Shifting Shielding_design_thesis_by_Zhuoqing LI by Zhuoqing Li

00. BEIRUT YEAR ZERO: SHIFTING, SHIELDING. Thesis Booklet. Master of Architecture

Supervisor: Marijke Davey

Zhuoqing Li (886823)

Independent Thesis

2021 Semester 2

A shielding & narrative system

Summary Axonometric

The University of Melbourne

[Contents.]

01.

02.

Thesis Proposal

Research

Thesis Statement & Elaboration (5-7)

Research Drawings (16-31)

The Trauma & Question (8-10)

Research Writings (32-39)

The Concept & Brief (11-13)

03.

04.

Design Proposal

Appendix

Resolved Design (40-75)

Precedents Study (77-87) Previous Submissions (88-149)

05.

06.

Conclusion

Reference

Design Thesis - Zhuoqing LI - 886823

01.

[Thesis Proposal.] B EIR UT Y EAR Z E RO: SHIF T ING, SHIELD ING.

Design Thesis - Zhuoqing LI - 886823

T H E SI S S TATEMEN T 4 .0 : BE I RUT Y E AR Z ER O : S HIF TING, S HIELDIN G. “Beirut sounds like GLASS. (Faour, 2020)” On August 4, 2020, a devastating explosion hit Port of Beirut at 6:07 pm. With shattered GLASS raining down and covering the streets within 10km, GLASS is blamed for causing the majority of recorded injuries and deaths, as well as a new phenomenon of anxiety – “GLASSophobia” (Daronboz, 2020). Before the trust of glass is rebuilt, how to curate a trauma-informed paradigm that provides emotional safety and empowers emotional expression reacting to GLASSophobia? This thesis does not aim at curing, but exploring [a shielding and narrative system] in response to individual perceptions of different phases, materializing the intangible trauma of “GLASSophobia”. The system will be facilitated by celebrating the ancient Arab art of storytelling – Hakawati. To view the shifting shelters as a lens of storytelling will provide inhabitants with responsive levels of “shielding” in different phases, updating the narrative of “trust” as an indicator of the shifting reality and accelerating changes underway.

Design Thesis - Zhuoqing LI - 886823

T HE S I S E L A B O R AT IO N: A S H I F T I N G S H E LT E R . “Beirut sounds like glass. (Faour, 2020)”

On August 4, 2020, a devastating explosion hit Port of Beirut at 6:07 pm, with shattered GLASS raining down and covering the streets within 10km. The explosion left the city with 25,000 tons of glass debris and a new phenomenon of anxiety – “Glassophobia” (Daronboz, 2020). When the blast happened, the glass hit the victims like “shooting guns”. Glass, the material designed for light and living quality, became the weapon of the corrupt state. Due to the extensive use of non-tempered or annealed glass, 80% of injuries and death were caused by the long and sharp splinters (AbuFaraj, 2020). People with Glassophobia struggle to live around the glass, and home is no longer a guarantee of safety. This thesis explores the post-explosion world where “Glassophobia” becomes a phenomenon, questioning the role of a trauma-informed paradigm in response to “Glassophobia”.

Architecture should constantly shift, change, and react to the inhabitants’ real-time needs. Beirut people are familiar with the sound of broken glass. During 1975-1990, the civil war devastated 75% of the city. In the following years, continued Israeli aggression and recurring sectarian violence put the city into shattered glass again and again (Faour, 2020). The growing tiresome cycle of violence requires a driving force to break the imposed resilience narrative. French Philosopher Alain Badiou described the theory of “event” as a “shifting in realities” and “a possibility for change and transformations”. If perceiving the blast as an event with “a before” and “an after”, driven by the fallacy of resilient narrative, Beirut people reacted immediately to restore what is broken to the past, without thinking of new possibilities. “It is repeating the same cycle to get busy into the reconstruction without taking time to invent something new”, said Paul Kaloustian, a Beirutbased architect. (Harrouk, 2021). Architecture is regarded as a static object in the resilient cycle without questioning its new role in the shifting reality.

Before the trust of glass is rebuilt, how to curate a trauma-informed paradigm that provides emotional safety and empowers emotional expression reacting to Glassophobia? During this process, every subjective intervention from an architect could be violently adding a layer of detachment from the original perceptions. Therefore, in this project, I decided to take the role of a documenter instead of a designer. The design intervention is based on individual perceptions of the event, raising awareness of the issues and humanitarian needs in the grass-root urban fabric. The

Design Thesis - Zhuoqing LI - 886823

inhabitants will be empowered as narrators to drive the design. As time goes by, their perception will be objectively documented in the shifting form of architecture to provide an updated narrative.

Research methods, including desk-based research, autoethnography and observational study, have been undertaken during the mapping exercise to investigate the current urban fabric to find the potential location for the site. The shielding and narrative system will attach to two types of carriers: private houses (personal trauma) and community infill (collective trauma). Site A is a private house located in Gouraud st and was first completed in 1875 and survived the civil war. The Dagher’s House is currently owned by Mr Fadlallah Dagher, a Beirut-based architect leading Beirut Heritage Initiative. He lives with his wife, his 90-year-old mother and his daughter in this house. It was heavily destroyed during the 2020 Beirut explosion (Bulos, 2020). The ‘Hakawati Housemuseum” is a semi-public addition of the existing house to display the narrative of “Glassophobia”, opening for discussion and responsive reactions. The “shifting shelter” is combined with the family heritage and the Hakawati program, inviting the public to occupy the shelters and experience the shifting narrative. Site B is an abandoned parcel to accommodate a Community Hakawati Garden, which is used to be the site for Baddoura’s Family House (crumbled in 1990 after the civil war) but now covered with overgrowth. As it is identified as “unworthy” parcels, developers or political classes are not interested, so it has been abandoned for 30 years. The Community Hakawati Garden is developed as a collection of “shifting shelters” responding to different phases of Glassophobia, working as an anchor to connect the surrounding Hakawati Housemuseums within a 10-min walking radius.

Regarding architecture as a shifting organism, the project aims to manifest the new form of architecture in the post-explosion Beirut as a resistance to the notion of resilience. The shifting shelter looks inward to allow people with Glassophobia to take time to rebuild the trust of glass and display outwards to create spaces dedicated to the narrative celebration, civic conversation, and participation. The updating narrative displayed through the shifting form of architecture could provoke critical dialogues. The architecture will become an ingredient for the changes. Like Bernard Tschumi writes in “Architecture and Disjunction”, ‘Architecture and its spaces do not change society, but through architecture and the understanding of its effect, we can accelerate processes of change underway’ (Tschumi, 1996).

Design Thesis - Zhuoqing LI - 886823

B E I RUT 2 0 2 0 E X P LO SION: “ B E I R U T S O UN D S L I KE G LA S S.”

Fig.1 Beirut 2020 Explosion. (2020)

Beirut 2020 Explosion On August 4, 2020, a devastating explosion hit Port of Beirut at 6:07 pm. With shattered GLASS raining down and covering the streets within 10km, GLASS is blamed for causing the majority of recorded injuries and deaths, as well as a new phenomenon of anxiety – “GLASSophobia” (Daronboz, 2020).

Design Thesis - Zhuoqing LI - 886823

T HE T R AU M A : G LA S S O P H O B I A . [2020/08/04 6:00:16 Pm]

[2020/08/04 6:07:16 Pm]

+2700.00

“Glass as barrier.”

“Glass as weapon.”

Detail 1.2 Detail 1.3

Detail 1.3

Detail 2.3

Detail 1.2

Detail 2.2

+1800.00

+900.00 Detail 2.3

Detail 2.2

Detail 1.1 Detail 1.1

Detail 2.1 Detail 2.1

+0.00

“Glass as evidence.”

“My government did this.”

“Beirut is Scar(r)ed” When the blast happened, the glass hit the victims like “shooting guns”. Glass, the material designed for light and living quality, became the weapon of the corrupt state. Due to the extensive use of non-tempered or annealed glass, 80% of injuries and death were caused by the shattered glass (Abu-Faraj, 2020). People with Glassophobia struggle to live around the glass, and the home is no longer a guarantee of safety. This thesis explores the post-explosion world where “Glassopiobia” becomes a phenomenon, questioning the role of a trauma-informed paradigm in response to “Glassophobia”.

Design Thesis - Zhuoqing LI - 886823

T HE QU E ST I O N: A TR AUM A- I N F O RM E D PA R A DIG M?

[Before the trust of glass is rebuilt], how to curate a trauma-informed paradigm that - provides emotional safety - and empowers emotional expression reacting to GLASSophobia?

Design Thesis - Zhuoqing LI - 886823

T HE C O N C E P T: A S H I E L D I N G / N ARRAT IVE SYST EM.

[+ ]

[x - Trust Level of System/Glass]

{Glass}

]

{Glass}

]

{Glass}

Shifting, Shielding

A Shielding & Narrative System

{Glass}

[]

as e4

{Glass}

[y - Level of Shielding Required]

Concept Parti This thesis does not aim at curing, but exploring [a shielding and narrative system] in response to individual perceptions of different phases, materializing the intangible trauma of “GLASSophobia”.

Design Thesis - Zhuoqing LI - 886823

T HE BR I E F: A S H I E L D I N G & N ARRAT IVE SYST EM. [THESIS BRIEF 2.0] - BEIRUT YEAR ZERO: SHIFTING, SHIELDING.

Overall Brief: A Shielding & Narrative System. The system will be facilitated by celebrating the ancient Arab art of storytelling – Hakawati. To view the shifting shelters as a lens of storytelling will provide inhabitants with responsive levels of "shielding" in different phases, updating the narrative of "trust" as an indicator of the shifting reality and accelerating changes underway. - Carrier A: Hakawati Housemuseum - Carrier B: Community Hakawati Garden Hakawatis

Hakawatis

Shifting Shelter Attached to Private House Carrier A: Hakawati Housemuseum

Shifting Shelter Attached to Abandoned Parcel

Carrier B: Community Hakawati Garden

Gouraud St

A A

Gouraud St

A A Remeil 320 (14m*30m Garden & 20m*20m House/1350 sqm)

...

Saife 572 (26m*60m /1560 sqm)

Site A (1920 - now.): Remeil 320 - Dagher’s House

Site B (1990.- Now): Saife 600 - Abandoned Parcel

The Dagher's House is currently owned by Mr Fadlallah Dagher, a Beirut-based architect leading Beirut Heritage Initiative. He lives with his wife, his 90-year-old mother and his daughter in this house at Gouraud street. After the 2020 Beirut blast, the Dagners are suffering from "Glassophobia".

This is one of the abandoned parcels at Gouraud Street, which is used to be the site for Baddoura's Family House (crumbled in 1990 after the civil war) but now covered with overgrowth. As it is identified as "unworthy" parcels, developers or political classes are not interested, so it has been abandoned for 30 years.

Site A Brief: Hakawati Housemuseum (Around Personal Trauma) The shifting shelter grows from the domestic programs of the family house to provide the family members with different levels of "separation" before the trust of glass has been rebuilt. The Hakawati Housemuseum typology is used to invite the public into these trauma-informed shelters, which are the catalysts triggering empathetic conversations and grass-root changes. - Spaces: Hakawati Spaces, Support Spaces, Domestic Spaces.

Site B Brief: Community Hakawati Garden (Around Collective Trauma) The Community Hakawati Garden is developed as an anchor point connecting the surrounding housemuseums, voicing out the collective trauma of the Gemmayzeh community. Different stages of shifting shelters are collected in this abandoned parcel to provide space for community Hakawati programs, bringing attention to this collective trauma and accelerating changes underway. - Spaces: Community Hakawati Spaces, Support Spaces.

Design Thesis - Zhuoqing LI - 886823

T HE BR I E F: A S H I E L D I N G & N ARRAT IVE SYST EM.

MEDITERRANEAN SEA

GROUND ZERO A

A A

B A RAS BEIRUT

MEDAWAR

MINET EL HOSN

PORT A

A A

REMEIL

A A MINET EL HOSN

Summary Map

A Shielding & Narrative System

DAR MREISSE

BACHOURA SAIFE ACHRAFIEH

MOUSSAITBEH

T RIVE

B A

MAZRAA

BEIRU

B A

Carrier A: Hakawati Housemuseum

Carrier B: Community Hakawati Garden

A A

B A

200

500

Carrier A: Hakawati Housemuseum

1000 (m)

Carrier B: Community Hakawati Garden

The Network The Community Hakawati Garden (Carrier B) is developed as a collection of “shifting shelters” in response to different phases of Glassophobia, working as an anchor to connect the surrounding Hakawati Housemuseums (Carrier A) within a 10-min walking radius. The connected network transformed the city into a big shelter being viewed as a lens of storytelling, accelerating processes of change underway.

Design Thesis - Zhuoqing LI - 886823

02.

[Research.] R ESEAR CH D RAWING / WRIT ING

Design Thesis - Zhuoqing LI - 886823

Week 01

Research

Outcome

Tracing Excise with the whole class

Exhibition: “Where are we, Who are we?”

Group Research - Collaborated with Zheng Wu Week 02

Rational Mapping - Borders & Territory

- Shifting Condition Between Port And City - Fragmented City Not Functioning As An Entity

Week 03

Local Mapping - Composite Presence

- Program & Mix at Gouraud St - Scale Perception of the Gouraud St

Submission 1.0 Site Mapping - Gouraud St Atlas (WIP)

- Atlas 01 - SIP Cafe

Thesis Submission 1.0

- The Booklet

Site Mapping 02-04

- Atlas 02-04 + Return Briefs

Thesis Submission 2.0

- The Concept Design

Return Brief Reflection

- Find Direction for Design

Week 09

Thesis Submission 3.0

- Sketch Design

Week 10-13

Design Developing

- Resolved Final Design

Thesis Submission 4.0

- Final Presentation

Week 04

Week 05-06 Submission 2.0

Week 07-08 Submission 3.0

Submission 4.0 Week 14-15

Where I am at.

Design Thesis - Zhuoqing LI - 886823

2.1 RESEARCH: RESEARCH DRAWINGS. Conceptual and analytical drawings are employed to visualize the critical thinking during the research process. The research was conducted on various scales, from regional to local. Research methods, including desk-based research, autoethnography and observational study, were used to collect quantitative and qualitative data.

Design Thesis - Zhuoqing LI - 886823

REGIONAL MAPPING: GLASS RELATED DAMAGE.

10 K M

20% 2

(OTHER TYPE OF INJURIES)

REGIONAL INVESTIGATION

5K M

GROUND ZERO - BEIRUT 1 KM

MEDITERRANEAN SEA

LEBANON

Glass Related Damage

Regional Mapping

JOUNIE

BAABDA

80%

(GLASS-RELATED INJURIES)

BEIRUT AIRPORT

Data from Abu-Faraj, Z. (2020).

2.5

10 (km)

Glass - Related Damage The glass-related damage and injuries were recorded as far from 10km away - the Beirut airport.

Design Thesis - Zhuoqing LI - 886823

BROKEN GLASS MOSAIC: “WHAT IS SEEN AND WHAT IS NOT SEEN”.

20 00 M

MEDITERRANEAN SEA

15 00 M

10 00 M

500 M

Broken Glass Mosaic

[“What Is Seen and What Is Not Seen”]

GROUND ZERO

[What is seen]

200

500

1000 (m)

What is seen and what is not seen The explosion materialized the corrupted system behind the weaponized glass. When the Tempered or safety glass shatters into smaller, rounded pieces, the non-tempered or annealed glass shattered into long and sharp splinters. What is seen is the broken glass mosaic across the urban fabric reveals the extensive use of non-tempered or annealed glass (even in the new developments). What is not seen is the unstable social environment, the lack of uniform regulation and the corrupted glassgrading agency. Glassophobia is derived from these layered problems, expressing the untrust of the system.

Design Thesis - Zhuoqing LI - 886823

BEIRUT IS SCAR(R)ED: WHAT IS “GLASSOPHOBIA”?

Glassophobia Glassophobia (Daronboz, 2020) [Noun.] I. A new anxiety disorder diagnosed in Beirut after the August 2020 Explosion, with earliest record from the 1975 Civil War. II. Symptoms: “Intense, rational fear of glass windows, cups, cars and sounds of broken glass, fear of sitting alone at home near a window or of being in public places near shop windows where escape would be difficult, or help might be unavailable if the glass shatters.”

Design Thesis - Zhuoqing LI - 886823

C YC L E O F V IO L E N C E : “ FO R T H E N E XT E XP LO SIO N.”

