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FINE ART CENTER G R A D U AT I O N P R O J E C T

STUDENT NAME: SIRAJ MAHMOUD MANDOURAH ID NUMBER: 1208776 SUPERVISED BY : DR. MOHANNAD BAYOUMI DR.TURKI SHOAIB


INTRODUCTION TABLE OF CONTENTS CHAPTER 1

INTRODUCTION CHAPTER 2

GENERAL ANALYSIS

a.Cover b.Table of contents c.Project brief d.Problem Statement - Vision e.Project Element f. Building Regulation - Standerds g.Objectives – Strategies - Criteria

CHAPTER 3

DESIGN CONCEPT

a.General Concept b.Concept Development (zoning – Mass Generation)

CHAPTER 4

BUILDING DESIGN

01

a.Plans b.Elevations c.Sections d.Building Systems e.Isometric f.Product Analysis g.Perspectives

a.Case Studies Analysis b.Site Analysis And Response i.Existing site condition ii.Neighborhood iii.Size and area iv.Pedestrian circulation v.View from site vi.View to site c.Space Program


CHAPTER 1

INTRODUCTION a.Cover b.Table of contents c.Project brief d.Problem Statement - Vision e.Project Element f.Objectives – Strategies - Criteria


INTRODUCTION Project brief

: ‫ﺗﻌﺮﻳﻒ اﻟﻤﺸﺮوع‬ ‫ﻣﺸﺮوع ﺗﺼﻤﻴﻢ ﻣﺮﻛﺰ ﻟﻠﻔﻨﻮن اﻟﺘﺸﻜﻴﻠﻴﺔ ﻳﻬﺪف‬ ‫ﻟﻨﺸﺮ و دﻋﻢ اﻟﻔﻨﺎﻧﻴﻦ اﻟﺘﺸﻜﻴﻠﻴﻴﻦ و أن ﻳﻜﻮن‬ ‫ ﺣﻴﺚ ﻳﺤﺘﻮي‬، ‫اﻟﻤﻘﺮ اﻟﺮﺋﻴﺴﻲ ﻟﻬﻢ ﺑﻤﺪﻳﻨﺔ ﺟﺪة‬ ‫ﻋﻠﻰ ﺟﻤﻴﻊ اﺣﺘﻴﺎﺟﺎت اﻟﻔﻨﺎﻧﻴﻦ ﻣﻦ ﻓﺮاﻏﺎت ﺗﻌﻠﻴﻤﻴﺔ‬ ‫ﻳﻘﺎم ﺑﻬﺎ دورات ﺗﻌﻠﻴﻤﻴﺔ و ﻣﺤﺎﺿﺮات ﻋﺎﻣﺔ ﺗﻬﻢ‬ ‫اﻟﻔﻨﺎﻧﻴﻦ و أﻣﺎﻛﻦ ﺗﺠﻤﻊ و ﻓﺮاﻏﺎت ﻟﻮرش اﻟﻌﻤﻞ و‬ ‫ ﺣﻴﺚ ﻳﺠﺪ اﻟﻔﻨﺎن‬. ‫ﻓﺮاﻏﺎت ﻟﻠﻤﻌﺎرض ﻓﻨﻴﺔ و ﻏﺮﻫﺎ‬ . ‫ﺟﻤﻴﻊ إﺣﺘﻴﺎﺟﺎﺗﻪ ﻓﻴﻬﺎ‬ Project Brief This center for fine arts aims to spread their headquarters in Jeddah, it contains all the needs of artists from educational spaces that are held by educational workshops, public lectures, places of gathering, workshops and art exhibitions where the artist can find all his needs.

HAIL ROAD MADINAH ROAD

ARBAEEN LAGOON

RED SEA

Abu Inabah

Aldahab Street

KING FAHAD BRIDGE

03


INTRODUCTION Project brief

: ‫ﺗﻌﺮﻳﻒ اﻟﻤﺸﺮوع‬ ‫ﻣﺸﺮوع ﺗﺼﻤﻴﻢ ﻣﺮﻛﺰ ﻟﻠﻔﻨﻮن اﻟﺘﺸﻜﻴﻠﻴﺔ ﻳﻬﺪف‬ ‫ﻟﻨﺸﺮ و دﻋﻢ اﻟﻔﻨﺎﻧﻴﻦ اﻟﺘﺸﻜﻴﻠﻴﻴﻦ و أن ﻳﻜﻮن‬ ‫ ﺣﻴﺚ ﻳﺤﺘﻮي‬، ‫اﻟﻤﻘﺮ اﻟﺮﺋﻴﺴﻲ ﻟﻬﻢ ﺑﻤﺪﻳﻨﺔ ﺟﺪة‬ ‫ﻋﻠﻰ ﺟﻤﻴﻊ اﺣﺘﻴﺎﺟﺎت اﻟﻔﻨﺎﻧﻴﻦ ﻣﻦ ﻓﺮاﻏﺎت ﺗﻌﻠﻴﻤﻴﺔ‬ ‫ﻳﻘﺎم ﺑﻬﺎ دورات ﺗﻌﻠﻴﻤﻴﺔ و ﻣﺤﺎﺿﺮات ﻋﺎﻣﺔ ﺗﻬﻢ‬ ‫اﻟﻔﻨﺎﻧﻴﻦ و أﻣﺎﻛﻦ ﺗﺠﻤﻊ و ﻓﺮاﻏﺎت ﻟﻮرش اﻟﻌﻤﻞ و‬ ‫ ﺣﻴﺚ ﻳﺠﺪ اﻟﻔﻨﺎن‬. ‫ﻓﺮاﻏﺎت ﻟﻠﻤﻌﺎرض ﻓﻨﻴﺔ و ﻏﺮﻫﺎ‬ . ‫ﺟﻤﻴﻊ إﺣﺘﻴﺎﺟﺎﺗﻪ ﻓﻴﻬﺎ‬ Project Brief This center for fine arts aims to spread their headquarters in Jeddah, it contains all the needs of artists from educational spaces that are held by educational workshops, public lectures, places of gathering, workshops and art exhibitions where the artist can find all his needs.

HAIL ROAD MADINAH ROAD

ARBAEEN LAGOON

RED SEA

Abu Inabah

Aldahab Street

KING FAHAD BRIDGE

04

Abu Inabah Axis

Al-Alwi Axis

NASEEF HOUSE


‫‪INTRODUCTION‬‬

‫‪Problem Statement - Vision‬‬ ‫إﺷﻜﺎﻟﻴﺔ اﻟﺪراﺳﺔ‬ ‫ﻧﻠﺤﻆ ﻓﻲ اœوﻧﺔ ا›ﺧﻴﺮ إﻧﺘﺸﺎر واﺳﻊ ﻟﻠﻔﻨﻮن ﺑﺸﻜﻞ‬ ‫ﻋﺎم و ﺑﺄﻧﻮاﻋﻬﺎ اﻟﻤﺨﺘﻠﻔﺔ و ﺑﺎ›ﺧﺺ اﻟﻔﻨﻮن‬ ‫اﻟﺘﺸﻜﻴﻠﻴﺔ ﺣﻴﺚ ﻧﺠﺪ ﻛﺜﺮة اﻟﻤﻌﺎرض اﻟﻔﻨﻴﺔ ﻓﻲ‬ ‫اﻟﻤﻤﻠﻜﺔ ﺑﺸﻜﻞ ﻋﺎم و ﺗﺰداد ﻓﻲ ﺑﻌﺾ اﻟﻤﺪن و‬ ‫ﻣﻦ أﻫﻤﻬﺎ ﻣﺪﻳﻨﺔ ﺟﺪة ﺣﻴﺖ ﻛﺎﻧﺖ و ﻻ زاﻟﺖ ﻣﻦ‬ ‫أﻛﺜﺮ اﻟﻤﺪن إﻫﺘﻤﺎﻣ ًﺎ ﺑﺎﻟﻔﻨﻮن ‪.‬‬ ‫و ﻟﻜﻦ ﺑﺎﻟﺮﻏﻢ ﻣﻦ ﻛﻞ ذﻟﻚ ا©ﻫﺘﻤﺎم ﻻ ﺗﻮﺟﺪ‬ ‫ﻣﺮاﻛﺰ ﺗﻠﺒﻲ إﺣﺘﻴﺎﺟﺎت اﻟﻔﻨﺎﻧﻴﻴﻦ و ﺗﻨﻤﻲ ﻫﺬه‬ ‫اﻟﻤﻮاﻫﺐ و إن و ﺟﺪت ﻻ ﺗﻜﻦ ﺷﺎﻣﻠﺔ ﻣﻦ اﻟﻨﺎﺣﻴﺔ‬ ‫اﻟﻮﻇﻴﻔﻴﺔ ﻓﻨﺠﺪ أن اﻟﻤﻌﺎرض ﻓﻲ ﻣﻜﺎن و ورش‬ ‫اﻟﻌﻤﻞ ﻓﻲ أﻣﺎﻛﻦ إﺧﺮى و أﻣﺎﻛﻦ ﺑﻴﻊ ﻣﺴﻠﺘﺰﻣﺎت‬ ‫اﻟﻔﻨﺎﻧﻴﻦ أﻳﻀﺎ ﻓﻲ ﻣﻜﺎن آﺧﺮ ‪.‬‬ ‫و ﻣﻦ ﻫﻨﺎ ﺟﺎءت ﻓﻜﺮة ﻣﺮﻛﺰ اﻟﻔﻨﻮن اﻟﺘﺸﻜﻴﻠﻴﺔ‬ ‫ﺑﺤﻴﺚ ﻳﻜﻮن ﻟﻠﻔﻨﺎﻧﻴﻴﻦ ﻣﺮﻛﺰ ﻣﺼﻤﻢ ﻣﺠﻬﺰ‬ ‫ﺑﻜﺎﻣﻞ إﺣﺘﻴﺎﺟﺎﺗﻬﻢ ﻣﻦ ﻧﺎﺣﻴﺔ اﻟﻔﺮاﻏﺎت و ﻣﻦ‬ ‫ﻧﺎﺣﻴﺔ اﻟﻤﺴﺘﻠﺰﻣﺎت ‪.‬‬

