Islamic History Museum

SLAMIC HISTORY

MUSEUM

ABDULMOHSIN MOHAMMED A ADAS 03503567

LOPX NPSF BCPVU *TMBN

ACADEMY OF ART UNIVERSITY GRADUATE SCHOOL OF ARCHITECTURE MASTER OF ARCHITECTURE THESIS, FALL 2013

SLAMIC HISTORY

MUSEUM

ABDULMOHSIN MOHAMMED A ADAS THESIS COORDINATOR & ADVISOR: RICHARD SMITH

03503567

FINAL THESIS PROJECT M.ARCH 63 UNITS

ACADEMY OF ART UNIVERSITY GRADUATE SCHOOL OF ARCHITECTURE MASTER OF ARCHITECTURE THESIS, FALL 2013

TIME - 3:30 PM 11th OF DECEMBER, 2013

ARCHITECTURE GRADUATE DIRECTOR’S: MARK MUECKENHEIM

ACKNOWLEDGMENTS My journey has come to an end. First, I would like to thank God for giving me the strength to survive and to earn my degree. Then, my family for their endless support and prayers. A special thanks to my father Mohammed, my mother Jamilah, my sisters, my lovely fiance Abrar, who I met in this school, and my friends for being there for me during my ups and downs. I hope it's not a final goodbye.

TABLE OF CONTENTS - PROJECT NARRATIVE & USER GROUP

08

- CONCEPT STATEMENT

09

- PRECEDENTS

10

- CONCEPTUAL STUDY DIAGRAMS

15

- SPATIAL ANALYSIS DIAGRAMS

20

- SITE & CONTEXT ANALYSIS DIAGRAMS

22

- SUSTAINABILITY DIAGRAMS

27

- SPATIAL & FUNCTIONAL PROGRAM DIAGRAM

28

- SITE PLAN

29

- BUILDING CODE

30

- FLOOR PLANS

32

04

- STRUCTURAL DIAGRAM

38

- MECHANICAL DIAGRAM

40

- ELEVATIONS

41

- SECTIONS

44

- WALL SECTION

47

- CRITICAL SPACE

48

- DETAILS

49

- STUDY PROCESS

51

- PHOTO OF THE MODEL

52

- EXTERIOR RENDERINGS

61

- INTERIOR RENDERINGS

68

- TIMELINE

69

- BIBLOGRAPHY

70

05

THESIS PROJECT INDEX 4.1 PROJECT NARRATIVE, USER GROUP NARRATIVE AND CONCEPT STATEMENT. 4.2 PRECEDENT STUDIES. 4.3 CONCEPTUAL STUDY DIAGRAMS, SKETCHES AND MODELS SHOWING THE EXPLORATION OF MULTIPLE DESIGN SOLUTIONS. 4.4 SPATIAL ANALYSIS DIAGRAMS AND SKETCHES. 4.5 SITE AND CONTEXT ANALYSIS DIAGRAMS AND IMPRESSION SKETCHES. 4.6 NARRATIVE AND DIAGRAMMATIC ANALYSIS OF ALL SUSTAINABLE STRATEGIES. 4.7 SPATIAL AND FUNCTIONAL PROGRAM DIAGRAMS WITH AREAS/SQUARE FOOTAGES. 4.8 A SITE PLAN WITH STREET NAMES, SIDEWALKS, PROPERTY LINES, SETBACKS, ALL NEIGHBORING BUILDING FOOTPRINTS, CONTOURS, TREES, DIMENSIONS, GRAPHIC SCALE AND NORTH ARROW. 4.9 A BUILDING CODE SUMMARY: OCCUPANCY TYPE(S), CONSTRUCTION TYPE, ALLOWABLE AREAS, MAXIMUM HEIGHTS, REQUIRED FIRE SEPARATIONS, A DIAGRAM OF REQUIRED EXITS, PLUS A SUMMARY OF ZONING REQUIREMENTS. 4.10 FLOOR PLANS ALL LEVELS INCLUDING ROOF - MINIMUM SCALE 1/8”=1’-0”, MAJOR DIMENSIONS, AND ROOMS LABELED OR IDENTIFIED WITH A LEGEND, GRAPHIC SCALE AND NORTH ARROW. GROUND FLOOR PLAN SHOULD BE SHOWN IN CONTEXT AND RESPOND TO THE SITE ACCESSIBILITY REQUIREMENTS. 4.11 STRUCTURAL DIAGRAMS( COLUMN PLACEMENT, GRIDS, FRAMES, BEARING VS. NONBEARING WALLS, ETC).

4.12 MECHANICAL DIAGRAMS: A PLAN DIAGRAM THAT SHOWS AN UNDERSTANDING OF THE PRIMARY MECHANICAL SYSTEMS. ALSO SHOW ANY DUCT WORK IN DROPPED CELLINGS IN SECTIONS, SHOW THE LOCATION OF MECHANICAL ROOMS IN PLANS, AND SHOW ANY NATURAL LIGHTING, HEATING OR COOLING STRATEGIES YOU HAVE EMPLOYED IN THE DESIGN. 4.13 ELEVATIONS - MINIMUM SCALE 1/8”=1’-0”, SHOWN IN SITE CONTEXT. 4.14 AN ELEVATION DETAIL ( BAY OR FACADE AREA STUDY) MINIMUM SCALE 1/2”=1’-0”, DESCRIBING ALL MATERIALS ( CAN BE ELEVATION OR AXONOMETRIC).

4.15 SECTIONS - CROSS AND TRANSVERSE - AS MANY AS NEEDED TO FULLY DESCRIBE PROJECT - MINIMUM SCALE 1/8”=1’-0”.

4.16 ONE COMPLETE WALL SECTION ( FROM FOUNDATION TO ROOF ) OF A CRITICAL AREA - MINIMUM SCALE 1/2”=1’-0”.

4.17 ONE BUILDING SECTION OF CRITICAL PUBLIC SPACE - MINIMUM SCALE 1/2”=1’-0”.4.21 4..

4.18 FOUR BUILDING MATERIAL DETAILS OF CRITICAL AREAS, KEYED TO WALL SECTION - MINIMUM SCALE 1-1/2”=1’-0”.

4.20 STUDY, PROCESS, AND MASSING MODELS USED IN YOUR DESIGN PROCESS ( INCLUDE PHOTOS IN YOUR BOOKLET).

4.21 ONE COMPLETE PRESENTATION MODEL - MINIMUM SCALE 1/8”=1’-0” ( INCLUDE PHOTOS IN YOUR BOOKLET).

4.22 TWO EXTERIOR PERSPECTIVES IN COLOR. 4.23 TWO INTERIOR PERSPECTIVES IN COLOR. 4.27 ONE PHOTO OF EACH ELEVATION, ONE FROM ABOVE, PERSPECTIVE AT EACH CORNER FOR TOTAL OF NINE PHOTOGRAPHS.

