the interior will look like. Framing can also be used to emphasize the main entrance (Fig.255. Top) and the transitioning between spaces (Fig.255. Bottom) as well as skylights (Fig.256) that can frame the skyline with the sky. In order to foreshadow the function of the building during the day time, concrete colored tiles (Fig. 257) will be used and will light up at night using LED media facade (Fig. 259). Instead of using the traditional walls to define corridors, LED light frames (Fig.258) can be applied. 140

Fig.248. Visual axis. Plan (top). Perspective (bottom). Fig.249. Canopy over the waterfront .Perspective. Fig.250. From framing. Elevation. Fig.251. Framing skyline. Fig.252. Framing wildlife. Fig.253. Framing waterfront. Fig.254. Roof. Elevation (top). Perspective (bottom), Fig.255. Framing of main entrance (top) and transition through spaces (bottom) Fig.256. Using skylights to frame view. Fig.257. Colored concrete tiles. Yardhouse by Assemble. London, United Kingdom. Image courtesy of Assemble. Fig.258. LED light frames. Troika: bent light archway arcades project at interieur 2012. (Right). Fig.259. Media facades. Museum of performance and design, San Francisco. (Left). Beijing National Aquatics Center. (Right).

Fig.251.

Fig.249.

Fig.252.

Fig.253. Fig.248.

Fig.250.

Fig.255.

Fig.254.

Fig.256.

Fig.257.

Fig.258.

Fig.259.

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Another segment is showing cliffhanger scenes through the technique of silhouette. A cliffhanger scene is a scene that leaves you to interpret what happens next. In architecture, shadows change throughout the day leaving you in suspense to what form these shadows will take place next. Inspired by the waterfront, circulation paths or walkways are covered in thin trickling waterfalls on glass (Fig.260) so that the penetration of daylight through the water covered glass will reflect on the surface of the floor and walls as dynamic water texture, changing throughout the day depending on the sun path. Another inspiration I got from the site surroundings is the wildlife sanctuary filled with natural greenery and landscape, which I thought I could bring in to cover the facade in some areas (Fig.261) and have the same effect of natural light going through it to give interesting play of shadows. Spaces in the workshops provided in the program will be divided into two zones: one for the machinery used for the fabrication of the artwork and the other zone is the workspace for the students. The workspace zone will have direct natural daylight, therefore workshops will be facing north. The equipment will be put on the other side with minimum indirect daylight as to not damage the machines. (Fig.262). Exhibition spaces have dynamic discontinued walls (Fig.263), a cliffhanger where the viewers will depict how these walls look as a whole. Translucent glass panels (Fig. 264) give a hint of the activities going on in the space in the form of silhouettes. Structural columns covered with perforated skin (Fig. 265) bring in indirect light into the space. Placement of louvers, in the eastern and western sides, in a way where it looks incomplete, again for the observer to complete the image as a whole in their mind. (Fig. 266). 142

Fig.260. Water texture shadow play in circulation. Section (top left). Elevation (top right). Perspective (bottom left). Image showing example of water texture shadow (bottom right). Fig.261. Landscaped facade. Elevation (top). Perspective (bottom). Fig.262. Workshops and labs. Section (left). Isometric (right). Fig.263. Exhibition spaces partition walls. Plan (left). Perspective (right). Fig.264. Translucent glass walls. Volo Aviation Building (middle and right). Fig.265. Structure perforated enclosure. Acts as a light well. Elevation (left). Section (middle). Plan (right). Fig.266. Louver system. Plan (left). Elevation (right).

Fig.260.

Fig.261.

Fig.262.

Fig.263.

Fig.264.

Fig.265.

Fig.266.

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In the third part, I have the plot twist presented by the dolly zoom-out, or more commonly referred to as the vertigo effect. Illustrated in architecture, I have conjured ideas where contrast is present in design aspects. As portrayed in my site mood board, the two main elements in the site are water and earth (sand). Thatâ&#x20AC;&#x2122;s a contrast between smooth and rough texture. Portraying this with units protruding in and out of the facade (Fig.267) gives the impression of a contrast between polished surface and a coarse one. Another way contrast can be shown is diversity in heights (Fig. 268) of the complex, inspired by the varying heights of the city skyline. Contrast in mass and void (Fig. 269), or in the direction of the building masses (Fig. 270), can be shown in the building form. Engraved red concrete (Fig. 271) can be a plot twist as this type of material looks like wood from afar, but as you get closer, you realize it is not. To highlight the side facing towards the waterfront (Fig. 272), a dynamic facade depicts the contrast of a static wall mimicking motion. Another way is to have a gradual contrast of solidity to transparency (Fig. 274) in the facade.

