SAMAH SHALTOUT PORTFOLIO
Table of Content 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24.
Introduction 5 Design process 6 Design identity 7-8 Chapter 1: The art and Heritage Center Manual sketches 9-12 Digital drawings 13-21 Chapter 2: The Museum of Ancient History Introduction 22-23 Manual sketches 24-26 Digital drawings 27-43 Conclusion 44 Chapter 3: Islamic Art Museum Introduction 45-47 Manual sketches 48-53 Digital drawings 54-67 Chapter 4: The Museum of Textile and Art Introduction 70 Mood board 71 Manual Drawings 72-73 Digital drawings 74-89 Chapter 5: The Renovation and Relocation of the Museum of Textile and Art Introduction 93 Manual drawings 94-97 Digital drawings 95-109
Art & Heritage Centre
Introduction
In order to help in the conception of new ideas that would further develop my research concerning “The Impact of Light in Museums� I decided to read about artists as well as search many professional designs and creations. After gathering enough information and enriching my imagination with the many creative designs I saw, I decided to implement them by drawing manual sketches in the first step, occupational diagrams, schematic plans, sections, and perspectives that would later be developed into simple visual sketches, of course after throwing a few of my ideas and designs in the mix to help produce something that would be unique, which would be introduced in the final design plan. Therefore, I decided to divide my design work into three Chapters. I would firstly like to start with introducing the design of the Art and Heritage Center. The first stage of the design process is intended only to establish order and functional relationships of the space and its inhabitants. I started to produce series of manual sketches in order to pave the road for me before I start the digital work.
Design Concept
The design concept of the Art and Heritage center focuses on the new cultural destination that would provide the visitors with extraordinary collections of the artifacts as well as pieces of the unique art work. The art center consists of two floors and it is designed to let the visitors enter the galleries and exhibition halls that are located at the ground level and connected to the space of the upper level through elevators and pins. The flow of natural light is formed through the glass pyramid during the day hours in addition to the use of artificial light typologies in the spaces that are not well lit.
Design Identity
Site Plan
The site plan of the Art and heritage Center that opened to the sea .
Design Process
1 -sketches
3 –Digital Models
2- Digital 2D Drawings
4 –Digital Rendered Perspectives
While the design process is typically presented as a linear series of steps, it is more truly a cycle or a sequence of steps. In my three creative works I decided to divide the process into four key stages: 1 -sketches 2- Digital 2D Drawings 3- Digital 3D Models 4- Rendered Perspectives The first stage would include the hand drawings or manual sketches that allow the exploration of avenues that could not be foreseen before the process was initiated, but which generate ideas along the way. Also I feel that these sketches are the first thought that comes to mind when I start any design with one drawing leading me to another. I started the process by manual diagraming to the development and refinement of the design ideas depending on various modes of representations to externalize and give form to my design ideas for study, analysis and development. This step includes 2D digital explorations and simulations until these drawings are converted into realty by representing the final step that comes in the form of Digital 3D Models.
Sketches The primary sketch illustrates the route of the ground floor that the visitors would take within the interior space to provide them with a pleasurable visual experience and make them take the opportunity to linger. The move from one space to another is critical understanding the relationship between architecture and art work inside the center. The idea is developed and all the interior facilities are connected to each other with more progression. The visitors’ paths are connected to the outside view as the center opens itself on the sea to let the viewers enjoy their journey. In addition to, giving them new perspective of the space and providing more opportunities for various works to be displayed.
The gallery space that breaks the rigid box design and creates a continuous floor wall and fluid journey in the space of the galleries.
Section A-A
The brief to design the interior of an entrance hall, complete with reception desk and display cabinet, to treat the entrance as a glass room within a room, standing independently from its surroundings. Also to scalp the spaces as a continuous surface without differentiation between walls and floors.
Circulation Plan
Showcases are the most important pieces of equipment in the art center as well as in museums, both in protecting the pieces of display and in presenting them to the visitors; they have an aesthetic and functional task.