08 10 15 20 22 27 28 29 30 32 38 40 41 43 44 47 48 49 51 52 61 68 52

06

THESIS PROJECT

SLAMIC HISTORY

MUSEUM

A SOCIAL HUB

My mission is to design an Islamic History Museum in Jeddah. The purpose of this project is to show the unity and equality of Muslims and to present the history of the expansion of the original Islamic nations and their impact on building. My proposal is a building which will act as a social hub for tourism, pilgrims and residents of Jeddah.

Through the interaction of those different patrons, the relationship between culture, religion and architecture will be explained.

Users Users of the facility will be comprised, of tourists, pilgrims and residents of Jeddah with an interest and genuine curiosity about the Islamic World.

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

PROJECT NARRATIVE & USER GROUP

PROJECT NARRATIVE

Advantages Since the 7th century, Jeddah has hosted millions of Muslim pilgrims from all over the world on their way to Hajj. Now, It is one of the most important Islamic cities. It’s considered the main gateway to the two holy mosques.

In that light, it is the most suitable location to explore the concept set forth in my mission statement.

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

08

HAJJ 1

Mina

“RITES Upon arrival in Mecca the pilgrim, now known as a Hajji, performs a series of ritual acts symbolic of the lives of Ibrahim and his wife Hajar. The greater Hajj (al-hajj al-akbar) begins on the eighth day of the lunar month of Dhu al-Hijjah. On the first day of the Hajj (the 8th day of the 12th month in other words, Dhu al-Hijjah), if they are not already wearing it upon their arrival, pilgrims put on ihram clothing and then leave Mecca for the nearby town of Mina where they spend the rest of the day.

Kaaba

2

Marwa

Stoning The Pillars 6

Saee Tawaf

7 5

Safa

Mina 4

JEDDAH

Muzdalifah

TAWAF The pilgrims perform their first Tawaf, which involves all of the pilgrims visiting the Kaaba and walking seven times counter-clockwise around the Kaaba. After Tawaf on the same day, the pilgrims perform sa`i, running or walking seven times between the hills of Safa and Marwah.

MECCA AL-MUKARAMAH

3

MECCA

Arafat

MINA & ARAFAT The next morning, on the eighth of Dhu al-Hijjah, the pilgrims proceed to Mina where they spend the night in prayer. On the ninth day, they leave Mina for Mt. Arafat where they stand in contemplative vigil and pray and recite the Qur'an, near a hill from which Prophet Muhammad gave his last sermon, this hill is called Jabal Al Rahmah (The Hill of Forgiveness, Mount Arafat). This is known as Wuquf, considered the highlight of the Hajj.

Pilgrims must spend the afternoon within a defined area on the plain of Arafat until after sunset.

MUZDALIFAH As soon as the sun sets, the pilgrims leave Arafat for Muzdalifah, an area between Arafat and Mina. Pilgrims spend the night sleeping on the ground with open sky, and in the morning they gather pebbles for the next day's ritual of the stoning of the Devil after returning to Mina.

MINA & STONING THE PILLARS At Mina the pilgrims perform Ramy al-Jamarat, throwing stones to signify their defiance of the Devil. This symbolizes the trials experienced by Abraham while he was going to sacrifice his son as demanded by God. The Devil challenged him three times, and three times Abraham refused. Each pillar marks the location of one of these refusals. On the first occasion when Ramy al-Jamarat is performed, pilgrims stone the largest pillar known as Jamrat'al'Aqabah. Pilgrims climb ramps to the multi-leveled Jamaraat Bridge, from which they can throw their pebbles at the jamarat.

On the second occasion, the other pillars are stoned. The stoning consists of throwing seven pebbles because of the crowds, in 2004 the pillars were replaced by long walls, with catch basins below to collect the pebbles.�

Source: www.hajjumrahguide.com/hajj_stepbystep.html

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

CONCEPT STATEMENT

The Holy Mosque

09

The Entry

The Baroque Kollegienhaus

Ax

h eat

Axis of Exile

fD so A xi

is

of

Co nt in ui ty

The Holocaust Void

Garden of Exile

JEWISH MUSEUM BERLIN Daniel Libeskind

Location

Berlin, Germany

Status

Completed

Function

History, Religion Museum

PRECEDENTS

Design

The New Jewish Museum Berlin

“The new design for the Jewish Museum Berlin which was created a year before the Berlin Wall came down was based on 3 conception that formed the basis of the museum. First, it’s hard to understand the history of Berlin without understanding the enormous intellectual, economic and cultural contribution made by the Jewish citizens of Berlin. Second, there is a necessity to integrate physically and spiritually the meaning of the Holocaust into the consciousness and memory of the city of Berlin. Third, only through the acknowledgment and Incorporation of this erasure and void of Jewish life in Berlin, can the history of Berlin and Europe have a human future.”

Source: http://daniel-libeskind.com/projects/jewish-museum-berlin

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

10

ARAB WORLD INSTITUTE Jean Nouvel

Location

Paris, France

Status Function

Completed Museum, Library & Culture

“In 1980, 19 Arab countries concluded an agreement with France to establish the AWI to spread knowledge and research the Arab World’s languages, and its cultural and spiritual values, reflecting the opinion that the Arab world - its civilization and values, its past and its future - needs to be better known and understood in the West. It supplies cultural information in a wide range of media: libraries, electronic data banks, a conventional glass-case museum, audio-visual displays, and an outreach program of touring exhibits and performances as well. This is not an Arab building, but an occidental one, it’s not pastiche, like the Paris Mosque, but modern and from an urban point of view, the Institute is a hinge between 2 cultures and 2 histories.

Certain symbolic items like the “moucharabiehs” whose polygons of varying shapes and sizes, create a geometric effect recalling the Alhambra. Jean Nouvel designed the whole of the museum, including the showcases, seating, and display furniture.”

The north side (BLUE) expresses Western Culture

The South Side (ORANGE) expresses Eastern Arab Culture

Night

Design

N

T

The Skin and the core of the building: The building design is basically an envelope defining an open space. So, the most important elements in the building are the core and the facade.

