Embroidery by a dune.

Parsons School of Design

An anthology of narrativesspatialfrom Arabia

A series of stories piecing moments of the never - ending chain reaction. Time, human, and societal behaviors are significant contributors to existence. Existence resides within an environment. This is a body for the sentient expression of space, rendered through the perspective of the desert. A vast nothingness and the environment’s roar.

Embroidery by a dune.

A chain reaction exists, like a domino effect; every energy is embroidered into an entity—a foundation. A daughter is her brother’s sibling; a mother is her son’s blood. The cosmos is the ocean’s mind. The chain extends with every new experiment humanity explores; this exploration is an extension of the rhythmic rhizome of a chain reaction. Acknowledging this reaction in the process of manufactured creations is a vital experimental stage for human-supportive design.

Dedicated to every under - represented being.

From the Naqib deserts of Palestine to the dunes of the Saqatri archipelago. From the Western Sahara to the Gobi Desert and all the way down to the Namib.

Khaled Alanjery’s Bachelor of Fine Arts in Interior Design Capstone project.

By Khaled Alanjery

Instructed by Gokhan Kodalak

Embroidery by a dune

is a set of narratives exploring moments of the chain reaction under a macro/microscopic lens, Specifically analyzing geological, political, societal, and human behaviors to produce an emblematic spatial environment.

Embroidery by a dune.

Activities

Overture: Enmeshment of man and land

Epilogue: Rhizome

Reciprocation: Kinetic response

Morphology

II

Structures conceived by nature.

III

Spatial narratives

IV

Reciprocator

Beautiful creatures and beautiful things exist simultaneously. They morph into shapes and forms differently. Beautifully.

Oh, solitude, my home. I’ve lived too long. I’ve felt familiar in stranger homes.

One grain of sand in a desert is a skeuomorphism of one body in the cosmos. A loud and crippling thought. A calm and comforting feeling, the vast nothingness of Arabia.

This is a symphony featuring multiple instruments generating several forces from the Anthropocene. These forces affect spatial environments, therefore affecting the chain reaction.

Keyword ------------------ Morphology

The scientific study of the origin and evolution of topographic and bathymetric features created by physical, chemical or biological processes operating at or near Earth's surface.

Geology

The study of the evolution of form within the built environment. Often used in reference to a particular vernacular language of building, this concept describes changes in the formal syntax of buildings and cities as their relationship to people evolves and changes.

Morphology in

The branch of biology that deals with the form of living organisms, and with relationships between their structures.

Design

Morphology in

Biology

Morphology in

“God created man from clay.”

Physical Cosmology claims that our planet was a point expanded, stretched, and morphed into rhizomes of diverse and clashing landscapes. Man and ground together form a monolithic entity, or in other terms, a community between two sentient elements, humans and earth, a conversation between man’s touch and the environment’s roar. Utilizing varied methodologies, nature and humanity exhibit their creational prowess uniquely. Landmasses of India and Eurasia collided by tectonic plate movements to form the Himalayas. Aeolian processes create the barchan dunes of the Arabian desert through Mediterranean winds. Designers and Architects conceive environments informed by nature, such as Jørn Utzon’s designs for the Sydney Opera House, in which he studied the oceanography of Sydney to create a constructed environment that celebrates the arts of sonic activity.

Design and geology are separate planes that inform and complement one another. Dunes create transient constructed environments within their concave faces; these environments shield occupants from harsh winds and offer dramatic manipulations of daylight; both geological offerings can be incorporated into built environments, and this crafts an embroidery between man and land. How can we reach out to our environment’s activity and have a direct conversation that produces a complementary language through built environments despite societal disruptions ?

Varied methods with informative ethos.

A wide perspective

Through a macroscopic lens, the modern world is nature’s magnum opus. German climatologist Alfred Wegener’s theory of continental drift hypothesized that earth’s continents were once united into a single landmass called Pangaea but then drifted apart over time through a process known as continental drift. Assuming that Wegener’s theory of continental drift is true, earth’s transient morphologies mutate microscopically. From a narrow perspective, post - glacial flooding occurred between 15,000 to 10,000 years ago that formed the Arabian Gulf basin, debris from the Tigris - Euphrates River formed a substantial delta, creating most of the land known as the Arabian Gulf region.

as synthesizer

Folklore a for creation.

A narrow perspective

The Arabian Plate is the largest tectonic plate in the Middle East and is one of the most active areas in tectonic activity. Kuwait specifically has an immersive geological significance due to the country’s northern location within the Arabian Gulf. Sedimentary rocks, Fossils, and oil reserves make Kuwait an essential site for geological research. Mesolithic artifacts from as far back as 8000 BC were discovered in Kuwait’s Burgan Field, proving early human presence. During the Ubaid period (6500 BC), Kuwait was the central site of interaction between the people of Mesopotamia and Neolithic Eastern Arabia. Moreover, Failaka island in Kuwait was inhabited by Mesopotamians of the Sumerian city of Ur, where they practiced trade with Sumerian mercantile and built Mesopotamian environments on the island. Ruins of Mesopotamia exist to this day in Failaka island. Kuwait’s geological, political, and cultural history makes its land and people an imperative paradigm for transcribing and dissecting conversations between society and the environment. A discourse between man and land. For example, The Gulf War and its effect on the northern desert of Kuwait are models of how societal and political actions alter the environment and its morphology.

The political and cultural significance of the nation stems from its geology. Wars were fought over Kuwait’s coastal location and fossil energy sources; these conflicts were ignited due to the land’s surface and resources beneath it. Erosional and depositional aeolian sediments mainly cover Kuwait’s land. Aeolian features in Kuwait take various forms, mainly in sand sheets depending on wind, the wind regime, and the area’s geomorphology, which forms the transient monolith, the Barchan dunes of the Kuwaiti Desert.

Narratives of a land personalize a society. Its folklore, legends, and mythologies are functional ornaments, they gleam over a city, light up bridges, compete with the stars above, sometimes, they reflect on monoliths, houses, and buildings. They are powerful enough to puncture through walls and colorize rooms.

Museo Soumaya contains Mexican and European works of art, religious relics, and historical documentation.

A center for the narratives of time and history, enclosed in a metallic facade, reflecting on the city’s historical agenda and physical landscape.

Museo Soumaya. Designed by Fernando Romero.

The environment and time.

Land is a transient enigma; it shifts, changes, and morphs in various and unpredictable ways. This is a study on the choreography of land.

The desert is a vital landscape of the Arabian Peninsula. We seek comfort and solitude from this unmonitored environment. Today, the Arabian Peninsula mainly comprises urban coastal cities due to development and unbearable climates. However, the people of Arabia never stopped connecting with the emptiness of the desert. Camping trips, ritals, and activities within the deserted areas are culturally crucial.

A notable activity is Kashta, a traditional desert camping trip reflecting a traditional Arabic lifestyle between dunes of Arabia. While the desert carries immersive cultural stories, it also contains an active society. Barchan dunes are sentient bodies; they migrate, collapse, and form a holistic community.

My undulating land, you gave me my straight posture as I’m being fed underneath your scorching grains. Crossing my legs, sipping buttermilk, I like it cold; your sun keeps it warm. I like it warm; the hymn of your winds keeps it cold. The silent roar of my desert. My folklore. My legend. My mythology.

Erect my I nterv ention, Erect

my monoli th.

my ar ti fact, my monoli th. my

This project aims to accommodate the transiency of geological and aeolian activities while enmeshing the environments roar with a human introspection, this aim requires nothingness and spatial energy; these characteristics are present in the Al-Liyah desert in Kuwait, this site adds another layer to acknowledge.

The societal factor. Individuals forget crucial stories this land once screamed and keeps roaring. Hidden history buried underneath its sediments. Narratives capable of altering the future. Once knowledge is resurrected, change will be inevitable.

It is undeniable that my generation became the shovel for this uprising, an upheaval that might answer questions to whatever the environment keeps roaring. A raging collective, its roar is finally loud enough to go through the disguised subtlety of the desert and communicate with it; this idea is embodied in various spatial activities within this project, linking natural activity with societal rehabilitation. A space for escapism that poses an experimental solution for dune migration.

Dissecting the desert, tearing it into pieces, and studying its impact. The incubator of narratives.

Desert dunes are formed in areas with limited sand supply and unidirectional wind flow.

The wind blows the sand particles across a flat desert surface and deposit them on the wind - ward side of the dune, forming a ridge. As the sand particles accumulate, they eventually, reach a critical height where they start to avalanche down the steep slope on the leeward side of the dune, Forming a crescent shape, an imprint of aeolian activity. The avalanche is a mark of the maximum brink of aeolian intervention.

tension.

An

Barchan dunes are parabolic crescent - shaped dunes found in the desert of Kuwait. The two tips of the crescent on the convex side face the direction of the prevailing winds. Wind regimes determine the construct of dune belts, which are the desert’s geological society; within the nothingness, dunes migrate together and morph into each other, creating families of dune belts comprising multiple dunes with parallel active characteristics, making the unmonitored land of the desert an active habitat. The dune belts’Migration rates and cycles determine their physical characteristics.

1000ʼ N. 29 . 66 5 433E.47.134. 79 5 Dune 1 48

Dune 6 - 7 Dune 78 Dune 4

Site options Dune 5 - 6

Al

Sorting + filtering site options to study through geographic information systems.