Fig.267. Protruding CMU blocks. Fig.268. Varying heights. Elevation (top). Perspective (bottom). Fig.269. Mass and void. Perspective (left). Elevation (right). Fig.270. Building mass directions. Elevation. Fig.271. Engraved red concrete. Museum Tonofenfabrik by Heneghan Peng Architects. Image courtesy of Thomas Bruns. Fig.272. Plan highlighting facade facing the waterfront. Fig.273. Dynamic facade. Elevation (left). Perspective (middle & right). Fig.274. Gradual contrast from solidity to transparency. Elevation.

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Fig.267.

Fig.268.

Fig.269.

Fig.270.

Fig.271.

Fig.273.

Fig.272.

Fig.274.

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In movies, when a character has a flashback, the zoom shot or proximity shot is used to show the intensity of the emotions the character feels. Converting that to architecture by playing with the fourth dimension, time (Fig.278), of the movement of the user through the building, and leading them to move towards something, shows this effect. For example, using ramps to reach towards the terrace (Fig. 276). When you’re walking closer towards the framed view of the terrace, the view looks more enlarged, as if you are zooming in on this view. This is also applicable if the form of the building is framed and converged towards a view. (Fig. 277). In response to the prevailing winds from the northwest, the opening towards the courtyard of the building is slim but enlarges to produce the “venturi effect” mentioned in chapter 1. (Fig. 275). Openings that are narrow on the exterior and expand as they go through the wall towards the interior (Fig.279) is a technique to bring in daylight indirectly, the light being washed out as it enters. The same is applicable as a skylight opening (Fig. 280).

Fig.275. The Venture Effect. Plan (top). Perspective (bottom). Fig.276. Ramp heading towards terrace. Section (top). Perspective (bottom). Fig.277. Converging building form. Elevation. Fig.278. Playing with the fourth dimension. Circulation. General typology. Fig.279. Converging openings. Plan (left). Section (right). Fig.280. Converging skylight opening. Section.

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Fig.275.

Fig.277.

Fig.279.

Fig.276.

Fig.278.

Fig.280.

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Chekhovâ&#x20AC;&#x2122;s gun or loop, is a technique in which an object/character/ event in a movie is seen in one scene and then makes a reappearance in another scene but in a different outlook. This is suited to go with the tilted angle technique, or otherwise known as the Dutch angle, which portrays the scene in a different angle than the common angle you normally see to give a sense of thrill to the scene. Likewise, in architecture, the journey of moving around and looking at the same thing from a different perspective or using common shapes, twisting and playing with them to give a different image of this shape, or even using this modified shape to view what you normally see from a different angle, can illustrate this strategy. Firstly, an extension of the existing promenade into the waterfront (Fig. 281) to create a thrilling relationship between the waterfront and the observer and to emphasize the panoramic view of the city. Connections between buildings with bridges of twisting shapes (Fig.282) adds excitement to the circulation and gives a new experience of walking through a passageway than what is normally a common boring transition. Exhibition walls can be tilted and molded in different ways and directions (Fig.282) or even have gaps with deformed openings (Fig.284) or have ramps covered with tilted glass (Fig. 285) to excite the observer as they are viewing the artwork. Fig.281. Viewing platform. Plan (top left). Perspective of design district (top right). Perspective of city skyline (middle left). Section (bottom). Fig.282. Connecting twisted bridges. Section (top left). Elevation (top right). Perspective (bottom). Fig.283. Tilted exhibition partitions. Perspective. Fig.284. Altered framed viewing points. Perspective. Fig.285. Tilted ramp. Perspective.

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Fig.282. Fig.281.

Fig.280.

Fig.283.

Fig.284.

Fig.285.

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Fig.286. Schematic plan of proposal 1. Fig.287. General zone layout of proposal 1. Fig.288. Pedestrian path. Fig.289. General section zone layout of proposal 1. Fig.290. Schematic section showing the relationship between open spaces and building. Fig.291. Perspective of proposal 1.

Fig.286.

Fig.289.

Fig.287. Fig.290.

Outdoor roof amphitheater

Fig.288.

Fig.291.

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Fig.292. Schematic plan of proposal 2. Fig.293. General zone layout of proposal 2. Fig.294. Pedestrian path. Fig.295. General section zone layout of proposal 1. Fig.296. Schematic section showing the relationship between open spaces and building. Fig.297. Elevation showing the directional heights. Fig.298. Perspective of proposal 2.

Fig.292.

Fig.295.

Fig.296.

Fig.293. Fig.297.

Fig.294.

Fig.298.