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

Section

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

PRECEDENTS

Source: http://www.architecture-studio.fr/en/projects/pastb1/arab_world_institute.html

11

ISLAMIC PATTERN Design

Umayyad Architects

Location

Islamic Buildings, Mosques

Status

Completed

Function

Decoration

“Islamic decoration makes great use of geometric patterns which have developed over the centuries. Many of these a derived from various earlier cultures: Greek, Roman, Byzantine, Central Asian, and Persian.

They are usually distinguished from the arabesque, the term for decoration in Islamic art based on curving and branching vegetal forms. But sometimes foliage and linear geometric patterns are combined in a single design, and some purely abstract linear patterns adopt designs that seem clearly derived from vegetal arabesque ones. The geometric designs have evolved into beautiful and highly complex patterns, still used in many modern day settings.� Source: http://www.sciencedirect.com/science/arti-

The square and rectangle play a significant role in Islamic architecture. One of the reasons for this is facades built from rectangular bricks. This ornamental brickwork casts shadows in the strong desert sunlight and creates a three-dimensional effect. A recurring motif is a small central square turned 45 degrees within a larger square. Another source for the square motif is woven baskets.

PRECEDENTS

cle/pii/S2095263513000216

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

12

TOPKAPI PALACE Mimar Sinan, Sarkis Balyan

Location

Istanbul, Turkey

Status

Completed

Function

Museum, Palace, Religion & Art THE FIRST COURT

“The main entrance to the first and outermost courtyard, known as the "Courtyard of the Regiments" is through the Imperial gate known as Bab-i-Humayun. It’s the main entrance to the museum these days.”

THE HAREM “Harem which in Arabic means forbidden, refers to a restricted area in the palace which is the living quarters of the sultan and his family, which includes his mother, brothers, sons and daughters, his female consorts and their woman servants.”

Golden Horn Bosphorus

THE THIRD COURT THE SECOND COURT “From the first courtyard, entry to the second courtyard is gained through the gate known as the Orta Kapi or Babusselam which may mean "the gate of greeting" or the "peace gate." This gate is also flanked by two towers on either side, and today this gate is the formal entrance to the Topkapi museum.”

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

The Middle Gate (Gate of Greeting)

Topkapi the largest and oldest palace in the world to survive to this day “Nowadays, it’s one of the most important Islamic museums in the world that has a lot things back to the Muslims before 1400 years. It was a residence & the main administrative of the Ottoman Empire then become a museum to the Islamic History.”

SLAMIC

HISTORY

MUSEUM

“Entry to the third courtyard from the second is through the "Babus-sade" or the "Gate of Felicity," which was guarded by the white eunuchs. The third courtyard was the private domain of the sultan and therefore entry was restricted to the sultan, who normally passed through "Babus-sade" on horseback, and only a favored handful of statesmen and trusted intimates.

Important buildings in this courtyard were the throne room, the sultan's treasury, the sacred relics chambers, the imperial university and the library of Ahmet III.” Source: http://english.istanbul.gov.tr/Default.aspx?pid=349

MASTER OF ARCHITECTURE THESIS, FALL 2013

PRECEDENTS

Design

THE FOURTH COURT “Access from the 3rd to the 4th courtyard is by a passage. The 4th court yard is the rear most section of the Topkapi palace, within which are located several pavilions surrounded by gardens. One pavilion in this courtyard is the "Revan Pavilion" which is the only wooden pavilion in the palace complex, and built by architect Koca Kasim in 1635. The "Baghdad Pavilion" also built by Koca Kasim in 1639 is an octagonal-shaped pavilion much bigger than the "Revan Pavilion." Between the "Revan pavilion" and the "Baghdad Pavilion" is the circumcision room and the place where the Sultans normally broke their daily fasting at sunset during the month of fasting (Ramadan).”

13

MUSEUM OF ISLAMIC ART Ieoh Ming Pei

Location

Doha, Qatar

Status

Completed

Function

Museum, Palace, Religion & Art

This is a “White museum, consisting of a blend of modern and traditional styles, and designed so that the cubic shapes of the museum, which descend from the dome in changing geometric patterns, will interplay with the sun and the shadows. To protect against the harsh sun, the heat and the salt heavy sea water, Pei selected a stone which could resist all these elements: the Shamisen stone from France. A crescent cape located in front of the museum offers further protection from the sea.

The interior is decorated with Grey Porphyry stone and Brazilian lacewood, and the lights are kept dimmed to protect the treasures within. Pei decided to locate the museum on an artificial island (a 60 meter causeway lined with palm trees links it to the Corniche) adjacent to Doha's port he chose an island so that the museum would never be overshadowed by development on the sea front.” Source: http://www.mia.org.qa/about/the-museum-building

CONCEPT

SECTION

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

FIFTH FLOOR

PRECEDENTS

Design

SECOND FLOOR

FIRST FLOOR

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

14

1

HAJJ

2 6 7

3 5

1

The Holy Mosque

Mina

4

Kaaba

2

Marwa

Stoning The Pillars 6

Saee Tawaf

7

Mina 4 EXPANSION

EQUALITY

TIME

1 X7 2

Muzdalifah

PEACE

5

6

UNITY

2

6

5

4

7 3

3

4 1

7

3

3

Arafat

2 1

IGNORANCE

7

5

4

6

PROPHET MOHAMMED “PBUH” UMAYYAD CALIPHATE I & THE FOUR RIGHTLY CE 610 CE 661 CE 750 GUIDED CALIPHS ISLAM BEGAN

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

ABBASID CALIPHATE &

UMAYYAD CALIPHATE II

OTTOMAN EMPIRE

PRESENT

CE 1031

CE - COMMON ERA

THE GOLDEN AGE OF ISLAM

SLAMIC

HISTORY

MUSEUM

1.6 BILLION MUSLIMS CE 1350

CE 1925

CE 2013

MASTER OF ARCHITECTURE THESIS, FALL 2013

CONCEPTUAL STUDY DIAGRAMS

UNITY

5

Safa

15

RELATIONSHIP 1

SENSITIZATION

2

TEACHING

3

UNITY

Hajj is a series of rituals performed by Muslims to answer the command of Allah in the last month of the Islamic calendar. It is the season where Muslims come to Makah from every place on earth. You may find people from every race, all standing together without any discrimination. Millions of tongues hailing in one voice, “ Oh Allah I am ready to obey your order, I am here. It is the unity of humanity under the flag of one word away from noises of greed and struggles”.