Sound of Explosion & Glass-Broken

1970

1975

1980

1985

1990

Crunching and Clinking During Cleaning Glass Debris

1995

2000

1975 - 1990 Lebanon Civil War

2005

2010

2006-2007 Lebanon Conflict

2015

2020

2020 Beirut Explosion

* Based on Carol Mansour’s Memory in Shattered Beirut 6.07.

Cycle of Violence Beirut people are familiar with the sound of broken glass. During 1975-1990, the civil war devasted 75% of the city. In the following years, continued Israeli aggression and recurring sectarian violence put the city into shattered glass again and again (Faour, 2020). People in Beirut always “joking”: “We are building the windows for the next explosion.” The growing tiresome cycle of violence requires a driving force to break the imposed resilience narrative.

Design Thesis - Zhuoqing LI - 886823

C YC L E O F V I O LE N C E : W I S D O M O F GE N E RAT IO NS.

Wisdom of Generarions When the explosion happened, people mirrored the engaging methods with glass from the older generations: hiding and shielding. “Go find a windowless shelter” is the ancient wisdom passing through generations, unfolding the trauma embedded into this material. “Leave the windows open” and “taped the windows”, are the last way to live around the “soon to be shattered” glass.

Design Thesis - Zhuoqing LI - 886823

T HE P R O G R A M : HA KAWAT I S .

Who holds the narrative, holds the power From history to now, Beirut people are always amazing narrative-builders. The “Hakawati” constructed alternative narratives to the ones political mainstream amplifies.

Design Thesis - Zhuoqing LI - 886823

T HE P R O G R A M : HA KAWAT I S .

‫ يتاوكح‬HAKAWATI [Noun.] NA

- From lebanese word “Hekaya”, means Storyteller. - Hekaya = story, Haki = to talk.

ATI V

E NA

21 CENTURY

ATI V

‫ يتاوكح‬HAKAWATI [Noun.]

- From lebanese word “Hekaya”, means Storyteller. - Hekaya = story, Haki = to talk.

20 CENTURY

I AT RR

19 CENTURY

NA E

IV AT

IV AT RR

18 CENTURY

‫ يتاوكح‬HAKAWATI [Noun.]

- From lebanese word “Hekaya”, means Storyteller. - Hekaya = story, Haki = to talk.

AT I

- From lebanese word “Hekaya”, means Storyteller. - Hekaya = story, Haki = to talk.

‫ يتاوكح‬HAKAWATI [Noun.]

AT I

16 CENTURY

‫ يتاوكح‬HAKAWATI [Noun.] - From lebanese word “Hekaya”, means Storyteller. - Hekaya = story, Haki = to talk.

IVE RAT

NAR

ANCIENT BEIRUT

Who holds the narrative, holds the power Now, as the political class controls the other media, it is time to bring back the old custom of storytelling to form the counter-narrative as a way out of the cycle based on a fallacy. The system will be facilitated by celebrating the ancient Arab art of storytelling – Hakawati. To view the shifting shelters as a lens of storytelling will provide inhabitants with responsive levels of “shielding” in different phases, updating the narrative of “trust” as an indicator of the shifting reality and accelerating changes underway.

Design Thesis - Zhuoqing LI - 886823

T HE LO C A L M A P: TH E TA N GI B L E B O RD ER S. A

SOLIDERE

MEDITERRANEAN SEA SOLIDERE INVESTIGATION

MEDAWAR

DAR MREISSE MINET EL HOSN

PORT

NON - SOLIDERE RAS BEIRUT

NON - SOLIDERE

REMEIL

MINET EL HOSN BACHOURA SAIFI

NON - SOLIDERE

ACHRAFIEH

T RIVE

MOUSSAITBEH

BEIRU

MAZRAA

TANGIBLE BORDERS

200

500

1000 M 1 : 10,000 @ 594x594

Solidere Developments Solidere Districts Solidere Perimeter

Charles Helou Highway (Built in 1958)

Tangible Borders The tangible borders are analyzed to understand the broder urban context and provide inspirations for site selections. Tangible borders: Solidere border, Charles Helou Highway (Built in 1958).

Design Thesis - Zhuoqing LI - 886823

T H E LO C A L M A P: TH E [ IN ] TAN GI B L E B O R DER S. A

20 00 M

MEDITERRANEAN SEA

15 00 M

10 00 M

500 M

GROUND ZERO REGIONAL INVESTIGATION MEDAWAR

DAR MREISSE MINET EL HOSN

PORT RAS BEIRUT

GEMMAYZEH SAIFI

REMEIL

MINET EL HOSN BACHOURA

ACHRAFIEH

MOUSSAITBEH

PREDOMINANTLY CHRISTIAN EAST BEIRUT

T RIVE

PREDOMINANTLY MUSLIM WEST BEIRUT

BEIRU

MAZRAA

BEIRUT GROUND ZERO

200

500

1000 M 1 : 10,000 @ 594x594

The Green Line

[In]tangible Borders [In]tangible borders: The Green Line (Religious & Political), The new mental border (after Beirut blast, the affected area created mental border as people feel unsafe to visit the affected neighborhood)

Design Thesis - Zhuoqing LI - 886823

T HE LO C A L M A P: G E M M AY Z E H N E I G H B OR H O O D - G O UR AUD ST. A

20 00 M

MEDITERRANEAN SEA

15 00 M

10 00 M

500 M

GROUND ZERO LOCAL INVESTIGATION GROUND ZERO & GOURAUD ST

MEDAWAR

DAR MREISSE MINET EL HOSN

PORT RAS BEIRUT

Gouraud St

REMEIL

MINET EL HOSN BACHOURA SAIFE

ACHRAFIEH

T RIVE

MOUSSAITBEH

BEIRU

MAZRAA

GOURAUD ST LOCATION

200

500

1000 M

1 : 10,000 @ 594x594

Local Investigation Gouraud st is a mix-use street full of catering, retails, and historical houses. During the blast, it was one of the most heavily destroyed areas. Therefore, Gouraud st is chosen to be the local investigation area to develop the trauma-informed paradigm.

Design Thesis - Zhuoqing LI - 886823

T HE S I T E M A P: G OU R AUD S T AN ALY S IS.

MEDITERRANEAN SEA

M 500

GROUND ZERO

M 1000

AL MARFA’A

SAHET AL NEJMEH GEMMAYZEH REMEIL

LOCAL INVESTIGATION

MAR NICOLAS

GOURAUD STREET 1 : 2500 @ 594x594

100

250 M

Site Investigation The neighborhood is well-known for its interesting hidden episodes (the narrow streets) and the dynamic social spaces, including studios, bars, cafes, and nightclubs.

Design Thesis - Zhuoqing LI - 886823

T HE LO C A L M A P: G E M M AY Z E H N E I G H B OR H O O D - G O UR AUD ST.

20 21

AFTER 20200804

65 17

FA ’A

N EA

RO U N D ZE 21 RO

BEFORE 20200804

25 0M

59 4x 59 4

25 00 @ 1:

G O U RA U D

10 0

ST RE ET

500 M

Other Maker Shops

AY Z

100 0M

Food Maker/Catering

Institutional

AT IO

Residential

District Border

LO C

The Green Line

Before/After The programs and events are mapped to understand the current situation before and after the blast.

Design Thesis - Zhuoqing LI - 886823

T HE LO C A L M A P: G E M M AY Z E H N E I GH B O R H O O D - G O UR AUD ST.

Program Mix Before

Event Before

Program Mix After

Event After

Before/After The disappeared fills and the cross on the event map reveal the disconnection points and the destroyed cultural, social fabric and collective memory.

Design Thesis - Zhuoqing LI - 886823

T HE LO C A L M A P: G OU R AUD S T S C AL E PER CEPT IO N.

SECTION C

SECTION B

SECTION E

SECTION A

SECTION D

20 M

SECTION F

20 M

Street Sections Sections are cut through the main congestion point to understand the scale perception of the street.

Design Thesis - Zhuoqing LI - 886823

T H E LO C A L M A P: G OU R AUD S T S C AL E P ER CEPT IO N.

Presence Of High-Rise

Chamfered Corner

PRESENCE PRESENCE OF HIGH-RISE OF HIGH-RISE

DIVIDED DIVIDED SKY SKY

Divided Sky

Hidden Episodes

CHAMFERED CORNERCORNER CHAMFERED

HIDDENHIDDEN EPISODES EPISODES

Street Views Street views are analyzed to understand a whole picture of Gouraud in a three-dimensional way.

Design Thesis - Zhuoqing LI - 886823

2.2 RESEARCH: RESEARCH WRITINGS. Critical analysis is conducted to reflect on the selected reading materials. The readings covered various discussions, including the voices from different economic, political, and urban planning disciplines. The diversified research allows me to understand the context as a whole and provides fresh perspectives for me to approach the final architecture design.

Design Thesis - Zhuoqing LI - 886823

MA R Y L IN C H A H IN E : TIR E D O F B E I N G RE S I L IENT.

Extract A

Extract B

(Chahine, 2020)

Tired Of Being Resilient Beirut is pitched as the city “rise from ashes for seven times”, but Lebanese people are tired of being resilient. The article outlines the current discussion of resilience in the context of explosion. The word “resilience” romanticized the “loop of suffering”, which is only about acceptance and adoption without considering positive changes. The anger of the power of the Lebanese could be the key driving force to generate changes at the grass-root level.

Design Thesis - Zhuoqing LI - 886823

TESS GRAHAM: TH E C O S T O F RE S I L I E NCE .

Extract A

Extract B

(Graham, 2020)

“We Don’t Want to Be Resilient” This article questions the shallowness of resilient images, which are the romantic covers of “loss and dispossession”. It is a political and economic strategy to “market” survival and “normalize” the injustice. Yolla’s example suggests that the NGOs work as an alternative social contract that answers the absence of government aid and corruption. What if the resilient state is a kind of instability while changing is a kind of stability?

Design Thesis - Zhuoqing LI - 886823

KON S TA N T I N KA ST R I S SIANAKIS : R E THI N KI N G P UB L I C SPA CE IN BEIR UT.

Extract A

Extract B

Extract C

(Kastrissianakis, 2020)

Asabiyya Ibn Khaldun introduced the concept of “Asabiyya” to describe social cohesion and solidarity. Widely varying definitions of “Asabiyya” have emerged from the research. It becomes a conceptual idea of a sentimental bind contained in the spatial unit. “Asabiyya” provides a fresh perspective to rethink public space in Lebanon by creating a “space of certainty” and “at-homeness” in response to the anxiety in the unstable environment.

Design Thesis - Zhuoqing LI - 886823

J OH N NA G L E : N O N -S E C TARI AN S PACES.

Extract A

Extract B

(Nagle, 2020)

Non-Sectarian Actors The role of non-sectarian spaces is intended to celebrate the diversified identity of Beirut, providing an alternative way of engagement. Using the Dalieh project as an example, John shows that the local people could create public spaces as life-enhancing and inclusive. These spaces are putting care in the center of everyday life and forming a localized network that is more responsive.

Design Thesis - Zhuoqing LI - 886823

N ABI H B U LO S: TH E S T O RY O F DAGH ER S.

Extract A

Extract B

(Bulos, 2020)

“ It is not about the house, it is about the people.” Fadlallah Dagher, a sixty-years old architect, lives in the most affected area – Gouraud st. This interview outlined the story of what was suffering by the Dangers during the blast. However, Mr Dagher is not only a victim of the blast but also a fighter. As a leader of BHI (Beirut Heritage Initiative), he was actively involved in providing short-term relief and building up a long-term framework for the affected owners. During one of his video interviews, he said: “it is not about the houses, it is about the people.”

Design Thesis - Zhuoqing LI - 886823

B AT OU L FA O U R : G LA S S P O L I T I C S .

Extract A

Extract B

(Faour, 2020)

Glass politics The intangible traces of glass make victims lose the trust of their own home, which was supposed to be the safest place in the world. The physical glass debris could be remoulded to produce a “resilient spirit” artifact. However, the intangible “Glassophobia” asks an architecture mechanism to be shifted, changed, and react to people’s perception of trauma.

Design Thesis - Zhuoqing LI - 886823

C HR I S T E LE H A R R O U K : TH E C AS E O F B E I RUT.

Extract A

Extract B

Extract C

(Harrouk, 2021)

The Case of Beirut The interview with Paul Kaloustian highlights the “shifting reality” in the context of the resilience narrative. Beirut people reacted immediately to restore what is broken to the past, without thinking of new possibilities. Architecture should go back to the human scale and respond to the “shifting realities” to reflect its occupants’ real-time needs.

Design Thesis - Zhuoqing LI - 886823

03.

[Design Proposal.] B EIR UT Y EAR Z E RO: SHIF T ING, SHIELD ING.

Design Thesis - Zhuoqing LI - 886823

T HE S I T E M A P: S E LE CT E D T W O C ARRI ER S.

MEDITERRANEAN SEA

PORT

M 1000

Two Carriers

Site Mapping

M 500

GROUND ZERO

LOCAL INVESTIGATION

SAIFE

MEDAWAR

ROUTE GOURAUD

REMEIL

SITE B

150

250 (m)

SITE A

Site Investigation Two carriers are selected from Gouraud street to develop the “shielding and narrative system”. Carrier A is the family house owned by Dagher’s family and carrier B is an empty parcel abandoned for 30 years.

Design Thesis - Zhuoqing LI - 886823

SITE A: HA KAWAT I H O US E M USEUM.

Fig.2 Site A photo. (2020)

Site A Introduction Site A is a private house located in Gouraud st and was first completed in 1875 and survived the civil war. The Dagher’s House is currently owned by Mr Fadlallah Dagher, a Beirut-based architect leading Beirut Heritage Initiative. He lives with his wife, his 90-year-old mother and his daughter in this house. It was heavily destroyed during the 2020 Beirut explosion.

Design Thesis - Zhuoqing LI - 886823

S I T E A A N A LYSI S: A P R I VAT E H O US E I N PUBLIC R EA LM.

MEDAWAR

SAIFE

Context Mapping

Site A Analysis

Tabliyit Massaad Restaurant

Urbanista Cafe

Sandwiched Restaurant

Hermes Trading

Chamoun Electric

16mm Bar

N.Hermes & Co

Peck Restaurant

Le Chief Restaurant

ROUTE GOURAUD

Margherita Pizzeria

Mitsu-ya Restaurant

Porto Restaurant

REMEIL 320

National Bloc Party

SaabDS Art Gallery Nasri Dekmak Workshop

Arab Image Foundation

Koi.lounge sushi bar & grill

Cafe Standard

SITE A: Dagher’s House REMEIL

50 (m)

Site A Context Mapping It is a private house surrounded by the public realm. The house is surrounded by cafes, restaurants, and art galleries, with convenient public access.

Design Thesis - Zhuoqing LI - 886823

S I T E A A N A LYSI S: W HAT N E E D T O B E S H ELT ER ED.

[People]

“The glass chandelier had plunged onto the bed of Dagher’s 90-year-old mother.” “It’s very difficult to talk about that day. I was here in the meeting room. If I had been in my office, I would have died. He says he ran to rescue his injured 90-year-old mother in her house.” Old Cabinet

Family Art Collections

Family Memory

“Cabinets, walls and paintings bear a spatter pattern of divots from a hail of glass shards.”

[Family-Treasured Possessions]

Reference from Bulos, N. (2020). The Beirut blast leveled historic neighborhoods. https://www.latimes.com/world-nation/story/2020-08-13/beirut-blast-leveled-historic-neighborhoods-fears-developers-destroy-more.

What need to be sheltered? During the blast, the glass of the house was shattered, and the glass shards caused physical traces over people’s skin and the family-treasured possessions. Also, the intangible traces, “Glassophobia”. Both people and family-treasured possessions are what need to be sheltered in the house.

Design Thesis - Zhuoqing LI - 886823

S I T E A A N A LYSI S: E X IS TI N G C O N D I T I O N .

MEDAWAR 2

MEDAWAR 400

MEDAWAR 5

MEDAWAR 6

ROUTE GOURAUD

REMEIL 324

REMEIL 322

REMEIL 320

REMEIL 293

Site A Analysis

Family Garden

Existing Condition

Liwan

Guest Room

Manzul

Kitchen/Cafe

MAR ANTONIOS

ll Central Ha [as shelter]

Dar

Pantry

Grandma Bedroom

Dinning Maid’s Room

Liwan

ition New Add

Entry] [As Public

REMEIL 290 REMEIL 340

20 (m)

Site A Existing Condition. The house is a traditional Beiruti house typology, with the central hall area as the circulation pond (Beirut Heritage Initiative, 2021). The location of the central hall determines its potential to be transferred into a shelter connecting all the other rooms. The addition of the house is designed as a public entry from Mar Antonios leading to the sheltered area to serve the housemuseum.