‫اﻟﺮؤﻳﺔ ‪:‬‬ ‫أن ﻳﻜﻮن اﻟﻤﺮﻛﺰ ﻫﻮ اﻟﻤﻘﺮ اﻟﺮﺋﻴﺴﻲ ﻟﻠﻔﻨﻮن‬ ‫اﻟﺘﺸﻜﻴﻠﻴﺔ ﺣﻴﺚ ﻳﻜﻮن ﻣﺼﺪر ﻟﺘﻨﻤﻴﺔ و ﻧﺸﺮ و‬ ‫دﻋﻢ ﻫﺬا اﻟﻔﻦ و ﻣﺸﺎرﻛﺘﺔ ﻣﻊ اﻟﻤﺠﺘﻤﻊ ‪.‬‬

‫أﻛﺪت رؤﻳﺔ اﻟﻤﻤﻠﻜﺔ ‪ ٢٠٣٠‬اﻟﻌﻤﻞ ﻋﻠﻰ إﺣﻴﺎء ﻣﻮاﻗﻊ‬ ‫اﻟﺘﺮاث اﻟﻮﻃﻨﻲ اﻟﻘﺪﻳﻢ وﺗﺴﺠﻴﻠﻬﺎ ﺿﻤﻦ ﻗﺎﺋﻤﺔ‬ ‫اﻟﺘﺮاث اﻟﻌﺎﻟﻤﻲ‪ ،‬وﺗﻤﻜﻦ اﻟﺠﻤﻴﻊ ﻣﻦ اﻟﻮﺻﻮل إﻟﻴﻬﺎ‬ ‫ﺑﻮﺻﻔﻬﺎ ﺷﺎﻫﺪا ﻋﻠﻰ إرﺛﻨﺎ اﻟﻌﺮﻳﻖ وﻋﻠﻰ اﻟﺪور‬ ‫اﻟﻔﺎﻋﻞ‪ ،‬واﻟﻤﻮﻗﻊ اﻟﺒﺎرز ﻋﻠﻰ ﺧﺮﻳﻄﺔ اﻟﺤﻀﺎرة‬ ‫ا©ﻧﺴﺎﻧﻴﺔ‪.‬‬

‫‪05‬‬


INTRODUCTION Project Elements

PROJECT ELEMENTS - Galleries - Museums

Galleries

- lecture rooms - Library - Reading Areas

Educational Places

06

- Cafes - Outdoor Spaces

Gathering Places

- Workshop Spaces - Studios

Workshops

- Retails - Art Exhibitions

Shops


INTRODUCTION STANDERDS

GALLERIES

07

WORKSHOPS AND EDUCATIONAL PLACES

LIBRARY / READING PLACES

SHOPS


‫‪ .٣‬اﻟﻤﺒﺎﻧﻲ‬ ‫‪ ٣٫١‬ﻣﺒﺎﻧﻲ ﺗﺎرﻳﺨﻴﺔ ﺳﻠﻴﻤﺔ‪:‬‬ ‫ﺳﻴﺎﺳﺎت ﻋﺎﻣﺔ ﻟﻠﻤﺒﺎﻧﻲ اﻟﺘﺎرﻳﺨﻴﺔ‪:‬‬ ‫• ﺗﺼﻨﻴﻒ أ‪ :‬اﺧﺘﻴﺎر اﻟﻮﻇﻴﻔﺔ اﻟﻤﻨﺎﺳﺒﺔ ﻟﻬﺎ ‪.‬‬ ‫• اﻟﺼﻴﺎﻧﺔ اﻟﺪورﻳﺔ‪.‬‬ ‫• إﺿﺎﻓﺔ اﻟﺘﻘﻨﻴﺎت اﻟﺤﺪﻳﺜﺔ اﻟﺘﻲ ﺗﺨﺪم اﻟﻤﺒﻨﻰ ﻛﺎﻟﻤﺼﺎﻋﺪ‪.‬‬ ‫• ﺗﻘﻮﻳﺔ اﻟﺮﺑﻂ ﺑﻴﻦ اﻟﻤﺒﻨﻰ اﻟﺘﺎرﻳﺨﻲ واﻟﻤﺒﻨﻰ اﻟﺤﺪﻳﺚ ﺑﻮﺟﻮد ﻧﻘﺎط‬ ‫اﺗﺼﺎل ﺑﻴﻨﻬﻢ‪.‬‬ ‫• اﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ اﻻﺗﺼﺎل اﻟﺒﺼﺮي ﻣﻊ اﻟﻤﺒﻨﻰ اﻟﺘﺎرﻳﺨﻲ‪.‬‬ ‫• ﺿﻢ اﻟﻤﺒﺎﻧﻲ اﻟﻤﺘﺠﺎورة ﻓﻲ ﺣﺎل اﻟﺤﺎﺟﺔ ﻟﻤﺸﺎرﻳﻊ ﺗﻨﻤﻮﻳﺔ‬ ‫واﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻴﻬﺎ‪.‬‬ ‫‪ ٣٫٢‬ﻣﺒﺎﻧﻲ ﺗﺎرﻳﺨﻴﺔ ﻏﻴﺮ ﻣﺴﺘﻘﺮة‪:‬‬ ‫• ﺗﺪﻋﻴﻢ أﺳﺎﺳﺎت اﻟﻤﺒﺎﻧﻲ اﻟﺘﻲ ﺗﺤﺘﺎج إﻟﻰ ﺗﺪﻋﻴﻢ‪.‬‬ ‫• ﺗﺠﺪﻳﺪ اﻟﻤﺒﺎﻧﻲ ﺑﻤﻮاد ﺣﺪﻳﺜﺔ ﺗﻌﻄﻲ ﻃﺎﺑﻊ اﻟﻘﺪﻳﻢ ﻋﻨﺪ اﻟﺤﺎﺟﺔ‪.‬‬

‫‪INTRODUCTION‬‬

‫• ﺗﺤﻘﻴﻖ ا©ﺗﺼﺎﻟﻴﺔ ﺑﻴﻦ اﻟﺪاﺧﻞ واﻟﺨﺎرج ﻟﺨﺪﻣﺔ اﻟﺰوار‬ ‫وﺧﺼﻮﺻﺎ ﻓﻲ اﻟﺪور ا›رﺿﻲ‪.‬‬ ‫واﻟﻤﺴﺘﺨﺪﻣﻴﻦ‬ ‫ً‬ ‫• ﻣﺮاﻋﺎة اﻟﺠﻮاﻧﺐ اﻟﺒﻴﺌﻴﺔ‪.‬‬ ‫• ﻣﺮاﻋﺎة اﻟﻨﺴﻴﺞ اﻟﻌﻤﺮاﻧﻲ اﻟﻘﺪﻳﻢ‪.‬‬ ‫• ﻣﺮاﻋﺎة إﻳﻘﺎع وﺗﺪرج اﻟﻤﺒﺎﻧﻲ اﻟﻤﺤﻴﻄﺔ ﺑﺎﻟﻤﺒﻨﻰ اﻟﺠﺪﻳﺪ‪.‬‬ ‫• اﺳﺘﻐﻼل اﻟﻤﺒﺎﻧﻲ اﻟﺠﺪﻳﺪة أﻓﻘ ًﻴﺎ ورأﺳ ًﻴﺎ‪.‬‬ ‫• ﺗﻌﺮﻳﻒ ﻣﺪاﺧﻞ اﻟﻤﺸﺮوع ﺑﺼﻮرة ﻣﻮﺣﺪة ﻟﻀﻤﺎن اﻟﺤﻔﺎظ ﻋﻠﻰ‬ ‫اﻟﻬﻮﻳﺔ‪.‬‬ ‫• وﺟﻮد ﻣﺮﺟﻊ ﺗﺎرﻳﺨﻲ ﻟﻠﺠﺪران واﻻرﺗﻔﺎﻋﺎت واﻟﻨﺴﺐ‪.‬‬ ‫• وﺟﻮد ﻋﻨﺎﺻﺮ ﺟﺬب ﻣﻬﻤﺔ ﻟﻠﻤﺸﺮوع ﺗﻀﻤﻦ ﻓﻌﺎﻟﻴﺘﻪ‪.‬‬ ‫اﻟﻤﺤﺎﻓﻈﺔ ﻋﻠﻰ اﺳﺘﻤﺮار اﻟﺘﻮاﺻﻞ اﻟﺒﺼﺮي ﻣﻊ ﻧﺼﻴﻒ‪.‬‬

‫‪BUILDING REGULATION‬‬

‫‪ .١‬اﻟﻤﺤﺎور‪:‬‬ ‫‪ ١٫١‬اﻟﻤﺤﺎور اﻟﺮﺋﻴﺴﻴﺔ‪:‬‬

‫‪1.2‬‬

‫‪2.2‬‬

‫‪ ٣٫٣‬ﻣﺒﺎﻧﻲ ﺗﺎرﻳﺨﻴﺔ ﻣﻨﻬﺎرة ﺟﺰﺋﻴﺎ‪:‬‬ ‫• اﺿﺎﻓﺔ ﻣﺒﻨﻰ ﺟﺪﻳﺪ ﻣﺴﺎﻧﺪ ﺗﻘﻨ ًﻴﺎ ووﻇﻴﻔ ًﻴﺎ ﻟﻠﻤﺒﻨﻰ اﻟﻤﻨﻬﺎر‪.‬‬ ‫• ﻣﺮاﻋﺎة ا©رﺗﻔﺎﻋﺎت ﺑﺎﻟﺸﻜﻞ اﻟﺘﺎﻟﻲ‪:‬‬