On the other hand, to consider the interior space as an interior landscape from which the pieces of the furniture would emerge. The stands foe exhibits are built from layers of wood with a glass case, like pieces of a jigsaw puzzle. The formal intervention of curving walls, unifies the narrative arc of the works on display.
The design of the flooring that indicates the route of the visitors to the galleries. The materials varied according to the function of each space. Luxurious marble is used in the spaces that have heavy traffic for its hardness and durability. The water jet that centered the is designed by Islamic motives to reflect the history and the identity of the country. The galleries flooring are covered by the pieces of decorative marbles in such a way that mix the old and modern in a unique manner.
Exhibition Plan
3D Digital Model The perspective of the galleries is expressed as if they had been carved from a single block of concrete and were floating above the interior space. Exhibition spaces vary in size and shape to accommodate the great range of scales and materials in old and contemporary art. These varying and curved galleries create a fluid journey through the space and continuous walls. The use of the new lighting techniques for the two dimensional exhibits has also added a dramatic lighting effect in order to illustrate them in a pleasurable manner. The progression of the lighting techniques of the galleries will definitely present a variety of visual experiences. Moreover, the differences of scale and content of the exhibits causes viewers to change their pace as they respond to the displays. Also the variation from well lit room to glowing in the gloom experience plays an important role in evoking these responses.
3D DIGITAL MODEL The digital model of the galleries is expressed as if they had been carved from a single block of concrete and were floating above the interior space. Exhibition spaces vary in size and shape to accommodate the great range of scales and materials in old and contemporary art. These varying and curved galleries create a fluid journey through the space and continuous walls. The use of the new lighting techniques for the two dimensional exhibits has also added a dramatic lighting effect in order to illustrate them in a pleasurable manner.
Rendered Perspective
The space will be a place of experimentation, accommodation of galleries, spatial simplicity, and movement. The galleries will definitely present a variety of visual experiences. Moreover, the differences of scale and content of the exhibits causes the viewers to change their pace as they respond to the displays.
Rendered Perspective
The design of the galleries that are linked by an immediately identifiable route that creates a unique journey and makes the most of each space. The creation of these exciting pathways is to attract the people to the place and encourage them to stay and enjoy a pleasurable visual experience.
Museum of Ancient History
Introduction Exhibition technology is changing so fast that it is no longer possible to list the various techniques and how they can help the museum present its collections to the visitors. Today, many museums use many different techniques to present their collections to visitors and to tell their stories, some of these techniques are simple, and some are very sophisticated. Touching is an important way in which we experience things, therefore museums should try to prevent the audience from doing this by displaying the objects inside showcases. As a result, showcases are the most important pieces of equipment in the museum in order to protect objects and to present them to the visitors in a pleasurable manner. This presentation introduces the various techniques such as showcases and lighting techniques that are aimed at this target audience and designed to meet their needs and interests through my creative project.
Sketches The design concept for the museum of art and history will create a new cultural destination which will provide the visitors with extraordinary collections of artifacts and different civilization class-arts.
The bubble diagram of the museum identifies the major spaces, areas, relationships, circulation, and other important features.
The Exterior The Exterior of the building: Has a geometric shape to create three distinct programmatic areas: an art museum, exhibition and learning center. The three main spaces are subdivided into other smaller areas such as restaurants, coffee shops, and other various shops. Mounted in the roof is a skylight that is made of glass or plastic pyramid in order to admit light into the interior spaces and to reflect the identity and the ancient history of the Egyptian Civilization. The aim is to provide illumination through out the interior space, while producing bright contrasts on the ceiling plane.
Form and Symbols Hieroglyphic Language
The exterior of the building has a geometric shape to create three distinct programmatic areas: an art museum, exhibition and learning center and library as well as restaurants, coffee shops, and other various shops. The design aims to resolve the complexities of the programme while combining the spatial clarity with a unique and iconic design and to connect the gallery halls of different civilizations in an asymmetrical manner that makes the viewers enjoy their journey.