4

CELEBRATION

In this pilgrim, all the Muslims unite in one place. You will not be able to differentiate between the rich from the poor. It’s the spiritual moment when everyone is seeking Allah’s forgiveness.

5

SACRIFICE

A person’s destination is to Allah not to the stone or Kaabah. The pilgrims of Hajj are the Tawaf , which is walking counter clockwise around the Kaaba, then throwing stones, after that, the walk between the two mountains of Safa and Marwa, later, standing above the mountain of “ Arafat “. These are materials symbolize the deep spirit, Like a battle on Satan through unity and equality among the people. It is the biggest annual gathering in the world of Muslims that forms an intend of a journey.

6

DENIAL OF EVIL

7

THANKFULNESS / APPRECIATION

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

CONCEPTUAL STUDY DIAGRAMS

HAJJ

16

CONCEPT EVALUATION CONCEPT A

The Users Tourists

CONCEPT B

CONCEPT C

Pilgrims

Workers Students Seniors

Kids

The measurement

1 2 3 4 5

Max

Light

Size

Access

Light

Size

Access

Light

Size

Access

The Program LECTURE ROOMS

1

5

4

3

5

2

2

4

3

LIBRARY

3

4

2

4

4

3

3

4

2

AUDITORIUM

4

2

2

3

4

1

5

3

3

EXHIBITS

4

2

1

3

1

2

4

2

1

TEMPORARY EXHIBITS

3

2

1

2

3

2

3

2

1

PRAYER AREA

4

3

4

3

2

4

5

3

5

ADMINISTRATIVE

1

4

1

2

3

1

1

3

1

UTILITIES

3

2

1

2

3

2

3

2

1

GIFT SHOP

5

2

5

5

4

5

3

2

4

CAFE

4

3

4

3

2

4

5

3

5

ENTRY HALL / RECEPTION AREA

1

4

1

2

3

1

1

3

1

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

CONCEPTUAL STUDY DIAGRAMS

Min

17

CONCEPT EVALUATION CONCEPT A

The Users Tourists

CONCEPT B

CONCEPT C

Pilgrims

Workers Students Seniors

Kids

The measurement

1 2 3 4 5

Max

Form Competition Conceptual

Scenographic

1

10

1

10

1

10

10

1

10

1

10

1

Represent the Concept Of Hajj & Islamic History Expressing the inside outside

Less Concept than Program

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

CONCEPTUAL STUDY DIAGRAMS

Min

18

CONCEPT EVALUATION CONCEPT A

The Users Tourists

CONCEPT B

CONCEPT C

Pilgrims

Workers Students Seniors

Kids

The measurement

1 2 3 4 5

Max

Dealing with the Site Analysis

1

10

1

10

1

10

Wind Direction Sun and Lights Noise solution Views Accessibility Location Orientation Pollution Movement Flow City Pattern Lights Total Points = 150

ABDULLAH MOHAMMED A ADAMS ACADEMY OF ART UNIVERSITY

Total Points = 135

ISLAMIC

HISTORY

MUSEUM

Total Points = 124

MASTER OF ARCHITECTURE THESIS, FALL 2013

CONCEPTUAL STUDY DIAGRAMS

Min

19

THE TRANSITION BETWEEN THE AGES

3 UNITY

TEACHING - NATURAL LIGHT - IMMEDIATE MEDIA - MINIMALIST

3

FLOOR TO CEILING HEIGHT

1

2

SENSITIZATION - LOW SOUND - DIM LIGHT - DARK PAINT - WARM TEMPERATURES - SMOOTH FLOORING

GOING UP TO ANOTHER LEVEL

- HISTORICAL - IDEAS - MEDIA - USERS - NATURAL LIGHT - TECHNOLOGY

1

7

5

4

6

4

CELEBRATION - WHITE COLOR - ISLAMIC PATTERN - LIGHT - POSITIVE

5 SACRIFICE 7 THANKFULNESS / APPRECIATION - REFLECTION - EXPERIENCE

6

DENIAL OF EVIL

- GIFT - THE SOULS ON THE CEILING

- SHOWING SOMETHING THAT UNREACHABLE AT THE TIME (MECCA) LIVE

TYPE OF ARCH FOR EACH AGE

TIMING OF THE MUSEUM

10 AM

8 PM

GROUP OF PEOPLE EACH 2 HOURS

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

SPATIAL ANALYSIS DIAGRAMS

2

20

INTERACTIVE MUSEUM

SCREEN TABLE

ANTIQUES

This shows some important graphic for each age that represent what’s in this part of museum will show.

The Antiques from the Islamic empires that goes back to each age of Islam.

The model shows how big and wide was the Islamic country unified and show the expansion in each age.

SCREENS ON THE WALL

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

LIGHTING WALLS

This screens shows the most important things that happened that age. This is the most important part in the museum which is telling the story along the museum path.

The lighting walls will work when the people goes through it. They make that light on the wall turn on by their movement in the space.

3D HOLOGRAM

LIGHTING COLUMNS

This will show the most important battles that happened in this age. This will take a part in the auditorium or in the hallway and the people just be a part of it.

This columns is showing the most important characters in each age and information about him or her and what was his role in the Islamic history.

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

CONCEPTUAL STUDY DIAGRAMS

PHYSICAL MODELS

21

AL-JOUF PROVINCE TABUK PROVINCE

NORTHERN PROVINCE HAIL PROVINCE AL-QASEEM

MADINAH AL-MUNAWARH

RIYADH PROVINCE

EASTERN PROVINCE

MECCA AL-MUKARAMAH

SITE & CONTEXT ANALYSIS DIAGRAMS

JEDDAH, KINGDOM OF SAUDI ARABIA

“Modern Jeddah is the second largest city of the Kingdom of Saudi Arabia. It counts some 3.5 million inhabitants, and occupies an overall surface of approximately 1,000 square kilometers. Towards the North, Jeddah has developed according to two guidelines, the seashore and the motorway to Madinah and the international airport (KAIA). the new airport, opened in 1981, has further reinforced the appeal of the northern part of the city, where modern hotels, royal palaces and upscale neighborhoods have been built. The city stretches along the Red Sea coastline for tens of kilometers, and has a renowned corniche road, where hundreds of contemporary sculptures are exposed.”

ASEER NAJRAN PROVINCE

POPULATION “Jeddah is the second largest city in Saudi Arabia with a population currently at 4.5 million. Nearly half of population is composed of foreign workers and their families, who supply the labor of the city’s retail-, service-, and manufacturing - based economy.”