* All desert photos were captured within the bounds of this map.

Dune complex.

Barchan dunes are found in several locations across the Middle Eastern region, including the Al - Jahra and Ahmadi areas in Kuwait. They can reach up to 30 meters and cover several square kilometers. These dunes play an essential role in the local ecosystem, providing habitat for a variety of desert flora and fauna, which are dictated by the morphology of dunes.

Al Liyah desert is located in northern Kuwait and is mainly covered by erosional and depositional sediments. Sculptural expressions of the deposited sediments are barchan dunes; these parabolic dunes are created by wind erosion, which shapes the sand into a long, sloping ridge on the windward side of the dune and a shorter, steeper slope on the leeward side. Due to the crescent shape, an architectural feature designed by Mediterranean winds is erected, a dichotomy of convex and concave faces.

*the interiority of sand dunes is naturally invulnerable to harsh winds.

Transient dunes comprise convex and concave faces; the concave face forms a semi-constructed environment within the vast nothingness of the desert; this concave face is the slip face, a body of sand formed from avalanching sand particles from the edge of the convex face, this edge is the brink of the convex face which is also the main body of the dune.

Choreography of land

Main body

Brink

Brink

Slip face

Crest

Crest

Dune 4 -------------------- Unrolled faces

Dune 4

Concave Convex Anatomy

The concave face is the “architectural interiority” of the site, with the main body blocking harsh winds and the slip face forming an open cocoon for occupation, naturally erected by Mediterranean winds, creating an imprint of Aeolian activity.

Convex face Wind sheild

Interiority

Concave face Cocoon

23.1ʼ

3.3ʼ

A distinguishing feature is that the slip face represents the continuous reshaping as wind-blown grains tumble down its steep leeward slope. Concave and convex faces surround it, forming wavy patterns highlighting the delicate balance between erosion and deposition. The central portion of the dune is evidence of the millions of grains that have accumulated and been shaped over time by the dominant winds. The thin border separating stability and change is typically marked by a tiny crest at the dune’s edge.

Choreography of land

Orthographic Plan

The ever - changing sands capture the essence of the craftsmanship of nature. These dunes are constantly changing due to the constant avalanches that the unrelenting winds cause, which creates a fascinating ballet between the forces of nature and the fragile sands of Kuwait’s desert terrain.

Orthographic Section + Elevations

Dune migration is a natural process in desert regions, In the case of Kuwait, the direction of dune migration is mainly influenced by the dominant wind direction, which is from the north and north-western regions during most of the year. The dunes tend to move in the direction of the prevailing wind, which can lead to elongated dunes parallel to the direction of the wind. The dune migration rate in Kuwait varies depending on several factors, including wind strength, sand availability, and topography. The migration rate is generally highest during periods of solid wind activity and when there is a plentiful supply of loose sand.

The nothingness of undulating elevations is a fabric of sentient, intuitive, and transient societies, these societies are constantly disrupted by inappropriate human interventions, disregarding organic morphologies of the land.

Choreography of land.

Morphology + Migration in Geology.

Sophistication in the Barchan dunes of Kuwait

The sophistication of dunes is in their migration habits. Dune migration is the movement of dunes over time. The action of wind on loose sand particles forms it. When the wind blows, the sand grains are carried, causing the dunes to move and change position slowly. In 1999, Researchers Jasem Al-Awadhi, Ali Al-Dousari, and Abdullah Al-Enezi used iron posts and applied regressions to experiment on dune migration rates and their morphological characteristics in the northern desert of Kuwait. The researchers observed that the barchan dunes of Kuwait migrate in an estimated 1.9 feet within 30 days and 22.8 feet within a year; these rates fluctuate depending on wind strength and dune density.

Design and the geological narrative.

------ Implications

Design and the geological narrative.

------ Opportunities

Barchan dune migration can affect built environments and urban planning in desert environments. The movement and shape of barchan dunes can affect the placement and design of buildings and the surrounding landscape. In areas where barchan dunes are known to migrate, a rchitects, designers, and planners may need to consider the potential risks to buildings and infrastructure, such as the possibility of sand burial or erosion. They may also need to consider the changing shape of the dunes and their impact on views and access to the areas. One approach to addressing the challenges of barchan dune migration is to design buildings and infrastructure adaptable to changing conditions. Constructing buildings with forms and materials that avoid any disruptions to natural ecosystems, an example would be Magnus Larsson’s Dune Project. Magnus’ concept is to employ the natural process of bacterial solidification, which transforms sand into a material comparable to concrete. Additionally, designers may consider using materials and construction methods well-suited to desert environments, such as reinforced and precast concrete; a great example would be Jørn Utzon’s National Assembly of Kuwait.

In some cases, barchan dune migration may also offer opportunities for innovative spatial design. For example, the movement and shape of dunes can create interesting patterns of light and shadow, which can be incorporated into the design of buildings or landscape features. Overall, the process of barchan dune migration highlights the importance of understanding the dynamics of desert environments and how they can influence architecture and urban planning. By taking into account the unique challenges and opportunities presented by desert landscapes.

Al-Liyah dunes can migrate several meters per year and, in some cases, as much as tens of meters per year. Sand dune migration can significantly impact the local environment, including forming sand drifts, which can bury vegetation and infrastructure. In Kuwait, dune migration can also lead to the exposure of previously buried archaeological sites, bunkers, and landmines from the Iraqi invasion in Kuwait. Various measures have been taken in the region to mitigate the impacts of dune migration, including using sand fences to control the movement of sand, planting vegetation to stabilize dunes, and constructing barriers to protect infrastructure. These measures can help reduce the impacts of dune migration and protect the local environment and infrastructure. Dunes communicate with the fabric of land, enmesh like embroidery, and fornicate when they collide, a complex sociological system, loud and layered, cemented in a mute strip of bedrock and sediment.

In recent years, human activities such as oil exploration and mining have also contributed to the movement of dunes in the Arabian desert. For example, the construction of roads and pipelines can disrupt natural drainage patterns and alter the flow of sand, leading to changes in the dune belt over time.

2023

Ghazali Road, Kuwait

communicate with the fabric of land

and its history?

National Assembly of Kuwait. Designed by Jørn utzon.

Arabian Gulf road, Kuwait City.

1981

Gulf War. Kuwaiti girl and her lamb.

The morphology and ecosystem of the northern desert of Kuwait were disrupted by the political repercussions of the Desert Storm during The Gulf War of 1990 -1991 during the Iraqi invasion of Kuwait. The region’s ecosystem had been severely altered by operations linked to the Gulf War. Thousands of kilometers of surface sand were excavated from the northeastern area of Kuwait (including the AI-Liyah area) to build defense systems like bunkers, trenches, and weapon pits. Repercussions from political interventions altered natural and artificial formations. War and calamity penetrated the organic linguistics of form between architectural and ecological communication; an example would be the National Assembly of Kuwait by Jørn Utzon; the building was intended to feature exposed concrete finishes but was painted white due to damages from the Gulf War. Political interventions dictated design decisions, primarily when the choice was based on practical guidelines.

National Assembly of Kuwait,

Designed by Jørn Utzon.

The governmental plaza’s glorious yet deceptive feature is its formation and use of materials. Regardless of concrete’s immobile and static characteristics, Architect Jørn Utzon captured wind movement and cascading tendencies of fabric, a pillar in the history of Arabian constructed environments, from hair tents of the desert to decorative treatments in rooms of Arabian hospitalities. Texture was accentuated by form, Dual - parabolic shapes were utilized on the roof; from an overhead perspective, the concavity disperses daylight evenly when the mid-day sun impacts the plaza. Looking upwards from below, daylight shines through the convex faces of the roof, forming a gradual texture manipulation by the desert sun. Structurally, 600-ton concrete beams support the flowing roof, using traditional methods of hair tent pillars on a dense concrete structure, while form makes the physical appearance weightless and flowy. Deceiving the eye through design by observing cultural patterns of constructed environments and applying conceptual intuition to erect a monolithic and nomadic emblem representing democracy.

In his design of government offices and halls, Architect Jørn Utzon appropriates a regional vernacular typology and is influenced by the bazaars of the Arab and Persian landscapes. Rooms are arranged in a straightforward grid layout, centered around central courtyards encircled by circulation areas. This creates modular units that are then replicated throughout the grid. This area of the building’s components is put together using a limited number of precast concrete forms, bringing into sharp relief the contrast between contemporary building techniques and a shaky relationship to historical identity. Beyond basic schematics, Utzon’s well-intentioned endeavor to appeal to an idealized version of the Kuwaiti culture occasionally devolves into a crude replica of Arab architecture and adornment. Arab ornamentation is freely utilized but frequently abstracted to meaninglessness, as seen in the palmetto detailings on the windows of the National Assembly of Kuwait debating chamber. However, the visual presence of the building has an apparent regional quality. Suggesting that Utzon was able to reconcile conflicting and somewhat incompatible design objectives.