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REFERENCES CHAPTER 1 1. “How Architectural Environments Evoke Emotion in Occupants.” RSS, marialorenalehman.com/post/how-architectural-environments-evoke-emotion-in-occupants. 2. “How Emotion Impacts the Perception of Architecture.” RSS, marialorenalehman. com/post/how-emotion-impacts-the-perception-of-architecture. 3. Suri, Charu. “Inside the Rise of Emotional Design.” Architectural Digest, Architectural Digest, 25 Oct. 2017, www.architecturaldigest.com/story/emotional-design 4. “Architects Create Spaces That Evoke Emotional Response.” Sarasota Herald, Sarasota Herald-Tribune, 18 Nov. 2011, www.heraldtribune.com/news/20111119/architects-create-spaces-that-evoke-emotional-response. 5. “Daniel Libeskind: The Emotional Impact of Architecture.” CNN, Cable News Network, 20 July 2017, edition.cnn.com/style/article/daniel-libeskind-architecture-emotions/index.html. 6. “11 Essential Camera Techniques in Filmmaking – With Animated Images.” Learn Filmmaking | Articles and Blog for Filmmakers, www.lavideofilmmaker.com/filmmaking/film-techniques.html. 7. B, Preetika, and Preetikab. “Cinema in Architecture: A Synergism.” Issuu, issuu. com/preetikab/docs/arch_and_cinema. 8. Bays, Jeff. Film Techniques of Alfred Hitchcock - Suspense, Camera Angles, Style, Editing, Basics, borgus.com/hitch/hitch2011.htm. 9. Dise, Justin. “Filmmaking 101: Camera Shot Types.” About B&H | B&H Photo Video, B&H Photo Video, 12 July 2016, www.bhphotovideo.com/explora/video/tips-andsolutions/filmmaking-101-camera-shot-types. 10. “FORESHADOWING IN LEVEL DESIGN.” SHAPE OF PLAY, 6 Aug. 2013, shapeofplay.wordpress.com/2013/04/18/foreshadow-level-design/. 11. “List of Narrative Techniques.” Wikipedia, Wikimedia Foundation, 2 Nov. 2018, en.wikipedia.org/wiki/List_of_narrative_techniques. 12. “Set the Mood With a Silhouette.” The Beat: A Blog by PremiumBeat, 15 Mar. 2016, www.premiumbeat.com/blog/set-the-mood-with-silhouette/.

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13. “Steven Spielberg Film Techniques – With Pretty Pictures!” Learn Filmmaking | Articles and Blog for Filmmakers, www.lavideofilmmaker.com/filmmaking/steven-spielberg-film-techniques.html. 14. “14 Basic Cinematography Techniques for Better Cinematic Shots”. Adorama Learning Center, March 16, 2018, https://www.adorama.com/alc/14-basic-cinematography-techniques-for-better-cinematic-shots. 15. “Story Shapes: Four Ways To Think About Narrative Architecture.” Chuck Wendig: Terribleminds, 9 Feb. 2015, terribleminds.com/ramble/2015/02/09/story-shapesfour-ways-to-think-about-narrative-architecture/. CHAPTER 2 16. “Arts &amp; Media Centre, Doon School | Khosla Associates – Architecture + Interiors.” Khosla Associates, www.khoslaassociates.com/project/arts-media-centreat-the-doon-school/. 17. “Arts and Media Centre at the Doon School / Khosla Associates.” ArchDaily, 4 Nov. 2010, www.archdaily.com/86476/arts-and-media-centre-at-the-doon-schoolkhosla-associates. 18. “Arts and Media Centre at the Doon School / Khosla Associates.” ArchDaily, 4 Nov. 2010, www.archdaily.com/86476/arts-and-media-centre-at-the-doon-schoolkhosla-associates. 19. “Weather in Dehradun.” My India, My India, www.mapsofindia.com/dehradun/climate.html. 20. “Climate of Dehra Dun”. Indian Meteorological Department, Government of India, Ministry of Earth Sciences, 02 June, 2012, http://amssdelhi.gov.in/news_events/Dehradun_Climate.pdf 21. Cohn, David. “La Massana Fine Arts School by Carme Pinós.” Architectural Record RSS, Architectural Record, 22 Dec. 2017, www.architecturalrecord.com/articles/13049-la-massana-fine-arts-school-by-carme-pin%C3%B3s. 22. “Delugan Meissl: EYE Film Institute.” Designboom | Architecture &amp; Design Magazine, 17 Apr. 2012, www.designboom.com/architecture/delugan-meissl-eye-film-institute/. 23. Dimog, Jan. “Make (He)Art, Not Bling Bling.” The Link – Architektur Und Stadtkultur., 27 July 1970, thelink.berlin/2016/07/make-heart-not-bling-bling/. 24. “Escola Massana. Art and Design Centre.” ¡Nueva Dirección! | Escola Massana. Centro De Arte y Diseño., www.escolamassana.cat/en/the-school_2858.

