SENIOR 1 | THESIS

Mərkəz Baku

Mərkəz Baku A thesis done at Prince Sultan university for the school of Architectural Engineering, Senior project 1.

In partial fulfilment of the requirements, of the degree: Bachelor of Architecture

By Thanaa Sadik Dec 2021 Riyadh, KSA

“We are not makers of history, but are made by history.” Martin Luther King, Jr

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Acknowledgment: “The completion of this thesis would not have been accomplished without them, therefore I would like to express my sincere gratitude to the following instructors: Dr. Ola Jarrar, for providing her constant guidance, assistance, and dedicated involvement in every step throughout the process.

Dr. Majd Homoud whose comprehension and expertise has really had a great impact on the structure of this thesis.

And finally, Dr. Fiorella Vannini. Her overall insights in this field and immense knowledge, have encouraged me in my academic studies, taught me determination and dedication, and has made this an inspiring experience.”

This thesis stands as a testament to your unconditional support and guidance.

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Dedication: “Most importantly, This is dedicated to those whom have offered their encouragement throughout my years of study, despite my own limited devotion to correspondence. My parents, Loay Sadik and Nouf Badr.

You have taught me how to crawl, walk, and run. Today I stand alone with everything you have taught me, and This is my race.

To my family, my friends, and colleagues. You have provided me with unfailing support and continuous encouragement that knew no bounds, even through the process of researching and writing this thesis.

My deepest gratitude goes to you. Thank you.”

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Table of contents: Chapter One: Reviving the silk route

3.5 Site analysis

4.4.1 land use

5.3 Spatial Relationships

1.1 Background

3.6 Form analysis

4.4.2 legibility

5.4 Spatial Diagrams

1.2 Competition requirements

3.7 Relationships and movements

Paths & Edges (vehicular, pedestrian, main, minor, etc)

5.5 Massing Studies

1.3 Identifying targeted group: users

3.8 Inferences

Districts

Chapter Six: Conceptual thinking

1.4 Significance of the project

Chapter Four: Contextual mapping

Nodes

6.1 Spatial diagram

4.1 Selection Justification

Landmarks (of the same function or nature).

1.5 Goals and objectives 1.6 Research thesis

Nature of design challenge

4.2 An overview of the general site

4.4.3 Figure-Ground relationship

Theoretical background

1.7 Cause-effect network

4.3 The selected city:

4.5 The Site

Design precedents

1.8 Thesis structure

4.3.1 The history of the city and its evolution:

4.5.1 Accessibility and approach

Context and environment study

Main city districts and neighbourhoods.

4.5.2 Site shape and area.

Activities and Programming

Future developments.

4.5.3 Topography

Buildings and landscape Circulation

Chapter Two: Theoretical Background 2.1 Historical background 2.2 School of thought

4.3.2. Figure-ground relationship.

4.5.4 Climate

2.3 History of building typology

4.3.3 Circulation routes:

4.5.5 Sensory Factors

Structuctural system

Main-minor

4.5.6 Man-made & Natural features

Lighting

Old-new

4.5.7 Future expansion

Movements

Public transportation routes

4.5.8 SWOT analysis.

Indoor-Outdoor | Indoor-Indoor

2.4 Main process Chapter Three: Design precedents 3.1 Case studies (A,B,C) 3.2 Analysis (A,B,C) 3.3 Project profile 3.4 Concept

4.3.4 Locating projects with similar function or nature

Chapter Five: Programming and Design

6.2 Spatial sections

4.3.5 Architectural language

Data Analysis

6.3 3D massing studies

4.3.6 Socio-cultural factors

5.1 Functional Requirements.

6.4 Concept studies

4.4 District:

5.2 Spatial Requirements

6.5 Sketch models

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INTRODUCTION Figure 1 Ancient Silk road

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1.1 General Background/Overview Baku Azerbaijan (Baku) is the capital and largest city of Azerbaijan, as well as the largest city on the Caspian Sea and of the Caucasus region.

Baku lies 28 meters (92 feet) below sea level, making it the world's lowest national capital as well as the world's largest metropolis located below sea level.

It is situated alongside the Bay of Baku on the southern shore of the Absheron Peninsula. Bakus' urban population was expected to be little over two million people at the start of 2009. Officially about 25 percent of all inhabitants of the country live in Baku's metropolitan area.

The name Baku means "Wind-pounded city" from Persian names of the city Bad-Kube, in which bad means "Wind" and kube is the verb kubidan, " to pound". It has the city's nickname as the "City of Winds". Also a folk etymology explains the name as deriving from Bagikuy, meaning "God's town"

Figure 2 map of baku, source: Alami Capital: Baku | Area: 86.600 km^2 | Logo: Land of fire | Religion: Muslim

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1.1 General Background/Overview The Silk Route was not only a trading route, but also a path that aided in the exchange of thoughts and culture, and it had a significant role in shaping the world's future and development into what it is today.

Designing a cultural center in baku as a part of reviving the silk road, we must honor the glorious heritage and provide people with a peek into the past while astonishing them with how the future might look like, through the design itself.

The design of the cultural/community center aims to help empower the local community and revive the dying heritage and artwork, by educating people and providing a beautiful location for people to display their work.

Figure 3 Silk route timeline

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1.2 Competition requirements ●

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Designing a center that houses a network for everyone; a venue that welcomes people and celebrates coexistence. We must consider the setting and culture, as well as the evolution of society and social demands.

The overall design should be respectful to the past while also enhancing the novelty of an experience in this one-of-a-kind location.