Images by the Utzon Center. 1971 -- 1983

Kuwait’s national character is shaped in part by the National Assembly. It is a reflection of the political ideals of the nation, historical events, and national ambitions. Kuwait’s national course is partly defined by the decisions taken in the assembly. Therefore, making the structure a habitat for democratic unity, reflecting a mindset governed by the nation; with that in mind, Sir Jørn Utzon formulated a perception, one that revolves around ambiguity in classification, a noble accuracy in appreciation, or a blurred intention in false transcription of identity. Nonetheless, the project breeds architectural innovation in concept through assembly. A Chronophotographic representation of an ambiguously perceived culture by the architect. This perception is rendered in design, Which cannot help but reference the ancient Greek sculptural technique of the Contrapposto, proven in a neuroimaging study to enable a ‘supernormal stimulus’ and visual attraction.

, war torn monoliths war torn cities, war torn cognitive states.

Images by the Utzon Center.

National Assembly of Kuwait, Designed by Jørn Utzon.

narratives of man and land

National Assembly of Kuwait. Designed by Jørn utzon.

Images by the Utzon Center.

Arabian Gulf road, Kuwait City. 1981

Farwaniya Governorate, Kuwait.

Kuwait International Airport model, Designed by Kenzo Tange.

Images from Tangeweb.

Structures conceived by nature. Disrupted by war.

Flexibility of shape + form

------ Poetry

Kuwait International Airport By Kenzo Tange, located in Farwaniya Governorate is one of the most critical systems of communication in the Middle Eastern region. The Airport operated from 1927 to 1928. Its primary function at the time was to serve as a stopover for British aircraft en route to British-colonized India. In1979, the current main building of the Airport, designed by Kenzo Tange, was inaugurated. Described in 1985 by critic Stephen Gardiner as “the most beautiful airport in the world” because of its “breathtaking simplicity of color and shape.” It is a “white sculptured space as cool as an ice cube, as enormous as a vat intake of pure air, as light as a tent, as canvas hung from cables and sails.” In formal words, the Airport is the culmination of Japanese architecture of the time, a transcultural voyage embedded in Kuwait’s soil. 11 years after the Airport’s inauguration, the Iraqi invasion of Kuwait began, a war on the people of Kuwait, land, and erected structures on its scorching desert.

Then comes calamity

------ Design + War

Kuwait International Airport was the battleground for a tank battle between U.S. and Iraqi forces during the Gulf War in 1991. The battle is known as “The Battle of Kuwait International Airport.” This battle is one of the most prominent events that caused a victory for Kuwait. This highlights the idea of architecture and design being perceived as theoretical advancements. When the time of combat is due, architecture and design are boiled down to nothing but manufactured real estate and materials sewn in the land. When land is needed for occupation, structures are scraps waiting for usage on the fresh tapestry. A building as crucial as an airport undergoes the test of time and history.

Reflection of history

------ Concealment

Kenzo Tange’s designs and physical intellectuality went through war with the people of Kuwait, Prolific Remnants after war were able to maintain the solidification of Sir Kenzo’s theories. Sadly, post-war renovations concealed those theories. Pre-war, the interior architecture of the departure hall was laced with a striking white stone, which was sadly covered by metal panels due to post-war renovations. Some areas in the building were left untouched and could be restored, carrying the weight of Kenzo Tange’s layout and programmatic legacy. Since its inauguration, the region has been in awe of this glorious structure. However, its innovation did not last, and design did not have anything to do with its longevity; violence did. It is a structure of history featuring concealed innovation; this is Kuwait International Airport, designed by Kenzo Tange in war, an unpredictable practice far from design.

Kuwait International Airport, Designed by Kenzo Tange.

Images from Tangeweb.

Farwaniya Governorate, Kuwait.

Structures conceived by nature.

Disrupted by war.

The architectural desert rock of an airport went through infrastructural damage, causing about $330 million in losses. Kuwait Airways resumed operations but scaled back services from the airport in December 1991 to restore the airport infrastructure to total operational capacity. The airport also expanded Its duty-free complex to provide more commercial center spaces to serve Its growing market. The Ministry of Exterior has also initiated various developments to increase the airport’s ability to operate more extensive aviation services. A swift recovery was necessary; this recovery needed to be inexpensive and efficient, even if it concealed Kenzo Tange’s design philosophy.

Unknown Source.

Structures and monoliths can reflect sentient and historical narratives of land and self; produced by geological and cultural concepts, live and grow with those same ideas as the environment engulfing those structures suffer, celebrate, and develop.

An aeolian imprint forms on nature’s tablelands,

Bureaucratic imprints form on hippocampi and ecosystems. Disruption, calamity, and agony on an infinity of complex structures. A chain reaction.

Thread and needle.

Monolith and bedrock.

Structure and land.

Embroidered rhizome.

Spatial

narratives

Narratives of man and land were explored. At this phase, a tapestry will be created, using threads from the rhizome of the modern world.

Spatial narrative Reciprocator

The narrative highlights several aspects of human activity and the geological behavior of the desert and its people. Envisioned in Al - Liyah desert of Kuwait, the site provides several protagonists and plots, such as societal constructs and environmental challenges, which are reflected in this project through activities within its program and the physical formation of this spatial intervention.

The Reciprocator of time,

make an imprint the way your dune did.

Erect within the nothingness if you want to be dashing, Camouflage beneath sand if you want to sleep.

Camouflage beneath sand if you want to sleep.

2023

4th of February, 4:58 PM.

AlLiyah desert, Kuwait.

This spatial intervention is a reciprocator of the ever----so----transcient dunes. A sculpturally manipulative stop, accommodating the sand structures in their dune migration journey.

Reciprocator Interiority

Embroidering geological habits with human behavior on the fabric of a politically affected land. All under the cosmos.

A site for human recovery from societal constructs, reconciling the war - torn, unmonitored desert with mental meditation under a rayless sky.

A complementary intervention sewn peacefully into ground, forming a tapestry influenced by a skeuomorphism of traditional Berber tents.

Undulating interiority.

Sheltering intimacy, supporting human touch, and receiving sentient societies of sand. Sediments and humans. Sometimes over a Sandstone shell, othertimes under a reflective blanket.

Dune location 2023.

Al - Liyah desert, Kuwait.

Morphology

Orthographic Sections

AlLiyah desert, Kuwait.

Marigold reflections beneath a sometimes blue sky. Dark reflections beneath a sometimes bejeweled sky.

19 FT

The main three undualting panels dip to create depressions that accentuate the natural morphologies of sand through aeolian migration, making the structure an incubator of biophillia.

Performance activity ---- Art + Culture

The parabolic form enables an ideal space for acoustical practices.

Reciprocation

S/W - Concave + gentle

South side

S/E - Concave + steep

West

East

Column Placement

Reciprocation

West Depression

North Depression

East Depression

Column

Column footing

Pendant fitting

Column fitting

Radiant tube heaters

Heating / lighting system

Strap beam

Aeolian Sediments

Bedrock

1. Film Photovoltaic layer

2. Basillicus Pasteurii ( Solidified sand )

3. Aerogel insulation layer

4. Waterproofing layer

5. Vacuum Insulation

6. Radiant Heating network

7. Aerogel insulation layer

8. Light weight concrete shell

9. low conductivit y stainless steel layer

Foundation

Morphology

Exploded Axonometric

Vernacular ( adjective ): using a language or dialect native to a region or country rather than a literary, cultured, or foreign language.

- Merriam Webster

As part of the ‘Encyclopedia of Vernacular Architecture of the World’ project, Paul Oliver discusses the need for a more precise definition of the term in his book ‘Built to Meet Needs: Cultural Issues in Vernacular Architecture (2006)’. According to the results of his research, vernacular architecture is defined as architecture reflecting regional settings and resources that are typically constructed by the owners or the community using traditional methods. It is designed to fulfill certain requirements and fit the economics, morals, and lifestyle of a particular culture.

In accordance with this description, tradition and contextualization are identified as the two main characteristics of vernacular architecture by Rubenilson Brazão Teixeira (2017). Vernacular architecture, according to Teixeira, is traditional in the sense that it comes from certain ethnic groups and is the outcome of a protracted process over time, always built upon recognisable forms set by earlier generations. In addition, vernacular architecture honors regional characteristics, emphasizing how sensitive it is to the surrounding area’s physical setting, such as the topography, vegetation, and climate.

lifestyle, culture, and environmental requirements of indigenous communities are fundamental to the understanding of spatial protagonists associated with designing with consideration rather than appropriation, applied to relevant settings for the enrichment of appropriate communities while accurately reflecting narratives on space by collaboration, inclusion, and extensive understanding.

Relevant to the setting, Bedouin and tribal nomadic communities possess valuable contributions to modern Arabian societies; profound beauties glistening onto modern Arabian landscapes stem from Bedouin design techniques and the arts of the indigenous. Crucial tradition, embodied iteratively, continues to reference the dwelling habits of Bedouin communities. Bedouin spatial dwellings emphasize mobility, adaptability, and a harmonic interaction with the surrounding natural environment as a practical solution to severe desert conditions.

Another elemental narrative to explore is the historical context of economic practices in the region. A prominent paradigm to reference is the cultural maritime trade instrument, the Kuwaiti Dhow. A unique combination of cultural influences, practical considerations, and maritime history is evident in the design of this trade-ship. Kuwaiti Dhows are distinguished by their naval architecture and attributes that perfectly fit the region’s offshore and coastal settings. The wooden sailing boats known as traditional Dhows have a unique shape that has been refined over the ages. Usually, native woods like teak or imported woods like African mahogany (highly durable and resistant to marine organisms) are used in buildings. A Kuwaiti Dhow can quickly negotiate the shallow waters of the Arabian Gulf due to its shallow draft hull design. A sharp bow is frequently incorporated into the design to aid in effectively slicing through the water, an Arabian symbol possessing adaptability to the physical oceanographic struggles of the region.