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25. “Estudio Carme Pinós, Duccio Malagamba • La Massana School of Arts.” Divisare, divisare.com/projects/398926-estudio-carme-pinos-duccio-malagamba-la-massana-school-of-arts. 26. “EYE - New Dutch Film Institute / Delugan Meissl Associated Architects.” ArchDaily, 10 Apr. 2012, www.archdaily.com/223973/eye-new-dutch-film-institute-delugan-meissl-associated-architects. 27. “EYE | EYE, Sonogamma, HEWI.” Archello, archello.com/project/eye. “Khosla Associates.” Ebuild.in, ebuild.in/arts-and-media-centre-at-the-doon-schooldehradun. 28. “SAF Art Spaces in Al Mureijah.” Teotihuacan. Sites &amp; Exhibitions, universes.art/en/art-destinations/sharjah/art-spaces/saf-art-spaces/. 29. Tactical Digital Agency. “The Gateway to Trucial States.” Heart of Sharjah - History of the Area, www.heartofsharjah.ae/sharjah-art-foundation-art-space.html. CHAPTER 3 30. Art Radar, artradarjournal.com/2014/09/05/what-is-robotic-art-art-radar-explains/. “Audiovisual Art.” Wikipedia, Wikimedia Foundation, 28 June 2018, en.wikipedia.org/ wiki/Audiovisual_art. 31. “Filmmaking.” Wikipedia, Wikimedia Foundation, 29 Oct. 2018, en.wikipedia.org/ wiki/Filmmaking. 32. “Fine-Art Photography.” Wikipedia, Wikimedia Foundation, 30 Nov. 2018, en.wikipedia.org/wiki/Fine-art_photography. 33. “Graphic Arts.” Wikipedia, Wikimedia Foundation, 24 Sept. 2018, en.wikipedia. org/wiki/Graphic_arts. 34. “Interactive Art.” Wikipedia, Wikimedia Foundation, 4 Dec. 2018, en.wikipedia. org/wiki/Interactive_art. 35. “Kinetic Art.” Wikipedia, Wikimedia Foundation, 27 Nov. 2018, en.wikipedia.org/ wiki/Kinetic_art. 36. “Media Art: History, Installation and Conservation.” Haida Gambling Games, Government of Canada, Department of Canadian Heritage, Canadian Heritage Information Network, www.virtualmuseum.ca/sgc-cms/expositions-exhibitions/arts_mediatiques-media_arts/art_mediatique-media_art-eng.php. 37. “Robotic Art.” Wikipedia, Wikimedia Foundation, 25 Apr. 2018, en.wikipedia.org/ wiki/Robotic_art.

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38. “Video Art.” Wikipedia, Wikimedia Foundation, 13 Nov. 2018, en.wikipedia.org/ wiki/Video_art. 39. “Virtual Art.” Wikipedia, Wikimedia Foundation, 23 Oct. 2018, en.wikipedia.org/ wiki/Virtual_art. 40. “Virtually Real | Exhibition.” Royal Academy of Arts, www.royalacademy.org.uk/ exhibition/project-virtually-real. CHAPTER 4 41. “Dubai Design District.” Camel Racing in Dubai – All About Camels, www.visitdubai.com/en/pois/dubai-design-district. 42. “Dubai Design District.” Dubai Design District | Eat, Shop, Explore, www. dubaidesigndistrict.com/. 43. “Dubai Design District.” Wikipedia, Wikimedia Foundation, 16 Sept. 2018, en.wikipedia.org/wiki/Dubai_Design_District.

INDEX OF FIGURES CHAPTER 1 Fig.1. The Jewish Museum, Daniel Libeskind. Fig.2. Viewers showing emotion as they’re watching a movie. Fig.3. Graphic showing how the sequences and events in a film are broken down and ordered to generate the final form. Fig.4. Bambi (1942). Bambi’s mother warning Bambi of the lack of safety in the meadows. Fig.5. Bambi (1942). Forest caught on fire and Bambi’s mother gets shot scene. Fig.6. The Rear Window (1954) photographer L. B. “Jeff” Jefferies. Fig.7. The Rear Window (1954) the backyard of New York apartments used as contexts of murder and fear. Fig.8. Vertigo (1958). Fig.9. Psycho (1960). Gothic mansion. Fig.10. Psycho (1960). Hotel. Fig.11. Park de la Villette by Bernard Tschumi, located in Paris, France. Fig.12. Isometric of Park de la Villette by Bernard Tschumi, located in Paris, France. Fig.13. Minority Report (2002). Fig.14. Diane Keaton Beverly Hills House. Fig.15. Manuel Cervantes Cespedes by CC Arquitectos. Fig.16. Encanto hotel in Acapulco Mexico. Fig.17. Mayor Wine Cellar by Álvaro Siza. Image courtesy of Duccio Malagamba Fig.18. Teshima Art Museum by Ryue Nishizawa in Kagawa, Japan. Fig.19. Two-family Apartment Houses by Staehelin Meyer Architekten. Fig.20. Suspicion (1941). Fig.22. Islamic screen. Fig.23. Natural lighting in architecture. Fig.24. RCR (Rafael Aranda, Carme Pigem, Ramon Vilalta). Bodegas Bell-Lloc in Palamós, Girona. Fig.25. Louvre Museum by Jean Nouvel, Abu Dhabi, UAE. Fig.26. Image courtesy of Mustafa A.Hadi. Fig.27. Vertigo (1958). Fig.28. Ratatouille (2007). Fig.29. Sharjah Art Foundation New Art Spaces, Sharjah, UAE. Fig.30. Platform of Arts and Creativity José de Guimarães International Arts Center Guimarães. Fig.31. Biblioteca Pio IX., Rome, by King Roselli Architetti. Fig.32. MVRDV Madrid.