Design Thesis - Zhuoqing LI - 886823

SITE A PROGRAM: W HAT I S H AP P E N I N G NO W.

Site A Program Inspirations “Sharing your most precious belonging with the public is the utmost in generosity.” After the blast, Mr Dagher invited public to his private house to engage with various Hakawati activities including visual storytelling (pop-up gallery) and oral storytelling (poetry night & Hakawati session).

Design Thesis - Zhuoqing LI - 886823

S I T E A F LO O R P LA N: HA KAWAT I H O US E M US EUM.

MEDAWAR 2

MEDAWAR 400

MEDAWAR 5

MEDAWAR 6

ROUTE GOURAUD

Private Entry

REMEIL 324

REMEIL 322

REMEIL 293

SaabDS Art Gallery

04. [Oral] Family Hakawati Box Updating Narratives.

Site A Floor Plan

ati Box

Proposed Intervention

Family Hakaw

Music Room

Manzul

Cafe Standard Family Library

03. [Support] Cafe & Library Gathering & Researching.

& Cafe Kitchen

Pantry

Grandma Bedroom on Gallery

Family Collecti

Dinning Room

02. [Visual] Family Collection Gallery Family-treasured possessions display/shielding.

Entry Gallery

Maid’s Room

Entry Gallery

Meeting Room

Entry Gallery

01. [Visual] Museum Entry Gallery Set up background.

REMEIL 340

Beirut Herita Initiative

Reception

Public Entry

REMEIL 290

MAR ANTONIOS

20 (m)

Site A GF Floor Plan Entering from Mar Antonios Lane, you will encounter the entry gallery setting up the background narrative of the trauma of the family. The second stop is the family collection gallery, which includes various small-scale shelters to shield the family-treasured possessions. The third part is Family Hakawati Box, holding informal Hakawati sessions to update the family’s narrative. Beirut Heritage Initiative, the organization, running by the owner, is organizing all these activities.

Design Thesis - Zhuoqing LI - 886823

S I T E A A SH I F T IN G SH ELTER : P HA S E 1 . 0 RAW C E DAR .

Flooring: Raw Cedar Mulches

RO U

RA U

Phase 1.0 - Raw Cedar

Site A Axonometric

Wall: Raw Cedar

20 (m)

Phase 1.0 Phase 1.0 is responding to a low trust level of glass. Raw cedar is selected to provide solid infills between the modular structure, providing the high-level separation with glass required for this phase. (* Raw cedar is selected as its surface will fade over time to acknowledge the parameter of time)

Design Thesis - Zhuoqing LI - 886823

S I T E A A SH IF T I N G SH ELT ER : P HA S E 2 . 0 S T E E L M E SH .

Flooring: Steel Mesh

RO U

RA U

Phase 2.0 - Steel Mesh

Site A Axonometric

Wall: Steel Mesh

20 (m)

Phase 2.0 Phase 2.0 is responding to a slightly higher trust level of glass. Steel mesh is selected to provide a rigid but permeable infill between the modular structure, providing the responsive level separation with glass required for this phase. (* Steel Mesh without finishes is selected as its surface will rust over time to acknowledge the parameter of time)

Design Thesis - Zhuoqing LI - 886823

S I T E A A SH I F T IN G SH ELTER : P HA S E 3 . 0 C URTAI N S & T EXT ILE .

Flooring: Netted Textile

RO U

RA U

Phase 3.0 - PVC Textile

Site A Axonometric

Wall: PVC Curtain

20 (m)

Phase 3.0 Phase 3.0 is responding to a relatively higher trust level of glass. Curtains is selected to provide a dynamic and permeable infill between the modular structure, providing the responsive level separation with glass required for this phase. (* Raw Cedar frames is kept as its surface will fade overtime to acknowledge the parameter of time)

Design Thesis - Zhuoqing LI - 886823

S I T E A A SH IF T I N G SH ELT ER :

RO U

RA U

Site A Axonometric

Phase 4.0 - Re-engaging with Glass

P HA S E 4 . 0 RE- E N G AG I NG WIT H G LA S S.

20 (m)

Phase 4.0 Phase 4.0 is when the trauma becomes the fabric of life. When the trust of glass is rebuilt, the shelter was tailored for that traumatic mindset have served its purpose, the demolition of the shelter will mark the start of a new chapter for the family.

Design Thesis - Zhuoqing LI - 886823

S I T E A T O SI T E B : P E R S O N AL - C O L L E C TIVE T R AUMA .

Phase 1.0 - Raw Cedar

Phase 2.0 - Steel Mesh

Phase 3.0 - PVC Curtain

Phase 4.0 - Re-engaging with glass

Site B - Community Hakawati Center (Around Collective Trauma)

Site B as a Collection Community is a collection of different families in various phases of Glassophobia. Shelters in different phases are collected to form the Community Hakawati Garden in response to Glassophobia as collective trauma.

Design Thesis - Zhuoqing LI - 886823

S I T E B: C O M M UN I T Y H AKAWATI G A R DEN.

Fig.3 Site B photo. (2020)

Site B Introduction This is one of the abandoned parcels at Gouraud Street, which is used to be the site for Baddoura’s Family House (crumbled in 1990 after the civil war) but now covered with overgrowth. As it is identified as “unworthy” parcels, developers or political classes are not interested, so it has been abandoned for 30 years.

Design Thesis - Zhuoqing LI - 886823

S I T E B A N A LYSI S: A N A B AN D O N E D PARCEL .

The Roof Garden

SAIFE

Context Mapping

Hotel Al ADBAA

Rural Delights Boutique

Chapelle Sacré Cœur

Collège du Sacré Coeur

ROUTE GOURAUD

Gemmayze restaurant

Residential

CashUnited MoneyGram

The boutique

Samir Editeur

Residential

Saint Joseph Church

AD ADD

ES H

ORG

E GE

T ROU

Site B Analysis

I YOUSSEF HAN

Paul Bakery

Saife 572

SAIFE

50 (m)

Site B Context Mapping The abandoned parcel is next to the French Paul bakery, boutique and Catholic College Sacre Coeur Freres. The north side of the site is adjacent to the college canteen with a beautiful roof garden. The corner location of the site determines its potential to be a bridging infill connecting the surrounding programs.

Design Thesis - Zhuoqing LI - 886823

S I T E B A N A LYSI S: E X IS TI N G C O N D I T I O N .

SAIFE 563

Tree 06: Ailanthus Altissima (tree of heaven) 10-15m

Tree 05: Ailanthus Altissima (tree of heaven) 10-15m

Building Debris (Bricks, Plaster, Steel, Sandstone)

SAIFE 582

YOUSSEF HAN

Existing Landscape

Site B Analysis

Tree 04: Ailanthus Altissima (tree of heaven) 10-15m

Tree 03: Wisteria sinensis (Sims)Sweet (Wisteria) 7m

I Baddoura’s Family House (crumbled in 1990 after the civil war)

Tree 01+ 02: Citrus × Aurantium (Bitter Organge) 6m

SAIFE 578

SAIFE 572

SAIFE 563

ROUTE GOURAU

20 (m)

Site B Existing Condition The existing painted fences and plants are analyzed to find the potential of design and show respect for the remnants. The details are analyzed based on the article written by Zina Hemady about this parcel. (Hemady, 2020).

Design Thesis - Zhuoqing LI - 886823

S I T E B F LO O R P LA N: C O M M UN I T Y H AKAWATI G A R DEN.

To Roof Terrace

SAIFE 563 D

Phase 4.0 Wall: Glass Louver Floor: Tempered glass

08. 09.

09.

Desire Lin

07 (a)

05. C

Phase 3.0 Wall: PVC Curtain Floor: Netted Textile

Desire Line

07 (b)

SAIFE 582

Phase 2.0 Wall: Steel Mesh Floor: Steel Mesh

Site B Floor Plan

06. 05.

YOUSSEF HAN

Site B Overview

04. Desire Line

05.

02.

03.

01 (a).

01 (b).

01 (a). 01 (b).

Phase 1.0 Wall: Raw Cedar Floor: Raw Cedar

01 (a).

SAIFE 578

SAIFE 563 09.

ROUTE GOURAU

0 01. NGO Site Office

02. Community Hakawati Box

05. Community Gallery

(a) Flexible Office Zone

03. Breakout Deck

(b) Distribution Zone

04. Sunken Garden

06. Community Library/ Therapy Waiting Area

20 (m) 07. Narrative Therapy Clinic (a) Individual Therapy Pod

08. Glass Stair to Roof Garden 09. Breakout Seats & Remnants

(b) Group Therapy Pod

Site B GF Floor Plan Four phases are arranged on the site from south to north, connecting the paths with shifting materiality. Different Hakawati programs, including Community Hakawati Box, Community Gallery and Narrative therapy Clinic, are arranged in different phases to invite the public to occupy and experience the shifting shelters. People are allowed to exit at the thresholds between each phase. The desired line cut through the untouched landscape will document the leaving process.

Design Thesis - Zhuoqing LI - 886823

S I T E B A XO N O M E T R I C :

P W ha Fl all: se 1 oo R .0 r: aw Ra C w ed Ce ar da r

Site B Overview

Site B Axonometric

Ph a

Ph as e2 P .1 W ha Fl all: se 2 oo S .0 r: tee St l M ee Ph l M esh as esh e1 .9

Ph as e3 P .1 W ha Fl all: se 3 oo P .0 r: VC N ett Cu Ph ed rt as Fl ain e2 oo r .5

Ph as e

3. 3

Ph as e

3. 7

P W has Fl all: e 4 oo G .0 r: la Ph T em ss L as e3 pe ou red ve .9 gla r ss

FO U R P H AS E S OV E RV I EW.

20 (m)

Site B Axonometric From solid, translucent to transparent, four phases are overlapped and intertwined to create different thresholds in between, allowing smooth transitions between each phase. The final phase glass stairs are attached to the adjacent building to provide access to the roof garden.

Design Thesis - Zhuoqing LI - 886823

S I T E B D E TA ILE D P L A N: P HA S E 1 . 0 .

+ 900.00 + 1500.00

GRAVEL PAVING IS PLACED IN THE THRESHOLD. YOU MAY LEAVE, YOU MAY STAY.

Desire Line THE DESIRE LINES CUT THROUGH THE UNTOUCHED LANDSCAPE, DOCUMENTING ROUTES OF LEAVING.

+ 0.00

+ 450.00

LOOKING AT VISUAL GALLERY

Community Gallery

+ 900.00

Audience Zone

Raw Cedar

Detail Plan Phase 1.0

ATTRACTED BY HAKAWATI SESSION

Outdoor Relaxing Deck

STAY

Hakawati Stage

Audience Zone

Engawa Connection

A LEAVE

STAY

Audience Zone + 900.00 + 1500.00 GRAVEL PAVING IS PLACED IN THE THRESHOLD. YOU MAY LEAVE, YOU MAY STAY.

CEDAR MULCHES COVER THE FLOOR. CRUNCHING, CRUNCHING...

NGO Reception

Engawa Connection NGO Meeting

Breakout/Distribution Deck Distribution platforms face the street. [Distribute] help, in the name of [Humanitarian].

Phase 1.0 Zoom-in Plan NGO organization offices occupy the entry section with distribution platforms facing Gouraud street. The NGOs are responsible for organizing the Hakawati events on the site. Walking through the Engawa connection covered with mulches, you will reach the Community Hakawati box.

Design Thesis - Zhuoqing LI - 886823

S I T E B D E TA I L E D SE C TION: P HA S E 1 . 0 .

tree 01: ailanthus altissima (tree of heaven) 10-15m

Magpie

raw cedar frame

ice

PHASE 2.0 TRAILER LIGHT...

WA GA EN DING . E TH GUI RDS , WA ER OV INGS IN S S AL OPEN TEP S RT PO RN HE T ER GOVE B M TI ION CT E NN

Perforated Screen

raw cedar Panels

Section A-A

raw cedar frame

ice

fallen leaves

04.

03.

02.

DIFFERENT PLATFORMS ARE EXTENDED TO THE STREET, SERVING AS BREAKOUT DECKS FACING THE STREET.

raw cedar battens

Coming soon...

HOUSEMUSEUM 1.0

HOUSEMUSEUM 2.0

01.

EXPOSED CEDAR FRAMES BROKE THE VOLUME TO HUMAN SCALE.

Community Hakawati Box

TREE OF HEAVEN, IS THE SHELTER FOR MAGPIES.

raw cedar flooring

fruit fly Mulches STREET CATS ARE SHIELDED AS WELL.

4600mm Outdoor Relaxing Deck

2300mm Threshold

2300mm Engawa Connection

01. oral story-telling & listening

CEDAR MULCHES COVER THE FLOOR. CRUNCHING, CRUNCHING...

6800mm Audience Zone

02. walking on mulching floor

2650mm Hakawati Stage

03. selfie for Instagram post

04. enjoy the sun of Beirut

Phase 1.0 Zoom-in Section The Community Hakawati Box works as an urban lounge room. Different platforms are extended to the street, serving as breakout decks facing the bakery and boutique. The Engawa connection cut into the volume to allow the coexistence of dynamic and static. The frames exposed are used to create human-scale engagement.

Design Thesis - Zhuoqing LI - 886823

S I T E B D E TA ILE D P L A N: P HA S E 2 . 0 .

Community Gallery Desire Line

Detail Plan Phase 2.0

Narrative Therapy Clinic

Steel Mesh

GRAVEL PAVING IS PLACED IN THE THRESHOLD. YOU MAY LEAVE, YOU MAY STAY.

STEEL MESH CURTAINS FOR YOU TO PUSH

Community Library/ Therapy Waiting Room

Therapy Reception

Engawa Connection

THE PERFORATED MESH COLUMN & BEAM MIMICRY OF CHURCH FACADE

Community Gallery

To the Church Side Door GRAB A BOOK FROM OUTSIDE

MULCHING FLOOR

Community Gallery

STEEL MESH WITH MULCHES TRAY

Sunken Garden

GRAVEL PAVING IS PLACED IN THE THRESHOLD. YOU MAY LEAVE, YOU MAY STAY.

Desire Line

Community Gallery VISUAL STORYTELLING TO BRING THE COMMUNITY TOGETHER

Outdoor Relaxing Deck

Engawa Connection

Audience Zone

Hakawati Stage

Phase 2.0 Zoom-in Plan The sunken garden is introduced in the threshold between phase 1.0 and 2.0. The solid cedar wall became timber battens connecting to the steel mesh structure under cover of the existing Juda trees. Pop-up community exhibitions and community libraries are placed around the sunken garden to use the stories to bring the community together.

Design Thesis - Zhuoqing LI - 886823

S I T E B D E TA I L E D SE C TION: P HA S E 2 . 0 .

tree 02: ailanthus altissima (tree of heaven) 10-15m

Community Library/ Therapy Waiting Area

ice

Magpie

D GI RI EN T. RE HG SC LI R L EE FO ST LE ED AB AT ME OR PER RF

ice

Perforated Steel Screen

Section B-B

Recycled Steel Frame THE PERFORATED MESH COLUMN AND BEAM MIMICRY OF CHURCH FAÇADE

Perforated Steel Screen

Cedar Bookshelves Modules READING ZONE ARE SEPARATED WITH THE GROUND LEVEL CLINIC RECEPTION BY LEVEL CHANGE

03.

01. Perforated Steel Curtain

Perforated Steel Screen SMALL SOLID SHELTERS WITHIN STEEL MESH BOX TO SHIELD THE BOOKS

NARRATIVE THERAPY CLINIC RECEPTION

04.

02.

MULCHES FALL THROUGH THE HOLES TO THE TRAY

2300mm Community Gallery

4600mm Reading/ Waiting Zone

01. walking on steel mesh floor

2300mm Clinic Reception

02. organizing therapy clinic profiles

2300mm Engawa Connection

03. reading

04. display

Phase 2.0 Zoom-in Section The community library includes small scale solid shelters scattered around the permeable steel mesh box to shield the books. The level change separated the reading zone with the reception portal to the narrative therapy clinic on the ground level. The reading zone also serves as the waiting area to support the narrative therapy clinic.

Design Thesis - Zhuoqing LI - 886823

S I T E B D E TA ILE D P L A N: P HA S E 3 . 0 .