Lateen sail rigging is a historic method used on Kuwaiti Dhows. A triangular sail positioned at an angle to the mast, the lateen sail efficiently harnesses the energy of the wind. Good maneuverability is essential for negotiating the region’s frequently shifting winds, and this rigging style makes that possible. A pragmatic method, harnessing aeolian activity and translating wind pressure into rest or tension through parabolic instruments formulated by design and physics.

Many Kuwaiti Dhows contain elaborate, decorative features frequently made by artisans by hand, containing carved wooden ornaments that are occasionally painted in evocative hues, giving the valuable design an artisanal presence. The significance of seafaring in the region’s culture and history is reflected in the naval design of these regional ships.

Dhows are essential to transportation, trade, and fishing since their design incorporates the know-how and abilities that have been passed down over the years. This unique naval architectural instrument is a tribute to the region’s nautical history, combining practicality, cultural beauty, and adaptation to the unique conditions of the Arabian Gulf.

The reciprocator comprises three Aeolian Shields, embodying a sculptural twist derived from fragments of a Barchan dune to realize a Biophilic site for human introspection.

Prominent features in historical and traditional narratives are points of intelligence that stimulate the longevity of lore.

A paradigm encapsulating identity and tale, embodying inherited ingenuity and ancestral reminiscence through form, function, purpose, and perception.

Swedish architect and designer Magnus Larsson received recognition for his innovative approaches to solving critical environmental problems, most notably the fight against desertification. His invention, the "Sand-Beetle" project, suggests a cutting-edge method for strengthening dunes and utilizing bacteria to transform them into durable buildings. The word "arenaceous" refers to sandy or desert conditions in Larsson's intention, consistent with his commitment to using natural processes to counteract desertification. He demonstrates the convergence of architecture, sustainability, and environmental stewardship in his work. His complete approach highlights the complexities of such environments and the possibilities for creative solutions. According to Larsson's concept, the "Sand-Beetle" project utilizes the Bacillus Pasteurii bacteria in conjunction with urea, a common component of urine, to generate calcite. This calcite would bind sand particles together, stabilizing dunes and preventing them from shifting. In addition to stabilizing dunes, Larsson sees this technique as providing the opportunity to build long-lasting infrastructure in arid areas. The "Sand-Beetle" project perfectly exemplifies Larsson's progressive thinking and steadfast dedication to resolving environmental issues.

Bacillus pasteurii bacteria is the used as the final finish on the Reciprocator’s exterior.

The allusion to the Contrapposto technique of ancient Greek sculpture in spatial design presents an intriguing viewpoint. In sculpture, Contrapposto ( a slight twist or shift in the human figure ) has long been employed to evoke a feeling of movement, equilibrium, and authenticity. There are many possible ramifications and interpretations when this idea is applied to morphological natures in spatial systems and environments.

Designing spaces that encourage movement, interaction, and perceptive manipulations. Subtle shifts or twists in dynamic form and surfaces can evoke positive cognitive receptions and contribute to a dynamic environment.

Venus de Milo, Alexandros of Antioch.

Marble Sculpture 6’8”

Each structural column is characterized by a unique morphological gesture, containing fluidity, dynamism, and a gentle skeuomorphic imprint of environmental transiency. Vernacularity of geological activities and human kinetics.

1. Radiant Heating network

2. Aerogel insulation layer

3. Light weight concrete shell

4. low conductivit y stainless steel layer

A physical polyrhythm of space with oscillating interior bounds, constructing occupancy, adapting to aeolian transciency by dictating user experience, concerning cultural and environmental vernacularity, this requires a multi-functional structural system serving human comfort, flora, fauna, and sediments. A network converging various facets of existence to formulate an ecological bridge.

Nomadic dwellings are designed to be principally vernacular, with simple assembly, disassembly, and transportation in mind. One notable example is the Berber tent, also well-known as “bait al-sha’ar,” or black goat hair tents.

The community can travel with their herds in search of grazing land and water sources since these constructions are portable. Environmental considerations are primal in the construction of these dwellings. The materials used to make tents offer shade and insulation from the intense heat, yet are well-ventilated to allow air circulation due to the fabrics’ airy qualities and lightweight, which also provide for a cozy living space. Nomadic design strongly emphasizes resource efficiency due to the scarcity of materiality and resources in the desert. Sustainable living habits are enhanced by utilizing readily available locally, robust, and lightweight materials.

Image by Stefano Tammaro.

Berber tent.

Cultural context is embodied across the physical appearance of the Berber tent. Textiles and tents covered with geometric patterns and elaborate motifs may have a cultural value that reflects tribal identity, history, or beliefs. These ornamental components foster a feeling of identity, community, and belonging, an association to Arabism through a colloquial expression of man and land.

The ornamentalized spatial design of the Berber is intended to be harmoniously integrated with the arid environment. Tents’ low profile and material selection reduce their visual influence on the surrounding landscape, constructing a close relationship between the nomadic way of life and the environment. Although several Bedouin settlements have changed due to industrialization, their architectural techniques are still influenced by the ideals of adaptation, ingenuity, and a strong connection to the natural environment, still existing in the modern world.

Through several essential elements, the Great Mosque of Djenné is an emblem of communal and vernacular design. It was built using locally obtained materials, including palm wood, sun-baked earth bricks (called ferey), and sand and earth based mortar, demonstrating close ties to the area’s building customs and resources. The vernacular architecture style is influenced by the local environment, culture, and resources, as seen by its dependence on native materials.

Furthermore, community cooperation and participation are closely linked to the mosque’s development and upkeep. The Djenné community gets together annually for the ‘Crepissage’ festival to fix and replaster the mosque’s exterior with a new coat of clay, maintaining the structure and integrity of the building. This yearly occasion guarantees the mosque’s physical maintenance and encourages a feeling of community pride and ownership among the local populace.

Moreover, inclusion and communal utility are prioritized in the mosque’s layout and design. Its roomy prayer hall and center courtyard can hold vast crowds of worshippers during religious rituals and activities, encouraging social interaction and community involvement. In addition, the mosque acts as a focal point for a range of extra-religious community activities, including social events, cultural shows, and educational initiatives, underscoring its crucial role in sustaining community life.

The Great Mosque of Djenné is a magnificent illustration of local and communal architecture, encapsulating the ideas of sustainability, cultural continuity, and communal cohesiveness.

Image by Jean Claude Braun.

The Great Mosque of Djenné

The ancient Greek sculptural technique of the Contrapposto can be applied in spatial settings to create a solid visual representation portraying dynamism and fluidity; this notion is proven in a neuroimaging study to enable a ‘supernormal stimulus’ and visual attraction.

An exaggerated or artificial stimulus that causes an organism to react stronger, more intensely, or longer than it would to a natural stimulation is called a “supernormal stimulus”. This idea is frequently discussed in ethology, the study of animal behavior.

Nikolaas Tinbergen, a Dutch ethologist, popularised the term. He experimented on birds, namely studying the herring gull’s egg-retrieval habits. Tinbergen found that gulls reacted stronger to more giant artificial eggs and had more pronounced markings than they did to their eggs. The fake eggs were called “supernormal stimuli” because of their larger size and higher intensity than natural stimuli.

Supernormal stimuli operate on the premise that specific stimulus characteristics are essential triggers for an organism’s reaction. The organism may react more powerfully when these characteristics are manipulated or overstated than when accurate to the original, natural stimulus.

This idea has been used in psychology, neurology, and animal behavior research to understand better how people and other animals react to stimuli that depart from the usual. “Supernormal stimuli”, for instance, could be defined as heightened brain reactions resulting from amplified visual cues in the context of visual perception.

The idea has also been used in conversations concerning human behavior and preferences, such as those pertaining to attraction and aesthetics, where some exaggerated features may evoke more robust responses than more typical or natural stimuli. One could investigate employing the Contrapposto in design to elicit a “supernormal stimulus” from onlookers. A higher level of visual experience may be evoked by some unconventional but skillfully combined design features.

The notion of the ‘Supernormal Stimulus’ proved that perception and form enable an intensified reaction, typically generated from exaggerated morphologies. Melodramatic formations are a compilation of dynamic fragments assembled in strategy to evoke and manipulate.

Materiality enables a manipulative perception.

Distortion from reflective materials simulates a whimsical abstraction of reality, a deformed image of existence.

An oscillating form derived from aeolian activity and vernacularity is associated with lightness and movement. This modality formulates a sculptural identity. Subtle twists of the Contrapostto, provoking a ‘supernormal stimulus.’

Spatial environments and human kinetics are transactional. Human activity affects surfaces, especially reflective ones. Geological interventions alter accessibility. Cosmic bodies, like the sun, impact circadian rhythms. Built environments are essentially incubators of life, mimicking life; their purpose is solely to comfort and house, making them a core, compiling protagonists of existence.

Circadian rhythm : is a natural oscillation that repeats roughly every 24 hours. Circadian rhythms can refer to any process that originates within an organism (i.e., endogenous) and responds to the environment (is entrained by the environment).