The digital model showing the roof’s composition that inspired from the Hieroglyphic language and symbols, that allow light streaming through these openings to create a distinctive ambience to the interior of the museum.
How such a design would be perceived by local communities? Exterior, culture, and History
The design of the exterior combines between the ancient temple designs that is already exists in the ancient Egyptian Civilization, and modern and contemporary of the present. Therefore, my creative work created a unique combination between culture, history, and exhibition in an innovative and completive manner.
Are there any site or contextual conditions that would influence the success of this design?
Site Plan The proposed Site Plan creates a refugee area from the everyday city life while coexisting with the natural function of city simultaneously being open to the new surrounding development by its versatility and interconnection with the city.
Identifying materials that would represent a contemporary attitude to a local environment Local Materials
Egyptian Brescia
The materials used in the exterior and the flooring of the museum are local materials (Marble) due to durability, resistant to stains and scrapes. Moreover, it has naturally occurring shine such as Trista marbleSunny flooring marble Concrete and marble are used to visualize the planned image.
Teresita Gold Marble
The materials that are used in this project reflect the simplicity and richness. The floor is covered with polished concrete in some of the interior spaces for the durable look and as a hard material in the spaces that have heavy traffic. Furthermore, it is used for budgeting and economic reasons. In some other places the parquet is used for less traffic areas to add a luxurious and fancy look to the interior spaces of the library.
The Interior The Interior of the Museum: Is arranged in such a way to define the specific functional and visual requirements to satisfy accessibility and functionality. The plan is a grid arrangement that creates equal, or unequal repetitive units of space, various space configurations can evolve within the grid while maintaining a contrast reference to the grid pattern that means that the spaces are subdivided or contain a smaller unit, but with the grid pattern still evident in column and beam spacing. The aim of this arrangement of the plan is to provide better structural qualities and simplify construction methods and to use fewer materials. In addition to, satisfy the spatial needs and the needs of the individuals using the space, taking into account the physiological, physical, and spatial relationship must be admitted. The white Stucco walls behind the exhibits visually give more clarity and dominance to them. Also it increases the feeling of the speciousness of the interior space because the white color paint is reflecting the light. Some of the shapes are used to decorate the interior walls to create exciting environments, a restful feeling and continual motion and change.
The route that the visitors would take through their visual experience. The design is based on a route which takes visitors chronologically through the displays from the art of the prehistorical period to the ancient Egyptian period and other ancient civilizations in a unique and creative manner, in addition to the effective combination of light, colors, and physical settings. Audio such as sound/lighting equipment will be included as visuals used well. These technologies provide the visitors with a pleasurable and interactive experience.
The design creates a continuous floor/walls. The aim is to give the impression of the old temple, while allowing for a fluid journey through the spaces.
The preliminary plan of the museum that identifies the scaled proportions of the spaces and elements as the schematic is further refined into specific spatial relationships and circulation. The design and the distribution of the walls did not ignore the fact that it is generally desirable that the visitors enter the exhibition spaces through galleries that have controlled admission of light with some opportunities for visual contact with the outside, as they progress into the building. In addition, the controlled or dimmed light is implemented to avoid any damage that could happen to the artifacts and sensitive materials.
The final plan of the art and ancient history museum, where visitors move from the entrance hall into daylight galleries, and move to more enclosed spaces where light levels as well as other environmental factors are more radially controlled.
The wall is shaped like a wrench that forms a focal point and determines the visitor’s route in this section. In addition, the walls are arranged against each other in order to illustrate the feeling of the narrow cave that introduces the art of this period in a realistic and attractive manner.
The visitors had to pass through this section to reach one of the fascinations of the pre-historic period. The cave painting is introduced in a contemporary and modern way through a huge wall shaped like a wrench and carved with animals’ figures that represent the art of the Pre- Historic period (Cave painting), and the old man civilizations that are introduced in this section to take the viewers several centuries back.