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Fig.33. Jurassic World (2015). Fig.34. The Great Gatsby (2013). Fig.35. Ronchamp Church by Le Corbusier. Fig.36. Section of Ronchamp Church by Le Corbusier. Fig.37. The Venturi Effect. Fig.38. Interior of Ronchamp Church by Le Corbusie Fig.39. Kindergarden in the Unité d’habitation by Le Corbusier. Fig.40. Mission: Impossible (1996). Fig.41. High Trestle Trail Bridge between Madrid and Woodward. Fig. 42. Rhythm in architecture by Pabloach. Fig.43. Paper Snake by Kengo Kuma. Fig.44. Serra Dourada Club - Alphaville / Gustavo Penna. Fig.45. Table 1 summarizing the film technique strategies. Fig.46. Table 2 summarizing the narrative technique strategies. Fig.47. Mind map of architectural strategies and solutions.

CHAPTER 2 Fig.48. Media and Art Center at the Doon School. Image courtesy of Amit-Pasricha. Fig.49. Image highlighting the center within the boarding school context. Image courtesy of Amit-Pasricha. Fig.50. Context. Media and Art Center at the Doon School, Dehradun, India. Fig.51. Diagram illustrating the accessibility and parking. Fig.52. Diagram illustrating the concept. Fig. 53. The main axis. Image courtesy of Amit-Pasricha. Fig.54. Sun direction (left) and prevailing winds direction during the year. (Indian Meteorological Department. Government of India. Ministry of Earth Sciences). Fig.55. Diagram showing courtyard openings (blue) and building openings (red). Fig.56. Site plan view from Google Earth. Fig. 57. Landscape preserved and integrated with the building. Image courtesy of Amit-Pasricha. Fig.58. Table 3 showing the approximate areas of spaces. Fig.59. Ground floor plan. (Khosla Associates). Fig.60. First floor plan. (Khosla Associates). Fig.61. Gallery. Image courtesy of Bharath Ramamrutham. Fig.62. Museum. Image courtesy of Bharath Ramamrutham. Fig.63. Animation graphics studio. Image courtesy of Bharath Ramamrutham. Fig.64. Open spaces highlighted in green. Ground floor plan (top) and first floor plan (bottom). Fig.65. Courtyard. Image courtesy of Bharath Ramamrutham. Fig.66. Terraces. Image courtesy of Bharath Ramamrutham. Fig.67. Courtyard. Image courtesy of Bharath Ramamrutham. Fig.68. Circulation. Ground floor plan (left) and first floor plan (right). Fig.69. Students entering the site. Image courtesy of Bharath Ramamrutham. Fig.70. Corridor. Image courtesy of Bharath Ramamrutham. Fig.71. Main Entrance. Image courtesy of Bharath Ramamrutham. Fig.72. Side elevation. Image courtesy of Amit-Pasricha. Fig.73. Back entrance. Image courtesy of Bharath Ramamrutham. Fig.74. Main entrance. Image courtesy of Amit-Pasricha. Fig.75. Skylights highlighted in blue. Fig.76. Museum. Image courtesy of Bharath Ramamrutham. Fig.77. Use of natural lighting through skylight system. Image courtesy of Bharath Ramamrutham. Fig.78. Projection of mass to provide shade. Image courtesy of Bharath Ramamrutham. Fig.79. Courtyard. Image courtesy of Bharath Ramamrutham. Fig.80. Image courtesy of Duccio Malagamba. Fig.81. Associated with the University of Barcelona, La Massana School of Arts is a hybrid building offering degrees in visual arts and design, applied arts and an extensive high school program for local students. Image courtesy of Iñigo Bujedo-Aguirre. Fig.82. View of La Massana School from residential building. Image courtesy of Iñigo Bujedo-Aguirre. Fig.83. Context. Fig.84. Site plan (Estudio Carme Pinós). La Massana School (red) is surrounded by residential buildings (black) and a market (right) and a local road from the back (purple). Fig.85. Nearby market and public plaza. Image courtesy of Jordi Miralles. Fig.86. Residential buildings attached to the school. Image taken from Google Earth. Fig.87. Residential buildings opposite to the school. Image taken from Google Earth. Fig.88. Panoramic shot of the school with the surroundings. Image courtesy of Estudio Carme Pinós. Fig.89. Sun-breakers. Image courtesy of Duccio Malagamba. Fig.90. Aerial view render. (Estudio Carme Pinós). Fig.91. Sun direction (left) and prevailing winds (right). Fig.92. Terraces on the northern side. Image courtesy of Duccio Malagamba. Fig.93. Louvered shutters in the southern side. Image courtesy of Duccio Malagamba. Fig.94. Closer shot of the louvered shutters. Image taken from Google Earth. Fig.95. Table 4 showing the approximate areas of spaces. Fig.96. Schematic building layout (Estudio Carme Pinós). Fig.97. Basement floor plan. (Estudio Carme Pinós).