Sunset

Cosmic neighbors exert a sensorial influence on terrestrial beings and landscapes. Our moon reflects sunlight on our nights, governing our perception differently every day in the almost thirty-day lunar cycle, which affects our circadian rhythms and perception. This transaction between the sun, moon, and Earth is often reciprocated by the phenomenon known as an “Earthshine.” In specific phases of the lunar cycle, most notably the crescent phase. This phenomenon gives the shaded area of the moon a soft greyish color, the result of sunlight reflecting off the surface of the Earth and lighting up the moon’s night side, giving it a subtle glow. A cosmic transaction, affecting our the way we perceive the world, locally and celestially.

Bright side, dark side.

Bright side

Image

Dark side

Bright side

Southern wide aperture

Northern tight apertures

Celestial bodies v. Perception of spatial environments.

While the structure is intended to integrate with its surroundings seamlessly, careful consideration has been given to the management of light and thermal energy emitted by the heating and lighting systems.

These systems are programmed to dynamically adjust based on occupancy and the lunar cycle, with minimal light intensity during the full moon to account for maximum lunar reflection and gradual adaptation during crescent phases. Furthermore, the Reciprocator is designed to confine emitted light to its interiority, particularly in response to the undulating morphology of the structure. To mitigate light pollution and enhance camouflage with the natural environment, light emission is restricted in the northern section of the structure, where apertures are intentionally tighter.

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Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. Duis autem vel eum iriure .Lorem ipsum dolor sit amet, consectetuer adipiscing elit, sed diam nonummy nibh euismod tincidunt ut laoreet dolore magna aliquam erat volutpat. Ut wisi enim ad minim veniam, quis nostrud exerci tation ullamcorper suscipit lobortis nisl ut aliquip ex ea commodo consequat. Duis autem vel eum iriure dolor in hendrerit in vulputate velit esse molestie consequat, vel illum dolore eu. perception that guides you.

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Dome dune south

Eastern sheild

Middle sheild

Western sheild

1. Biotic occupants:

2. Aeolian shields:

3. Heating system:

4. openings:

5. East depression:

Environmental mimicry allows for an unaltered perception for various flora and fauna.

Instruments of thermal comfort, generating light and energy. Governed by cosmic activity to comfort circadian rhythms. Protective barriers from harsh wind activity. Synthesizers of dune migration. Instuments for human comfort.

Instruments of passive cooling. The openings guide ventilation and air-flow dispersion. When sand accumulates over the structure as a product of dune migration, the roof is accessible by the depressions. An inauguration of seasonal activities. Enthroned by aeolian activity.

This land is infinite.

Infinite space, infinite energy. Infinity rendering through a field of view. An infinity sphere so large, perceived planar through pupils. Adjacent to bodies of sand, standing on bodies of sand.

The behavior of dunes is an inevitable factor that cannot be neglected in such a landscape. Kinetic response is achieved by analyzing dunes as a society. Dune migration habits such as annual patterns and their morphological characteristics are studied to understand their intervention cycles through regressions and simulating interventions into the designed spatial environment.

Kinetic response

Spatial narrative Reciprocation

is the morphological product or effect of aeolian activities into or on spatial environments, with a goal of eventually forming spatial portals of convergence between those entities.

8Months-Fullyformeddune.

5Months

12Months-Migration.

Day1-Sanddeposit.

Formation of slip face.

I Choreography in Morphology.

PROTAGONIST

This is an abstract formation of a sand dune in Al - Liyah, Kuwait.

Spatial Protagonist ------ Sand Dunes Life span ------ 1 to 8 years

Aboitic.

14 months until the intervention cycle begins.

Intervention into the desert tent begins.

Intervention buries 35% of the desert tent.

Dune migration and the formation of a new mode of spatial program through dune intervention cycles onto the desert tent.

Below average Utilized as an illuminating structure

Interior deposit intervention

Average Utilized as a desert tent

Sediment elevations

~ Negative 6 FT high deposit

Cut line ~ 6 FT high deposit

~ 10 FT high deposit

Sediment migration heights

2025

20th of March, 6:34 PM.

Al - Liyah desert, Kuwait.

2025

20th of March.

Negatives

Al - Liyah desert, Kuwait.

The built environment is a tableau in this dynamic interplay between architecture and transiency, demonstrating the adaptability and resilience of design. Structures begin to articulate an aura rather than being immobile objects. The story’s portrayal of perpetual rebirth and regeneration is made possible by the transiency of materiality and environment.

interior. Inaccessible roof.

occupiable

Desert tent.

Roof occupiable, unlocking a new program and activities.

Partially buried desert tent.

Represenation of continuity, capturing both the ever-changing world around them and the cyclical essence of existence.

Buried desert tent. Roof occupiable. Blocked Interior.

Transiency can be perceived as a hindrance, but design holds the power to shape an obstacle into a celebration. As the natural environment shifts, our usage of space transforms.

Sediment elevations

Below average

Utilized as an illuminating structure

Interior deposit intervention

A

A celebratory perspective on transiency turns an environment into a narrative. The built environment creates an anthology that tells the story of how humanity and its surroundings sporadically mutate, an evolving interaction with every dynamic iteration of ephemera. We interact with a story that reflects our journey through time as we move through these dynamic spaces, leaving a legacy that transcends design.

Al - Liyah desert, Kuwait.

Celebration : The departure of a current dune intervention.

This spatial narrative exposes underlying programs within the reciprocator. Opulence allows for convergence with solitude and the environment, igniting introspection and creative expression derived from historical and societal implications and cognitive symptoms of mental obstacles.

Spatial narrative Activities

During the fall, groups of people gather in the midst of the desert, completely secluded from the city’s pollutants, to grasp a cathartic feeling of solitude, centering an individual’s headspace and providing clarity through nothingness. This autumnal ritual is often referred to as ‘Kashta.’

Kashta

II Ritual of a Chemist.

PROTAGONIST

This is an abstract representation of the combustion process of wood + fire.

Spatial Protagonist ------ Wood + Fire Life span ------ 1 - 4 hours after combustion begins Aboitic.

Hard wood

Combustion - 1 hour

Combustion - 2 hours

During every Kashta, a group member will volunteer to start a bonfire; this bonfire is a centerpiece of the communal ritual and a prominent resource for food, Arabic coffee, thermal energy, and climate control. We gather around the fire, eat and drink from the fire, seek comfort from the fire, and gaze unconsciously at its choreography.

Sanity

by a convergence of introspection + space.

Through the reciprocator.

The desolate beauty serves as an arena where individuals wrestle with their complexities. The whispers of the desert winds carry tales of social reflection, introspection, and the precarious balance between nature and human intellect. The Reciprocator is designed with modular instruments that facilitate the disentangling of mental obstacles.

Calligraphy Panels

Stargazing depression

Communion seating

Heating/Lighting system

Communion module

Heating System

Communion

Communion

Calligraphy Panels

The Cosmos

Stargazing activity

---- Reflection + The cosmos

A dedicated gesture for introspection in solitude, through connection with the vast cosmos, in relation to one individual laying over billions of sand grains under billions of stars.

* Transcient ---- Available only after year 2 of the intervention cycle.

Silenced language

Calligraphy activity ---- Literature + Expression

The lawless land of the desert provides an ideal modality for unrestricted self expression. This activity offers a medium for tension release through the art of literature and calligraphy.

Communion

Communion activity ---- Emotion + Human touch

Within the nothingness, intimacy is seeked. This activity provides a safe environment for human connection.

Performance activity ---- Art + Culture

The parabolic form enables an ideal space for acoustical practices. A habitat for sonic experimentation, far away from the nature of human judgment.

Sonic expression

The main three undualting panels dip to create depressions that accentuate the natural morphologies of sand throughout aeolian migration, Making the structure an incubator of biophillia.

Stretched canvas, supported by steel frames. Al

The deserts environment symbolizes independence and individualism, frequently connected to large stretches and a lack of social restrictions. In this kind of setting, people might appreciate self-expressionvia literature and calligraphy. With its ability to transmit ideas, feelings, and stories, literature is a medium for people to express their deepest sentiments and thoughts. Individuals can explore cathartic territories and push the bounds of fulfillment in the untamed desert, where conventions may not exist.

Graphical usage and calligraphy have played a significant role in Kuwait’s urban scene. Islamic calligraphy, an essential aspect of Islamic art, is often incorporated into the design of buildings in Kuwait. Calligraphy can be seen in the decoration of facades, entrances, and interiors of buildings, and it is used to convey religious and cultural messages. Islamic calligraphy is often used to decorate the entrance of buildings with verses from the Quran, Hadiths, and Islamic phrases. In addition to calligraphy, geometric patterns and motifs derived from Islamic art are also commonly used in Kuwait’s architecture. These patterns and motifs, often based on geometric shapes such as circles, stars, and polygons, decorate building facades, floors, and ceilings. The use of geometric patterns and motifs in buildings is intended to create a sense of harmony and balance and evoke a sense of connection to Islamic art and culture.

The desert is often devoid of artificial noise pollution, thus contributing to an acoustic purity that is difficult to discover in more populated environments. In the desert air, quiteness powers a compliant surface for sonic expression.

Utilizing the acoustics that the large, open areas in the desert afford, sound engineers, musicians, sonic artists, and hobbyists can use the desert as a natural amphitheater. This activity evokes a closer relationship between the artist and the natural soundscape of the desert.