‫‪1.2‬‬

‫ ارﺗﻔﺎع اﻟﺠﺰء اﻟﻤﺒﻨﻲ اﻟﺴﺎﺑﻖ‪.‬‬‫ ﻣﺮاﻋﺎة ﻋﺪم ﺗﺠﺎوز ﺑﻴﺖ ﻧﺼﻴﻒ ﺑﺸﻜﻞ رﺋﻴﺴﻲ‪.‬‬‫ ﻓﻲ ﺣﺎل اﻟﺤﺎﺟﺔ إﻗﺘﺼﺎدﻳًﺎ ﻟﺘﺠﺎوز ارﺗﻔﺎع ﺑﻴﺖ ﻧﺼﻴﻒ ﻳﺠﺐ أن ﻻ ﻳﻨﺎﻓﺲ‬‫اﻟﻤﺒﻨﻰ اﻟﺠﺪﻳﺪ ﺑﻴﺖ ﻧﺼﻴﻒ ﻣﺮاﻋﺎة ﻟﻠﺴﻴﺎق‪.‬‬

‫‪1.1‬‬

‫‪ ٣٫٥‬ﻣﺒﺎﻧﻲ ﺟﺪﻳﺪة‪:‬‬ ‫• اﺿﺎﻓﺔ ﻣﺒﻨﻰ ﺟﺪﻳﺪ ﻣﺴﺎﻧﺪ ﺗﻘﻨ ًﻴﺎ ووﻇﻴﻔ ًﻴﺎ ﻟﻠﻤﻨﻄﻘﺔ اﻟﺘﺎرﻳﺨﻴﺔ‪.‬‬ ‫• ﻣﺮاﻋﺎة ا©رﺗﻔﺎﻋﺎت ﺑﺎﻟﺸﻜﻞ اﻟﺘﺎﻟﻲ‪:‬‬

‫ ارﺗﻔﺎع اﻟﻤﺒﻨﻰ اﻟﺴﺎﺑﻖ‪.‬‬‫ ﻣﺮاﻋﺎة ﻋﺪم ﺗﺠﺎوز ارﺗﻔﺎع ﺑﻴﺖ ﻧﺼﻴﻒ ﺑﺸﻜﻞ رﺋﻴﺴﻲ‪.‬‬‫ ﻓﻲ ﺣﺎل اﻟﺤﺎﺟﺔ إﻗﺘﺼﺎدﻳًﺎ ﻟﺘﺠﺎوز ارﺗﻔﺎع ﺑﻴﺖ ﻧﺼﻴﻒ ﻳﺠﺐ أن ﻻ ﻳﻨﺎﻓﺲ‬‫اﻟﻤﺒﻨﻰ اﻟﺠﺪﻳﺪ ﺑﻴﺖ ﻧﺼﻴﻒ ﻣﺮاﻋﺎة ﻟﻠﺴﻴﺎق‪.‬‬

‫• ﻧﺴﺐ اﻟﻔﺘﺤﺎت ﺑﺄن ﺗﻜﻮن ﻣﺘﻨﺎﺳﻘﺔ ﻣﻊ ﻓﺘﺤﺎت اﻟﻤﺒﻨﻰ‬ ‫اﻟﻤﺠﺎور‪.‬‬ ‫• ﻣﺮاﻋﺎة اﺳﺘﺨﺪام ﻣﻮاد ﺟﺪﻳﺪة ﻗﺪر ا›ﻣﻜﺎن ﻣﻊ ﻣﺮاﻋﺎة ا›ﻟﻮان‬ ‫ﻟﻜﻲ ﺗﻌﻄﻲ ﻃﺎﺑﻊ وروح اﻟﻘﺪﻳﻢ ‪.‬‬

‫‪1.2‬‬

‫‪1.2‬‬

‫‪ ١٫٣‬ﻣﺴﺎرات ﺿﻴﻘﺔ )أزﻗﺔ(‪:‬‬ ‫• اﺳﺘﺨﺪام ﻣﻮاد ﻟ‪Ù‬رﺿﻴﺎت ﻻ ﺗﺴﻤﺢ ﺑﺎﻟﺠﻠﻮس ﻋﻠﻴﻬﺎ ﻟﻌﺪم‬ ‫إﻋﺎﻗﺔ اﻟﺤﺮﻛﺔ‪.‬‬ ‫• ﻣﻨﻊ إﻗﺎﻣﺔ ا›ﻧﺸﻄﺔ ﻓﻲ ا›زﻗﺔ ﻣﻦ أﻧﺸﻄﺔ ﺗﺠﺎرﻳﺔ وﻏﻴﺮﻫﺎ‬ ‫• ﺗﻘﻮﻳﺔ اﻟﺮﺑﻂ ﺑﻴﻦ ا›زﻗﺔ واﻟﻤﺴﺎرات اﻟﺮﺋﻴﺴﻴﺔ وﺗﺄﻛﻴﺪ ﻣﺪاﺧﻠﻬﺎ‪.‬‬

‫‪2.3‬‬

‫ اﺳﺘﺨﺪام اﻟﺨﺮﺳﺎﻧﺔ ﻣﻊ اﻟﻨﻮرة اﻟﺒﻠﺪي ©ﻋﻄﺎء روح وﺷﺨﺼﻴﺔ ﻟﻠﻤﺒﻨﻰ‪.‬‬‫ اﺳﺘﺨﺪام اﻟﺨﺸﺐ ﻓﻲ واﺟﻬﺎت اﻟﻤﺒﺎﻧﻲ ©ﻋﻄﺎء روح وﺷﺨﺼﻴﺔ ﻟﻠﻤﻜﺎن‪.‬‬‫ اﺳﺘﺨﺪام اﻟﺰﺟﺎج ﻟﺘﻌﺰﻳﺰ اﻟﺘﻮاﺻﻞ اﻟﺒﺼﺮي وﻋﺪم اﻟﺘﺸﻮﻳﺶ ﻋﻠﻰ اﻟﺰوار‪.‬‬‫‪ -‬اﺳﺘﺨﺪام ﻣﻮاد ﻻ ﺗﻄﻐﻰ ﻋﻠﻰ اﻟﻤﻨﻄﻘﺔ‪.‬‬

‫‪ ٣٫٤‬ﻣﺒﺎﻧﻲ ﻣﺴﺘﺤﺪﺛﺔ ﻗﺎﺋﻤﺔ‪:‬‬ ‫• إﻣﻜﺎﻧﻴﺔ إزاﻟﺔ اﻟﻤﺒﺎﻧﻲ ﻏﻴﺮ اﻟﻤﻬﻤﺔ ذات ا›دوار اﻟﻤﻨﺨﻔﻀﺔ وذات‬ ‫اﻟﺘﺸﻜﻴﻞ اﻟﻌﻤﺮاﻧﻲ اﻟﻐﻴﺮ ﻣﺤﺘﺮم ﻟﻠﺴﻴﺎق اﻟﻤﺤﻴﻂ ﺑﻬﺎ وإزاﻟﺘﻬﺎ أن‬ ‫ﻛﺎﻧﺖ ﻣﺆﺛﺮة ﻋﻠﻰ ﻋﻤﻠﻴﺔ اﻟﺘﻨﻤﻴﺔ‪.‬‬ ‫• ﻣﻌﺎﻟﺠﺔ إرﺗﻔﺎﻋﺎت اﻟﻤﺒﺎﻧﻲ اﻟﺘﻲ ﺗﺘﺠﺎوز ﺑﻴﺖ ﻧﺼﻴﻒ ﺑﻄﺮﻳﻘﺔ ﻻ‬ ‫ﺗﻄﻐﻰ ﻋﻠﻰ اﻟﻤﺒﺎﻧﻲ اﻟﻘﺪﻳﻤﺔ وﻫﺪﻣﻬﺎ إن أﻣﻜﻦ‪.‬‬ ‫• ﻣﻌﺎﻟﺠﺔ واﺟﻬﺎت اﻟﻤﺒﺎﻧﻲ ﺑﺈﺳﺘﺨﺪام اﻟﻤﻮاد اﻟﻤﺤﻠﻴﺔ ﻣﻦ اﻟﻤﺒﺎﻧﻲ‬ ‫اﻟﻤﻨﻬﺎرة ﺑﻄﺮﻳﻘﺔ ﺗﻌﺒﺮ ﻋﻦ ﻫﻮﻳﺔ اﻟﻤﻨﻄﻘﺔ ﺑﻄﺮﻳﻘﺔ ﻣﻨﺴﺠﻤﺔ ‪.‬‬ ‫• ﻣﻌﺎﻟﺠﺔ ﻧﺴﺐ اﻟﻔﺘﺤﺎت ﺑﻄﺮﻳﻘﺔ ﻃﻮﻟﻴﺔ ﻣﻨﺴﺠﻤﺔ ﻣﻊ اﻟﻤﻨﻄﻘﺔ‬ ‫اﻟﺘﺎرﻳﺨﻴﺔ‪.‬‬