The idea is developed by using show cases that are shaped like the three pyramids of Giza, to display the properties of the ancient King Tut Ankh Amon in a unique and modern way.
Showcase Lighting
The artificial lighting is required to give emphasis to particular exhibit attributes, such as three dimensional form, or surface texture or gloss while display cases may have their own built in lighting that is adjustable for both direction and intensity. So, it is recommended that all display areas should be provided with both systems. The aim of this study is to give the most benefits for the viewers during their journey
Showcase Lighting
Section A-A
Section C-C
Exhibition Plan Section B-B
The perspective illustrates the area of the main entrance, before adding the display objects. The aim of the design is to create a solid geometrical object that seems to be emerging from the floor of the museum. The purpose is to communicate the ancient Egyptian temples, and to draw the visitors’ attention to the magnificent scene. In order to complete the historical/ contemporary scene, two ramps are passing over an artificial lake to connect between the main entrance, and to take the visitors from the main entrance to start their visual journey to the rest of the galleries and halls.
Ramps
The lighting technique of self–luminous lighting is used to light the statues at the main entrance. The purpose of the self-luminous lighting has been to provide the illumination that reveals the museum exhibits, to generate attractive and strong shading patterns, and to produce a striking visual experience to the visitors
Conclusion Therefore, the project provides a potential addition that would give the best solutions to light the two dimensional and three dimensional artifacts in a way that would enhance the visitors experience by creating a bold language of design and new methods and techniques for displaying the objects. In addition, creating more contrast between light and shadow in the gallery halls needs to be managed to give the optimum impact by the use of the lower and higher intensity, narrow beams that are arranged in a specific angle that would bring a natural beauty and life to the exhibits. On the other hand, the intensity of contrast between bright and dark dictates the atmosphere within the exhibition space. A variety of new lighting techniques can be used to suit the size of the item being lit, especially in lighting larger artworks in order to bring a spacious aspect to the room, allowing the visitors the opportunity to comment and reflect on the piece of artwork in a more contemplative manner.
Museum of Islamic Art
Design Strategy The effectiveness of a project can be measured in many ways. Understanding what must be measured and how to measure it should be determined at the beginning of a project. The key to success is to have a strong vision of what is most important to the user of the space. Tying in strategic goals with functional goals is also key, but if the strategy sounds functional goals usually follow. Therefore, it is important to understand the users’ goals and needs to translate opportunities and constraints into a three dimensional work.
Form and Local Environment Introduction In this project, the architectural language of the museum is inspired from the history of the culture and the history of the country, but in a modern and contemporary manner that developed the typology rooted in the Islamic prediction for repetitive patterns, punctuated by moments of difference. The building as a whole is a container for programmatic objects, an idea echoed in the gallery spaces to increase the spaciousness of the interior space and reflect the history and identity of the country as well. Moreover, to maximize access to light and air. The galleries contain a large some of extensive artifacts, coins, and manuscripts to glass ware and carpets. The openings in the ceiling slotted into the interior space provide a distinct natural light. Todays museums can be considered as informal education centers that serve the public. They are in position to teach about sustainability to a large audience in meaningful ways, through motivations and providing information. They try to initiate changes in behavior in peoples’ attitude and everyday lives. Therefore, I created a spacious space for the library to be added to the interior of the museum. The aim is to introduce this facility to the children’s discovery which focuses on encouraging them to not only learn about artifacts and heritage but also to teach them about their history and culture which encourages the children and adults to spend more time together inside the museum that reflects the history and the culture of the country. In addition to the galleries and exhibit halls inside the Museum of Islamic Art, the public library is designed to pride itself on providing un-paralleled access to its renowned collection and electronic resources. In addition to, preserving the original character of the reading room, the library faced an increasing demand to upgrade its infrastructure to meet the needs of library users and staff.