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Fig.98. Ground floor plan. (Estudio Carme Pinós). Fig.99. First floor plan. (Estudio Carme Pinós). Fig.100. Third floor plan. (Estudio Carme Pinós). Fig.101. Section through atrium and patio. (Estudio Carme Pinós). Fig.102. A sunken student lounge overlooks a light court with classroom corridors around it. Image courtesy of Duccio Malagamba. Fig.103. Studio and classroom wings surround a central atrium crisscrossed by bridges and lined with windows like a street. Image courtesy of Duccio Malagamba. Fig.104. Terrace overlooking the plaza. Image courtesy of Duccio Malagamba. Fig.105. A painting studio has windows behind the ceramic louvers of the main façade. Image courtesy of Duccio Malagamba. Fig.106. Main entrance. Variety of materials used in harmony. Image courtesy of Duccio Malagamba. Fig.107. Eye Film Institute. Image courtesy of DMAA. Fig.108. Eye Film Institute. Image courtesy of DMAA. Fig.109. Context Fig.110. Site plan. Diagram courtesy of DMAA. Fig.111. Aerial view. Image courtesy of DMAA. Fig.112. Accessibility. Diagram courtesy of DMAA. Fig.113. View of the institute from a ride in the ferry. Image courtesy of DMAA. Fig.114. Shoreline. Diagram courtesy of DMAA. Fig.115. Eye Film Institute with the Overhoek Tower. Photo by Ralph Richter, courtesy of Eye Film Institute. Fig.116. View from the northern shore. Image courtesy of DMAA. Fig.117. Concept sketch. Courtesy of DMAA. Fig.118. Form used to widen view. Image courtesy of DMAA. Fig.119. View from inside the building to the city center. Image courtesy of DMAA. Fig.120. View from Overhoek Park. Photo by Ralph Richter, courtesy of Eye Film Institute. Fig.121. View from the northern shore. Night view. Photo by Ralph Richter, courtesy of Eye Film Institute. Fig.122. Sun path (left) and prevailing winds (right). Fig.123. The main entrance, openings and terraces were designed on the southern side to maximize heat gain. Image courtesy of DMAA. Fig.124. Not many openings. Photo by Ralph Richter, courtesy of Eye Film Institute. Fig.125. Table 5 showing the approximate areas of spaces. Fig.126. Diagram showing functions. Courtesy of Eye Film Institute. Fig.127. Level 00. Courtesy of DMAA. Fig.128. Level 01. Courtesy of DMAA. Fig.129. Level 03. Courtesy of DMAA. Fig.130. Level 04. Courtesy of DMAA. Fig.131. Section 01. Courtesy of DMAA. Fig.132. Back entrance. Photo by Ralph Richter, courtesy of Eye Film Institute. Fig.133. From inside the ramp in the back entrance. Photo by Ralph Richter, courtesy of Eye Film Institute. Fig.134. From back entrance ramp towards terrace. Photo by Ralph Richter, courtesy of Eye Film Institute. Fig.135. Section 02. Courtesy of DMAA. Fig.136. Film theatre. Courtesy of Eye Film Institute. Fig.137. Museum shop. Courtesy of Eye Film Institute. Fig.138. Exhibition space. Courtesy of Eye Film Institute. Fig.139. Human-scale view. Image courtesy of Wojtek Gurak. Fig.140. Overlooking the arena/foyer. (Archello) Fig.141. Terrace. Courtesy of DMAA. Fig.142. Arena/foyer. Courtesy of DMAA. Fig.143. Main entrance. Courtesy of DMAA. Fig.144. Restaurant. Courtesy of DMAA. Fig.145. Exhibition space. Courtesy of Eye Film Institute. Fig.146. To film theatre 4. Courtesy of DMAA. Fig.147. Private room. Courtesy of Eye Film Institute. Fig.148. Spaces volume diagram. Courtesy of DMAA. Fig.149. Building during construction phase. (ABT Consulting Engineers). Fig.150. Building during construction phase. Main entrance. (ABT Consulting Engineers). Fig.151. Building during construction phase. Aerial view. (ABT Consulting Engineers). Fig.152. Construction detail. Courtesy of DMAA. Fig.153. BASWAphon. Fig.154. Elevation. Courtesy of DMAA. Fig.155. Aluminum-plated panels. Courtesy of DMAA. Fig.156. Sharjah Art Foundation’s new art spaces. Image courtesy of Haupt & Binder. Fig.157. Context Fig.158. Aerial view. Image courtesy of Haupt & Binder. Fig.159. Surroundings. (heartofsharjah) Fig.160. View from residential building. Image courtesy of Haupt & Binder. Fig.161. Mass and void. Fig.162. Sun path (left) and prevailing winds (right) Fig.163. Narrow corridors. Image courtesy of Wegweisend. Fig.164. Diagram showing narrow corridors. Fig.165. Thick peripheral walls. Image courtesy of Haupt & Binder. Fig.166. Long thin vertical openings. Image courtesy of Haupt & Binder.