‫‪ ١٫٢‬اﻟﻤﺤﺎور اﻟﺜﺎﻧﻮﻳﺔ‪:‬‬ ‫• اﻟﺤﺮﻛﺔ‪ :‬ﻟﻠﻤﺸﺎة ﻓﻘﻂ‬ ‫• ﺗﻮﻓﻴﺮ ﺟﻠﺴﺎت ﻋﻠﻰ اﻟﻤﺤﻮر )اﻟﻤﺮاﻛﻴﺰ(‬ ‫• ﺗﻮﻓﻴﺮ ﺣﻴﺰ ﻓﺮاﻏﻲ ﺷﺒﻪ ﺧﺎص ﻟﻜﻞ ﻣﻨﺰل ﻋﻠﻰ اﻟﻤﺤﻮر ﻟﻠﺤﻔﺎظ‬ ‫ﻋﻠﻰ اﻟﺘﺪرج ﻓﻲ اﻟﺨﺼﻮﺻﻴﺔ‬

‫‪1.3‬‬

‫• ﻧﺴﺐ اﻟﻔﺘﺤﺎت ﺑﺄن ﺗﻜﻮن ﻣﺘﻨﺎﺳﻘﺔ ﻣﻊ ﻓﺘﺤﺎت اﻟﻤﺒﻨﻰ اﻟﻤﺠﺎور‪.‬‬ ‫• ﻣﺮاﻋﺎة اﺳﺘﺨﺪام ﻣﻮاد ﺟﺪﻳﺪة ﻗﺪر ا›ﻣﻜﺎن ﻣﻊ ﻣﺮاﻋﺎة ا›ﻟﻮان ﻟﻜﻲ‬ ‫ﺗﻌﻄﻲ ﻃﺎﺑﻊ وروح اﻟﻘﺪﻳﻢ ﻣﺜﺎل ﻋﻠﻰ ذﻟﻚ‪:‬‬

‫‪1.2‬‬

‫‪1.3‬‬

‫‪1.1‬‬

‫‪1.1‬‬ ‫‪3.1‬‬

‫‪1.3‬‬

‫‪1.3‬‬

‫‪1.1‬‬

‫‪3.4‬‬

‫‪2.1‬‬

‫‪3.4‬‬ ‫‪3.1‬‬

‫‪2.2‬‬

‫‪2.3‬‬

‫‪1‬‬ ‫‪1.2‬‬

‫‪1.1‬‬

‫• اﻟﺤﺮﻛﺔ‪ :‬ﻟﻠﻤﺸﺎة ﻣﻊ اﻣﻜﺎﻧﻴﺔ دﺧﻮل ﺳﻴﺎرات اﻟﺨﺪﻣﺔ‬ ‫واﻟﻄﻮارئ ﻓﻲ ﺑﻌﺾ ا›ﺟﺰاء‬ ‫• إﻣﻜﺎﻧﻴﺔ ﻓﺘﺢ ﻣﺤﻼت ﺗﺠﺎرﻳﺔ‬ ‫• إﻣﻜﺎﻧﻴﺔ إﻗﺎﻣﺔ ا›ﻧﺸﻄﺔ ﻋﻠﻰ اﻟﻤﺤﻮر ﻣﺜﻞ اﻗﺎﻣﺔ اﻟﻤﻌﺎرض‬ ‫اﻟﺨﺎرﺟﻴﺔ ﻟﻠﻔﻨﻮن او اﻣﺎﻛﻦ ﻣﺨﺼﺼﺔ ﻟﻠﺮﺳﻢ‬ ‫• ﺗﻮﻓﻴﺮ أﻣﺎﻛﻦ ﻟﻠﺠﻠﻮس ﻋﻠﻰ اﻟﻤﺤﻮر ﺑﺸﻜﻞ ﻗﻠﻴﻞ‬ ‫• ﺗﻮﻓﻴﺮ ﻣﺴﻄﺤﺎت ﺧﻀﺮاء ﺑﺸﻜﻞ ﻻ ﻳﺆﺛﺮ ﻋﻠﻰ اﻟﻔﺮاغ اﻟﻌﺎم‬ ‫• ﺗﻮﻓﻴﺮ ﻟﻮﺣﺎت إرﺷﺎدﻳﺔ ﻣﻮﺣﺪة وﻣﺘﻨﺎﺳﻘﺔ ﻣﻊ‬ ‫اﻟﺸﻜﻞ اﻟﻌﺎم‬ ‫• اﺳﺘﺨﺪام أرﺿﻴﺔ ﺧﺸﻨﺔ ﻟﺘﺴﻬﻴﻞ ﺣﺮﻛﺔ اﻟﻤﺸﺎة‬

‫‪ .٢‬اﻟﺴﺎﺣﺎت‬

‫ﺳﻴﺎﺳﺎت ﻋﺎﻣﺔ ﻟﻠﺴﺎﺣﺎت‪:‬‬ ‫• اﺳﺘﺨﺪام اﻟﺴﺎﺣﺔ ﻟﻠﻮﺻﻮﻟﻴﺔ‪.‬‬ ‫• اﻟﺘﺪرج ﻓﻲ اﻟﺘﻨﻘﻞ‪.‬‬ ‫‪ ٢٫١‬ﺳﺎﺣﺎت رﺋﻴﺴﻴﺔ‪:‬‬ ‫• أن ﺗﻜﻮن ﺳﺎﺣﺎت ﻣﻬﻴﺌﺔ ﻟﻠﻤﻨﺎﺳﺒﺎت وا›ﻧﺸﻄﺔ اﻟﻌﺎﻣﺔ‬ ‫• وﻇﻴﻔﺔ اﻟﺴﺎﺣﺔ ﺗﺴﺘﺠﻴﺐ ﻟﻮﻇﻴﻔﺔ اﻟﻤﺒﺎﻧﻲ اﻟﻤﺤﻴﻄﺔ ﺑﻬﺎ‬ ‫• ﺧﻠﻖ ﺷﺨﺼﻴﺔ ﻟﻠﺴﺎﺣﺔ‬ ‫• اﺳﺘﺨﺪام أﻛﺜﺮ ﻣﻦ ﻣﺎدة ﻓﻲ اﻟﺘﺒﻠﻴﻂ ﺗﻮﺿﺢ ﻣﻨﺎﻃﻖ اﻟﺤﺮﻛﺔ‬ ‫وﻣﻨﺎﻃﻖ ا›ﻧﺸﻄﺔ ا›ﺧﺮى‬ ‫• إﺿﺎﻓﺔ ﻣﺴﻄﺤﺎت ﺧﻀﺮاء ﺑﺸﻜﻞ ﻻ ﻳﺆﺛﺮ ﺳﻠﺒ ًﺎ ﻋﻠﻰ اﻟﻔﺮاغ‬ ‫• اﻟﺘﻈﻠﻴﻞ ﻓﻲ ﻣﻨﺎﻃﻖ ﻣﻌﻴﻨﺔ ﺣﺴﺐ اﻟﺤﺎﺟﺔ‬ ‫‪ ٢٫٢‬ﺳﺎﺣﺎت ﻓﺮﻋﻴﺔ‪:‬‬ ‫• ﺳﺎﺣﺎت ﻣﻬﻴﺌﺔ ﻟﻠﺠﻠﻮس‬ ‫• إﻣﻜﺎﻧﻴﺔ إﻗﺎﻣﺔ ﻣﻨﺎﺳﺒﺎت ﺧﺎﺻﺔ‬ ‫• وﻇﻴﻔﺔ اﻟﺴﺎﺣﺔ ﺗﺴﺘﺠﻴﺐ ﻟﻮﻇﻴﻔﺔ اﻟﻤﺒﺎﻧﻲ اﻟﻤﺤﻴﻄﺔ ﺑﻬﺎ‬ ‫‪ ٢٫٣‬ﺳﺎﺣﺎت ﺻﻐﻴﺮة‬ ‫• ﻋﺪم وﺿﻊ ﻣﺴﺎﺣﺎت ﻟﻠﺠﻠﻮس‬ ‫• ان ﺗﻜﻮن ﻋﻨﺼﺮ ﻳﺮﺑﻂ ﺟﻤﻴﻊ اﻟﻔﺮاﻏﺎت اﻟﻤﺤﻴﻄﺔ ﺑﻬﺎ‬ ‫• ان ﻳﻜﻮن ﺗﺒﻠﻴﻂ اﻻرﺿﻴﺔ ﻧﻔﺲ ﺗﺒﻠﻴﻂ اﻟﻔﺮاﻏﺎت اﻟﻤﺤﻴﻄﺔ ﺑﻬﺎ‬

‫‪08‬‬


‫‪INTRODUCTION‬‬

‫‪OBJECTIVES - STRATEGIES - CRITERIA‬‬

‫‪Consider the‬‬ ‫‪Architectural Context‬‬

‫‪Economic Sustainability‬‬

‫‪Social Sustainability‬‬

‫ﻣﺮاﻋﺎة اﻟﺴﻴﺎق اﻟﻌﺎم ﻟﻠﻤﻨﻄﻘﺔ‬

‫اﺳﺘﺪاﻣﺔ اﻗﺘﺼﺎدﻳﺔ‬

‫اﺳﺘﺪاﻣﺔ اﺟﺘﻤﺎﻋﻴﺔ‬

‫‪ -١‬ﻣﺮاﻋﺎة اﻟﻬﻮﻳﺔ اﻟﺘﺎرﻳﺨﻴﺔ ﻟﻠﻤﻨﻄﻘﺔ ‪.‬‬ ‫‪-٢‬ﺗﺼﻤﻴﻢ ﻳﻌﺒﺮ ﻋﻦ وﻇﻴﻔﺔ اﻟﻤﺒﻨﻰ ‪.‬‬ ‫‪ -٣‬ﺗﺼﻤﻴﻢ ﻣﺘﻔﺎﻋﻞ ﻣﻊ اﻟﻤﻮﻗﻊ و اﻟﻌﻨﺎﺻﺮ‬ ‫اﻟﻤﺤﻴﻄﺔ ﺑﻪ ‪.‬‬