CONCRETE BLOCK AS GALLERY ITEM BASE

Desire Line

Engawa Connection

PVC Curtain & Netted Floor

Detail Plan Phase 3.0

Community Gallery

Individual Therapy Pod

Threshold

Desire Line

SHOES LEFT OUTSIDE [WIND] FABRIC FABRIC FABRIC FABRIC FABRIC FABRIC

BUFFER ZONE TO SHIELD THE THERAPY AREA

Group Therapy Pod

Community Gallery

PVC CURTAINS FOR YOU TO PUSH

Engawa Connection

Threshold

STEEL MESH FLOOR ARE EXTENDED TO PHASE 3.0 FOR SMOOTH TRANSITION

Community Library/ Therapy Waiting Room

STEEL MESH CURTAINS FOR YOU TO PUSH

Therapy Reception

Community Gallery

To the Church Side Door

Sunken Garden

Phase 3.0 Zoom-in Plan The PVC curtains and netted textiles form different scales of therapy pods to support private or group therapy. The steel mesh floor and steel frames are extended into this phase to allow a smooth transition.

Design Thesis - Zhuoqing LI - 886823

S I T E B D E TA I L E D SE C TION: P HA S E 3 . 0 .

tree 03: ailanthus altissima (tree of heaven) 10-15m TREE OF HEAVEN, IS THE SHELTER FOR MAGPIES.

ice

Magpie

Section C-C

Narrative Therapy Clinic

ice

pvc curtain

NARRATIVE THERAPY(ING)

netted textile BUFFER ZONE

FABRIC FABRIC

01.

recycled steel frame

04.

FABRIC FABRIC

02.

steel mesh floor

FABRIC FABRIC

concrete block on-site

collected mulches

03.

MULCHES FALL THROUGH THE HOLES TO THE TRAY

COMMUNITY GALLERY FOR VISUAL STORY TELLING

2300mm Community Gallery

2300mm Threshold

01. leaving therapy pod

02. having narrative threapy

4600 mm Narrative Therapy Pod

2300mm Engawa Connection

03. shielding the weedy plants 04. walking past gallery space

Phase 3.0 Zoom-in Section The PVC curtains and textiles are fixed to the steel frames, shielding the people inside and nature under the platforms.

Design Thesis - Zhuoqing LI - 886823

S I T E B D E TA ILE D P L A N: P HA S E 4 . 0 .

PVC CURTAINS ARE EXTENDED TO COVER GLASS CEILING AND LOUVERS. [LAST PHASE SHIELDING]

Detail Plan Phase 4.0

Roof Garden of M3alem chafik sacré coeur

PVC CURTAINS

TEMPERED GLASS LOUVER

Reintroducing Glass

Glass Stairs to Roof Garden D

[DILEMMA] STAY / LEAVE?

Desire Line

NETTED TEXTILES ARE EXTENDED TO COVER GLASS FLOOR FOR SMOOTH TRANSITION

Engawa Connection Community Gallery

Desire Line

Individual Therapy Pod

Buffer Zone

Group Therapy Pod

Engawa Connection

Phase 4.0 Zoom-in Plan The glass stair is attached to the adjacent building to provide access to the roof garden. The curtains are extended to wrap the glass stairs to allow a smooth transition. Walking through the glass boxes with different glass forms marks the reconciliation with glass and the system behind glass.

Design Thesis - Zhuoqing LI - 886823

S I T E B D E TA I L E D SE C TION: P HA S E 4 . 0 .

I DECIDED TO STOP MY JOURNEY HERE, AS BEFORE THE TRUST OF GLASS IS REBUILT, SOME VICTIMS MAY NEVER ABLE TO REACH THE ROOF GARDEN, AND MANY OTHER PLACES.

02.

Section D-D

Glass Stairs to Roof Garden

recycled steel frame

ice

Magpie

ice

pvc curtain

THE CURTAINS ARE EXTENDED THE INSIDE R GLASS FLOO S AND GLAS TO LOUVERS THE PROVIDE E LAST STAG OF G. SHIELDIN

03.

laminated glass floor THE GLASS STAIRS ARE LAMINATED WITH THREE DIFFERENT LAYERS, WRAPPING BY TEMPERED GLASS. THESE UNIQUE LAYERS DETERMINE THAT IT WILL NOT BECOME LONG AND SHARP SPLINTERS EVEN WHEN IT IS SHATTERED.

01.

300 mm Glass Louver

2300-2450mm Curtain Shielding Zone

0.5

01. finding the cat hiding under the shelter

1.5

300 mm Glass Louver

2.5m

02. walking on glass stairs covered by netted textile

Phase 4.0 Zoom-in Section Glass louvres are introduced as the cladding material to allow a soft re-entry to the world of glass. The tempered glass floor and ceiling are all wrapped with textile to provide emotional safety in this reconciliation process.

Design Thesis - Zhuoqing LI - 886823

SITE B MOMENT 01: E N C O UN T E R .

Encounter Following Zina’s post about the empty parcel, I found this site. The painted fence with little panda and cedar tree suggested that I found the right place.

Design Thesis - Zhuoqing LI - 886823

SITE B MOMENT 02: E N TR Y.

Entry The footpath into the landscape is an extension of the sidewalk. I walked into the site without realizing it. Walking over the cedar mulches, hearing the crunching sound, smelling the cedar smell mixed with the smell of plants, I walk through the NGO office zones. The names on the timber battens are familiar to every community member in the neighborhood. Because when the city did not come to help, they are the heroes who came to help.

Design Thesis - Zhuoqing LI - 886823

SITE B MOMENT 03: C O M M UN I T Y H AKAWATI B OX .

Community Hakawati Box Workers are busy setting up the stage for the weekly Hakawati event at night. A kid jumped on the stage to pretend he was a Hakawati. Sitting on the benches on the other side of the street, we could hardly tell who the storyteller is and who the audience is. The whole city is the Hakawati stage.

Design Thesis - Zhuoqing LI - 886823

SITE B MOMENT 04: S U N K E N G ARD E N .

Sunken Garden Walking around the sunken garden, I reached Phase 2.0. The flooring turns from mulching floor to steel mesh with holders for mulches underneath. The mulches stuck on my shoes fall through the holes of steel mesh and back to nature.

Design Thesis - Zhuoqing LI - 886823

SITE B MOMENT 05: TH E TH RE S H O L D.

The Threshold Following someone’s step, I am about to reach Phase 3.0. The clinic profile flying in the wind documented the coined term for the collective trauma – Glassophobia to verbalize the collective pain.

Design Thesis - Zhuoqing LI - 886823

SITE B MOMENT 06: N A R R AT I V E T H E RAPY PO DS.

Narrative Therapy Pod People into the therapy pod left their shoes outside, suggesting a therapy session going on within the pod. I was carefully walking through to avoid disturbing anyone. The curtains kept some mulches on my shoes.

Design Thesis - Zhuoqing LI - 886823

SITE B MOMENT 07: R E C ONC I L I AT I O N W I T H G LA S S.

Reconcilation with Glass The curtains are extended inside the glass floor and glass louvers to provide the last staging of shielding. The glass stairs are laminated with three different layers, wrapping by tempered glass. These unique layers determine that it will not become long and sharp splinters even when it is shattered. It suggested a new way of re-engaging with glass, marking a new chapter of conciliation with glass. I decided to stop my journey here, as before the trust of glass is rebuilt, some victims may never able to reach the roof garden, and many other places.

Design Thesis - Zhuoqing LI - 886823

S I T E B SU M M A R Y: OV E R V I E W F RO M YO US SEF H A NI ST.

Phase 4.0 Glass

GLASS STAIR TO ROOF GARDEN

3.9

3.8

3.5

3.3

3.1

Phase 3.0 Textile 2.9

NARRATIVE THERAPY CLINIC

2.7

2.5

2.1 Phase 2.0 Steel Mesh

1.9

1.8

1.5

1.3

1.1 Phase 1.0 Raw Cedar 0.9

0.8

COMMUNITY HAKAWATI BOX

COMMUNITY LIBRARY

NGO OFFICE

Site B Overview

Section E-E

SUNKEN GARDEN

20 (m)

Site B Summary At night, people gather in the Community Hakawati box, at the platforms, at bicycles, at the benches, at every corner of the city to celebrate the moment of shielding and storytelling.

Design Thesis - Zhuoqing LI - 886823

T H E C O N C LU SI O N:

A shielding & narrative system

Summary Axonometric

A S HI E L D I N G & N ARRAT IVE SYST EM.

A Shelding & Narrative System Architecture is never static and has its own narrative life. It is constantly shifting, shielding, and reacting. It should look inward to accommodate the trauma of inhabitants and express outward to tell the story. Like Bernard Tschumi writes in “Architecture and Disjunction”, ‘Architecture and its spaces do not change society, but through architecture and the understanding of its effect, we can accelerate processes of change underway’ (Tschumi, 1996).

Design Thesis - Zhuoqing LI - 886823

FI N AL V I R T UA L E X H IB ITION: C O M M UN I T Y ARC H I V E .

Design Thesis - Zhuoqing LI - 886823

04.

[Appendix.]

Design Thesis - Zhuoqing LI - 886823

4.1 SUPPLEMENTARY RESEARCH: PRECEDENTS STUDY. Relevant precedents are selected to support different stages of design. By reflecting on what has been done in the precedents, I am building up an “inspiration bank” for forms or programs to help me get out of the mental block. Local precedents are selected to understand the urban context, the rule of operation, the local condition, and the everyday life of Beirut.

Design Thesis - Zhuoqing LI - 886823

P R E C E D E N T ST U DY: LYO N H O US E M US E UM - LYO NS.

White Box

Family Kitchen/ Museum Cafe

Private Study/ Research Library

Home Movies & Sleepover/Black Box

Public

Private

Family Lounge/ Meeting Room

Plan

Key View

Private Public

Private

Section

Parti Diagram

Element 1

Element 2

Element 3

Element 4

Element 5

Photos from https://www.archdaily.com/search/all?q=lyonhouse%20museum.

Lyon Housemuseum Located in the quiet suburban street of Kew, Lyon Housemuseum is both a home for Corbett Lyon and his art collections, blurring the line between a public art gallery and a private domestic environment. This new hybridized type allows artifacts to be displayed in the scene with signs of living: “bits of homework lying on the dining table, sheet music on a bench under the stairs, a birthday card propped up on some coffee table books (Broadsheet, 2010).” It opens weekly for public tours and also holds temporary exhibitions and events.

Design Thesis - Zhuoqing LI - 886823

P R E C E D E N T ST U DY: JU S TI N ART H O US E M USEUM - JUST INS.

No Plan Available

Plan

Key View

Family House

Public Gallery

Section

Parti Diagram

Element 1

Element 2

Element 3

Element 4

Element 5

Photos from https://www.smh.com.au/entertainment/art-and-design/justin-art-house-museum-review-interactive-immersive-domestic-space20160404-gnxts4.html.

Justin Art House Museum Compared to the Lyon Housemuseum, which embedded the art display into domestic living, Justin Art Museum seeks a flexible separation between the public gallery and their domestic life. “We wanted to be able to close the door when we needed to.” Leah and Charles Justin said (Open Journal, 2018). The double use of space (the car garage is also a digital art room) always reminds the visitors that they are not inside an ordinary museum but someone’s home. This typology set up the scenes for a personal conversion like visiting a friend’s house, reflecting the persona of the collector.

Design Thesis - Zhuoqing LI - 886823

P R E C E D E N T ST U DY: W HI TE U H O US E - T OYO IT O.

Fig.4 White U House. (1976 - 1997)

White U House Toyo Ito designed this house for his old sister after she lost her husband in the 1970s. After 21 years, it was destroyed in 1997 after it had served its purpose. This project challenges the traditional memorial architecture that is static in shifting, reacting, and destructing, which uses its entire life to mark the different phases of trauma. It is tailored for the traumatic mindset, functioning as a “shelter” to provide emotional safety and space for mourning.

Design Thesis - Zhuoqing LI - 886823

P R E C E D E N T ST U DY: A N N F RAN K H O US E .

Fig.5 Ann Frank House. (1960)

Ann Frank House The museum is organized based on Ann Frank’s Diary. Ann is a Jewish hid in 1942 from the Nazis. This architecture documented the family’s traumatic experience during that period. It used the monumental approach, which is not to respond but honestly display what happened.

Design Thesis - Zhuoqing LI - 886823

P R E C E D E N T ST U DY: B E I T BE I RUT M US E UM - YO US SEF A F T IMUS.

Fig.6 Beit Beirut. (2018)

Ann Frank House It is a house standing on the green line, marking the trauma during the civil war. It was proposed as a “museum for memories”, but in the end, it became the “museumification of trauma” (Brussel, 2021). These large public spaces speak the language of the political municipality. Therefore, even in the name of preservation, the actions are still violent.

Design Thesis - Zhuoqing LI - 886823

P R E C E D E N T ST U DY: S I LE N CE RO O M - N AT HA LIE H A R B.

Fig.7 Silent Room. (2017)

Silent Room. It is a pavilion designed for Beirut design week. It is a small urban intervention to reclaim the right to enjoy the silence in response to the issue of “silence as an exceptional privilege for rich people”. Compared with Beit Beirut, the Silent room is much smaller and completely accessible by the generic public.

Design Thesis - Zhuoqing LI - 886823

P R E C E D E N T ST U DY: [ M OV I E ] S H AT T E RE D BEIR UT 6 .0 7 .

Fig.8 Shattered Beirut 6.07. (2020)

Shattered Beirut 6.07 “SHATTERED BEIRUT 6.07” by Carol Mansour. Shattered glass, shattered lives, and shattered dreams are strong themes in the film, with the sound of broken glass working as an anchor to string the different scenes together. “Beirut sounds like glass (Batoul, 2020).” By transcribing the memory of Carol, I started to understand that this common architectural material – glass plays a critical role in both the historical and current situations of Beirut.

Design Thesis - Zhuoqing LI - 886823

P R E C E D E N T ST U DY: [E X HI B I T I O N ] W I N D O WLES S WO R LDS.

Fig.9 Silent Room. (2017)

Windowless Worlds It is an exhibition organized by the Australian National Art Glass Gallery, viewing the broken glass as a storytelling tool to display the trauma. It remains a romantic expression about the topic of broken glass, which is appropriate for an exhibition but needs more consideration when it comes to the scale of architecture.

Design Thesis - Zhuoqing LI - 886823

I N S P I R AT I O N S: S I TE A H AKAWAT I H O USEMUSEUM.

Fig. 10

Fig. 11

Fig. 12

Fig. 13

Fig. 14

Fig. 15

Site A Inspiration These are the images I got inspired in the design process to fill up my imagination and they are linked to the following concept. Addition

Materiality Movement

Shelter Occupy

Moment Solid

Domestic Activity

Translucent

Design Thesis - Zhuoqing LI - 886823

I N S P I R AT IO N S: S I TE B C O M M UN I T Y H A KAWAT I G A R DEN.

Fig. 16

Fig. 17

Fig. 18

Fig. 19

Fig. 20

Fig. 21

Site B Inspiration These are the images I got inspired in the design process to fill up my imagination and they are linked to the following concept. Nature

Materiality Gathering

Scale

Light

Occupy

Moment Solid

Community

Translucent

Platform

Design Thesis - Zhuoqing LI - 886823

16/08/21 22/08/21 W EEK 4

Design Thesis - Zhuoqing LI - 886823

WEEK 4: THESIS SUBMISSION 1.0. Week 4 submission is the preliminary proposal to present the fundamental ideas after the first stage of research, working as a guide for further development. The first version of my thesis statement is included, which combines the week 1-3 research to define the problem and solutions I would like to propose. The oral presentation script is also attached as a reference.

Fig. 22

Design Thesis - Zhuoqing LI - 886823

THESIS STATEMENT 1.0: BEIRUT YEAR ZERO: “[RE]STORE, [RE]IMAGINE.” The explosion in Beirut destroyed the Port of Beirut and its surrounding historical neighbourhoods, revealing the risk of social reconfiguration and gentrification related to its reconstruction process. It has been reported that after the blast, real estate vultures are circling to approach the vulnerable property owners, offering highly discounted prices to buy the affected property, exchanging for rare dollars or high-end private development. According to UNESCO press release, the affected owners are in a dilemma of accepting the unethical offer or staying but without sufficient fundings and plans for [Re] construction, leading to an urgent need for an efficient, sustainable reconstruction plan to facilitate people to return to their neighbourhood as soon as possible. This thesis manifests a new brief by reclaiming the [Re]construction discourse in the most affected Gemmayze neighbourhood. The designated area will consider the social and physical fabric of the neighborhood as a whole, [Re]storing and [Re]imagining a collection of social and cultural spaces in response to specific needs and return briefs from the existing residents – the young creative professionals, facilitating them to resettle in the neighbourhood. BEIRUT YEAR ZERO, is a new start for the city and a new start for every resident.