Source: http://juo.jeddah.gov.sa/en/content/jeddah_brief.asp

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

22

JEDDAH, KINGDOM OF SAUDI ARABIA LANDMARKS

MECCA AL-MUKARAMAH

SITE & CONTEXT ANALYSIS DIAGRAMS

JEDDAH

MECCA

LANDMARKS - Masjid Al-Rahma

- King Road Tower is commercial and office building which has the biggest commercial LED screen in the world.

- Bayt Naseef was built between 1872 and 1881 by a Jeddah landowner. It’s a museum and cultural center

- King Fahd’s Fountain is a major landmark built in 1980s and listed as the highest water jet in the world at 1,024 ft.

- NCB Tower was the first bank in Saudi Arabia and The highest tower during 1980s. This building gained two awards 1980s.

- Kuzam Tower

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

23

JEDDAH IN THE WORLD Tourism Business %26 %20

DENSITY OF MUSLIM POPULATION LOW

MOSCOW LONDON

HIGH

VANCOUVER NEW YORK PARIS

DENSITY OF PEOPLE VISITING FROM MAJOR CITIES

SAN FRANCISCO

WASHINGTON DC FRANKFURT CAIRO

LOS ANGELES

TOKYO

MANY DELHI SINGAPORE

FEW ARAB WORLD

Every year 17 million people come to Jeddah from different countries for different reasons. One of the most important reason is the Hajj. Muslims from all over the world should make the hajj to the Holy City of Mecca one in his or her lifetime. Other reason is commercial and it has one of the biggest seaports in the Kingdom of Saudi Arabia. Tourists come to Jeddah for many reasons including to see the old city of Jeddah and the historical buildings there. Also, it has many resorts on the beach, cafes and malls which makes it an attractive point for the locals too.

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SAO PAULO SYDNEY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

SITE & CONTEXT ANALYSIS DIAGRAMS

Islamic %54

24

SITE ANALYSIS 8

VOID

SOLID AND VOID

BUILDING HEIGHTS IN STORIES

THE VIEWS WITHIN THE SITE 2

8

SOLID

MASS

GREEN AREAS AROUND THE SITE

WIND PATH

NOISE AND POLLUTION

WEAK

STRONG

20 DB

60 DB

Haramain Highway

Rail Way Station

Site

GREEN

SITE & CONTEXT ANALYSIS DIAGRAMS

2

Mall

Hospital

Mixed Use

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

25

SITE ENVIRONMENTAL ANALYSIS 1

2 MADINA

2

GR

RIN EX PR

LLAH

ABDU

KING

JEDDAH DOWNTOWN

ROAD

PROJECT SITE

5

Mall

6

3

ALMURTADA STREET

5

1

7

2

2

Hospital 8

9 10

4

6 Haramain Highway Rail way MECCA

7

9

8

SITE

MAIN HIGHWAY

RAILWAY STATION

RAILWAY

DEVELOPMENT AREA

CLIMATE DATA FOR JEDDAH, SAUDI ARABIA

10

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

MOVEMENT FLOW

MONTH Record High

JAN

FEB

MAR

APR

MAY

JUN

AUG

SEP

OCT

NOV

DEC

91

95

100

104

108

117

108

108

108

106

106

93

Average High

84

84

84

91

95

97

99

99

97

95

91

86

Average Low

66

64

66

70

73

75

79

81

77

73

72

66

Record Low

48

52

55

54

55

66

70

73

70

68

63

50

Rainfall mm

5

0

0

0

0

0

0

0

0

0

25

31

% Humidity

56

52

52

54

53

56

53

55

63

51

57

55

SLAMIC

HISTORY

JUL

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

SITE & CONTEXT ANALYSIS DIAGRAMS

AY SW

ES

4

D OA

3

HARAMAIN RAILWAY PROJECT

26

SUSTAINABLE STRATEGIES The project was built of local materials that were found in the site.

“1. ELECTROCHROMIC GLAZING: It’s the sage glass that controls sunlight and heat that enter a building, providing great thermal efficiency. It also means buildings can use smaller, more efficient HVAC systems, dramatically reducing energy consumption.”

1. ELECTROCHROMIC GLAZING 2.METAL DECKING ROOF

3. RADIANT FLOOR

4. REFLECTIVE POOL

SUSTAINABLE DIAGRAM

“2. METAL DECKING ROOF: It’s a typical standing-seam panel with PV laminates applied to the panels in the factory. Metal also is the best selection for crystalline PVs because, unlike other materials, metal offers the longest service life. When installing a crystalline system that typically is warranted for 25 years of power generation, a building owner is going to want a roofing substrate that has a greater life expectancy than that of the solar panels. Standing-seam panels also provide a natural platform for attaching crystalline systems without any roof penetrations. ”

“3.RADIANT FLOOR HEATING SYSTEM: They’re installed under sub-flooring and floor finishes such as hardwood or tile. It is completely hidden, consisting of tubes embedded in a concrete or gypsum slab. The tubes are filled with water or gas as necessary that is supplied by the heating source.

The space above the floor is heated by radiation and also convection through the floor. An equivalent level of comfort can be achieved compared to air induced heat by setting the thermostat 4-8 degrees cooler. ” Source: http://sageglass.com/benefits/

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

27

PROGRAM Library

6,000 Sf

- Library

8,000 Sf

- Auditorium

10,000 Sf

- Exhibition

24,000 SF

- Temporary Exhibit

5,000 SF

- Space for Prayers

2,000 SF

- Administration

5,000 SF

- Building Services

4,500 SF

- Gift Shop

2,500 SF

- Entry Hall

8,000 SF

- Reception Area / Ticketing

3,500 SF

Cafe Reception Area

Lecture Rooms

Parking

Space for Prayers

Exhibit Area

Gift Shop Auditorium

Private Public Outdoor

Administration

1, 0’

10

73,500 Sf

2, 4’

37

Gross Area 25%

Total Area

92,250 Sf ’

0 44

2, ’

9 57

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

SPATIAL & FUNCTIONAL PROGRAM DIAGRAM

- Lecture Rooms

Building Services

28

DN DN

DN

DN

A7 3

ALI ALMURTADA STREET

OAD

SITE PLAN

KING

AH R

LL ABDU

SITE PLAN 0

32

64

72

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

29

BUILDING CODE SUMMARY

OCCUPANCY LOAD FACTORS

GROUP A-3 FUNCTION OF SPACE MECHANICAL ROOMS ACCESSORY STORAGE AREAS BUSINESS AREAS MERCANTILE PARKING GARAGES EXHIBITION ENTRY HALL (DECK)