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Fig.167. Long thin vertical openings. Image courtesy of Haupt & Binder. Fig.168. Narrow openings. Image courtesy of Haupt & Binder. Fig.169. Narrow paths with deep openings. Image courtesy of Haupt & Binder. Fig.170. Ground floor plan. Image courtesy of Haupt & Binder. Fig.171. Table 6 showing the approximate areas of spaces. Fig.172. Gallery space. Image courtesy of Haupt & Binder. Fig.173. Gallery space opening to courtyard. Image courtesy of Haupt & Binder. Fig.174. Gallery space. (SAF) Fig.175. Exhibition mezzanine. Image courtesy of Haupt & Binder. Fig.176. Courtyard. Image courtesy of Haupt & Binder. Fig.177. “Horsemen for Adore perfumes stories”. Exhibition by Shawky. Fig.178. Courtyard. Image courtesy of Kunst und Grün. Fig.179. Natural lighting. Image courtesy of Haupt & Binder. Fig.180. Art exhibition. Fig.181. Roofscape. Image courtesy of Haupt & Binder. Fig.182. Indoor circulation used for exhibitions. Image courtesy of Haupt & Binder. Fig.183. Outdoor circulation used for different social events. Image courtesy of Haupt & Binder. Fig.184. Access and circulation. Fig.185. Entry to the ramp. Image courtesy of Haupt & Binder. Fig.186. Ramp going towards the roof. Image courtesy of Haupt & Binder. Fig.187. Rooftop. Image courtesy of Haupt & Binder. Fig.188. Rooftop used for exhibitions. Image courtesy of Haupt & Binder. Fig.189. Harmony between historic and contemporary material. Image courtesy of Haupt & Binder. Fig.190. Exhibition space under construction. Image courtesy of Haupt & Binder. Fig.191. Corrugated metal ceiling. Image courtesy of Haupt & Binder. Fig.192. Steel structure. Image courtesy of Haupt & Binder. Fig.193. Coral stone. Image courtesy of Haupt & Binder. Fig.194. Social interactions. Fig.195. During renovation phase. Image courtesy of Haupt & Binder.

CHAPTER 3 Fig.196. “Forest of Lamps” Mori Building Digital Art Museum, Tokyo, Japan. Image courtesy to Time Out New York, Time Out Fig.197. “Planar Mosaic”. Yorgo Alexopoulos 2012. Fig.198. Superman Returns (2006). Image courtesy of Julia Courtenay. Fig.199. “City And Color”. 2015. Photographer Matthieu Venot. 2017 IPA 2nd place award winner for “Professional Architecture, Buildings” category. Fig.201. “Cloud III.” 7.6 meter tall all stainless kinetic wind powered sculpture. Engineered for extreme high winds yet spins in 2mph. By Anthony Howe. Fig.202. “Space-Speech-Speed” 1998 / 2001. Image courtesy of Frank Vinken. Fig.203. “Soundscape.” Milan Design Week 2018 Fig.205. “Borderless World” Mori Building Digital Art Museum, Tokyo, Japan. Image courtesy of Stella Lee. Fig.206. Tilt Brush by Google. Creating art using virtual reality. Image courtesy of the Royal Academy of Arts. Fig.207. Table 7 showing areas of zones and chart 1 showing percentage of the zones in Art and Media center at the Doon School. Fig.208. Table 8 showing areas of zones and chart 2 showing percentage of the zones in La Massana School of Arts. Fig.209. Table 9 showing areas of zones and chart 3 showing percentage of the zones in The Eye Film Institute. Fig.210. Table 10 showing areas of zones and chart 4 showing percentage of the zones in SAF’s new art spaces. Fig.211. Program formulation. Fig.212. Final program. Fig.213. Functional scheme. Fig.214. Daylighting in exhibition spaces. Fig.215. Layout of display rooms. Fig.216. Human-scale views. Fig.217. Optimal auditorium. Fig.218. Cinema seating. Fig.219. Generalized ground floor plan of a larger auditorium Fig.220. Wide screen projection equipment. Fig.221. Projection room. Fig.222. Fabrication lab layout. Fig.223. Teaching computer lab. Fig.224. Space requirements for server and diner. Fig.225. Table/seating plans. Fig.226. Space requirements. Fig.227. Computer workstations requirements. Fig.228. Inter-urban roads cross sections. Fig.229. Cycle path. Fig.230. Examples of the layout of street space in built-up areas. Fig.231. Cycle traffic and storage. Fig.232. Vehicle turning. Fig.233. Types of parking. Fig.234. Parking spaces.