The Problem: After the 2020 Beirut explosion, the social and cultural fabric of the Beirut historical suburb was heavily destroyed. The emerging developer model made the situation even worse. The former residents are having trouble returning to the community. ( This problem is too big and hard to see the role of architects.)

The Solution: It is time to restore and reimagine series of social and cultural spaces to rebuild the social and cultural fabric. (This solution is still too broad and fragmented, showing the underestimation of the complexity.)

The Site & Program: The program is series of cultural and social spaces in the Gemmayze neighbourhood. (This preliminary proposal shows a lack of depth. “When the place is destroyed, we restore it to what it used to be.” This part needs to be informed by further research.)

Design Thesis - Zhuoqing LI - 886823

PRESENTATION 1.0 SCRIPT: BEIRUT YEAR ZERO. Beirut year zero: “[re]store, [re]imagine.” The presentation is structured with six parts. Start by defining the problem and reflection on past research and precedents, then define the gap and introduce my own solution. After that, it is the thesis statement as a summary. In the end, i will locate my thesis statement into a chosen site with an initial program proposal Part 1: the problem: “Beirut is not for sale”. A devastating explosion of about 2,750 tonnes of ammonium nitrate occurred in beirut, the capital of lebanon, in august 2020. The disaster destroyed the port of beirut and its surrounding neighbourhood. As mentioned in the unesco press release (unesco, 2021), at least 8000 buildings (including 640 historical ones) were affected, with 60% of them are in danger of collapse. Most of the affected properties are concentrated in the old districts, such as gemmayzeh and mar-mikhaël, which is the heart of beirut’s social and cultural fabric. While the city is still under the rubble, real estate vultures are circling to approach the vulnerable homeowners, trying to take advantage of the tragedy. They offered highly discounted prices to buy the affected property, exchanging for rare dollars or high-end private development, which put the affected districts at high risk of social reconfiguration and gentrification (commerce du levant, 2021). Due to the economic crisis and government negligence, although the homeowners do not want to leave, they cannot afford the reconstruction price on their own. The proposal intends to tackle this dilemma by reclaiming the discourse of reconstruction, facilitating people to return to their neighbourhood and restoring the rich social and cultural fabric. Part 2. Is the discussion of precedent of reconstruction, see what could we learn from the post-war and current reconstruction? First research is on the journal laying claim to solidere plan to discuss that solidere make beirut as a “the divided city. The civil war (1975-1990) destroyed 75% of the infrastructure in beirut. After the war, solidere, a private company owned by prime minister rafic hariri, took control of the post-war reconstruction with an area of roughly 1,800,000 m2 (barrington, 2021). Like what happened after the beirut blast, solidere systematically violated property rights by forcing the former residents to leave their houses. The boundary of solidere turned the bcd (beirut central district) a gentrified “enclave”, excluding the vulnerable community (makdisi, 1997). When the land is granted to unethical developers, they destroyed the city’s soul for private profit. Adg (gemmazeh development association) and baytnabaytak are two ngo practising in the post-explosion beirut. Both adg and baytnabaytak understood the real issues and provided practical solutions in response to the real need (baytnabaytak, 2021). However, their reconstruction practice is fragmental without a guide of the master plan, missing the new opportunities emerging in the new context. The question is gap of reconstruction discourse. Pros and cons of current precedents: This thesis will ask three main questions: Is “de-gentrification” possible in the new reconstruction process to avoid post-war solidere failure? In what ways are the social and cultural fabric celebrated during the reconstruction? How to embrace the new opportunities emerging in the local and global context? The solution: Thesis statement: Beirut year zero: “[re]store, [re]imagine. The site and program: The gouraud st in gemmayzeh neighbourhood , which is one block away from the ground zero, and running across east and west beirut. The street always is a trendy and tourism destination for both local and foreigners with a rich program mix including fashion makers, hospitality and galleries, everything that has to do with arts and culture is here. This the mapping of the program before and after. After explosion, the residents in this street approached by developers who want to buy their affected property. A lot of young creative professionals lost their jobs and do not have funding for reconstruction and the lost both their home and working studio. We could see in the map, the disappeared fills and the cross on the event map shows the disconnection point and destroyed cultural, social fabric and collective memory. These maps allow me to understand a whole picture of gouraud st, leading to the first version of program proposal – a series of social spaces including café, maker studios and galleries to revitalize the social and cultural life in the neighborhood and help the young creative professionals to resettle. Thanks for listening.

Design Thesis - Zhuoqing LI - 886823

T HE LO C A L M A P: C I TY EXPAN S I O N . A

MEDITERRANEAN SEA

MEDAWAR

DAR MREISSE MINET EL HOSN

PORT RAS BEIRUT

1800

REMEIL

BACHOURA SAIFI ACHRAFIEH

MOUSSAITBEH

T RIVE

1873

BEIRU

MAZRAA

1923

CITY EXPANSION

200

500

1000 M 1 : 10,000 @ 594x594

City Expansion

2021

City Expansion This map shows the expansion of the city border from 1800-2021, revealing the shifting condition between Beirut City (inner Part) and the port (interface). The section between the port and the city becomes a critical anchor to reform the link.

Design Thesis - Zhuoqing LI - 886823

T H E REG I O N A L M A P: THE C RE AT I V E C H AO S. B

MEDITERRANEAN SEA

MEDAWAR

DAR MREISSE MINET EL HOSN

PORT RAS BEIRUT

REMEIL

BACHOURA SAIFI ACHRAFIEH

T RIVE

MOUSSAITBEH

BEIRU

MAZRAA

CREATIVE CHAOS

200

500

1000 M 1 : 10,000 @ 594x594

City Pattern

Creative Chaos The pattern of Beirut is a journey of autoethnography, which shows how the residents occupied the city and the growing creative chaos. It is the city created by its inhabitants, from history to now.

Design Thesis - Zhuoqing LI - 886823

T HE P R O B LE M : “ B E I R U T I S N O T F O R SA LE”. A

20 00 M

MEDITERRANEAN SEA

15 00 M

10 00 M

500 M

GROUND ZERO LOCAL INVESTIGATION MEDAWAR

DAR MREISSE MINET EL HOSN

PORT RAS BEIRUT

GEMMAYZEH SAIFI

REMEIL

MINET EL HOSN BACHOURA

ACHRAFIEH

T RIVE

MOUSSAITBEH

BEIRU

MAZRAA

BEIRUT GROUND ZERO

200

500

1000 M

1 : 10,000 @ 594x594

Beirut Ground Zero A devastating explosion of about 2,750 tonnes of ammonium nitrate occurred in Beirut, the capital of Lebanon, in August 4th 2020. The disaster destroyed the Port of Beirut and its surrounding neighbourhood. As mentioned in the UNESCO press release (UNESCO, 2021), at least 8000 buildings (including 640 historical ones) were affected, with 60% of them are in danger of collapse. Most of the affected properties are concentrated in the old districts, such as Gemmayzeh and MarMikhaël, which is the heart of Beirut’s social and cultural fabric.

Design Thesis - Zhuoqing LI - 886823

T HE P R O B L E M : “ B E I R U T I S N O T F O R SA LE”. A

20 00 M

MEDITERRANEAN SEA

15 00 M

[ “BEIRUT IS NOT FOR SALE, WE ARE STAYING” ]

10 00 M

500 M

GROUND ZERO MEDAWAR

DAR MREISSE MINET EL HOSN

PORT RAS BEIRUT

GEMMAYZEH SAIFI

REMEIL

MINET EL HOSN BACHOURA

ACHRAFIEH

T RIVE

MOUSSAITBEH

BEIRU

MAZRAA

“WE ARE STAYING”

200

500

1000 M

1 : 10,000 @ 594x594

Defiant signs in affected AR by rumors that developers are trying to push residents out. “We are Staying”

While the city is still under the rubble, real estate vultures are circling to approach the vulnerable homeowners, trying to take advantage of the tragedy. They offered highly discounted prices to buy the affected property, exchanging for rare dollars or high-end private development, which put the affected districts at high risk of social reconfiguration and gentrification (Commerce du Levant, 2021). Due to the economic crisis and government negligence, although the homeowners do not want to leave, they cannot afford the reconstruction price on their own. The proposal intends to tackle this dilemma by reclaiming the discourse of reconstruction, facilitating people to return to their neighbourhood and restoring the rich social and cultural fabric.

Design Thesis - Zhuoqing LI - 886823

T HE P R E C E D E N T: TH E D I V I D E D C I T Y – S O LIDER E PLA N. A

SOLIDERE

MEDITERRANEAN SEA SOLIDERE INVESTIGATION

MEDAWAR

DAR MREISSE MINET EL HOSN

PORT

NON - SOLIDERE RAS BEIRUT

NON - SOLIDERE

REMEIL

MINET EL HOSN BACHOURA SAIFI

NON - SOLIDERE

ACHRAFIEH

MOUSSAITBEH

EAST BEIRUT

T RIVE

WEST BEIRUT

BEIRU

MAZRAA

THE DIVIDED CITY

200

500

1000 M 1 : 10,000 @ 594x594

Solidere Developments Solidere Districts Solidere perimeter

The Green Line

The Divided City The Civil War (1975-1990) destroyed 75% of the infrastructure in Beirut. After the war, Solidere, a private company owned by prime minister Rafic Hariri, took control of the Post-War reconstruction with an area of roughly 1,800,000 m2 (Barrington, 2021). Like what happened after the Beirut Blast, Solidere systematically violated property rights by forcing the former residents to leave their houses. The boundary of Solidere turned the BCD (Beirut Central District) a gentrified “enclave”, excluding the vulnerable community (Makdisi, 1997). When the land is granted to unethical developers, they destroyed the city’s soul for private profit.

Design Thesis - Zhuoqing LI - 886823

T HE P R E C E D E N T:

S TA R T F RO M S M AL L .

2000 M

1500 M

ED AW AR

1000 M

UT IR

EIL

59 4x 59 @

G T

,0 1:

IR BE

AIT

IR U

DA R

BA CH

AC H

FIE

AY Z

NA L

AT IO

RIV

500 M

Start From Small ADG (Gemmazeh Development Association) and BAYTNABAYTAK are two NGO practising in the Post-explosion Beirut. As a non-political and non-profit organisation founded in 1986 by renowned professional and social personnel, ADG aims to contribute to the economic and cultural restoration of Beirut’s historic area of Gemmayzeh and lobby for the architectural and cultural heritage of Gemmayzeh to be preserved (ADG, 2021). A group of activists initiated BaytnaBaytak to assist in managing damaged dwellings and providing shelter for displaced residents. Both ADG and BaytnaBaytak understood the real issues and provided practical solutions (BaytnaBaytak, 2021). However, their reconstruction practice is fragmental without a guide of the master plan, missing the new opportunities emerging in the new context. 97

Design Thesis - Zhuoqing LI - 886823

T HE QU E ST I O N: G A P O F RE C O N S T RUCT IO N DISCO UR SE . PROS [+]

CONS [-]

- Identified The Failure of Solidere - Investigated Both Local And Global Context - Acknowledged The Identity of Beirut

- No Clearly Proposed Solution For Reconstruction

- Advocated For Finding A New Solution

Makdisi, S. (1997). Laying claim to Beirut: Urban narrative and spatial identity in the age of Solidere. Critical inquiry, 23(3), 661-705.

PROS [+]

CONS [-]

- Identified The Need Of Occupants - Highlighted The Urgent Issues

Association of Gemmazeh Development

- Offered Clear Solution With Professional Network

- Absence of Masterplan - No Consideration of Emerging Opportunities (Restoring Only)

- Actively Involved in Construction Sectors Baytnabaytak

Defining the Gap This thesis will ask three main questions: - Is “De-gentrification” possible in the new Reconstruction process? - In what ways are the social and cultural fabric celebrated during the Reconstruction? - How to embrace the new opportunities emerging in the local and global context?

Design Thesis - Zhuoqing LI - 886823

T HE S O LU T IO N: [ R E ] S T O RE , [RE ]I M AG INE .

MANIFESTO OF BEIRUT RECONSTRUCTION [RE]STORE NOT ONLY THE TANGIBLE CONDITION, BUT ALSO THE INTANGIBLE VIBE.

[RE]STORE THE THREE-DIMENSIONAL SCALE PERCEPTION . [RE]STORE THE PROGRAM MIX AND EVENT. [RE]STORE THE TRANSITIONAL EXPERIENCE . [RE]STORE THE MATERIALITY .

[RE]IMAGINE THE CRITICAL CONGESTION POINTS. [RE]IMAGINE THE REUSE OF MATERIAL. [RE]IMAGINE THE POTENTIAL FUTURE.

Manifesto of Beirut Reconstruction The solution is proposed as a manifesto, setting the brief for the Reconstruction of Beirut after the 2020 Port Explosion and representing the desired tangible and intangible quality of the new Beirut.

Design Thesis - Zhuoqing LI - 886823

Submission 1.0 Feedback HvR + You seem to be very clear about what you are doing, but it is hard to understand what you are doing + You feel as though you might be underestimating the scale of the project and + How is your model different from the developer model ? + Use the words you have, then contain them to a specific situation - like one shop or one gallery. + There is something about scale and delicacy. Marijke: + Very clear drawings, they are beautiful + Your research is thorough and clear + You spoke for too long. You need to be very mindful of how much time you are talking for. This is important as it means you have to filter the research and be concise with your project. + So is it a temporary building ? Or it is something more permanent ? Your ambition and care is good - i think architects are just very critical of blanket solutions - which is what the discussion is about - and you can avoid this by being super specific and careful and clear about what you are doing to each, how it applies to their needs so it all feels very informed.

Feedback & Reflection. Contents: The main concern of my project is that it may fall into a pitfall of “Blanket Solution” by using those big words “Reconstruction and Reimagine”. When I prepared my speech, I collected much information and understood that Beirut faces many challenges. Hence, it is hard to choose which part I would like to tackle in the reconstruction process. Therefore, I decided to pitch it as “restoring and reimagining the social and cultural fabric”, which is not wrong, but it is too broad and

100

Design Thesis - Zhuoqing LI - 886823

vague. I underestimated the complexity of the broken fabric of the city, which cannot be fixed only by introducing a couple of cafes and galleries. Now it is not about abandoning everything I did; it is about finding an anchor from the work I did, which is more informed and specific. Oral Presentation: When I wrote my presentation script, I tried to capture everything I did in the past weeks without a tailored selection. I tried to convey too much information to the guest who had no idea about my project, and it made him feel a bit overwhelming. This unsuccessful presentation experience also shows that my presentation will be like a market with everything when I do not have a clear anchor for my project. Therefore, in the future presentation, I will try to be clear and concise with my narrative.

Fig. 23 Reflection.

101

Design Thesis - Zhuoqing LI - 886823

30/08/21 05/08/21 W EEK 6

102

Design Thesis - Zhuoqing LI - 886823

WEEK 6: THESIS SUBMISSION 2.0. Based on the previous research of “the broken glass”, the concept design submission is my first attempt to accumulate the new glass briefs to discuss its potential future. Several prototypes are introduced to test the idea, informing the further development of the final design. For the next part, three sites were chosen to develop the potential narratives.

Fig. 24

103

Design Thesis - Zhuoqing LI - 886823

THESIS STATEMENT 2.0: BEIRUT YEAR ZERO: “THE BROKEN GLASS”.

“Beirut sounds like GLASS. (Faour, 2020)” On August 4, 2020, a devastating explosion hit Port of Beirut at 6:07 pm, with shattered GLASS raining down and covering the streets within 10km. The explosion left the city with 25,000 tons of GLASS debris and a new type of anxiety – “GLASSophobia”( Daronboz, 2020). How to accommodate both tangible traces (GLASS Debris) and intangible traces (“GLASSophobia”) brought by “the Broken GLASS”? This thesis will investigate the role of “GLASS” in post-explosion Beirut through a design formed by a series of collections that draw from the new “GLASS” briefs. The proposal will reveal the connection between “GLASS” and Beirut in society, environment, and economy, questioning the potential value of GLASS in shifting the future of Beirut.