TYPE OF CONSTRUCTION

302.1

FLOOR AREA PER OCCUPANT 300 300 100 30 200 400 15

TYPE I A

601

INTERIOR NON-BEARING WALLS BEARING WALLS STRUCTURAL FRAME FLOOR-CEILING STAIRWAY ENCLOSURES SHAFT ENCLOSURES BUILDING HEIGHT & ALLOWABLE FLOOR AREA

1004.1

0 HR 3 HR 3 HR 2 HR 3 HR 2 HR

A-3 OCCUPANCY TYPE A, UNLIMITED HIGHT

503

A-3 AREA TYPE A, UNLIMITED AREA

EXIT REQUIRED / STORY

1 - 500 501 - 1000 > 1001

EXIT SEPARATION

THE EXIT DOORS OR EXIT ACCESS DOORWAYS SHALL BE PLACED A DISTANCE APART EQUAL TO NOT LESS THAN ONE-HALF OF THE LENGTH OF THE MAXIMUM OVERALL DIAGONAL DIMENSION OF THE BUILDING OR AREA TO BE SERVED MEASURED IN A STRAIGHT LINE BETWEEN EXIT DOORS OR EXIT ACCESS DOORWAYS.

COMMON PATH OF TRAVEL

FROM ANY ROOM TO NEAREST EXIT

MINIMUM 30’-0”

AREAS SERVE LESS THAN 50 OCCUPANTS

MINIMUM 75’-0”

FOR SMOKE-PROTECTED AREAS

MINIMUM 50’-0”

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

2 EXITS 3 EXITS 4 EXITS

SLAMIC

HISTORY

MUSEUM

1021.1

1015.2.1

1014.3

MASTER OF ARCHITECTURE THESIS, FALL 2013

A BUILDING CODE SUMMARY

OCCUPANCY

30

DEAD END CORRIDOR DISTANCE

MINIMUM 20’-0”

1018.4

CORRIDOR FIRE RESISTANCE RATING

0 HR - WITH SPRINKLERS SYSTEM

1018.1

CORRIDOR WIDTH

MINIMUM 44”

1018.2

INCIDENTAL ACCESSORY OCCUPANCIES

PAINT SHOPS 2 HOURS OR 1 HOUR AND PROVIDE AUTOMATIC FIRE-EXTINGUISHING SYSTEM

508.2.5

STORAGE ROOMS OVER 100 SQ FT, 1 HR WASTE & LINEN COLLECTION ROOMS OVER 100 SQ FT, 1 HR REQUIRED SEPARATION OF OCCUPANCIES

NO SEPARATION IS REQUIRED BETWEEN ACCESSORY OCCUPANCIES AND THE MAIN OCCUPANCY.

508.4

EXIT ACCESS TRAVEL DISTANCE

GROUP A-3 OCCUPANCY WITH SPRINKLER SYSTEM, 250’

1016.1

FIRE PROTECTION

AUTOMATIC FIRE SPRINKLERS PROVIDED IN ACCORDANCE

903.1

ATRIUM ENCLOSURE OF ATRIUM

ATRIUM SPACES SHALL BE SEPARATED FROM ADJACENT SPACES BY 1-HOUR FIRE BARRIER

TRAVEL DISTANCE

IN OTHER THAN THE LOWEST LEVEL OF THE ATRIUM

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

404

MINIMUM 200’-0”