Mood Board Diagram The diagram illustrates, how the idea of my creative project is generated. In keeping with the traditional Arabian designs, the proposed design of the Islamic Art Museum expresses the natural flow of the three curved planes that are inspired from the palm leaves “the local environment” as well as from local traditions (the shape of the Arabian Pot” Dallah”. The aim is to reflect the identity of the country, to create the sense of the old Arabian Architecture, and represent them in a contemporary and completive manner
Form and Local environment
The link between the form and local environment in order to give a wider perspective on how I inspired by local nature and environment.
1 This bubble diagram illustrates the physical needs which includes the following: identifying major spaces and areas & indicating functional relationships.
3
2 The graphic for design methodologies depicting physical relationships which include spatial configurations, location in space, and elements.
The layout of spaces and elements of the project such as walls, doors, and clarifies the relationships of one space to another. In addition, it represents the basic reference point for the project design, and one of the most important items presented to the client as it gives a bird’s eye view of a floor level of the interiors.
The external elevation and how the idea is generated and inspired from the local environment which forms an integral part of the overall architectural drawings.
The design of the ceiling comprises of three curved planes that are inspired from the local environment. The museum, therefore, is positioned in a way that is both, symbolically and functionally, engaging its context and content to ensure that it is linked to the history and culture as well as future.
The final plan of the museum is well developed to indicate the size and outline of a building as well as the location of the interior walls, doors, windows, and other elements. They are always drawn to scale. The exhibition spaces vary in size and shape to accommodate a great range of scales and the materials in Islamic art. The right gallery that is located to the right creates a visual connection in order to increase the flexibility and richness of the interior space.
Zoning diagram is a schematic drawing that helps to visually establish relationships of spaces and needs of the users which helps identify areas and functions that have commonalities, scale and shape of spaces become more evident, and help to establish the relationship between zones.
The Exterior
The exterior of the museum is inspired from the local environment. The ceiling comprises of three curved layers that are shaped like the leaves of palm trees that have a curved shape to form a huge support with almost 7 meters of glass that are decorated with modern pointed arches in order to mix the old with contemporary in a unique manner, and to create an emphasis to the main entrance. The ceiling has openings to create a continuous path through daylight galleries and zones of divers’ spatial qualities.
The Exterior
The two curved planes of the ceiling, like sheets of paper lean with one another. The aim is to give a level of abstraction and dynamic profile of the folded planes, and to ensure the exhilarating spatial sensation.
The front view illustrates the use of the design principles (gradation & repetition). The aim is to create a flowing movement composition that is comprised from three curved layers attached to one another as well as to the massive volume of the building.
The Exterior
The Exterior of the Islamic Art Museum and unique design of the ceiling that communicate the local environment.
The main hall of the museum that forms the central heart of the design. The main central space is characterized by column-free and open space, which offers great flexibility for the exhibit to display the precious collection of the museum’s artifacts. The ceiling provides showers of natural light that penetrate deep into the museum giving the interior a smooth effect to continue the architectural language of fluidity and seamlessness.
Museum of Textile & Art
Introduction The design of this museum is dedicated for displaying the old art, textile and heritage in a modern and unique way. The design symbolizes a dynamic relationship between old and contemporary art as it forms transition connectivity between the exhibits and wider environment. The design of this museum offered the opportunity to broaden the educational diversity of this active and historic part of different civilizations. The library inside the museum provides a learning environment that is spatially reassuring for the students, and an atmosphere for progressive education.
The Exterior: The idea of the museum is inspired from the crucifixion form of the textile tissues that create a weaving movement line and visual connection by adding the polygon shapes that characterize the old Arabic motives. The building has a geometric shape in order to give three distinctive programmatic areas: the lower floor, the middle floor and the first floor. The Interior The main architectural language of this museum is based on almost the symmetrical of the shape that clearly links the different solutions and facilities, while movement and openings follow the fluid geometries of the Arabian Designs. The museum will house exhibition spaces, library, and other facilities continuous navigation of space that follows the logic of disciplinary differentiation of the interior space that is framed by a sweeping three dimensionally articulated wall, along with two spatial loops that weave through the volume. The available volume of the space is segmented into levels, but remains integral throughout the gallery, with two winding paths intersecting visually while maintaining a strict linearity of sequence. The galleries are linked by an immediately identifiable route that creates a unique journey and makes the most of each space. Natural overhead light is maximized through the use of interwoven layers that splay and split. Firstly, the brief to design the interior of an entrance hall, complete with a reception desk and display cabinet, is to treat the entrance as a glass room within a room standing independently from its surroundings. Secondly, is to sculpt the space as a continuous surface without differentiation between the walls and floors.