‫‪ -١‬ﺗﺤﻘﻴﻖ اﻟﺠﺪوى ا©ﻗﺘﺼﺎدﻳﺔ ﻟﻠﻤﺮﻛﺰ‪.‬‬ ‫‪ -٢‬ﺗﺤﻘﻴﻖ اﻟﺠﺪوى ا©ﻗﺘﺼﺎدﻳﺔ ﻟﻠﻔﻨﺎﻧﻴﻴﻦ‬ ‫أﻋﻀﺎء اﻟﻤﺮﻛﺰ ‪.‬‬

‫‪ -١‬إﺷﺮاك اﻟﻔﻨﺎﻧﻴﻴﻦ و اﻟﺤﺮﻓﻴﻴﻦ ﻓﻲ اﻟﺘﺼﻤﻴﻢ ‪.‬‬ ‫‪ -٢‬إﺷﺮاك اﻟﻔﻨﺎﻧﻴﻴﻦ و اﻟﺤﺮﻓﻴﻴﻦ ﻓﻲ اﻟﺘﻨﻔﻴﺬ‪.‬‬ ‫‪ -٣‬ﻣﺸﺎرﻛﺔ اﻟﻤﺮﻛﺰ ﻣﻊ اﻟﻌﺎﻣﺔ ﻣﻦ اﻟﻔﻨﺎﻧﻴﻴﻦ‬ ‫ﻏﻴﺰ أﻋﻀﺎء اﻟﻤﺮﻛﺰ ‪.‬‬ ‫‪ -٤‬ﺗﻔﺎﻋﻞ اﻟﻤﺮﻛﺰ ﻣﻊ ﻋﺎﻣﺔ اﻟﻨﺎس ‪.‬‬

‫‪ -١‬ﻣﺤﺎوﻟﺔ إﺳﺘﺨﺪام ﻣﻮاد ﻣﺤﻠﻴﺔ ﻟﻠﺒﻨﺎء ‪.‬‬ ‫‪ -٢‬ﻣﺤﺎوﻟﺔ ﻣﺤﺎﻛﺎة اﻟﺘﺼﺎﻣﻴﻢ اﻟﺘﺎرﻳﺨﻴﺔ‬ ‫ﺑﺄﺳﻠﻮب ﺟﺪﻳﺪ و ﺻﻴﺎﻏﺔ ﺟﺪﻳﺪة ‪.‬‬ ‫‪ -٣‬رﺑﻂ اﻟﻤﺒﻨﻰ ﺑﺎﻟﺴﺎﺣﺎت اﻟﻤﺤﻴﻄﺔ ‪.‬‬ ‫‪ -٤‬ﻣﺮاﻋﺎة اﻟﻮﻇﺎﺋﻒ اﻟﻤﺤﻴﻄﺔ ﻋﻨﺪ اﻟﺘﺼﻤﻴﻢ ‪.‬‬

‫‪ -١‬إﻗﺎﻣﺔ ﻣﺤﺎﺿﺮات ﻋﺎﻣﺔ ﺑﻌﺎﺋﺪ ﻣﺎدي ‪.‬‬ ‫‪ -٢‬ﺗﻮﻓﻴﺮ ﻗﺎﻋﺎت ﻣﺘﻌﺪدة ا©ﺳﺘﺨﺪاﻣﺮ‬ ‫ﻟ‪ß‬ﻳﺠﺎر ‪.‬‬ ‫‪ -٣‬ﺗﻮﻓﻴﺮ ﻓﺮاﻏﺎت ﻋﺮض ﻟﺪﻋﻢ اﻟﻔﻨﺎﻧﻴﻴﻦ و‬ ‫ﺗﺴﻮﻳﻖ ›ﻋﻤﺎﻟﻬﻢ اﻟﻔﻨﻴﺔ ‪.‬‬ ‫‪ -٤‬ﺗﻮﻓﻴﺮ ﻣﺤﻼت ﺗﺠﺎرﻳﺔ ﻣﺘﺨﺼﺼﺔ ‪.‬‬ ‫‪ -٥‬إﻗﺎﻣﺔ دورات ﺗﻌﻠﻴﻤﻴﺔ ﺑﻌﺎﺋﺪ ﻣﺎدي ‪.‬‬

‫‪ -١‬اﻟﻤﺸﺎرﻛﺔ ﻓﻲ ﺗﺼﻤﻴﻢ واﺟﻬﺎت اﻟﻤﺒﻨﻰ ‪.‬‬ ‫‪ -٢‬اﻟﻤﺸﺎرﻛﺔ ﻓﻲ اﻟﺘﺼﻤﻴﻢ اﻟﺪاﺧﻠﻲ و‬ ‫ﺗﺼﻤﻴﻢ ا›ﺛﺎث ‪.‬‬ ‫‪ -٣‬ﺗﻔﺎﻋﻞ اﻟﻤﺒﻨﻰ ﻣﻊ اﻟﻔﻌﺎﻟﻴﺎت ا©ﺟﺘﻤﺎﻋﻴﺔ‬ ‫ﻓﻲ اﻟﻤﻨﻄﻘﺔ ﻣﻦ إﺣﺘﻔﺎﻻت و ﻏﻴﺮﻫﺎ ‪.‬‬ ‫‪ -٤‬إﻗﺎﻣﺔ ﻣﻌﺎرض و ﻣﺤﺎﺿﺮات ﻟﻠﻌﺎﻣﺔ‬ ‫واﻟﻔﻨﺎﻧﻴﻴﻦ ‪.‬‬

‫‪Objectives‬‬ ‫‪Strategies‬‬

‫‪Criteria‬‬

‫‪09‬‬


CHAPTER 2

GENERAL ANALYSIS a.Case Studies Analysis b.Site Analysis And Response i.Existing site condition ii.Neighborhood iii.Size and area iv.Pedestrian circulation v.View from site vi.View to site vii.View through site c.Space Program


GENERAL ANALYSIS Case Studies Analysis

Contemporary Art Museum St. Louis Allied Works Architecture

Architects : Allied Works Architecture Location : St. Louis, Missouri, United States . Landscape Architecture : Reed Hilderbrand Client : Contemporary Art Museum St. Louis

11

"Contemporary Art Museum St. Louis / Allied Works Architecture." ArchDaily. N.p., 03 Mar. 2011. Web. 28 Apr. 2017. (http://www.archdaily.com/117143/contemporary-art-museum-st-louis-allied-works-architecture)


This building is a simultaneous act of enclosure and invitation, allowing the landscape to flow through the entire site, while tenuously capturing and containing rooms for art. The museum is not a privileged domain, but an open field that concentrates the forces of the city in preparation for later occupation by the artists.

12


The new architecture for the Contemporary Art Museum St. Louis creates a “site” for art and the potential work of artists, work that can take any form or medium. A building of anticipation, the museum is intended to be “acted upon” with art on any plane or surface.

13


The museum is formed by two opposing walls of concrete, which intertwine and cantilever over this new urban prairie. The lower walls bound the museum and establish the realm for art, observation, and education, creating large interconnecting galleries. These serpentine walls touch the sidewalk and fold inwards, inviting the public to enter and providing views completely through the building from the street intersection outside. The upper walls span above the galleries, intersecting and dividing the volumes below while providing rooms for administration and education. The ceilings float between these upper boundaries at varying heights, modulating the proportion and light of the galleries. The two realms of space and structure converge and diverge, spinning the perception of enclosure and transparency in multiple directions.

14


GENERAL ANALYSIS Case Studies Analysis

Yue Art Gallery Tao Lei Architect Studio

The original building is a typical factory built in 1980s with an 18 m * 18 m prefabricated roof truss, based on which it needs to rebuilt as a contemporary art gallery. A complete protection for a normal old factory seems not so worthy in this case, however, it deserves to seek more possibilities for its new exhibition function.

Architects : Tao Lei Architect Studio Location : Beijing, China Structure Design : Qinghai Wang Area : 1600.0 sqm Project Year : 2011

15

"Yue Art Gallery / Tao Lei Architect Studio." ArchDaily. N.p., 23 Apr. 2012. Web. 28 Apr. 2017. (http://www.archdaily.com/228765/yue-art-gallery-tao-lei-architect-studio)


A new space form is inserted into the original framework of the factory. In order to maintain and emphasize the integrity of the original surface, the historical wall has nearly no links to the new lining and is protected entirely. Meanwhile, we plugged the homogeneous windows with new brick, which becomes a fresh texture bearing the depth of time. Thus, there is a sharp contrast between the two materials implying a renewed spirit born in the old building.

16


The exhibition space not only achieves the most available areas and the field of view but also produces the great richness – the visitors could go through the commercial space and stay in different levels in a total space. A floating space, like the traditional Chinese imagery of mountains and waters, is thus formed in a merely 900 m2 space. Commercial spaces are blend in the exposition system. Through the translucent tube, people could feel an art atmosphere.

17


GENERAL ANALYSIS Case Studies Analysis

Delhi Art Gallery Re-Design Abhhay Narkar Architects : Abhhay Narkar Location : New Delhi, Delhi, India Design Team : Dushyant Bansal, Shariq Khan Area : 9000.0 sqm Project Year : 2011

18

"Delhi Art Gallery Re-Design / Abhhay Narkar." ArchDaily. N.p., 05 Aug. 2011. Web. 28 Apr. 2017. (http://www.archdaily.com/156154/delhi-art-gallery-re-design-vertex-design)


The revitalization of the Delhi Art Gallery required a complete restructuring of interior spaces and the positioning of a striking architectural exterior to sit in with the contours of the heritage precinct of the 13th century Hauzkhas village, Delhi. The new simple facade stands apart from today’s chaotic urban sprawl, yet still resonates with the region’s historic fabric.