Furthermore, sound experimenters have a sense of emancipation generated by the desert’s seclusion from the limitations of societal judgment. It is liberating to experiment with avant-garde compositions, investigate unusual sounds, and push the limits of conventional musical ethos in this unrestricted environment. The desert’s constantly shifting weather—from the sweltering heat of the day to the serene stillness of the night—also adds to the variety of possible sounds. These organic elements form essential parts of the sound palette, affecting the soundscape’s texture and mood.

Essentially, the desert becomes a haven for sound artists, allowing them to explore the unadulterated and unfiltered possibilities of sound in an environment devoid of social criticism. It becomes a sanctuary for those trying to escape traditional limitations, utilizing the wide open spaces of the desert as a creative and experimental soundscape.

The reciprocator has a profound impact on spatial acoustics. Like a parabolic dish focusing on incoming waves, the undulating form functions as a natural sound reflector by concentrating waves toward particular places. The concentration improves directionality, which is helpful in outdoor or theatre settings where accurate sound projection is essential. In theatres or performance spaces, curving surfaces act as natural amplifiers, reflecting and amplifying sound. Moreover, parabolic structures, which have applications in lecture halls, can lessen echoes and reverberations depending on their size and curvature. Parabolic shapes can improve audio projection across long distances when used outside, such as in outdoor theatres.

Sound waves

Wave group 1

Wave group 2

Wave group 3

Wave group 4

Wave group 5

Longest length of wave

Western waves

Analyzing manupilation from the peak of wave

Wave group 6

Acoustic Omission

Parabolic opening

Acoustic Manupilation

The northern depression traps sound waves and ricochets them across the opal interior space and parabolic opening, creating a cyclone of sound waves.

100 FT

19 FT

Eastern waves

Analyzing tunneling from the midpoints of wave groups

Eastern Depression

Acoustic Tunneling

Due to the undulating form, the eastern depression tunnels generates acoustic waves towards acoustic departure in a gradual path.

Exterior Environment

Acoustic Departure

Departure of sound from the enclosed environment into the desert.

Wave group 2

Wave group 1

Wave group 4

Wave group 5

Wave group 3

11.92 FT

17.89 FT

23.85 FT

29.82 FT

Wave group 6

5.96 FT

Acoustic Departure

Reverberation Path of Travel

26.83 FT

Deflection of sound waves

The angle of refraction concerning the standard line at the interface between two mediums is determined by the law of refraction, which describes how waves bend as they move from one medium to another with different densities.

Snell’s law

Self Ground

The Cosmos

Section cut through northern depression

A shelter formed within the northern depression, distinctly separated from the interior space, Obstructing adapted emitting light to the structure’s confines, thus optimizing visibility for stargazing.

* Transcient ----Activity available only after year 2 of the intervention cycle.

Northern Elevation

Southern Elevation

Southern peak

North depression

When alone in this desolate space, a person lying on the desert floor can become a thoughtful observer beneath a canvas of billions of stars. The vastness of the night sky, extending beyond the horizon, invites contemplation as it makes one realize how small they are in contrast with the cosmoscapes.

Beneath the celestial dome, every particle of sand beneath the lone person embodies a distinct meaning, signifying both the boundless and the little. A sense of oneness arises amid the silence of the desert when the immensity of the cosmos meets the individual’s introspective soul. The individual on the desert floor transforms into a microcosm part of a macrocosm, a solitary being in harmony with the vastness of the cosmos.

The dazzling stars overhead, each with a unique tale to tell, render the grandeur of interstellar space and the cosmic dance of celestial bodies to inspire humility. The desolate desert becomes a blank canvas for philosophical reflections as the lonesome spirit muses over the fleeting nature of life against the eternal backdrop of the universe. Introspection reaches its highest ground in this close relationship with the cosmos, stretching beyond earthly limits to reach the celestial spheres beyond.

A communion between the lone individual and the cosmic symphony above.

“Al-Housh” in Arabic denotes a courtyard or enclosed space that holds paramount significance in traditional Arab architecture, particularly within the interiors of Arab homes. Positioned at the heart of the house, Al-Housh acts as a central organizing element, contributing to spatial layout and fostering a sense of equilibrium in the overall spatial design. This courtyard design is not only functional but also culturally and socially meaningful by designating a dedicated space of hospitality and communion.

Deeply rooted in Arab culture, it serves as a communal area for gatherings, family activities, dining, and labor, a core for reflecting the values of privacy, family, and community. Adorned with traditional decorative elements such as intricate tile work, fountains, and plants. Providing an oasis of natural light and ventilation, Al-Housh offers a cooling effect, particularly beneficial in the warm climates of the Arab region; the open design of the courtyard facilitates efficient temperature regulation, enhancing the overall environmental conditions within the home. Surrounded by the house’s rooms, it ensures a degree of privacy, creating an intimate and sheltered space that shields the interior from external elements.

Furthermore, graphical usage and calligraphy can be found in the traditional architecture of Kuwait, such as traditional Kuwaiti houses, which are characterized by the use of natural materials, such as clay and palm leaves, and the incorporation of traditional architectural elements, such as wind towers and most importantly courtyards.

Human touch

Catharsis

Brood

Photo by Haya Alateeqi

Sleep

Cognitive escapism

Introspection

The Communion activity contains two seperate modals of seating, each featuring a distinct ergonomic modality supporting a communal environment. A conventional 3 piece seating module accommodating 5 individuals and a curvilinear multi-orientation module accomadting up to 7 individuals.

Communion Activity

Al-Liyah desert, Kuwait.

Stretched rPET yarn made from post-consumer plastic, supported by steel frames.

Catharsis from the human connection is a profound experience that unfolds through the meaningful and authentic bonds formed with others. This emotional release stems from openly expressing one’s feelings, sharing vulnerabilities, and finding understanding and support in the company of others. Exposure fosters a sense of acceptance, creating a space for individuals to unburden themselves emotionally. Whether through empathy, shared experiences, or conflict resolution, the cathartic nature of human connection lies in acknowledging and validating one’s emotions.

Communion Activity

The reassurance of not being alone in facing life’s challenges, coupled with the positive affirmation and unwavering support from others, contributes to a profound sense of relief and emotional well-being. In moments of connection, whether through verbal communication, shared experiences, or physical touch, individuals find solace and a release from the burdens of the human experience, underscoring the transformative power of genuine human connections.

Al-Liyah desert, Kuwait.

Stretched rPET yarn made from post-consumer plastic, supported by steel frames.

Several aspects dictate environments; culture and war are two prominent ones. Geology informs design; war alters it, and the people ignite it. Dune migration is a product of the roaring environment; war is greed’s roar, culture is the etymology of existence, and architecture is nothing but materials embroidered in land. The synthesis of geological, cultural, and societal influences weaves a story that complements the natural landscape. A structure becomes more than just a spatial project when it integrates layered concepts from different aspects of a region; it reflects the dynamic relationship between humans and their environment. This interaction between the self and the land illustrates the complex dance between human existence and natural activity. In the end, this mutually beneficial relationship results in a dialect that unites the natural world and human existence and promotes a greater sense of belonging, individuality, and stewardship for the places we inhabit. Geological, cultural, and societal interventions coronate a structure and its existing fabric; the incorporation of layered concepts from several aspects of a region transcribes and provides a complimentary language between self and land — Nature’s activity and societal interference. An interaction between nodes of a rhizome.

Rhizome

The idea of this book arised during the course of Polyrhythmia Design: Interior Design Studio 6 Capstone led by Professor Gokhan Kodalak, In which his guidance and generosity powered this project. The research process of this book started in the fall of 2022 during the course of Advanced Research Seminar: Constructed Environments led by Joshua McWhirter at Parsons School of Design in New York city under the School of Constructed Environments’ undergraduate Interior Design program. I am honored to have been taught by and around Gokhan Kodalak, Carly Cannell, Cotter Christian, Emily Jockel, Adrienne Brown, Joshua McWhirter, Yu Nong Khew, David Crandall and Scott Aker. Thank you for honing my skills to develop this project.

The studio environment in which the production of this project was held in, birthed a fascinating energy, i thank everyone who invigorated JJ Studio and provided their insight, specifcally Khalid Mousa, Young Kim, Sasha Doytcheva, Yi Chieh Tseng ( Evangelina ), Nhi Le, and Nina Zenhausern. Thank you for taking care of my wellbeing and work, i hope i reciprocated.

Thank you to Haya Alateeqi for contributing to the book cover and taking the communion image, Fatima Aljaber for Adobe Photoshop guidance, Khalid Mousa for everything you keep providing, and Zeighn Abutteen for modelling. Additional thanks for your eternal companionship.

Moreover, I am deeply grateful for Faisal Alhendy, Khaled Alsaeed, Abdullah Aladwani, Badriyah Almudhaf and Rosario Cuanan for your attentiveness. Many thanks to Mohammed Humoud Farhan for the Arabic calligraphy. My sincerest appreciation to all of JJ Studio’s security personnel , Specifically John, thank you for enduring those late nights on campus. I am truly grateful to all of the instructors, students, and professionals who shared their insight. I hope your feedback is reflected.

Last but definitely not least, Thank you to my family for their continuous support.

Definitions are ordered alphabetically.

Aeolian

Relating to the wind or the action of the wind.