MOOD BOARD The images illustrate the design of the textile museum inspired from the crucifixion form of the design of the Arabic pattern and the detailed diagrams of the different types of the textiles and fabrics.
Image source: http://www.basiccarpentrytechniques.com
Image source: https://www.sampletemplates.com
The source of this image is from my free hand drawing The source of the image is from: http://www.thinkstockphotos.ca
First sketch of Zoning Plan
Digital Zoning Plan that indicates the visitors route as well as the function and basic relationship of each space.
The first sketch illustrates the distributions of the zones according to the functions and the users’ needs the aim is to design a space that meet the expectations functionally and aesthetically.
The first hand sketch of the schematic plan that represents the visitors route in relation to interior space. The route takes the hexagonal form that communicates the exterior of the museum and generates a branching geometry in which islands are formed into distinct bodies to house the main gallery halls Sketch of the visitors Route Plan
The final and rendered plan of the museum, the furniture and fixture are added to give a sense of scale and to help define the use of each area. A vast number of showcases are distributed on the two sides of the museum in almost a symmetrical form, in order to protect the precious pieces from theft and damage. Moreover, the showcases, helped in defining the visitors route that the visitor will take during their visual experience.
DERNDERED PLAN
FURNITURE AND FIXTURE PLAN
The incomplete exterior by removing some of the exterior walls in order to show the relationship between the design of the interior spaces and the exterior.
The massive exterior view of the museum is to emphasize the design exploration and to give a more precise, constructed and carefully rendered view to depict the exterior structure and its environment as much as possible
The orthographic view and oblique drawing of the museum that retains the size and shape of the floor plan in order to give a wider idea about the gallery spaces, exhibit areas, library, theater, and the other facilities of the project.
SECTIONS
The digital sections represent the heights and vertical relationships between spaces, floor, and ceiling and to convey the information needed about the space/building.
The full rendered perspectives of the exhibit halls, the showcases and the lighting design create a unified art viewing experience by employing a streamlined, simple and elegant interior and lighting language. In total the project includes tens of cases to display a diverse collection from the ancient period in new and innovative ways, with the aim of supporting the museum to reach out and engage a new audience.
The stands are arranged asymmetrically and this allows a variety of art using different media to be displayed in one room.
The work development and the final rendered perspective.
The polygon stands to form a focal point at the center of the gallery to display the old customs. The purpose is to provide a visual continuity between the two wings of the museum, also to allow access views in all direction.
The gallery displays the traditional customs, the diffused light that permeates the spaces of the museum gives the interior its gracious, alluring presence, and is associated with detailing that is clean and forthright. Spotlighting is used for display of two dimensional works such as the pieces of the textile and precious carpets with relatively low ambient, so that the artwork has its own territory defined by a beam of light in order to achieve efficient visual comfort and to encourage transformation of technology into culture.