19


SITE ANALYSIS

Location and Neigborhood Analysis:

To Jadeed Gate

To Makkah Gate Work and retail Zone

Work and retail Zone To Al-Dahab Street

Al-Alwi Axis

Fine Art

Stage

Expressive Art

a Abu Inab

h

Nassef

Cultural Center

Al-Alwi Axis To Shareef Gate

. ‫ﻣﺒﻨﻰ ﺗﺎرﻳﺨﻲ‬

Abu Inabah Axis

. ‫ﻣﺒﻨﻰ ﻣﺴﺘﺤﺪث‬ 1500m2 : ‫ﻣﺴﺎﺣﺔ اﻻرض‬

20


‫‪SITE ANALYSIS‬‬ ‫‪Views Into The Site‬‬

‫‪2‬‬

‫‪3‬‬

‫‪1‬‬

‫‪2‬‬

‫‪3‬‬

‫‪4‬‬

‫‪1‬‬

‫‪4‬‬

‫‪5‬‬

‫‪5‬‬

‫‪1‬‬

‫اﻟﺘﻌﺎﻣﻞ ﻣﻊ اﻟﻮاﺟﻬﺔ ﺑﻄﺮﻳﻘﺔ ﺗﻔﺎﻋﻠﻴﺔ ﻣﻊ اﻟﺴﺎﺣﺔ‬ ‫)ﺳﺎﺣﺔ ﻧﺼﻴﻒ( ‪.‬‬

‫‪2‬‬

‫اﻟﺤﻔﺎظ ﻋﻠﻰ اﻟﺘﺪرج ﻓﻲ ا‚رﺗﻔﺎﻋﺎت ‪.‬‬

‫‪3‬‬

‫ﺗﺼﻤﻴﻢ اﻟﻮاﺟﻬﺔ ﺣﻴﺚ ﺗﻌﺒﺮ و ﺗﺘﻔﺎﻋﻞ ﻣﻊ ﺳﺎﺣﺔ‬ ‫اﻟﻔﻨﺎﻧﻴﻦ ‪.‬‬

‫‪2‬‬ ‫‪1‬‬ ‫‪3‬‬

‫‪21‬‬


‫‪SITE ANALYSIS‬‬ ‫‪Views From The Site‬‬

‫‪1‬‬ ‫‪2‬‬

‫‪1‬‬ ‫‪1‬‬

‫‪2‬‬

‫‪3‬‬

‫‪5‬‬

‫‪3‬‬ ‫‪4‬‬

‫‪2‬‬

‫ﺗﺮﻛﻴﺰ ﻣﻨﻄﻘﺔ اﻟﺨﺪﻣﺎت ﻓﻲ اﻟﻤﻨﺎﻃﻖ اﻟﺨﻠﻔﻴﺔ ‪.‬‬ ‫ﺗﺮﻛﻴﺰ اﻟﻔﺮاﻏﺎت اﻟﺮﺋﻴﺴﻴﺔ ﻓﻲ اﻟﻮاﺟﻬﺎت اﻟﻤﻄﻠﺔ ﻋﻠﻰ اﻟﺴﺎﺣﺎت ‪.‬‬ ‫ﺗﺮﻛﻴﺰ اﻟﻔﺮاﻏﺎت اﻟﺘﺠﺎرﻳﺔ ﻋﻠﻰ ﻣﺤﻮر اﻟﻌﻠﻮي اﻟﺘﺠﺎري ‪.‬‬

‫‪3‬‬

‫إﻃﻼﻟﺔ ﺿﻌﻴﻔﺔ‬

‫‪5‬‬

‫‪4‬‬

‫‪3‬‬

‫‪2‬‬

‫‪1‬‬

‫إﻃﻼﻟﺔ ﻗﻮﻳﺔ‬

‫‪22‬‬


‫‪SITE ANALYSIS‬‬ ‫‪Dimensions - Noise‬‬ ‫‪Size/ Area Analysis‬‬

‫‪Open Spaces‬‬

‫‪5.8m‬‬

‫‪6.6m‬‬

‫‪14m‬‬

‫‪3‬‬

‫‪4m‬‬ ‫‪2‬‬

‫‪28 m‬‬

‫‪32m‬‬ ‫‪5m‬‬

‫‪1‬‬

‫‪7m‬‬

‫‪4.4m‬‬

‫ﺗﺮﻛﻴﺰ اﻟﻔﺮاﻏﺎت اﻟﻌﺎﻣﺔ ﻓﻲ اﻟﻤﻨﺎﻃﻖ ا§ﻛﺜﺮ‬ ‫إزﻋﺎﺟﺎ و ﺣﻴﻮﻳﺔ ‪.‬‬

‫‪1‬‬

‫ﺗﺮﻛﻴﺰ اﻟﻔﺮاﻏﺎت ا§ﻛﺜﺮ ﺧﺼﻮﺻﻴﺔ ﻓﻲ اﻟﻤﻨﺎﻃﻖ‬ ‫اﻟﻬﺎدﺋﺔ اﻟﻤﻄﻠﺔ ﻋﻠﻰ اﻟﺴﺎﺣﺔ اﻟﺪاﺧﻠﻴﺔ‬

‫‪2‬‬

‫اﻟﺘﺄﻛﻴﺪ ﻋﻠﻰ اﻟﻤﺴﺎر اﻟﺬي ﻳﺮﺑﻂ ﺑﻴﻦ ﺳﺎﺣﺔ ﻧﺼﻴﻒ‬ ‫واﻟﺴﺎﺣﺔ اﻟﺪاﺧﻠﻴﺔ ‪.‬‬ ‫اﻟﺘﻌﺎﻣﻞ ﻣﻊ اﻟﻤﺒﻨﻰ اﻟﻤﺴﺘﺪث ﺑﺤﻴﺚ إﻣﺎ أن ﻳﻬﺪم‬ ‫ﻟﻴﺴﺘﻤﺮ اﻟﻤﺴﺎر أو ﺗﺴﺘﻐﻞ اﻟﻤﺴﺎﺣﺔ ﺑﻄﺮﻳﻘﺔ أﻓﻀﻞ‬ ‫ﻛﺒﻨﺎء ﻣﺒﻨﻰ ﺟﺪﻳﺪ ﻳﺨﺪم اﻟﻤﻨﻄﻘﺔ ‪.‬‬

‫‪3‬‬

‫اﻟﺤﻔﺎظ ﻋﻠﻰ اﻟﻤﻤﺮ ‪.‬‬

‫‪8m‬‬

‫‪9m‬‬ ‫‪13m‬‬

‫‪7.5m‬‬

‫‪6m‬‬

‫‪14.5m‬‬ ‫‪12m‬‬

‫‪13m‬‬ ‫‪12m‬‬

‫‪23‬‬


‫‪SITE ANALYSIS‬‬

‫‪Pedestrian Circulation - Open Spaces‬‬ ‫‪Pedestrian Circulation‬‬

‫‪Open Spaces‬‬

‫‪Abu Inabah Axis‬‬

‫‪Al-Alwi Axis‬‬ ‫ﺳﺎﺣﺔ ﻋﺎﻣﺔ‬ ‫ﺳﺎﺣﺔ ﺷﺒﻪ‬ ‫ﻋﺎﻣﺔ‬

‫ﺳﺎﺣﺔ ﺷﺒﻪ‬ ‫ﺧﺎﺻﺔ‬

‫‪1‬‬

‫اﻟﺘﺮﻛﻴﺰ ﻋﻠﻰ اﻟﺴﺎﺣﺔ اﻟﺮﺋﻴﺴﻴﺔ )ﺳﺎﺣﺔ ﻧﺼﻴﻒ( ﻓﻲ‬ ‫اﻟﺘﺼﻤﻴﻢ ﺑﺤﻴﺚ ﺗﻜﻮن اﻟﻤﺒﺎﻧﻲ اﻟﻤﺤﻴﻄﺔ ﻟﻠﺴﺎﺣﺔ‬ ‫داﻋﻤﺔ و ﺗﻔﺎﻋﻠﻴﺔ ﻋﻬﺎ ‪.‬‬

‫‪2‬‬

‫ﺗﻘﻮﻳﺔ اﻟﻌﻼﻗﺔ ﺑﻴﻦ اﻟﺴﺎﺣﺘﻴﻦ ﻣﻊ اﻟﺤﻔﺎظ ﻋﻠﻰ‬ ‫ﺧﺼﻮﺻﻴﺔ ﻛﻞ ﻣﻨﻬﺎ ‪.‬‬ ‫اﻟﺤﻔﺎظ ﻋﻠﻰ اﻟﺘﺪرج ﻓﻲ اﻟﺨﺼﻮﺻﻴﺔ ﻟﻠﺴﺎﺣﺎت ‪.‬‬

‫‪2‬‬

‫اﻟﺘﺄﻛﻴﺪ ﻋﻠﻰ اﻟﻤﺴﺎر اﻟﺬي ﻳﺮﺑﻂ ﺑﻴﻦ ﺳﺎﺣﺔ ﻧﺼﻴﻒ‬ ‫واﻟﺴﺎﺣﺔ اﻟﺪاﺧﻠﻴﺔ ‪.‬‬ ‫اﻟﺘﻌﺎﻣﻞ ﻣﻊ اﻟﻤﺒﻨﻰ اﻟﻤﺴﺘﺪث ﺑﺤﻴﺚ إﻣﺎ أن ﻳﻬﺪم‬ ‫ﻟﻴﺴﺘﻤﺮ اﻟﻤﺴﺎر أو ﺗﺴﺘﻐﻞ اﻟﻤﺴﺎﺣﺔ ﺑﻄﺮﻳﻘﺔ أﻓﻀﻞ‬ ‫ﻛﺒﻨﺎء ﻣﺒﻨﻰ ﺟﺪﻳﺪ ﻳﺨﺪم اﻟﻤﻨﻄﻘﺔ ‪.‬‬