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Fig.235. Design elements that show parking integration with surroundings. Fig.236. Parking layout with landscape.

CHAPTER 4 Fig.237. Dubai Design District Fig.238. Al Sufooh District Fig.239. Al Wasl District Fig.240. Location Fig.241. Neighborhood Context, Zoning and Site. Fig.242. Circulation, Vehicular Accessibility and Public Transportation Fig.243. Dimensions & Area Fig.244. Climatic Factors Fig.245. Natural and Man-made features Fig.246. Site visit. Fig.247. Site mood board

CHAPTER 5 Fig.248. Visual axis. Plan (top). Perspective (bottom). Fig.249. Canopy over the waterfront .Perspective. Fig.250. From framing. Elevation. Fig.251. Framing skyline. Fig.252. Framing wildlife. Fig.253. Framing waterfront. Fig.254. Roof. Elevation (top). Perspective (bottom), Fig.255. Framing of main entrance (top) and transition through spaces (bottom) Fig.256. Using skylights to frame view. Fig.257. Colored concrete tiles. Yardhouse by Assemble. London, United Kingdom. Image courtesy of Assemble. Fig.258. LED light frames. Troika: bent light archway arcades project at interieur 2012. (Right). Fig.259. Media facades. Museum of performance and design, San Francisco. (Left). Beijing National Aquatics Center. (Right). Fig.260. Water texture shadow play in circulation. Section (top left). Elevation (top right). Perspective (bottom left). Image showing example of water texture shadow (bottom right). Fig.261. Landscaped facade. Elevation (top). Perspective (bottom). Fig.262. Workshops and labs. Section (left). Isometric (right). Fig.263. Exhibition spaces partition walls. Plan (left). Perspective (right). Fig.264. Translucent glass walls. Volo Aviation Building (middle and right). Fig.265. Structure perforated enclosure. Acts as a light well. Elevation (left). Section (middle). Plan (right). Fig.266. Louver system. Plan (left). Elevation (right). Fig.267. Protruding CMU blocks. Fig.268. Varying heights. Elevation (top). Perspective (bottom). Fig.269. Mass and void. Perspective (left). Elevation (right). Fig.270. Building mass directions. Elevation. Fig.271. Engraved red concrete. Museum Tonofenfabrik by Heneghan Peng Architects. Image courtesy of Thomas Bruns. Fig.272. Plan highlighting facade facing the waterfront. Fig.273. Dynamic facade. Elevation (left). Perspective (middle & right). Fig.274. Gradual contrast from solidity to transparency. Elevation. Fig.275. The Venture Effect. Plan (top). Perspective (bottom). Fig.276. Ramp heading towards terrace. Section (top). Perspective (bottom). Fig.277. Converging building form. Elevation. Fig.278. Playing with the fourth dimension. Circulation. General typology. Fig.279. Converging openings. Plan (left). Section (right). Fig.280. Converging skylight opening. Section. Fig.281. Viewing platform. Plan (top left). Perspective of design district (top right). Perspective of city skyline (middle left). Section (bottom). Fig.282. Connecting twisted bridges. Section (top left). Elevation (top right). Perspective (bottom). Fig.283. Tilted exhibition partitions. Perspective. Fig.284. Altered framed viewing points. Perspective. Fig.285. Tilted ramp. Perspective. Fig.286. Schematic plan of proposal 1. Fig.287. General zone layout of proposal 1. Fig.288. Pedestrian path. Fig.289. General section zone layout of proposal 1. Fig.290. Schematic section showing the relationship between open spaces and building. Fig.291. Perspective of proposal 1. Fig.292. Schematic plan of proposal 2. Fig.293. General zone layout of proposal 2. Fig.294. Pedestrian path. Fig.295. General section zone layout of proposal 1. Fig.296. Schematic section showing the relationship between open spaces and building. Fig.297. Elevation showing the directional heights. Fig.298. Perspective of proposal 2.

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