Renovation& Relocation of The Museum of Textile & Art
Introduction
The renovated space is designed to be a museum that incorporates concepts of sustainability into its operations, programing to produce exhibitions, events, classes and other programing to educate the public about the natural environment. The aim is to strive to help people become more conscious of their world, and to create positive change by encouraging people to make sustainable choice in their daily lives. Moreover, the renovated space is designed by providing a place for fantasy, adventure, and for gathering people to engage in varied activities, this space transforms the idea of the traditional museum space into a magical place of possibilities. Inventiveness and creativity provide an interior crafted landscape at the middle of the basement floor that separates between the display area and kids’ discovery zone. The young readers can discover the life of the books and scientific facts in two zones, the library as well as the scientific zone. The library space inside the museum is designed in such a way to attract the children by providing an inspiring place for their adventures, and learning in an innovative and completive manner. The figural notion of the bookworm is a theme carried into the functional design of the library space via a well-crafted curvilinear book wall that runs randomly through the space. This innovative serpentine element allows for flexible configurations to accommodate a variety of activities and to separate different program uses. This livable bookworm is a thick wall of books and bookshelves, this living book wall, with deep shelves provides a kind of construction fence. The goal is to create a space for gathering people Adults/ children to engage in varied activities, in addition to the galleries and display areas that attract the visitors from all categories and ages. The shelves of the book have an aesthetical and functional design, via a well-crafted curve linear book wall that runs laterally through the space. The Kids discovery zone is designed by an innovative serpentine element allows for a flexible configuration to accommodate a variety of activities and to separate different program uses. The space is also associated by an interactive screen in various shapes and sizes for easy configuration and to create a spatial intimacy for the group activities adult/children.
The two plans in a vellum effect before and after renovation, the new plan has a combination of symmetrical and asymmetrical curvilinear lines. The aim is to point the space towards a future architectural language, and to create an innovative renovation and relocation for the space
Interactive Screen Progression through the galleries of a museum will inevitably present a variety of visual experience this perspective shows a space through the kids discovery zone. The differences of scale and content of the exhibits cause viewers to change their pace as they respond to the displays, and the variation of lighting from well lit room to the glowing in the gloom experience plays an important role in evoking these responses.
In the middle of the museum, such movement of the crafted curve linear landscape reaches a crescendo, as in this museum. In addition to the kids’ discovery space that converted the space into a magical place of possibilities. The museum, without doubt, has become a place of experimentation, accommodating galleries, spatial complexity, and movement
The nozzles that are such a feature of the ceiling are found to be source of daylight.
The Exterior
The faรงade is animated by the alternating in and out, up and down of the faรงade bonding, which creates a unique and innovative asymmetric view for the faรงade as well as the window openings. The vertical strands with the seamless curves terminate at the roof top forming crenellations from between which is a serial framing of the surrounding district.
The Exterior
The design of the Roof Floor Plan works as a Big Sculpture at an Urban Level. The roof is acting as a big sculpture at an urban level, as a roof at the building level, as a shading device at elevation level, as a heat retardant at the roof top, providing natural light transmittance through the fenestration and creating shade in the public space.
Conclusion Each project demonstrates the significance of the design process in achieving the client’s goals. It is therefore, that lighting and the design of the interior space have a great effect on the way that people perceive a building not only on aesthetic judgments they may make but also on how easily they can use the space, how they feel, and what expectations they may have of the place. The use of the lighting typologies, as a source of lighting for exhibits, as well as the the design of the interior space has great advantages as it gives the visitors a variety of impressions of the exhibits as well as a link with the outside world. My journey of exploration has been extended to include theses creative projects that are related to my project” The impact of Light in Museums & Museum designs” the creative work is inspired from the local environment, culture, and traditions of the local country and some other countries. The summation of these works took the form of manual sketches, plans, elevations, conceptual perspectives and finally well rendered perspectives in order to help develop my creative work this stage. I decided to divide the work through this stage into three chapters in order to be easy for my colleagues as well as for the audience to understand. The theme of each project and the architectural language that defines the space planning of each project separately.
The End
Bibliography:
• • • • • •
Bound. J.K. Lighting for Effect (1971) Peter Tregenza and David Loe, The Design of Lighting. Timothy Ambrose and Crispin Paine, Museum Basics, Second Edition. Christopher Cattle, Lighting for Art Work and Museums Display. www.picgreenwhitepaperfinal-4.pdf http://artofislamicpattern.com/resources/educational-posters/
Images Sources • •
All the Hand Drawings are created by my own manual drawings All the Digital Drawings are created by my own AutoCAD drawings, rendered by my own 3DMax& Photoshop