‫‪3‬‬

‫اﻟﺤﻔﺎظ ﻋﻠﻰ اﻟﻤﻤﺮ ‪.‬‬

‫‪1‬‬

‫‪1‬‬ ‫‪2‬‬

‫‪3‬‬ ‫‪2‬‬

‫‪1‬‬

‫‪24‬‬


Main Spaces : 1- Educational spaces 2- Workshops 3- Gallery 4- Gathering spaces 5- Retail/shops

BUILDING DESIGN SPACE PROGRAM

GROUND FLOOR Functions Reception Café Retail -1Retail -2Retail -3Out doot Public Gallery Corridors Vertical Circulation Storage Services TOTAL First Floor Functions Reception Gallery -1Gallery -2Gallery -3Lecture Room Lecture Room Corridors Vertical Circulation Storage Services TOTAL

25

Area/Person 1.2 1.5 5 5 5 -

Area (m2) 72 179 49.5 42 88 80 33.87 35 21.4 54 654.77

Density of users 60 119.3333333 9.9 8.4 17.6 -

Area/Person 1.2 1 1 1 1.2 1.2 -

Area 65.8 74 219 43 35.5 82 33.87 35 13 54 655.17

Density of users 54.83333333 74 219 43 29.58333333 68.33333333 -

-

-

Supporting Spaces : 1- Cafe 3- Library/Reading Area 4- Outdoor / indoor sotial activities 5- Administration

Second Floor Functions Reception Workshops Workshops Outdoor Workshops Administration -1Administration -2Multipurpose Hall Vertical Circulation Corridors Services Storage TOTAL Third Floor Functions Reception Library - Reading Area Workshops Workshops Vertical Circulation Corridors Services TOTAL

Minor Spaces : 1- Toilet 2- Storages 3- Mechanical Room 4- Electrical Room 5- Transformer Room

Area/Person 1.2 3 3 2 1 1 1 -

Area 65.8 74 43 43 20 17 82 35 33.87 54 13 480.67

Density of users 54.83333333 24.66666667 14.33333333 21.5 20 17 82

Area/Person 1.2 3 2 2 -

Area 65.8 124 69 35 35 33.87 54 416.67

Density of users 54.83333333 41.33333333 34.5 17.5

-

-


CHAPTER 3

DESIGN CONCEPT a.General Concept b.Concept Development (zoning – Mass Generation)


DESIGN CONCEPT GENERAL CONCEPT

GENERAL CONCEPT INTERACTION BETWEEN THE BUILDING AND ITS SURROUNDINGS PUBLIC

ELEVATIONS

ARTISTS

ROOFS

CRAFTSMEN

27

USERS

SPACES

PLAZAS


‫‪DESIGN CONCEPT‬‬ ‫‪MASS GENERATION‬‬

‫إزاﻟﺔ اﻟﻤﺒﻨﻰ اﻟﻤﺴﺘﺤﺪث ﻟﺪﻣﺞ‬ ‫اﻟﺴﺎﺣﺎت أو ﺑﻨﺎء ﻣﺒﻨﻰ ﺟﺪﻳﺪ ﻻ ﻳﺆﺛﺮ ﻋﻠﻰ‬ ‫اﻟﺘﻮاﺻﻞ اﻟﺒﺼﺮي ﺑﻴﻦ اﻟﺴﺎﺣﺎت ‪.‬‬

‫‪2‬‬

‫اﻟﻮﺿﻊ اﻟﺤﺎﻟﻲ ﻟﻠﻤﻨﻄﻘﺔ‬

‫‪1‬‬

‫ﻣﺤﺎور رﺋﻴﺴﻴﺔ‬ ‫ﺣﺪود اﻟﻤﻨﻄﻘﺔ‬ ‫ﻣﺒﻨﻰ ﺗﺎرﻳﺨﻲ‬

‫ﻣﺒﻨﻰ ﺗﺎرﻳﺨﻲ‬

‫ﻣﺒﻨﻰ ﻏﻴﺮ ﺗﺎرﻳﺨﻲ )ﻣﺴﺘﺤﺪث(‬

‫ﻣﺒﻨﻰ ﻏﻴﺮ ﺗﺎرﻳﺨﻲ )ﻣﺴﺘﺤﺪث(‬

‫ﺳﺎﺣﺔ‬

‫ﺳﺎﺣﺔ‬

‫‪4‬‬

‫ﺗﻮﺟﻴﻪ ﻧﻬﺎﻳﺔ واﺟﻬﺔ اﻟﻤﺒﻨﻰ اﻟﺠﺪﻳﺪ ﻋﻠﻰ‬ ‫اﻟﺴﺎﺣﺔ اﻟﺮﺋﻴﺴﻴﺔ )ﺑﺮﺣﺔ ﻧﺼﻴﻒ( و‬ ‫إﺿﺎﻓﺔ ﺷﺎﺷﺔ ﻟﺰﻳﺎدة اﻟﺘﻔﺎﻋﻞ ﻣﻊ‬ ‫اﻟﻤﺤﻴﻂ واﻟﺴﺎﺣﺔ ‪.‬‬

‫ﺑﻨﺎء ﻣﺒﻨﻰ ﺟﺪﻳﺪ ﻳﺤﺎﻓﻆ ﻋﻠﻰ اﻻﺗﺼﺎﻟﻴﺔ‬ ‫ﺑﻴﻦ اﻟﺴﺎﺣﺎت و ﻳﻌﻄﻲ ﺧﺼﻮﺻﻴﺔ‬ ‫ﻟﻠﻤﻨﻄﻘﺔ ﺗﺤﺘﻪ ‪.‬‬

‫‪3‬‬

‫ﻣﺸﺎرﻛﺔ اﻟﺴﺎﺣﺔ ﻣﻊ ﻋﺎﻣﺔ اﻟﻔﻨﺎﻧﻴﻴﻦ ‪.‬‬ ‫ﺳﻘﻒ ﻣﺴﺘﺨﺪم ﻻﻋﻀﺎء اﻟﻤﺮﻛﺰ ‪.‬‬

‫‪Screen‬‬

‫ﻣﺒﻨﻰ ﺗﺎرﻳﺨﻲ‬

‫ﻣﺒﻨﻰ ﺗﺎرﻳﺨﻲ‬

‫ﻣﺒﻨﻰ ﻏﻴﺮ ﺗﺎرﻳﺨﻲ )ﻣﺴﺘﺤﺪث(‬

‫ﻣﺒﻨﻰ ﻏﻴﺮ ﺗﺎرﻳﺨﻲ )ﻣﺴﺘﺤﺪث(‬

‫‪28‬‬


‫‪DESIGN CONCEPT‬‬ ‫‪MASS GENERATION‬‬

‫إﺿﺎﻓﺔ ﻣﺒﻨﻰ ﺟﺪﻳﺪ ﻣﺴﺎﻧﺪ ﻟﻠﻤﺒﺎﻧﻲ‬ ‫اﻟﺘﺎرﻳﺨﻴﺔ اﻟﻤﺤﻴﻄﺔ ‪.‬‬

‫‪6‬‬

‫ﺗﺄﻛﻴﺪ اﻟﻤﺪﺧﻞ اﻟﺮﺋﻴﺴﻲ ﻟﻠﻤﺮﻛﺰ ‪.‬‬

‫ازاﻟﺔ اﻟﻤﺒﻨﻰ اﻟﻤﺴﺘﺤﺪث ‪£‬ﺳﺘﻤﺮارﻳﺔ‬ ‫اﻟﻤﺴﺎر و إﻋﺎدﺗﻪ ﻟﻮﺿﻌﻪ اﻟﺴﺎﺑﻖ أو‬ ‫اﺿﺎﻓﺔ ﻣﺒﻨﻰ ﺟﺪﻳﺪ ﺑﺤﻴﺚ ﻳﺘﻢ‬ ‫ا‪£‬ﺳﺘﻔﺎدة ﻣﻦ ا©رض ﺑﺸﻜﻞ أﻓﻀﻞ ‪.‬‬