104

Design Thesis - Zhuoqing LI - 886823

TANGIBLE TRACE: LOCAL MAPPING. A

20 00 M

MEDITERRANEAN SEA

15 00 M

LOCAL INVESTIGATION A NORTH (TRIPOLI)

GROUND ZERO & GEMMAYZEH

10 00 M

500 M

GROUND ZERO

MEDAWAR LOCAL INVESTIGATION B

DAR MREISSE 25,000 TONS GLASS ONLY

MINET EL HOSN

PORT

“RUBBLE TO MOUNTAINS”

RAS BEIRUT

GEMMAYZEH SAIFI

REMEIL

MINET EL HOSN

BAKALIAN GLASS DUMP SITE IN KARANTINA

BACHOURA

ACHRAFIEH

MOUSSAITBEH

T RIVE

SOUTH (SARAFAND)

BEIRU

MAZRAA

BEIRUT GROUND ZERO

(LOCAL) 50

200

500

1000 M

1 : 10,000 @ 594x594

Beirut Ground Zero On August 4, 2020, a devastating explosion hit Port of Beirut at 6:07 pm, with shattered GLASS raining down and covering the streets. Ground zero is one of the warehouses in the port of Beirut, destroying the port and its surrounding neighbourhood.

105

Design Thesis - Zhuoqing LI - 886823

TANGIBLE TRACE: REGIONAL MAPPING. B

10 K M

REGIONAL INVESTIGATION

5K M

JOUNIE

GROUND ZERO - BEIRUT

LEBANON

1 KM

MEDITERRANEAN SEA

BAABDA BEIRUT AIRPORT

GLASS-RELATED DAMAGE

(REGIONAL) 0

2.5

1 : 50,000 @ 594x594

Glass - Related Damage The glass-related damage was recorded as far from 10km away - the Beirut airport. Beirut was shattered.

106

10 (KM)

Design Thesis - Zhuoqing LI - 886823

TANGIBLE TRACE: NATIONAL MAPPING. B

TRIPOLI

MEDITERRANEAN SEA

Etiver Glass Industry

Elghoulco

SYRIA

LEBANON GLASS INDUSTRY (NATIONAL)

50 (KM)

1 : 200,000 @ 594x594

Glass Manufacturer

SARAFAND

Glass Import Closed Glass Industry Expressway Road

ISAREL

Lebanese Glass Industry This national-scale map shows the struggling situation of the Lebanese glass industry. The main reasons for the struggle include lack of local support, out-of-date technology, continuing political instability, electricity crisis, cheaper import from other countries.

107

Design Thesis - Zhuoqing LI - 886823

TANGIBLE TRACE: GLOBAL MAPPING. 120°W

105°W

90°W

75°W

60°W

45°W

30°W

15°W

0°

15°E

30°E

45°E

60°E

75°E

90°E

105°E

120°E

135°E

150°E

165°E

ARCTIC OCEAN 75°N

2015 - 33,407 MT 2016 - 31,492 MT 60°N

NO. 9 Belgium NO. 2 Switzerland

45°N

NO. 5 Spain

ATLANTIC OCEAN

NO. 4 Italy

NO. 10 China

Lebanon

30°N

NO. 3 Egypt

PACIFIC OCEAN

NO. 1 United Arab Emirates

15°N

NO. 7 India

PACIFIC OCEAN

NO. 8 Togo NO. 6 Ghana

0°

2017 - 11,597 MT

INDIAN OCEAN

15°S

30°S

2018 - 5,823 MT “0.00066 LBP = 1 USD” LOST 80% OF REAL VALUE. 45°S

2019 - 2,064 MT 2020 - 1,345 MT

60°S 120°W

105°W

90°W

75°W

60°W

45°W

30°W

15°W

0°

15°E

30°E

45°E

60°E

75°E

90°E

105°E

120°E

135°E

150°E

165°E

Lebanon Glass Import Due to the lack of local manufacturing, Lebanon has highly relied on imported glass. Since 2017, due to the financial crisis, Lebanese cannot afford the expense of importing glass. When glass is on-demand in the post-explosion world, the expense of imported glass heavily burdens the reconstruction process.

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TANGIBLE TRACE (BRIEF A): GLASS RECYCLING AND PRODUCTION.

GLASS RECYCLING

Collecting, Sorting, Crushing

Building Material

Urban Furniture

Collecting, Sorting, Melting

Road

DOLOMITE SALT CAKE

CULLET CULLET

LIMESTONE SODA ASH

SILOS DOLOMITE SAND

SODA ASH SODA ASH

NEPHELINE

GLASS PRODUCTION

Raw Material Silos “We will take our broken pieces melt them back together and drink to the Batch House

Furnace 2950 °F

health and happiness of a people that never gives up.”

Furnace 2100 °F $ 50

s e c e i p n e k o r b r u o e k a t l l i w eW “ r e h t eg o t k c a b m e h t t l e m

Packing

Inspection & Cutting

Annealing

elpoep a fo ssenippah dna htlaeh ”. p u s e v i g r e v e n t a h t

Forming

eht ot knird dna

Melting/ Refinement/ Temperature Control

$ 50 Packing Line

Raw Material Batching – weighted, mixed, and moved

$ 50 Main Line 70 °F

109

$ 50 Lehr 300 °F

Raw Material Storage

Tin Bath 1100 °F

$ 50

Design Thesis - Zhuoqing LI - 886823

INTANGIBLE TRACE: CYCLE OF VIOLENCE. A

1975

1990

20 00 M

2007

2020 - BEIRUT YEAR ZERO

15 00 M

10 00 M

MEDITERRANEAN SEA

500 M

2020 THIRD TIME

DAR MREISSE MINET EL HOSN

1977 FIRST TIME

PORT

RAS BEIRUT

SAIFI

REMEIL

MINET EL HOSN BACHOURA

2007 SECOND TIME

ACHRAFIEH

MOUSSAITBEH

MAZRAA

SOUND OF BROKEN GLASS

200

500

1000 M

1 : 10,000 @ 594x594

Map - Sound of the Broken Glass According to the film “Shattered Beirut 6.07” by Carol Mansour (Mansour, 2020), the map documented the three times she heard the sound of broken glass.

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INTANGIBLE TRACE: CYCLE OF VIOLENCE.

Sound of Explosion & Glass-Broken

1970

1975

1980

1975 - 1990 Lebanon Civil War

1985

1990

Crunching and Clinking During Cleaning Glass Debris

1995

2000

2005

2010

2006-2007 Lebanon Conflict

2015

2020

2020 Beirut Explosion

* Based on Carol Mansour’s Memory in Shattered Beirut 6.07.

Map - Sound of the Broken Glass People in Beirut is familiar with the sound of the explosion and the echo of shattered glass. The sound in the 2020 port explosion is the same as what happened 1975-1990 during the civil war and 2006-2007 during the ongoing conflicts. It is a cycle of violence, visualized and performed by the broken glass.

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INTANGIBLE TRACE: ROLE OF GLASS. [2020/08/04 6:00:16 Pm]

[2020/08/04 6:07:16 Pm]

+2700.00

“Glass as barrier.”

“Glass as weapon.”

Detail 1.2 Detail 1.3

Detail 1.3

Detail 2.3

Detail 1.2

Detail 2.2

+1800.00

+900.00 Detail 2.3

Detail 2.2

Detail 1.1 Detail 1.1

Detail 2.1 Detail 2.1

+0.00

“Glass as evidence.”

“My government did this.”

0.5

2 (m)

Role of Glass When the explosion happened, the glass, the most common barrier used by many contemporary architects, became sharp weapons that injured and killed people. It is the tangible evidence of the intangible failure.

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INTANGIBLE TRACE: “GLASSOPHOBIA”.

“It's only a window”

“For months after, I was too scared to be anywhere near glass,” she says. “Sometimes, I experienced a sudden fear of open spaces as if I had nowhere to hide if something happened.”

“Symptoms vary from shivers to yelps to screams to running erratically to sitting near a wall endlessly repeating to yourself that it’s only a window it’s only a window.”

- Anthony Rahayel

- Dar OnBoz

0.5

Low

“It's only a window”

2(m)

High

“It's only a window” Level of Anxiety

“Glassophobia” Glassophobia (Daronboz, 2020) [Noun.] I. A new anxiety disorder diagnosed in Beirut after the August 2020 Explosion, with earliest record from the 1975 Civil War. II. Symptoms: “Intense, rational fear of glass windows, cups, cars and sounds of broken glass, fear of sitting alone at home near a window or of being in public places near shop windows where escape would be difficult, or help might be unavailable if the glass shatters.” 113

Design Thesis - Zhuoqing LI - 886823

I N TAN GIB LE T R A C E S ( B R IEF B -D): “ FO R T H E N E XT E XP LO SIO N”.

B. Absence of Glass Fig. 25 Opened Window.

“Leave windows open”

C. Alternative of Glass Fig. 26 Building With Curtains.

“Curtains as Shelter”

D. Reinforcement of Glass Fig. 27 Typed Window.

“Tape their windows”

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B R I E F SU M M A R Y: C O N C E P T D E S I GN . [BEIRUT YEAR ZERO - THE BROKEN GLASS]

TANGIBLE TRACE (GLASS DEBRIS)

[IN]TANGIBLE TRACE (GLASSOPHOBIA)

Absence of Glass

Alternative of Glass

Reinforcement of Glass

“A Water Jug”

“An Urban Furniture”

“A Shopfront”

“A Home”

‘Room’ A

‘Room’ B

‘Room’ C

‘Room’ D

Concept

Brief

Recycling & Production

[FINAL PROJECT: THE GLASS ARCHIVE]

Based on the four briefs generated from the tangible and intangible traces, four prototypes from small to larger scale are used to test the ideas. The four prototypes varied from an object scale- the water jug to urban furniture and then expanded to a room-scale. Four prototypes will further inform the final projects as a collection of four types of rooms to showcase the new glass briefs - The Glass Archive. I have no intention to solve the glass problem in Beirut but to reveal a corner of the “Broken Glass”, from history to now, from now to future.

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B R I E F A P R O T O T YP E : R E C YCL I N G & P RO D UCT IO N.

Water Jug 1.0

Water Jug 2.0

Glassblowing + Glass-Concrete

Glass-Concrete + Glassblowing

Brief A is used to deal with the tangible traces left by GLASS. The water jug is designed to test potential production & recycling methods and the tectonic opportunities. The shape is following the traditional Lebanese water jug to show respect to the local culture. The glazing part was melting the glass debris from the explosion. It is reproduced through glassblowing, while the concrete part crushes the glass debris as aggregates to form the concrete mix.

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‘ ROOM ’ A : G LA S S S T UD I O & FAC TO R Y.

Recycling: Glassblowing

Glass Production

Recycling: Glasss-Concrete

Work in Progress

20 (m)

‘Room’ A is a factory/studio. It is all about recycling and production. It is like an immersive “Industrial Show”. The process of melting and manufacturing reproduced the narrative of the “Resilient Spirit of Beirut”, which helped the city rise from the ashes and erased the root cause of each catastrophe.

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BRIEF B PROTOTYPE: A B S E N C E O F GL AS S .

Brief B echoes the “open-window” preparation during the civil war and ongoing conflict. When the window is opened, architecture became frame-only. The frames define the idea of occupation. This urban furniture is used to investigate the potential use of frames on occupying and defining a space. In a world without glass, how to create the territories with frames?

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‘ ROOM ’ B : ‘ F R A M E D ’ O P E N F O RU M.

(Work in Progress)

2.5

10 (m)

‘Room’ B is an open forum defined by frames. The open space provides the openness and transparency that glass used to offer. A forum is a place for conversation about glass, the shattered history and present, and the potential future.

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BRIEF C PROTOTYPE: A LTE R N AT I V E O F G L AS S.

[Before]

[After]

Brief C is a response of which could be an alternative material glass? By redesigning the shop front of SIP Café. Sip Cafe used to have a large glass panel as a shop front. However, after the explosion, the glass is shattered. Even if it is restored, people do not want to sit around it anymore. So, I replaced it with a timber frame and polycarbonate, which keep the openness but make people feel safer to be around.

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‘ ROOM ’ C : G A LLE RY: AN Y T H I N G EXCEPT G LA S S.

FABRIC METAL TIMBER

BRICK CERAMIC CONCRETE

(Work in Progress)

20 (m)

Room C is an Arcade with pop-up settings, acting as a gallery showcasing different types of alternatives to replace glass in the post-explosion world.

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BRIEF D PROTOTYPE: R E IN FO RC E M E N T O F GLA S S.

Brief D echoes the masking tape on the windows during the civil war and ongoing conflicts. Putting masking tape on the window is not as effective as modern tempered glass, but it provides a sense of security. The layer of masking tape also visualizes the anxiety of “the next explosion”.

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‘ ROOM ’ D : E X H I B I T I O N: N E V E R S TO P TA PING / UNBR EA KA BLE G LAS S .

2.5

10 (m)

Room D is an interactive exhibition space, inviting visitors to put masking tape on the glass windows, again and again, visualizing and reducing the anxiety. The other part will encourage them to break the “Unbreakable Glass”, telling them it is safe when using the correct type of glass.

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MOVI N G F O R WA R D : A S ITE F O R T H E C O L L ECT IO N. A

20 00 M

MEDITERRANEAN SEA

15 00 M

LOCAL INVESTIGATION A NORTH (TRIPOLI)

GROUND ZERO & GEMMAYZEH

10 00 M

500 M

OPTION 01: GROUND ZERO

MEDAWAR LOCAL INVESTIGATION B

OPTION 02:

DAR MREISSE

GLASS DUMP SITE 25,000 TONS GLASS ONLY

MINET EL HOSN

PORT

“RUBBLE TO MOUNTAINS”

OPTION 03:

RAS BEIRUT

GOURAUD ST.

SAIFI

REMEIL

MINET EL HOSN

BAKALIAN GLASS DUMP SITE IN KARANTINA

BACHOURA

ACHRAFIEH

MOUSSAITBEH

T RIVE

SOUTH (SARAFAND)

BEIRU

MAZRAA

SITE SELECTION 50

200

500

1000 M

1 : 10,000 @ 594x594

Four briefs will be collected on three different sites based on the contextual investigation and narrative-forming process. The chosen site will be used for further development.

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MOVI NG F O R WA R D : B U ILD I N G UP T H E N AR R AT IVE .

C. D.

OPTION 01: THE GROUND ZERO “A collection at where it fell”

OPTION 02: THE GLASS DUMP SITE “A collection at where it was collected”

OPTION 03: THE GOURAUD ST “A collection at where it was.”

I placed the rooms on different sites by using parti diagrams to test the narratives. More parti diagrams will be done after a more detailed design for each room to form their connection.

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PRESENTATION 2.0 POSTER: BEIRUT YEAR ZERO - THE BROKEN GLASS.

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PRESENTATION 2.0 SCRIPT: BEIRUT YEAR ZERO - THE BROKEN GLASS. PART 0 SELF-INTRODUCTION. (20s) Hello everyone, I am Zhuoqing. Today I will present my thesis proposal – Beirut Year Zero, The Broken Glass. Today we will cover four parts, the thesis statement, the tangible trace, the intangible trace, and concept Design. PART 1 BEIRUT YEAR ZERO, THE BROKEN GLASS. (1min) “Beirut sounds like GLASS. (Batoul, 2020)” + Thesis Statement PART 2 TANGIBLE TRACES (1min) Local: The ground zero explosion is from one of the warehouses in the Port of Beirut, destroying the port and surrounding neighbourhood. Regional: The glass-related damage was recorded as far from 10km away - the Beirut airport. Beirut is shattered. National: Due to the political and financial instability, electrical crisis, and lack of government support, the Lebanese glass industry is struggling to survive. Global: Since 2017, Lebanese cannot afford the expense of importing glass due to the financial crisis. When glass is on-demand in the postexplosion world, the expense of imported glass heavily burdens the reconstruction process. Brief A: “Glass is everywhere in blast-shattered Beirut, except where it is supposed to be.” (World, 2020). Here we got our Brief A: Revitalizing the recycling and production process of glass. PART 3 [IN]TANGIBLE TRACE (1min 40s) People in Beirut is familiar with the sound of the explosion and the echo of shattered glass. The sound in the 2020 port explosion happened 1975-1990 during the civil war, 2006-2007 during the ongoing conflicts. It is a cycle of violence, visualized and performed by the broken glass. When the explosion happened, the glass, which is the most common barrier used by many contemporary architects, became sharp weapons that injured and killed people. It is the tangible evidence of the intangible failure.When people got Glassophobia after the civil war and ongoing conflict, they cannot help being prepared for the next explosion. They put masking tape on their windows, they put fabric as shelters, and they always leave the window open, even during winter. Brief B, C, D for the post-explosion world is inspired by those actions, including reinforcement of glass, the alternative of glass and absence of glass. PART 4 CONCEPT DESIGN (2min) Based on the four briefs generated from the tangible and intangible traces, four prototypes from small to larger scale are used to test the ideas. The four prototypes varied from an object scale- the water jug to urban furniture and then expanded to a room-scale. These four prototypes will further inform the final projects as a collection of four rooms to showcase the new glass briefs. BRIEF A: - For Brief A, the water jug is designed to test the idea of recycling and production. The shape is following the traditional Lebanese water jug to show respect to the local culture. The glazing part is made by melting the glass debris from the explosion and reproduced through glassblowing. The concrete part is crushing the glass debris as aggregates to form the concrete mix. - Based on the water jug design, I understood the whole process, which informs the room A as a place for production factory and recycling. BRIEF B: - Prototype for Brief B is urban furniture testing how to occupy the places with frames only without glass. It is located on the famous stairs of art in the Gemmayze neighbourhood.- By designing the urban furniture, I found the potential of using frames and object to create a flexible open space, which informs Room B, ‘Framed’ Open Forum. BRIEF C: - Prototype for Brief C is based on the situation of one cafe shop-sip café in the Gemmayze neighbourhood. It used to have a large glass panel as a shop front, but after the explosion, the glass is shattered, and even if it is restored, people do not want to sit around it anymore. So, I replaced it with a timber frame and polycarbonate, which keep the openness but make people feel safer to be around.- This idea informs a Gallery within an arcade of showcasing different alternatives to replace glass in the post-explosion world. BRIEF D: - Prototype for Brief D is based on an apartment facing the port of Beirut. Based on the documentary, after the explosion, the resident Andy got glassophobia, so he struggles to sit around the large glass panel. The idea is to replace the old glazing with tempered glass and add another layer of masking tape to reduce his anxiety. - This idea informs an exhibition space to invite visitors to put masking tape on the glass windows, again and again, visualizing and reducing the anxiety. The other part will encourage them to break the “Unbreakable Glass”, telling them it is safe when using the correct type of glass. Moving forward, the collection of four briefs will be placed on three different sites based on the contextual investigation and narrativeforming process. The chosen site will be used for further development. Thanks for listening.