Abiotic non-living factors or elements, such as physical and chemical components in the environment.

Airspace

The portion of the atmosphere controlled by a particular nation.

Anatomy

The study of the structure and organization of living organisms.

Anthology

A collection of literary works, songs, or other creative pieces.

Anthropocene

A proposed geological epoch characterized by the significant impact of human activities on Earth’s ecosystems and geological processes.

Anthropomorphism

Attributing human characteristics to non-human entities.

Arabian Gulf

A mediterranean sea in Western Asia, also known as the Persian Gulf.

Archaeological

Relating to the study of human history and prehistory through excavation and analysis.

Arenaceous

something that is sandy or contains sand-like particles, often referring to environments, surfaces, or substances with a notable presence of sand.

Axonometric

A type of parallel projection used in technical and architectural drawings.

Bacillus pasteurii

A bacterium known for its role in biomineralization and soil stabilization ot solidification.

Barchan

A crescent-shaped sand dune with its horns pointing downwind.

Bedouin

Nomadic Arab people traditionally living in the desert regions.

Bedrock

The solid rock underlying the soil and other unconsolidated material on the Earth’s surface.

Berber tent

A traditional tent used by the Berber people, nomadic inhabitants of North Africa.

Biophilia

An innate love for the natural world and living things.

Biotic

Pertaining to living organisms and their interactions.

Bureaucratic

Relating to a system of government or management marked by red tape and formal procedure.

Built environments

Human-made surroundings, including buildings and infrastructure.

Calamity

A sudden and widespread disaster or event causing great damage, distress, or destruction.

Cascading

A process of unfolding or falling in stages.

Capstone

The topmost stone or final piece placed on a structure.

Celestial

Relates to or pertains to the sky, stars, or other heavenly bodies.

Chain reaction

A sequence of events where each influences the next.

Choreography

The art of arranging dance movements in a coordinated sequence.

Chronophotography

A photographic technique to capture movement in several frames.

Circadian Rhythms

Biological cycles occurring approximately every 24 hours.

Circulation

The movement of substances in a closed system.

Cognitive

Related to processes such as perception, memory, and problem-solving.

Colloquial

Informal language used in everyday conversation.

Communion

A state of intimate, shared understanding or connection.

Concave

Curved or hollowed inward.

Conductivity

The ability of a material to conduct electricity or heat.

Contemporary

Belonging to the same time period; modern.

Contrapposto

An artistic pose where the weight of the body is balanced on one leg.

Convergence

the process of coming together or meeting at a common point, either physically, conceptually, or in the sharing of characteristics.

Convex

Curved or rounded outward.

Crepissage

an annual communal festival held in Djenné, Mali, where the local community comes together to repair and re-plaster the Great Mosque using a mixture of mud and clay.

Deflection

The deviation or bending of an object or path from its original position or course under the influence of an external force or load.

Delta

A landform at the mouth of a river, formed by sediment deposition.

Desertification

The process by which fertile land becomes increasingly arid and degraded, typically due to factors such as deforestation, overgrazing, and climate change

Desolate

Empty, barren, and often devoid of life.

Depositional

Relating to the process of depositing sediment.

Dhow

A traditional sailing vessel with one or more masts, common in the Arabian Sea.

Dune

A hill or ridge of sand, often formed by wind or water.

Dune belt

An extensive area with a concentration of sand dunes.

Dune migration

The movement or shifting of sand dunes over time.

Dynamism

The quality of being characterized by continuous change, activity, or progress.

Earthshine

The phenomenon where sunlight reflected off the Earth’s surface illuminates the dark portion of the Moon, creating a faint glow on its surface.

Emancipation

The liberation or freedom from oppression, constraints, or social restrictions.

Embroidery

The art of decorating fabric with needle and thread.

Enigma

Something mysterious or puzzling.

Enmeshment

The state of being entangled or caught up in something.

Epilogue

A concluding section that provides insight or commentary.

Ephemera refers to transitory and short-lived items

Erosional

Related to the processes of wearing away or eroding.

Escapism

The desire to retreat from reality through imagination or entertainment.

Ethology

The scientific study of animal behavior, focusing on the observation and analysis of natural behaviors in their ecological and evolutionary contexts.

Existence

The state of being, living, or having reality.

Facade

The front of a building or a deceptive outward appearance.

Flora and Fauna

Plant and animal life in a particular region.

Formal syntax

The structure and rules governing the arrangement of elements in a language.

Folklore

Traditional beliefs, customs, and stories passed down orally from generation to generation.

Gobi desert

A vast desert region in northern China and southern Mongolia.

Governorate

An administrative division or region within a country.

Gulf war

A conflict that took place in the Arabian Gulf region in 1990-1991.

Himalayas

A mountain range in Asia, separating the plains of the Indian subcontinent from the Tibetan Plateau.

Human Kinetics

The study of human movement and its impact on health and performance.

Human supportive design

Design that prioritizes the well-being and comfort of human users.

Incubator

A device or system that provides optimal conditions for the development of something.

Indigenous

Native to a particular region or environment.

Industrialization

The process of economic and social transformation through the growth of industry.

Instruments

Tools or devices used for a particular purpose, especially in science or music.

Intervention

The act of interfering or getting involved in a situation.

Introspection

The examination of one’s own thoughts, feelings, and mental processes.

Isometric

A method of representing three-dimensional objects on a two-dimensional surface.

Lateen sail rig

A triangular sail rig commonly used on sailing vessels in the Mediterranean.

Leeward

The side sheltered from the wind.

Lore

Traditional knowledge or wisdom passed down through generations.

Macroscopic

Visible to the naked eye or on a large scale.

Magnum opus

The greatest work produced by an artist or writer.

Maritime

Relating to the sea or navigation.

Mesolithic

The middle part of the Stone Age, between the Paleolithic and Neolithic periods.

Mesopotamia

An ancient region located between the Tigris and Euphrates rivers, known as the “cradle of civilization.”

Microscopic

Too small to be seen with the naked eye; requiring a microscope.

Modular

Composed of standardized, interchangeable units or components.

Monolithic

Characterized by being large, solid, and uniform in structure.

Morphology

The study of the form and structure of organisms, words, and things.

Mythologies

Traditional stories or beliefs that explain the origins and customs of a culture.

Naqib desert of Palestine

A desert region in Palestine with historical and cultural significance.

Naval

Relating to the navy or ships.

Neolithic

The later part of the Stone Age, characterized by the development of agriculture and permanent settlements.

Neuroimaging

The use of various techniques to directly or indirectly image the structure and function of the nervous system.

Nothingness

The state of being nonexistent or devoid of substance.

Nomadic

Living a lifestyle characterized by moving from place to place, often in search of resources.

Oceanography

The scientific study of the oceans, including their physical and biological aspects.

Overture

An introduction or opening, often in music or literature.

Parabolic

Shaped like a curve that is symmetrical and U-shaped.

Paradigm

A model or example that serves as a pattern or framework for understanding.

Passive cooling

The use of natural methods to cool a space without the need for mechanical systems.

Passive Daylighting

Design strategies that maximize the use of natural light in buildings.

Peninsula

A landmass surrounded by water on three sides.

Perception

The process of recognizing and interpreting sensory stimuli.

Photovoltaic

Relating to the conversion of light into electricity, especially using solar cells.

Physical cosmology

The scientific study of the large-scale properties of the universe.

Planar

Relating to a flat surface or plane.

Polyrhythm

The simultaneous use of two or more conflicting rhythms.

Precarious

Not securely held or in position; dangerously likely to fall or collapse.

Precast

Concrete elements that are cast and cured in a location other than their final destination.

Protagonist

The main character or leading figure in a story or drama.

Pupils

The dark circular opening in the center of the iris of the eye.

Reciprocation

The act of giving or exchanging in return.

Reciprocator

One who reciprocates or gives in return.

Recycled PET

Recycled polyethylene terephthalate, commonly used in the production of plastic bottles.

Rehabilitation

The process of restoring someone to health or normal life through training and therapy.

Repercussions

Unintended consequences or effects of an action.

Rendered

Depicted or represented in visual form.

Reminiscence

The act or process of recalling past experiences or events.

Remnants

Remaining fragments or parts of something.

Reverberation

Prolongation of a sound after the source has stopped.

Rhythm

A regular repeated pattern of sounds or movements.

Saqatri archipelago of Yemen

An archipelago in Yemen with cultural and historical significance.

Sandstone

A sedimentary rock composed of sand-sized grains.

Schematics

Diagrams or plans that represent a system or process.

Sedimentology

The study of sediment and its formation, transportation, and deposition.

Sediments

Particles of rock and organic material that settle at the bottom of a liquid.

Sensorial

Pertains to or involves the senses, particularly in perception or sensation.

Sentient

Having the ability to perceive or feel things.

Skeuomorphism

Design that imitates the appearance of physical objects in a digital environment.

Simultaneous

Occurring, operating, or done at the same time.

Snell’s law

A principle in physics describing the refraction of light in different media.

Societal behavior

Patterns of conduct within a society or social group.

Solidification

The process of becoming solid or stable.

Sonic

Relating to sound or the speed of sound waves.

Spatial design

The arrangement of physical elements in a given space.

Spatial environment

The immediate surroundings or context of a particular space.

Spatial narrative

A story told through the arrangement and design of physical space.