MASTER OF ARCHITECTURE THESIS, FALL 2013

A BUILDING CODE SUMMARY

BUILDING CODE SUMMARY

31

A

1 B

A

2

3

4

5

5

D

B

C

6

A1

7

A2

8 A3

9 A4

C

10

ROOM LEGEND

6

A5

11

1 AUDITORIUM

3 12

A6

2 PROJECTION ROOM 13

A7

3 KITCHIEN 4 LIBRARY

14

5

A8

4

A9

16

A10

5

A11

6 STORAGE

A12

A13

17

2

18

B

19

20

1

21

2

22 23 24 25

BASEMENT LEVEL 0

32

64

26

72 34

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

27

A

28 33

32

31

30

29

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

FLOOR PLANS

5 RESTROOMS

15

C

32

A

B

C

D

E

I

J

1

2

3

4

5

6

8

9

PARKING LEVEL 0

32

64

72

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

FLOOR PLANS

7

33

A

1

B

A

2

1

3

4

5

D

6

B

C

A1 7 A2 8

7

A3

9

A4

8 5

C

ROOM LEGEND

2

10

8 A5

6

1 TICKETING AREA

11

5

3

A6

12

2 ENTRY HALL 13

A7

3 RESTAURANT

5

14

A8

4 LIBRARY

4

15

C

A9

16

A10 A11

6 ADMINISTRATION

17

A12

A13

18

7 GIFT SHOP

B

19

8 STORAGE

20

21 22 23 24 25

GROUND LEVEL 0

32

64

26

72 34

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

27

A

28 33

32

31

30

29

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

FLOOR PLANS

5 RESTROOMS

34

A

1 B

A

2

3

4

5

D

B

C

6

A1

7

A2

1 8 A3

9 A4

C

10

ROOM LEGEND

5

2

1 HOLOGRAM SHOW

6

A5

11

12

A6

2

2 EXHIBITION

13

A7

3 LIBRARY

14 A8

4 STORAGE

3

15

C

A9

16

A10 A11

6 CLASS

5

A12

A13

17

4

18

B

19

20

21 22 23 24 25

FIRST LEVEL 0

32

64

26

72 34

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

27

A

28 33

32

31

30

29

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

FLOOR PLANS

5 MECHANICAL ROOM

35

A

1 B

A

2

3

4

5

D

B

C

6

A1

7

A2

8 A3

9 A4

C

10

ROOM LEGEND

A5

11

1 EXHIBITION 12

A6

13

A7

14 A8 15

C

A9

16

A10

17

A12

A13

18

1

B

19

20

21 22 23 24 25

SECOND LEVEL 0

32

64

26

72 34

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

27

A

28 33

32

31

30

29

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

FLOOR PLANS

1 A11

36

A

1 B

A

2

3

4

5

D

B

C

6

A1

7

A2

8 A3

9 A4

C

10

ROOM LEGEND

A5

11

1 EXHIBITION 12

A6

13

A7

14 A8 15

C

A9

16

A10 A11

18

B

19

1

20

21 22 23 24 25

THIRD LEVEL 0

32

64

26

72 34

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

27

A

28 33

32

31

30

29

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

FLOOR PLANS

17

A12

A13

37

STRUCTURAL DIAGRAM ROOFING

TRUSS CANTILEVERS TWO CANTILEVERS SUPPORTING EACH OTHER WITH FOUNDATION SUPPORT

STEEL TRUSS WITH INSULATION ON METAL DECK

STEEL COLUMNS STEEL BEAMS STEEL TRUSS CONCRETE FOUNDATION PILES

TRUSS TRUSS ACROSS THE BUILDING FOR THE LONG SPAN WITHOUT ANY COLUMNS

TRUSS CANTILEVER TRUSS WALLS AND FLOOR AND ROOF THAT HOLD THE LOAD

FIRST CONCRETE FOUNDATION WITH PILES FOUNDATION FROM CONCRETE THE SAME WIDTH OF THE BUILDING, WHICH SUPPORTS THE CANTILEVER

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

CONCRETE FOUNDATION SECOND CONCRETE FOUNDATION WITH PILES THE SECOND FOUNDATION IS TO KEEP THE TRUSS CANTILEVER FROM ROTATIONAL COLLAPSE.

SLAMIC

HISTORY

MUSEUM

CONCRETE FOUNDATION TAKES THE LOAD FROM THE STEEL COLUMNS

MASTER OF ARCHITECTURE THESIS, FALL 2013

STRUCTURAL DIAGRAM

TYPE OF STRUCTURE

38

STRUCTURAL DIAGRAM

SECOND CONCRETE FOUNDATION WITH PILES THE SECOND FOUNDATION IS TO KEEP THE TRUSS CANTILEVER FROM ROTATIONAL COLLAPSE.

STRUCTURAL DIAGRAM

FIRST CONCRETE FOUNDATION WITH PILES FOUNDATION FROM CONCRETE THE SAME WIDTH OF THE BUILDING, WHICH SUPPORTS THE CANTILEVER

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

39

AXONOMETRIC DIAGRAM

MECHANICAL ROOM

VERTICAL CIRCULATION

ENTRANCE AND EXITS

GROUND LEVEL

SECOND LEVEL

STREET LEVEL

FIRST LEVEL

BASEMENT LEVEL

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MECHANICAL DIAGRAM

THIRD LEVEL

MASTER OF ARCHITECTURE THESIS, FALL 2013

40

EAST ELEVATION 32

64

72

ELEVATIONS

0

WEST ELEVATION 0

32

64

72

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

41

SOUTH ELEVATION 32

64

72

ELEVATIONS

0

NORTH ELEVATION 0

32

64

72

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

42

ZINC PANAL CLADDING

GLASS DOOR

NORTH ELEVATION

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

CONCRETE STAIRS

SLAMIC

HISTORY

MUSEUM

3D SECTION

MASTER OF ARCHITECTURE THESIS, FALL 2013

AN ELEVATION DETAIL

METAL DECKING ROOF

43

L5 - THIRD FLOOR 60' - 0"

L4 - SECOND FLOOR 40' - 0"

L3 - FIRST FLOOR 20' - 0" L2 - GROUND FLOOR 6' - 0" L1 - STREET LEVEL 0' - 0" L0 - BASEMENT LEVEL -15' - 0"

SECTION A-A 32

64

72

SECTIONS

0

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

44

L5 - THIRD FLOOR 60' - 0"

L4 - SECOND FLOOR 40' - 0"

L3 - FIRST FLOOR 20' - 0" L2 - GROUND FLOOR 6' - 0" L1 - STREET LEVEL 0' - 0" L0 - BASEMENT LEVEL -15' - 0"

SECTION B-B 32

64

72

SECTIONS

0

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

45

L5 - THIRD FLOOR 60' - 0"

L4 - SECOND FLOOR 40' - 0"

L3 - FIRST FLOOR 20' - 0" L2 - GROUND FLOOR 6' - 0" L1 - STREET LEVEL 0' - 0"

SECTIONS

L0 - BASEMENT LEVEL -15' - 0"

SECTION C-C 0

32

64

72

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

46

METAL DECKING ROOF

ZINC PANEL CLADDING

L3 - FIRST FLOOR 20' - 0"

GLASS DOOR

INTERIOR POLISHED CONCRETE FLOOR

L2 - GROUND FLOOR 6' - 0"

L1 - STREET LEVEL 0' - 0"

MECHANICAL AREA UNDER THE FLOOR

WALL SECTION 0

32

64

72

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

WALL SECTION

EXTERIOR CONCRETE STAIRS

47

CRITICAL PUBLIC SPACE OF THE BUILDING

- HISTORICAL - IDEAS - MEDIA - USERS - NATURAL LIGHT - TECHNOLOGY

SECTION A-A 0

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

32

64

72

MASTER OF ARCHITECTURE THESIS, FALL 2013

SECTION OF CRITICAL PUBLIC SPACE

3 UNITY

48

STEEL COLUMN MECHANICAL AREA

MOISTURE HOLDING THE SOIL REBAR CONCRETE COLUMN

REBAR CONCRETE WALLS

REBAR CONCRETE FOUNDATION

COMPRESED SOIL

FOUNDATION DETAILS 0

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

32

64

72

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

FOUR BUILDING MATERIAL DETAILS

STEEL PLATE

49

Metal Stud Wall

Flashing Zink Panel Cladding Metal Decking Roof 1/2” Tempered Glass Brick

6” Concrete

DOOR DETAILS 0

32

64

72

1/4” Sloped / 1”

Metal Decking Roof Metal Stud Wall

FOUNDATION DETAILS 0

32

64

72

Rigid Insulation Water Proof Mambrain Zink Panel Cladding

DOOR DETAILS 0

32

64

72

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

FOUR BUILDING MATERIAL DETAILS

Expansion Joint

Threshhold

50

EQUALITY EXPANSION

CONCEPT A

TIME

1 X7

5

6

UNITY

STUDY, PROCESS & MASSING MODELS

2

4

7 3

CONCEPT B

PEACE 6

2 5

4 1

7

3

CONCEPT C

UNITY 1

2 6 7

3 5

4

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

51

ONE COMPLETE PRESENTATION MODEL ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

52

ONE COMPLETE PRESENTATION MODEL ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

53

ONE COMPLETE PRESENTATION MODEL ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