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Submission 2.0 Feedback JM: + It is an intriguing starting point, the glassphobia. + Is there a great demand to replace glass due to the shockwaves? Was the building affected structurally? + what are the small design testings about + where is the site you would like to work in ? + it is great that you are testing on the different sites + have you got any idea of what the programme will be ? + very good ideas - a lot of good testing. but is there going to be a demand for people to move back and put glass back? Or is the area so damaged that it is unlikely that it’ll be repaired any time soon? + you are moving in a good direction ? + do you think there will be demand for people to move back in or is it too damaged ?

Feedback & Reflection. Contents: The early testing of ideas on the topic of Glass was successful. However, I am still confused about which program could accommodate the topic. The topic of “Glassophobia” came from the personal perception of the event. Therefore, if I just put series of rooms into a “museum” envelope, it will lose the personal layer and specificity. During the testing process, I am also questioned whether architecture could

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solve “Glassophobia” or not as it is such a layered and complex problem. Bernard Tschumi says, ‘Architecture and its spaces do not change society, but through architecture and the understanding of its effect, we can accelerate processes of change underway (Tschumi, 1996)’. Maybe my approach to “glassophobia” is celebrating the personal perception of events and trigger changes underway instead of directly proposing a solution. Oral Presentation: Before the formal presentation day, I rehearsed and selected the most important information I would like to convey to the audience. The script is a summary of what I would like to say in each slide. The selection of information made my presentation more successful than last time, although I said less.

Fig. 23 Reflection.

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27/09/21 03/10/21 W EEK 9

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2.10 WEEK 9: SKETCH DESIGN. Submission 3.0 is the first attempt to turn concept into an architecture intervention. Based on what I have extracted from the concept designs stage, sketch plans and models were produced to reflect on the condition of site A – the Hakawati Housemuseum. The design of site A will further influence the initial attempt of site B and the final “Hakawati Network.”

Fig.28

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THESIS STATEMENT 3.0: BEIRUT YEAR ZERO: HAKAWATIS.

“Beirut does not need another monument to romanticize the trauma.” (Brussel, 2021). On August 4, 2020, a devastating explosion hit Port of Beirut at 6:07 pm. The expression of blast continues to be violently commodified and refashioned by the political forces through media and an arrogant “Beirut Memorial Park”. A counter-narrative of the event is missing, which could be empowered by the traditional expression in Beirut – Al Hakawati (the Storyteller). What is the role of architecture in recovering the culture of Hakawati and fostering a counter-narrative of the event? This thesis will investigate the schema of Hakawati to foster the individual perception of the blast. A “ Hakawati Network” will transform the city into a big stage, empowering the inhabitants as “Hakawatis”. By embracing the power of storytelling, Hakawatis could form an alternative narrative to trigger empathetic conversations, generating changes at the grass-root level. Who holds the narrative, holds the power.

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T H E H A KAWAT I N E T W O R K: S E LE C T E D T W O C ARRIER S.

MEDITERRANEAN SEA

M 500

GROUND ZERO

The

Gre

en L

ine

M 1000

PORT

SAIFE LOCAL INVESTIGATION

MEDAWAR

GOURAUD ST

Connect East and West Beirut

REMEIL

SITE MAP WITH CONTEXT 0

150

250 (m)

SITE B

SITE A

1 : 2500 @ 594x594

Hakawati Network. This proposal is to create a Hakawatis Network that will have two types of carriers: When it was attached to a private house, it became a Hakawati house museum to tell a specific family story shaped by the particular family heritage. Furthermore, when attached to the community abandoned parcel, it becomes a Hakawati station connecting the house museums within a ten min-walking radius. This system can have a chain effect, from one circle expanded to a narrative network, turning the city into a big stage. Two types of carriers are selected at the most affected area as two sites.

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T H E H A KAWAT I N E T W O R K: H A KAWAT I H O US E M USEUM.

MEDAWAR

SAIFE

Context Mapping

Site A Analysis

Tabliyit Massaad Restaurant

Urbanista Cafe

Sandwiched Restaurant

Hermes Trading

Chamoun Electric

16mm Bar

N.Hermes & Co

Peck Restaurant

Le Chief Restaurant

ROUTE GOURAUD

Margherita Pizzeria

Mitsu-ya Restaurant

Porto Restaurant

REMEIL 320

National Bloc Party

SaabDS Art Gallery Nasri Dekmak Workshop

Arab Image Foundation

Koi.lounge sushi bar & grill

Cafe Standard

SITE A: Dagher’s House REMEIL

50 (m)

A Private House In Public Realm Site A is a private house located in Gouraud st. It is a private house surrounded by the public realm. It is located within a zone full of cafes, restaurants, and art galleries.

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T HE H A KAWAT I H O U SE M U S EU M: O C C U PAN T S & N ARRAT IVE .

[The Daghers]

[Glassophobia]

Jasmine Dagher Glassophobia (Daronboz, 2020) [Noun.] - A new anxiety disorder diagnosed in Beirut after the August 2020 Explosion, with earliest record from the 1975 Civil War.

Grandma

Mrs Dagher

- Symptoms: “Intense, rational fear of glass windows, cups, cars and sounds of broken glass, fear of sitting alone at home near a window or of being in public places near shop windows where escape would be difficult, or help might be unavailable if the glass shatters.”

Fadlallah Dagher

REMEIL 320

33m

Occupants & Narrative Inspired by the Lyon Housemuseum in Melbourne, the Housemuseum will challenge the boundary between private dwelling and public display, acting as a medium to express the individual perception of the event (“Glassophobia”) and a catalyst triggering empathetic conversations and grass-root changes.

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T HE H A KAWAT I H O U SE MU S EU M: PA R TI D I AG RAM .

MEDAWAR 2

MEDAWAR 400

MEDAWAR 5

MEDAWAR 6

33m

PUBLIC AS ECHOs

GOURAUD ST

PRIVATE

REMEIL 324

REMEIL 322

REMEIL 320

Guest Room Manzul Liwan

41m

Kitchen Porch

+ Dar

Titkhiteh

Grandma’s Bedro

Dining Room

Bathroom

Liwan

g Room

Family Livin

SITE MAP (CURRENT CONDITION) 0

10 (m) 1 : 100 @ 594x594

REMEIL 340

REMEIL 339

Parti Diagram

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Design Thesis - Zhuoqing LI - 886823

T HE H A KAWAT I H O U SE M U S EU M: P R OG RAM . THE HAKAWATI HOUSEMUSEUM

DAGHER’S HOUSE

[Echos]

[Original]

Visual Storytelling Spaces: A. Entry Garden of Broken Glass

Dar (Central Hall) Collections

B. Family Gallery

Grandma’s Bedroom

C. Falling Chandelier Installation

Kitchen Wooden Mezzanine – Titkhīteh

D. The Windowless Shelter Oral Storytelling Spaces: A. Hakawati Box

Family Living Room - Manzul

Support Space: Family Guest Room

A. Co-working Workshop B. Research Library

Family Reading Room

The Program

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Design Thesis - Zhuoqing LI - 886823

T HE H A KAWAT I H O U SE MU S EU M: TH E C O M P O N E N T S .

Visual Storytelling C: “Falling Chandelier” Installation

Visual Storytelling A: Garden of Broken Glass

Visual Storytelling B: Family Gallery

Oral Storytelling: Hakawati Box

Visual Storytelling D The Window-Less Shelter

Support Space: Reasearch Library & Workshop/Exhibition

Sketch Model Components

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Design Thesis - Zhuoqing LI - 886823

T HE H A KAWAT I H O U SE M U S EU M: G F I N T E RV E N T I O N .

MEDAWAR 2

MEDAWAR 400

MEDAWAR 5

MEDAWAR 6

33m GOURAUD ST

REMEIL 324

REMEIL 322

REMEIL 320

telling A: Visual Story en Glass Garden of Brok e: Support Spac shop/ Exhibition

Storytelling Work

telling B: Visual Story ry Family Galle

g: Oral Storytellin Hakawati Box

Guest Room Manzul Liwan

Meeting Booth

/Shelter

41m

Kitchen Porch

Dar Meeting Booth

/Shelter

Titkhiteh telling D: Visual Story ess Shelter The Window-L telling C: Visual Story llation delier” Insta “Falling Chan

Grandma’s Bedro

Dining Room

Bathroom

Meeting Booth

/Shelter

Liwan

g Room

Family Livin

Meeting Booth

SITE MAP (CURRENT CONDITION) 0

/Shelter

10 (m) 1 : 100 @ 594x594

REMEIL 340

REMEIL 339

GF Plan

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Design Thesis - Zhuoqing LI - 886823

T HE H A KAWAT I H O U SE MU S EU M: 1F I N T E RV E N T I O N .

MEDAWAR 2

MEDAWAR 400

MEDAWAR 5

MEDAWAR 6

33m GOURAUD ST

REMEIL 324

REMEIL 322

REMEIL 320

e: Support Spac ry Research Libra

telling: Visual Story Platform Observation e: Support Spac Meeting Room

Reading Room

Manzul Liwan

41m

Guest Room

Porch

Dar

Titkhiteh

Fadlallah’s Bedro

g Room

Family Livin

Bathroom

Liwan

SITE MAP (CURRENT CONDITION) 0

10 (m) 1 : 100 @ 594x594

REMEIL 340

REMEIL 339

1F Plan

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T HE H A KAWAT I H O U SE M U S EU M: [ V IS UAL ] G ARD E N O F BR O K EN G LA S S.

Visual Storytelling A: Garden of Broken Glass Support Space: Storytelling Workshop/ Exhibition Visual Storytelling B: Family Gallery Oral Storytelling: Hakawati Box

Manzul

Section A-A

Guest Room

10 (m) 1 : 100 @ 594x594

Liwan

Porch

Meeting Booth /Shelter Kitchen

Dar

Titkhiteh Visual Storytelling C: “Falling Chandelier” Installation

Meeting Booth /Shelter

Grandma’s Bedroom Visual Storytelling D: The Window-Less Shelter

Dining Room Meeting Booth /Shelter

Bathroom Liwan

Sketch Model

Plan Family Living Room

10 (m) 1 : 100 @ 594x594 Meeting Booth /Shelter

Garden Of Broken Glass VS Dar Windows, Cabinets fell into the central hall, leaving the shattered glass scattered on the ground. The daughter, Jasmine Dagher, was trying to make her way through the shattered glass. Even she was careful enough, but still got glass embedded in her foot. Jasmine’s circulation route is extracted into a bridge over glass debris, as the entry walkway, providing the separation that Jasmine did not get.

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T HE H A KAWAT I H O U SE MU S EU M: [ V IS UAL ] FAL L I N G C H A NDELIER .

Falling Chandelier 2020.08.04 6:07 PM

Visual Storytelling A: Garden of Broken Glass Support Space: Storytelling Workshop/ Exhibition

Section C-C

Visual Storytelling B: Family Gallery

10 (m) 1 : 100 @ 594x594

Oral Storytelling: Hakawati Box

Manzul

Visual Storytelling C: “Falling Chandelier” Installation

Guest Room

Liwan

Porch

Meeting Booth /Shelter Kitchen

Visual Storytelling D: “Falling Chandelier” Installation

Dar

Titkhiteh Visual Storytelling C: “Falling Chandelier” Installation

Meeting Booth /Shelter

Grandma’s Bedroom Visual Storytelling D: The Window-Less Shelter

Dining Room Meeting Booth /Shelter

Bathroom Liwan

Sketch Model

Plan Family Living Room

10 (m) 1 : 100 @ 594x594

Meeting Booth /Shelter

SITE MAP (CURRENT CONDITION) 0

10 (m) 1 : 100 @ 594x594

Falling Chandelier Mr Dagher’s Mum, the 90-year-old grandma, was in her bedroom. The chandelier plunged onto her bed. In this installation room, everything is over fixed by steel plates to keep them from moving, just like grandma’s wish. Only the chandelier plunged onto the bed, which says everything.

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T HE H A KAWAT I H O U SE MU S EU M: [ OR A L] H AKAWAT I B OX .

Visual Storytelling A: Garden of Broken Glass AT DAGHER’S 2021. 09. 30

Support Space:

Jasmine Dagher “Glassophobia”

Storytelling Workshop/ Exhibition Visual Storytelling B: Family Gallery Oral Storytelling: Hakawati Box

Manzul

Section A-A

Guest Room

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Liwan

Porch

Meeting Booth /Shelter Kitchen

Dar

Titkhiteh Visual Storytelling C: “Falling Chandelier” Installation

Meeting Booth /Shelter

Grandma’s Bedroom Visual Storytelling D: The Window-Less Shelter

Dining Room Meeting Booth /Shelter

Bathroom Liwan

Sketch Model

Plan Family Living Room

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Meeting Booth /Shelter

RRENT CONDITION) 6

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Hakawati Box Hakawati box is an extension of the Manzul, in where used to hosting guest and important gatherings of the family. The space is extended from the broken hole to host more guest and transforming to a public oral storytelling forum.

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T HE H A KAWAT I H O U SE MU S EU M: S K E TCH M O D E L .

Sketch Model. Different story-telling spaces are growing from the inner program as echoes, working as a whole to tell the story about the Dagher’s family.

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MOVI N G F O R WA R D : C OM MUN I T Y H AKAWAT I STAT IO N:

THE HAKAWATI HOUSEMUSEUM

[Site A] Visual Storytelling Spaces:

A. Entry Garden of Broken Glass

COMMUNITY HAKAWATI STATION

[Site B: Coming Soon...]

Visual Storytelling Spaces: A. Community Gallery Space

B. Family Gallery

B. Storytelling Workshop

A C. Falling Chandelier Installation

...

A D. The Windowless Shelter Oral Storytelling Spaces:

Oral Storytelling Spaces:

A. Hakawati Box Support Space:

A. Community Hakawati Corner Support Space:

A. Co-working Workshop

A. Community Distribution Space

B. Research Library

B. Community Gathering Space

Community Hakawati Station

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PRESENTATION 3.0 POSTER: BEIRUT YEAR ZERO - HAKAWATIS.