Stargazing

Observing celestial bodies, especially stars, as a recreational activity.

Stimuli

external factors or events that elicit a response or reaction in a biological organism or system.

Synthesizer

An electronic musical instrument that generates sound through synthesis.

Supernormal Stimulus

An exaggerated version of a stimulus that triggers a stronger response than the natural stimulus.

Sporadic

Occurring at irregular intervals or only in a few places.

Sumerian city of Ur

An ancient city in Mesopotamia, known for its historical significance.

Tapestry

A piece of fabric with designs or images woven into it.

Tablelands

Elevated flat areas or plateaus.

Tectonic

Relating to the structure and movement of the Earth’s crust.

Terrestrial

Refers to anything relating to or characteristic of the Earth or its inhabitants, as opposed to extraterrestrial or celestial entities.

The Cosmos

The universe considered as a complex and orderly system.

Theory of the continental drift

The scientific theory proposing that continents have moved and drifted over geological time.

Topography

The arrangement of natural and artificial physical features of an area.

Transcription

The process of converting spoken language into written form.

Transiency

The state of being temporary or transient.

Ubaid period

An ancient Mesopotamian culture and period in prehistory.

Under-represented

Insufficiently or inadequately represented in a particular group or context.

Undulating

Moving with a smooth, wave-like motion.

Ventilation

The provision of fresh air in a space to maintain air quality.

Venus de Milo

A famous ancient Greek statue of the goddess Venus, currently displayed at the Louvre Museum.

Vernacular

The language or dialect spoken by the ordinary people in a particular country or region.

Wind-ward

Facing the direction from which the wind is blowing.

Rhizome ( According to Deleuze and Guattari )

A rhizome is an interconnected network of nodes that is non-hierarchical, multiplicitous, and migratory. It resists rigid structures and promotes fluidity and openness.

Kinetic response ( Self - invented )

The morphological product or affect of aeolian activities into or on spatial environments, with a goal of eventually forming spatial portals of convergence between those entities.

Bibliography

References are ordered by relevance and appearence of subject per content structure.

Morphology

Idak, Yuliya. “INTERDISCIPLINARY APPROACHES to the STUDY of MORPHOLOGY: THEORETICAL and METHODOLOGICAL ASPECTS. INTRODUCTION to CITY MORPHOLOGY.” Space&FORM 2019, no. 38 (July 30, 2019): 163–74.

Alfred Wegner’s Theory of the continental drift.

MOTT T GREENE, “Alfred Wegener,” Social Research 51, no. 3 (1984): 739–61.

Discoveries and traces of the existence of neolithic artifacts in Kuwait.

Marcin Białowarczuk, “Experimental Reconstruction of Late Neolithic Local Quartz Exploitation Patterns in the Arabian Gulf. New Discoveries from Bahra I, Kuwait, an Ubaidrelated Site,” Paléorient 41, no. 2 (2015): 71–84.

Formation and morphology of migrating barchan dunes in the northern part of Kuwait. Jasem Al-Awadhi, Ali Al-Dousari, and Abdullah Al-Enezi, “Barchan Dunes in Northern Kuwait,” Arab Journal Research 18, no. 1 (November 27, 2000): 32–40.

Annual despositional cycles of Barchan dunes.

Bristow, Charles S. 2019. “Bounding Surfaces in a Barchan Dune: Annual Cycles of Deposition? Seasonality or Erosion by Superimposed Bedforms?” Remote Sensing 11, no. 8: 965.

Effects of sand dunes on civil infrastructure.

Feng Han et al, “Study on Sand-Accumulation Changes of Highway and Formation Mechanism of Sand Damage in Drifting Dunes Areas,” Applied Sciences 12, no. 19 (January 1, 2022): 10184.

Anatomy of sand dunes.

Pascal Hersen, “On the Crescentic Shape of Barchans,” European Physical Journal B 37 (February 1, 2004): 507–14.

The National Assembly of Kuwait by Jørn Utzon.

Arquitectura Viva, “National Assembly, Kuwait - Jørn Utzon,” Arquitectura Viva (Arquitectura Viva, December 26, 2018).

Understanding Jørn Utzon and The National Assembly.

Weston, Richard, and Jørn Utzon. Utzon : Inspiration, Vision, Architecture. Hellerup: Ed. Bløndal, 2008.

Kuwait international Airport by Kenzo Tange.

“The Infrastructural Space as a Total Work of Art,” AGi Architects Blog, February 17, 2021.

Aesthetics of KIA 1979.

Botz-Bornstein, Thorsten. “KUWAIT BEFORE-AFTER.” T. Botz-Bornstein. Accessed January 24, 2024.

The anthropomorphic approach of Frei Otto. ( Translated ) paukf-com. “Frei Otto :: Matisse, Jaimas Y Pompas de Jabón En Paukf.” Paukf, March 13, 2015.

Undulating concrete.

Resource Centre, CCL. “Concrete That Generates Its Own Solar Power – CCL RESOURCE CENTRE.

Define Vernacular.

Ghisleni, Camilla. “What Is Vernacular Architecture?” ArchDaily, November 25, 2020.

Vernacularity of environment.

Tokuç, Ayça, Onur Kırdök, Deniz Dokgöz, and Tutku Didem Altun. “Biodesign as an Innovative Tool to Decrease Construction Induced Carbon Emissions in the Environment.” International Journal of Global Warming 19, no. 1/2 (2019): 127.

Anatomy of Dhows.

Al-Hijji, Yacoub Yusuf. The Art of Dhow-Building in Kuwait. Arabian Publishing Limited, 2001.

Exaggeration of perception, The Contrapposto and ‘ Supernormal stimuli’.

Farid Pazhoohi, Joana Arantes, Alan Kingstone, Diego Pinal, Becoming sexy: Contrapposto pose increases attractiveness ratings and modulates observers’ brain activity, Biological Psychology, Volume 151, 2020.

Arenaceous Anti Desertification envisioned by Magnus Larrson.

Larsson, Magnus. “Dune: Arenaceous Anti-Desertification Architecture.” Macro-Engineering Seawater in Unique Environments, (2010): 431–63.

Adaptation habits of the Berber collective.

Fidlaty, Rafika, Kata Kunci, Pola Adaptasi, Suku Berber, and Ekologi Budaya. “Adaptation Patterns of the Berbers in Morocco and Algeria: Julian Steward’s Cultural Ecological Perspectives” 1, no. 1 (2022).

Living habits of the Berber collective.

William J. R. Curtis. “Type and Variation: Berber Collective Dwellings of the Northwestern Sahara.” Muqarnas 1 (1983): 181–209.

The Great Mosque of Djenné.

Kahera, Akel Ismail. “The architecture of the West African mosque: an exegesis of the Hausa and Fulani models.” PhD diss., Massachusetts Institute of Technology, 1987.

Morphological characteristics through perceptions.

Abdallah, Moamen, Shaimaa Kamel, and Haitham Mohamed. “INTERIOR MORPHOLOGY and the RESPONSE of SPACE PERCEIVERS.” Shaimaa Mohamed Kamel /Engineering Research Journal 172 (2021): 55–74.

Circadian Rhythms

COBANLAR, Gül AGAOGLU, and Seyma KOYUNCU. “THE CIRCADIAN RHYTHM IN HUMAN-CENTERED INTERIOR LIGHTING DESIGN.” Art, Design, Communication and Fashion: An Interdisciplinary Approach (2023): 63.

Earthshine

David A. Glenar, Timothy J. Stubbs, Edward W. Schwieterman, Tyler D. Robinson, Timothy A. Livengood, Earthshine as an illumination source at the Moon, Icarus, Volume 321,(2019): 841-856.

Human comfort and the psychological impact of space.

Isabella Bower, Richard Tucker, Peter G. Enticott, Impact of built environment design on emotion measured via neurophysiological correlates and subjective indicators: A systematic review, Journal of Environmental Psychology, Volume 66, 2019.

Calligraphy as a cathartic medium.

Sarman, Abdullah, and Ulviye Günay. “The effect of calligraphy as an art therapy intervention containing religious motifs, on the anxiety and depression in adolescent psychiatric patients.” Journal of religion and health 62, no. 2 (2023): 1269-1285.

Acoustics in spaces.

Cohen, Donna. “85th ACSA ANNUAL MEETING AND TECHNOLOGY CONFERENCE, 173 Other Waves: The Acoustics of Alvar Aalto.” Accessed January 22, 2024.

Catharsis and the never-ending fabric of the desert.

Smith, Laura. “The Poetics of Restoring Glen Canyon: The ‘Desert Imagination’ of Ellen Meloy and Terry Tempest Williams.” Cultural Geographies 25, no. 4 (2018): 603–18.

Rhizome

Deleuze, Gilles and Guattari, Félix. A thousand plateaus: Capitalism and schizophrenia. London: Bloomsbury Publishing, (1988): 3-25.

This book is a product of an academic journey; its sole purpose is for academia. Created by Khaled Alanjery.

Designed and written in New York.

Parsons School of Design

An anthology of narrativesspatialfrom Arabia

A series of stories piecing moments of the never - ending chain reaction. Time, human, and societal behaviors are significant contributors to existence. Existence resides within an environment. This is a body for the sentient expression of space, rendered through the perspective of the desert. A vast nothingness and the environment’s roar.