‫‪5‬‬

‫‪+‬‬

‫ﻣﺒﻨﻰ ﺗﺎرﻳﺨﻲ‬

‫ﻣﺒﻨﻰ ﺗﺎرﻳﺨﻲ‬

‫ﻣﺒﻨﻰ ﻏﻴﺮ ﺗﺎرﻳﺨﻲ )ﻣﺴﺘﺤﺪث(‬

‫ﻣﺒﻨﻰ ﻏﻴﺮ ﺗﺎرﻳﺨﻲ )ﻣﺴﺘﺤﺪث(‬

‫إﺿﺎﻓﺔ ﻛﺘﻠﺔ ﻣﻄﻠﺔ ﻋﻠﻰ اﻟﻤﻨﻄﻘﺔ‬ ‫اﻟﺘﺎرﻳﺨﻴﺔ ﺑﺈرﺗﻔﺎع ﻃﻴﺮﻣﺔ ﺑﻴﺖ ﻧﺼﻴﻒ ‪.‬‬

‫‪8‬‬

‫إﺿﺎﻓﺔ ﻛﺘﻞ ﻣﺴﺎﻧﺪة ﻟﻠﻤﺒﺎﻧﻲ اﻟﺘﺎرﻳﺨﻴﺔ‬

‫‪7‬‬ ‫‪+‬‬

‫‪+‬‬

‫‪+‬‬

‫ﻣﺒﻨﻰ ﺗﺎرﻳﺨﻲ‬

‫ﻣﺒﻨﻰ ﺗﺎرﻳﺨﻲ‬

‫ﻣﺒﻨﻰ ﻏﻴﺮ ﺗﺎرﻳﺨﻲ )ﻣﺴﺘﺤﺪث(‬

‫ﻣﺒﻨﻰ ﻏﻴﺮ ﺗﺎرﻳﺨﻲ )ﻣﺴﺘﺤﺪث(‬

‫‪29‬‬


‫‪DESIGN CONCEPT‬‬ ‫‪MASS GENERATION‬‬

‫ﻣﻨﻄﻘﺔ اﻻﺳﺘﻘﺒﺎل و ﻣﻨﻄﻘﺔ اﻟﻮﺻﻞ‬ ‫ﺑﻴﻦ اﻟﻤﺒﺎﻧﻲ اﻟﺘﺎرﻳﺨﻴﺔ‬

‫اﻟﻤﺪﺧﻞ اﻟﺮﺋﻴﺴﻲ‬

‫ﻣﻨﻄﻘﺔ ورش ﻋﻤﻞ ﺧﺎرﺟﻴﺔ‬ ‫ﻟﻠﻔﻨﺎﻧﻴﻦ أﻋﻀﺎء اﻟﻤﺮﻛﺰ‬

‫اﻟﻔﺮاﻏﺎت اﻟﺘﺠﺎرﻳﺔ ﻣﺮﻛﺰة ﻓﻲ اﻟﺪور‬ ‫ا©رﺿﻲ و ﻋﻠﻰ ﻣﺤﻮر اﻟﻌﻠﻮي اﻟﺘﺠﺎري‬

‫ﻣﻨﻄﻘﺔ ﻣﺨﺼﺼﺔ ﻟﻌﺎﻣﺔ اﻟﻔﻨﺎﻧﻴﻦ‬ ‫ﻟﻮرش اﻟﻌﻤﻞ و اﻟﻤﻌﺎرض اﻟﺨﺎرﺟﻴﺔ‬

‫اﻟﻮﺿﻊ اﻟﺠﺪﻳﺪ ﻟﻠﻜﺘﻞ‬

‫ﺗﻮزﻳﻊ اﻟﻮﻇﺎﺋﻒ اﻟﺮﺋﻴﺴﻴﺔ ﻋﻠﻰ اﻟﻜﺘﻠﺔ ‪:‬‬ ‫ﻓﺮاﻏﺎت ﺗﺠﺎرﻳﺔ‬

‫اﺳﺘﻘﺒﺎل‬

‫إدارة‬

‫ﻣﺒﻨﻰ ﺗﺎرﻳﺨﻲ‬

‫ﻣﻌﺎرض‬

‫ﻓﺮاﻏﺎت ﺗﻌﻠﻴﻤﻴﺔ‬

‫ﻣﻜﺘﺒﺔ‪ -‬ﻣﻨﻄﻘﺔ ﻗﺮاءة‬

‫ﻣﺒﻨﻰ ﻏﻴﺮ ﺗﺎرﻳﺨﻲ )ﻣﺴﺘﺤﺪث(‬

‫ورش ﻋﻤﻞ‬

‫‪30‬‬


CHAPTER 4

BUILDING DESIGN a.Plans b.Elevations c.Sections d.Building Systems e.Isometric f.Product Analysis g.Perspectives


BUILDING DESIGN PLANS

Site Plan

0 1 2 3 4

32

6

8

10m N


BUILDING DESIGN PLANS

A

Ground Floor 3

3

Legend : 1- Reception 2- Shop 3- Cafe 4- W.C. 5- Storage 6- Services 7- Public Gallery

5 6

7

UP

4 2 B`

C`

1

UP

C

6

2

5

B`

2

`A

0 1 2 3 4

33

6

8

10m N


BUILDING DESIGN PLANS

A

First Floor 2

2

Legend : 1- Reception 2- Gallery 3- Lecture Room 4- W.C. 5- Storage 6- Services

6 UP

4 2 B` DN

C`

1 UP

C

6

3

5

B`

3

`A

0 1 2 3 4

34

6

8

10m N


BUILDING DESIGN PLANS

A

Second Floor Legend : 1- Reception 2- Workshop 3- Outdoor Workshop 4- W.C. 5- Storage 6- Services 7- Administration 8- Multipurpose Hall

2

6 3 DN UP

4 2 B` DN

C`

1 UP

C

6

7 B`

5

7 8

`A

0 1 2 3 4

35

6

8

10m N


BUILDING DESIGN PLANS

A

Third Floor Legend : 1- Reception 2- Workshop 3- Library 4- W.C. 5- Services

2

5

DN

4 2 B` DN

C`

1

UP

C

5

B`

3

`A

0 1 2 3 4

36

6

8

10m N


BUILDING DESIGN PLANS

A

Fourth Floor

B` DN

C`

C

B`

`A

0 1 2 3 4

37

6

8

10m N


BUILDING DESIGN ELEVATIONS

West Elevation

North Elevation 0 1 2 3 4

38

6

8

10m


BUILDING DESIGN ELEVATIONS

West Elevation

North Elevation 0 1 2 3 4

39

6

8

10m


BUILDING DESIGN SECTIONS

Main Stairs Emergency Stairs

Air Duct Electrical

Service Lifts

Section A-A` Main Elevator Main Stairs

Section B-B` 0 1 2 3 4

40

6

8

10m


BUILDING DESIGN WALL SECTION DETAILS

SECTION C-C` 6- Reinforced Cincete 7-Wood 8- Aluminium Frame 9- Water Insu. 10- Thermal Insu.

1- Glass Panel 2- I Beem 3- Brick 4- Steel 5- Finishing

A

11- Mortar 12- Concrete 13- Stud

B

B 5

11

12

9

1

1 8

4

11

12

9

6

11

5

11

12

9

D

3 2

13 10

6

11

8

5

7

C

D

3

11

12

9

6

11

5

2

A 13 8 7

6

11

5

C

41


BUILDING DESIGN BUILDING SYSTEMS

A

HVAC SYSTEM AIR SUPPLY AIR RETURN PACKAGE

UP

DN

Section A-A` : UP

`A

0 1 2 3 4

42

6

8

10m


BUILDING DESIGN BUILDING SYSTEMS

A

PLUMBING SYSTEM COLD WATER HOT WATERN

UP

DRAINAGE

H

UP

H

DN

H

H

Section A-A` :

UP

DN H

H

H

H

H

H

H

H

UP H

H

`A H

H

0 1 2 3 4

43

6

8

10m


BUILDING DESIGN BUILDING SYSTEMS

STRUCTURAL SYSTEM Used Material :

UP

Steel

Mangabi Stone

DN

UP

Section A-A` :

New buildings Structure Historical buildings Structure Shear Wall Structure

44


BUILDING DESIGN ISOMETRIC

45


BUILDING DESIGN PRODUCT ANALYSIS

FLEXIBLE FACADE Design of the exhibition faรงade, with several different modes that allow communication with surrounding areas. To try to reach increased social sustainability.

CLOSED PANELS

OPEN PANELS

SCREENS

46


BUILDING DESIGN PRODUCT ANALYSIS

CLOSED PANELS

1

5

PANEL DETAILS 1- Steel Stud (Joint) 2- Rubber 3- Led Screen 4- Steel Panel 5- Steel Structure 6- Air Gap

47

7- Gypsum Board 8- Steel Structure 9- Water Insu. 10- Thermal Insu. 11- Wood Finishing 12- Steel Stud

2

11 12

3

4

5

OPEN PANELS

6

7

8

9

10

7


BUILDING DESIGN PRODUCT ANALYSIS

Designing openings inspired by the (Altairama) element ontop of Alnassif house. In wich every opening or window gives a scense that every view is contained in a frame.

48


BUILDING DESIGN PRODUCT ANALYSIS

The design of the new pattern is inspired by the decoration and inscriptions found in the element of Roshan and is combined with the word "Jeddah" in the Arabic kufic script, where this pattern mimics the art of calligraphy and the art of decoration. This reflects the function and identity of the building.

49


BUILDING DESIGN PRODUCT ANALYSIS

Add prominent blocks from the main building to increase communication with surrounding areas.

50


BUILDING DESIGN PRODUCT ANALYSIS

he design of external spaces for the general public is used for workshops and general exhibitions to support artists and the participation of the general public in order to increase social sustainability.

Rjukan Town Cabin Rallar Arkitekter

51


PERSPECTIVES


BUILDING DESIGN PERSPECTIVES

53


BUILDING DESIGN PERSPECTIVES

54


BUILDING DESIGN PERSPECTIVES

55


BUILDING DESIGN PERSPECTIVES

56


BUILDING DESIGN PERSPECTIVES

57


BUILDING DESIGN PERSPECTIVES

58


BUILDING DESIGN PERSPECTIVES

59


FINE ART CENTER G R A D U AT I O N P R O J E C T

STUDENT NAME: SIRAJ MAHMOUD MANDOURAH ID NUMBER: 1208776 SUPERVISED BY : DR. MOHANNAD BAYOUMI DR.TURKI SHOAIB

Revitlizing The Core -Historical Jeddah - Siraj Mandourah - fine art center  

KAUARCH Graduation Projects Student: Siraj Mandourah

Revitlizing The Core -Historical Jeddah - Siraj Mandourah - fine art center  

KAUARCH Graduation Projects Student: Siraj Mandourah

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