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PRESENTATION 3.0 SCRIPT: BEIRUT YEAR ZERO - HAKAWATIS. PART 0 SELF-INTRODUCTION. (1min 20s) Hello, everyone. I am Zhuoqing, doing an independent thesis in Beirut. Today I will be presenting my sketch design proposal. My thesis proposal is around the event of the Beirut Blast in 2020. Submission 1: Preliminary Thesis Proposal: In my first presentation, I was looking at the most affected area (Gouraud st) destroyed by the blast and looking at the general issues around the reconstruction phase Submission 2: In concept design, I start to shift my research focus into the stage between the blast and reconstruction, from the neighbourhood level zoom into the individual’s perception of the event, looking at issues around the “glassophobia” (people’s fear of glass after the explosion). At the end of concept design, I had two options – moving forward to proposing a solution for issues or stay in this stage to propose a way to celebrate the individual perception and construct a more explicit narrative for the reconstruction process. I choose the second path for this submission, as it is essential to ask the right question before generating any answers. Today, we will cover four parts, the statement, the thesis brief and proposal and the moving forward game plan. PART 1 THESIS STATEMENT 3.0. (1min30s) - “Beirut does not need another monument to politicize the trauma.” (Brussel, 2021) + Thesis Statement PART 2 THESIS BRIEF. (40s) - This proposal is to create a Hakawatis Network that will have two types of carriers: When it was attached to a private house, it became a Hakawati house museum to tell a specific family story shaped by the particular family heritage. Furthermore, when attached to the community abandoned parcel, it becomes a Hakawati station connecting the house museums within a ten min-walking radius. This system can have a chain effect, from one circle expanded to a narrative network, turning the city into a big stage. Two types of carriers are selected at the most affected area as two sites. PART 3CARRIER A- HAKAWATI HOUSEMUSEUM. (2min30s) - Site A is a private house located in Gouraud st. It is a private house surrounded by the public realm. It is located within a zone full of cafes, restaurants, and art galleries. The Dagher’s family house is owned by architect Fadlallah Dagher, destroyed by the blast, and surrounded by shattered glass. He lives with his wife, 90-year-old mum and his daughter. The Daghers got “Glossophobia” after the event. Inspired by the Lyon HouseMuseum in Melbourne, the project will challenge the boundary between private dwelling and public display, acting as a medium to express the individual perception of to trigger conversations and collaborations. - This is the existing condition of the house. The concept is bringing the inside out into the landscape to create public echoes of the inside. - Series of storytelling spaces are sprinkled out into the landscape as echos of the internal program, including Visual Storytelling Spaces, Oral Storytelling Spaces, Support Spaces congested with Domestic Spaces. A support research library is located on the first level connected to the family reading room. -the red part is the new public addition. Like the Lyons house museum, it does not have a clear boundary between private and public territory, allows potential “boundary-crossing” moments, just like you invite a friend into the house. The owner will work as a narrator. - There are five components of the Hakawati Housemuseum. Today, we will have a look at three of them as examples. 01- Visual storytelling Component A: GARDEN OF BROKEN GLASS VS DAR Windows, Cabinets fell into the central hall, leaving the shattered glass scattered on the ground. The daughter, Jasmine Dagher, was trying to make her way through the shattered glass. Even she was careful enough, but still got glass embedded in her foot. Jasmine’s circulation route is extracted into a bridge over glass debris. 02- Visual storytelling Component B: FALLING CHANDELIER INSTALLATION VS GRANDMA’S BEDROOM Mr Dagher’s Mum, the 90-year-old grandma, was in her bedroom. The chandelier plunged onto her bed. Steel plates over fix everything in this installation room to keep them from moving, just like grandma’s wish. Only the chandelier plunged onto the bed, which says everything. 03 – Oral storytelling hakawati space VS Manzul Hakawati box is an extension of the Manzul, used to host guests and important gatherings of the family. The space is extended from the broken hole to host more guests and transforming into a public oral storytelling forum. PART 4 MOVING FORWARD (30s) I will reflect on what I have on Site A to inform the program of Site B, as site B means to work as a parent to collect different Housemuseums kids together. The set-up rules mapped on the broader scale to find potentially abandoned parcels and affected houses to form the network. Thanks for listening.

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Submission 3.0 Feedback HvR: + Have still romanticised the problem - Like the way that you started with the story telling but reverted back to an actual situation and worked that as a museum - back to full circle, how is this not romanticised? + Instead of “romanticised” use “politicised” Explain why the example monument is incorrect - this will create a greater balance with the new proposed project + Very important to include this as part of the story - eg. Ann Frank house -What’s different is that that a lot of what was in Ann Franks book was in the house. Same thing needs to be done for the story tellers - needs to be told from the beginning and displayed in the museum. Needs to be less scriptive JM: + More about the extra programs - Next time talk more about the programs and the relation between private and public Janet - Very keen to see where it goes - Asking about the design + Have advanced a lot from the prior assignment, will begin to come to alive when detailed - Likes the juxtaposition between the state and what people will experience

Feedback & Reflection. Contents: Most of the criticism is about the way of telling the story of my project. When I tried to set up the “romanticized museum” as my enemy, I only presented my project’s “romanticized” part. The disjunction of the narrative makes my point less valid. However, the main difference between my project and the government-proposed museum is that my project expressed the individual perception of the event as the invitation

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for a response. As I have not designed the workshop part, my proposal is missing the “responsive reaction” part. A clear set of stories about “why the Beirut memorial park does not work” requires reflection as I am moving forward. I should emphasize the difference in the final project and incorporate the relationship between public and private to avoid a cheesy approach. Oral Presentation: Based on the successful experience on “Concept Design Presentation”, I rehearsed and selected the most important information I would like to convey to the audience. The script is a summary of what I would like to say in each slide. The selection of information made my presentation more successful than last time, although I said less.

Fig. 23 Reflection.

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05.

[Conclusion]

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C ONC LU S ION BE I RUT Y E AR Z ER O : S HIF TING, S HIELDIN G. “Beirut does not need another monument of trauma.” (Graham, 2020.) Architecture should not be static. This thesis project is used to challenge the monumental approach that is common in designing trauma-informed architecture. Instead of a static monument that only allows people to look from a distance, the shifting shelters invite the inhabitant to occupy it, touch it and smell it. The narrative life of the Hakawati shelters functions in the shifting and reacting process. In the end, the shelter was tailored for that traumatic mindset that has served its purpose, and the demolition of the shelter will still mark the start of a new chapter. Architecture should be humble. Architecture may not be able to cure people with trauma or solve the layered problems behind the trauma. It is critical for an architect to take a humbler position in minimizing the triggers for trauma to make people feel better at one moment. Architecture could grow. The network could grow between two carriers to translate the idea from an individual carrier to a larger whole. The further development of this project will be a test of its adaptability across different sites and programs. This thesis forms a departure point in reconsidering the post-disaster development, enabling it to be scaled and transformed to accelerate changes underway.

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06.

[Reference.]

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REFERENCE & FURTHER READING: WEBPAGE. • Abu-Faraj, Z. (2020). Shattered Glass is Allegedly Blamable for Most of the Victims of Beirut’s Blast. Linkedin.https://www.linkedin.com/pulse/shattered-glass-allegedlyblamable-most-victims-blast-abu-faraj/. • Abu-Faraj, Z. (2020). Shattered Glass is Allegedly Blamable for Most of the Victims of Beirut’s Blast. https://www.linkedin.com/pulse/shattered-glassallegedly-blamable-most-victims-blast-abu-faraj/. • ADG. (2021). URBAN DEVELOPMENT. http://gemmayze-adg.org/urbandevelopment/. • Barrington, L. (2021). Beirut redeveloper Solidere struggles through Lebanon’s turmoil. U.S. https://www.reuters.com/article/uk-lebanon-economy-solidereidUKKBN1E60UH. • Baytna Baytak. (2021). WHY WE STARTED. Baytna Baytak. https:// baytnabaytak.com/ • Beirut Heritage Initiative. (2020). FADLALLAH DAGHER, Order of Engineers and Architects representative. https://beirutheritageinitiative.com/team/fadlallahdagher/. • Beirut Heritage Initiative. (2021). Introduction to the Beiruti Houses: 1860 - 1925, Fadlallah Dagher. Youtube. https://www.youtube.com/ watch?v=Fw3JUKMB2l4&t=1878s. • Broadsheet. (2010). Living in a Museum at the Lyon Housemuseum. https://www. broadsheet.com.au/melbourne/art-and-design/article/lyons-housemuseum. • Brussel, A. (2021). Ethics of memorialization in post-blast Beirut. https://nowlebanon. com/ethics-of-memorialization-in-post-blast-beirut/. • Bulos, N. (2020). The Beirut blast leveled historic neighborhoods. https://www.latimes. com/world-nation/story/2020-08-13/beirut-blast-leveled-historic-neighborhoodsfears-developers-destroy-more. • Chahine, M. (2020). After the Beirut blast, the Lebanese people have grown tired of being resilient. https://beirut-today.com/2020/08/15/beirut-explosion-lebanese-tired-ofresilience/. • Commerce du Levant. (2021). In Beirut’s Disaster-Stricken Neighborhoods, Properties Are Already Attracting the Interest of Buyers - Nada Maucourant Atallah. https:// www.lecommercedulevant.com/article/30021-in-beiruts-disaster-strickenneighborhoods-properties-are-already-attracting-the-interest-of-buyers. • Daronboz. (2020). Glassophobia. https://www.instagram.com/p/ CEQ61yPJCH3/?utm_source=ig_web_copy_link. • Graham, T. (2020). The Cost of Resilience: The Roots and Impacts of the Beirut Blast. https://www.justsecurity.org/72122/the-cost-of-resilience-the-roots-and-impactsof-the-beirut-blast/. • Harrouk, C. (2021). The Contemporary Approach to Rebuilding Cities Post-Disaster: The Case of Beirut. https://www.archdaily.com/955374/the-contemporary-approach-torebuilding-cities-post-disaster-the-case-of-beirut.

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REFERENCE & FURTHER READING: WEBPAGE. • Hemady, Z. (2020). Gemmayzeh Before the Bombs: Memories of My Grandparents’ House. http://www.photorientalist.org/gemmeyzeh-before-the-bombs-memoriesof-my-grandparents-house/. • International Business Times. (2020). After Beirut Blast, Property Sharks Circle Ravaged Homes. https://www.ibtimes.com/after-beirut-blast-property-sharks-circleravaged-homes-3036542. • Mansour, C. (2020). Shattered Beirut 6.07. https://www.facebook. com/155922587753210/posts/shattered-beirut-607-screeningi-will-be-at-the-q-asession-virtually-of-courseli/3771739402838159/. • Mbkarchitect. (2021). BEIRUT MEMORIAL PARK. https://www.mbkarchitect. com/beirut-memorial-park. • Naim, O. (1999) Grand Theater: A Tale of Beirut. https://www.youtube.com/ watch?v=IAqgL55tvMQ&t=8s. • Open Journal. (2018). The Justin Art House Museum. https://openjournal.com.au/ the-justin-art-house-museum/. • Sip Cafe. (2021). SIP Speciality Café. https://www.sip-cafe.com/. • The Guardian. (2018). Beirut baristas try to revive city’s once vibrant cafe culture. https://www.theguardian.com/world/2018/jul/13/beirut-baristas-put-coffeecentre-stage-with-a-nod-to-the-past. • UNESCO. (2021). UNESCO rallies international community to safeguard Beirut’s cultural life and heritage. https://en.unesco.org/news/unesco-rallies-internationalcommunity-safeguard-beiruts-cultural-life-and-heritage. • UNHABITAT. (2021) Rubble to Mountains: Responding to the Beirut Port explosion. https://www.unjobnet.org/jobs/detail/23541950. • World. (2020). Glass is everywhere in blast-shattered Beirut, except where it’s supposed to be. https://gulfnews.com/world/mena/glass-is-everywhere-in-blast-shatteredbeirut-except-where-its-supposed-to-be-1.73688708

BOOKS. • Beirut Heritage Initiative. (2020). HOUSES OF BEIRUT 1860-1925 Restoration Manual. “Cahiers d’architecture”. • Khalaf, S. (2013). Heart of Beirut: reclaiming the Bourj. Saqi. • Marot, B. (2018). Developing Post-war Beirut (1990–2016): The Political Economy of ’Pegged Urbanization’. McGill University (Canada). • Tschumi, B. (1996). Architecture and disjunction. MIT press.

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REFERENCE & FURTHER READING: JOURNALS. • Davie, M. F. (1993). A post-war urban geography of Beirut. HAL-01083151. • Faour, B. (2020). Glass Politics: On Broken Windows in Beirut. Averyreview, Issue 25. • Kastrissianakis, K. (2015). Rethinking Public Space in Beirut Since the Ta’if Agreement: From the Reconstruction-Reconciliation Discourse to “Spherebuilding”. OIS 3 (2015)-Divercities: Competing Narratives and Urban Practices in Beirut, Cairo and Tehran. • Makdisi, S. (1997). Laying claim to Beirut: Urban narrative and spatial identity in the age of Solidere. Critical inquiry, 23(3), 661-705. • Makdisi, S. (1997). Laying claim to Beirut: Urban narrative and spatial identity in the age of Solidere. Critical inquiry, 23(3), 661-705. • Nagle, J. Rethinking the right to the divided city: An analysis of non-sectarian memorywork as political activism. Urban Spaces and Sectarian Contestation, 6.

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REFERENCE & FURTHER READING: FIGURES. Fig.1 Rashid, K. (2020). Port of Beirut Explosion. [Photography]. UNSPLASH https:// unsplash.com/photos/9Y4Nd3sHPmk. Fig.2 Mrad, D. (2021). Can This Photographer Save Beirut’s Architectural Treasures? [Photography]. Vanityfair. https://www.vanityfair.com/style/2021/02/can-a-30-yearold-photographer-save-beiruts-architectural-treasures. Fig.3 Zina Hemady. (2020). Gemmayzeh Before the Bombs: Memories of My Grandparents’ House. [Photography]. Hyetert. https://hyetert.org/2020/08/21/gemmayzeh-beforethe-bombs-memories-of-my-grandparents-house/. Fig. 4 Taki, K. (1976). White U House. [Photography]. Archdaily. https://www. archdaily.com/345857/ad-classics-white-u-toyo-ito. Fig. 5 Unknown. (1960). Ann Frank House. [Photography]. The Secret Annex. Fig. 6 Architecture Review. (1960). Spent shell: Museum of Beit Beirut, Lebanon, renovated by Youssef Haidar. [Photography]. The Architecture Review. https://www.architecturalreview.com/buildings/spent-shell-museum-of-beit-beirut-lebanon-renovated-byyoussef-haidar. Fig. 7 Aouf, R. (2018). All-pink Silent Room creates quiet sanctuary beside a Beirut highway. [Photography]. Dezeen. https://www.dezeen.com/2017/05/27/nathalie-harb-silentroom-quiet-sanctuary-highway-beirut-design-week-pavilion/. Fig. 8 Mansour, C. (2020). Shattered Beirut 6.07. [Photography]. Facebook. https:// www.facebook.com/155922587753210/posts/shattered-beirut-607-screeningi-will-beat-the-q-a-session-virtually-of-courseli/3771739402838159/. Fig. 9 Wagga Wagga Art Gallery. (2021). Windowless Worlds. [Photography]. Wagga Wagga Art Gallery. https://waggaartgallery.com.au/whats-on/current-exhibitions/ windowless-worlds. Fig. 10-12 Arsp Architekten. (2018). Villa fleisch. [Photography]. Divisare. https:// divisare.com/projects/430408-arsp-architekten-zooey-braun-villa-fleisch. Fig. 13-15 Ir arquitectura. (2019). Cabine Module. [Photography]. Divisare. https:// divisare.com/projects/428878-ir-arquitectura-tamas-bujnovszky-cabine-module-hellowood-hungary. Fig. 16-18 Act_romegialli. (2018). Green Box. [Photography]. Divisare. https:// divisare.com/projects/180820-act_romegialli-marcello-mariana-greenbox. Fig. 19-21 Khan, A. (2016). Mini Living Forests. [Photography]. Divisare. https:// divisare.com/projects/326124-asif-khan-mini-living-forests. Fig. 22 Kolar, J.A. (2019). Number 1. [Photography]. UNSPLASH. https://unsplash. com/photos/8IjYMUZu78Y.

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REFERENCE & FURTHER READING: FIGURES. Fig. 23 Bjork, M. (2020). Reflection. [Photography]. UNSPLASH. https://unsplash. com/photos/6T6fc9UFwtc. Fig. 24 Hutter, R. (2020). Number 2. [Photography]. UNSPLASH. https://unsplash. com/photos/k3zvtiG5UqM. Fig. 25 Smith, J. (2017). Opened window. [Photography]. Unsplash. https://unsplash.com/photos/6tYEG4dBIDM. Fig. 26 Unknown. (1970). Taped Glass during 1970. [Photography]. Unknown. https:// miandering.com/tag/masking-tape/. Fig. 27 Alevision. (2018). Beirut Building with curtains. [Photography]. Unsplash. https://unsplash.com/photos/BCEtsZ6zqhQ. Fig. 28 Tony, H. (2019). Number 3. [Photography]. UNSPLASH. https://unsplash. com/photos/C9Ni6Gh_gWk.

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00. BEIRUT YEAR ZERO: SHIFTING, SHIELDING. The End. Thanks for reviewing.