54

ONE COMPLETE PRESENTATION MODEL ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

55

ONE COMPLETE PRESENTATION MODEL ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

56

ONE COMPLETE PRESENTATION MODEL ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

57

ONE COMPLETE PRESENTATION MODEL ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

58

ONE COMPLETE PRESENTATION MODEL ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

59

ONE COMPLETE PRESENTATION MODEL ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

60

TWO EXTERIOR PERSPECTIVE IN COLOR ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

61

TWO EXTERIOR PERSPECTIVE IN COLOR ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

62

TWO EXTERIOR PERSPECTIVE IN COLOR ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

63

TWO EXTERIOR PERSPECTIVE IN COLOR ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

64

TWO EXTERIOR PERSPECTIVE IN COLOR ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

65

TWO EXTERIOR PERSPECTIVE IN COLOR ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

66

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

TWO INTERIOR PERSPECTIVE IN COLOR

TEACHING

67

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

MASTER OF ARCHITECTURE THESIS, FALL 2013

TWO INTERIOR PERSPECTIVE IN COLOR

UNITY

68

M.ARCH 63 UNITS PROGRAM TIME LINE

2011

2012

2013

FEB

MAR

SPRING APR

MAY

ARH 609 - INTERMEDIATE DESIGN STUDIO 1 6 UNITS

ARH 801 - GROUP DIRECTED STUDY: THESIS DEVELOPMENT PART A & PART B - 6 UNITS

MONICA TIULESCU

RICHARD SMITH

ARH 604 - MATERIAL AND METHODS OF CONSTRUCTION BUILDING DETAILING - 3 UNITS RICHARD SMITH

ARH 641 - ARCHITECTURAL HISTORY 3: MODERNISM AND ITS GLOBAL IMPACT - 3 UNITS HANS SAGAN

ARH 605 - GRADUATE DESIGN TECHNOLOGY 2: ENVIRONMENTAL CONTROLS - 3 UNITS

ARH 606 - CONSTRUCTION DOCUMENTS AND BUILDING CODES - 3 UNITS

ALBERTO BERTOLI

FUMIO SUDA

JUN

JUL

SUMMER AUG

SEP

OCT

FALL NOV

DEC

ARH 602 - GRADUATE DESIGN TECHNOLOGY 1: STRUCTURES - 3 UNITS FRANCISCO CASTILLO

IAD 611 - BIM - BUILDING INFORMATION MODELING - 3 UNITS MARK CRUZ

ESL 604 - ENGLISH CLASS WYNN NEWBERRY

IAD 621 - 3D MODELING EDWIN JORDAN

ARH 608 - BUILDING AND SITE STUDIO - 6 UNITS

ARH 619 - INTERMEDIATE DESIGN STUDIO 2 6 UNITS

ARH 801 - GROUP DIRECTED STUDY: THESIS DEVELOPMENT PART A & PART B - 6 UNITS

LETICIA SOOHOO

RICHARD SMITH

RICHARD SMITH

ARH 601 - SPATIAL COMPOSITION - 3 UNITS ERIC LUM

ARH 614 - ARCHITECTURAL PROFESSIONAL PRACTICES - 3 UNITS ELIZABETH TIPPIN

TOTAL

ARH 620 - DIGITALLY GENERATED MORPHOLOGY - 3 UNITS

ARH 658 - INTRODUCTION TO COMPUTER ADIED DRAFTING & MODELING - 3 UNITS

KORY BIEG

BENJAMIN RICE

ABDULMOHSIN MOHAMMED A ADAS ACADEMY OF ART UNIVERSITY

SLAMIC

HISTORY

MUSEUM

63 UNITS

EXPECTED GRADUATION FALL 2013

MASTER OF ARCHITECTURE THESIS, FALL 2013

MASTER DEGREE TIME LINE

JAN

69

BIBLIOGRAPHY - “SWARM ARCHITECTURE.” SWARM ARCHITECTURE. N.p., n.d. Web. 23 Nov. 2012. <http:// swarmarchitecture.wordpress.com/category/swarm-architecture/>.

-”Hajj.” Wikipedia. Wikimedia Foundation, 23 Nov. 2012. Web. 23 Nov. 2012. <http://en.wikipedia. org/wiki/Hajj>.

-”Spread of Islam.” Wikipedia. Wikimedia Foundation, 23 Nov. 2012. Web. 23 Nov. 2012. <http:// en.wikipedia.org/wiki/Spread_of_Islam>.

- Islam, The Spread Of Islam.” Islam, The Spread Of Islam. N.p., n.d. Web. 24 Nov. 2012. <http:// history-world.org/islam4.htm>.

- “About the Museum.” Jewish Museum Berlin -. N.p., n.d. Web. 24 Nov. -2012. <http://www.jmber lin.de/main/EN/04-About-The-Museum/00-about-the-museum.php>.

- Thangavelu, Sivakumar. “Architecture 12 of 23 Daniel Libeskind Jewish Museum Berlin.”

YouTube. YouTube, 28 Aug. 2011. Web. 24 Nov. 2012. <https://www.youtube.com/watch?v=SUT kt0z_NTU>.

- “Arab World Institute.” Wikipedia. Wikimedia Foundation, 16 Nov. 2012. Web. 24 Nov. 2012. <http://en.wikipedia.org/wiki/Arab_World_Institute>.

- 2012. <http://www.pat - “Pattern in Islamic Art.” Pattern in Islamic Art. N.p., n.d. Web. 24 Nov. terninislamicart.com/>.

- “Heilbrunn Timeline of Art History.” Geometric Patterns in Islamic Art. N.p., n.d. Web. 24 Nov. 2012. <http://www.metmuseum.org/toah/hd/geom/hd_geom.htm>.

- “Museum of Islamic Art Doha Qatar.” Museum of Islamic Art Doha Qatar. N.p., n.d. Web. 24 Nov. 2012. <http://www.mia.org.qa/landing/index.php/en/>.

- “The Topkapi Palace Museum.” The Topkapi Palace Museum. N.p., n.d. Web. 24 Nov. 2012. <http://topkapipalace.com/>.

- “Swarm Theory.” - National Geographic Magazine. N.p., n.d. Web. 24 Nov. 2012. <http://ngm. nationalgeographic.com/2007/07/swarms/miller-text>.

- Frishman, Martin, Hasan-Uddin Khan, and Mohammad Al-Asad. The -Mosque: History, Architec tural Development & Regional Diversity. New York: Thames and Hudson, 1994. Print.

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