The core of a built-up environment is the embodiment of culture, and buildings essentially capture the everyday life of a civilization. They are repositories of a society's or people's patterns of activity and movement. In a cycle that arcs from art, food, dance, music, and so on, architecture reflects and influences culture, embracing ideals.

Location: Baku, Azerbaijan Latitude: 40°21’06” N, 49°50’10’’ E Figure 4 site location, source: Archi

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1.2.1 Reason of choice At the intersection of the notions of culture and tourism, cultural centers increasingly stand out as the linkage between the exchange of values, habits, and social life.

They are the most eternal means of expressing ourselves of transferring ideas and values.

Cultural Centers also play a vital role in retaining morals and beliefs for the community.

The integration of architectural features, forms, and materials should help imbibe the past as an active part of the future; a vision for the society in the coming years is just as important as retaining the values of heritage.

Figure 5 Ancient world map edited by Author

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1.3 Identifying your target group: Users A Cultural Center For All A cultural center for all, located in Baku, the heart of the Silk Road cities.

The concept behind this competition's design is based on exploring traditional origins and foundations while also shaping the community for the future and designing a center that houses a network for everyone; a venue that welcomes people and celebrates coexistence.

● ● ● ●

The general public People of Baku Artists Employees Figure 6 Targeted users

Scope of users: Youth Users 14-30 who have limited knowledge about history of Baku and the silk route 14

1.4 Significance of the Project: a. Local Level.

Figure 7 Baku map

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Introduce the society to the history of the silk road Enhancing the community Giving back to the people and encouraging them to the learn more Integrating Nature with Urban fabric

b. Regional Level.

c. International Level.

Figure 8 Baku regional map

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Emphasizing the importance of Baku City Acts like a gate of the Region

Figure 9 Baku world map

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Emphasizing the importance of The Silk Road

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1.5 Goal(s) and Objectives ●

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Develop and submit compelling ideas for the design of a cultural center for all, located in the soul of the Silk Road cities – Baku.

Exploring traditional origins and foundations while also shaping the community for the future.

Designing a center that houses a network for everyone; a venue that welcomes everyone and celebrates co-existence.

Figure 10 Connecting goals and objectives of competition

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1.6 Research Problem/Thesis As globalization is introduced, communities' cultural identity is eroding. The evolving architectural culture has had a significant impact on our symbolic beliefs and attitudes. It has influenced us, as well as the society and culture in which we live. But now the history's layers are slowly disintegrating into memories.

Figure 11 map of silk route, source: Armenia

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1.6.1 Challenges a. Local Level.

Figure 7 Baku map

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Contextual connection Connection between nature and city

b. Regional Level.

c. International Level.

Figure 8 Baku regional map

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Emphasizing the importance of Baku City Attracting the attention of other Regions

Figure 9 Baku world map

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Emphasizing the importance of The Silk Road Representing Azerbaijan

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1.6.2 Themes Architecture phenomenology The theory of phenomenology acknowledges this responsibility by incorporating sensory design to create an experiential, architectural space. The manipulation of space, material, light and shadow to create a memorable encounter through an influence on the human senses is phenomenology in architecture. This idea advocates for sensory perception to be integrated as a function of the architectural environment.

This results in an experience that is abstract, observed, and perceived rather than tangible. In contrast to a more rationalist design approach, an analysis of this aesthetic through interpretation of its qualitative elements and exploration of case studies by phenomenological theorists Alberto Pérez-Gómez, Peter Zumthor, and Steven Holl as supporting evidence will highlight its fundamental characteristics as a theory. Exploring the theoretical construct of phenomenology will yield an observable argument for prioritizing the human experience in design.

19 Figure 12 Architectural phenomenology book cover

1.6.2 Themes

Sensory perception in spaces ● The smell given off by surrounding ● The tactile experience produced by them ● Activities likely to take place in them ● The acoustics of each space and its response to activities

Figure 13 phenomenology types, source: Architectural phenomenology

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1.7 Structure of thesis 1 The core of a built-up

1 Emphasizing the importance of

environment is the embodiment of culture, and buildings essentially capture the everyday life of a civilization.

baku city

2 Acts as a landmark and a sea gate to the city

All users

regional International : Representing Azerbaijan

Reviving the silk road

architecture Goals 1.

2.

Azerbaijan

Architecture phenomenology (sense of place)

2 Reflecting culture on

Significance local

Themes: a

Exploring traditional origins and foundations Designing a center that houses everyone

objectives

Problem: The layer of history is gradually dissolving into memories

Louvre A cultural bridge

Theoretical background

Grilstad Marina Design precedents Guggenheim Bilbao

1 Introduce the society to the history of the silk road

2 Enhancing the community

Figure 15 Structure of thesis diagram

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THEORETICAL BACKGROUND Figure 16 Ancient Baku

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2.1 Historical Background/Overview The Silk Road served as a "cultural bridge" between Asia and Europe as well as one of the most important commerce routes. The system has been in place for more than 2,000 years. The Silk Road was a sort of global commerce that covered the Asian continent, allowing for vast diffusion of knowledge and ideas that had a significant cultural impact.

The Silk Road was a network of largely land but also maritime commerce routes that ran from China to Korea and Japan in the east, Turkey and Italy in the west, and China to India in the south. Silk, cotton, wool, ornaments, food, musical instruments, architectural, philosophical, and religious concepts have all traveled those routes for millennia. Over many centuries, trade activity along the Silk Road permitted the spread of not only goods but also ideas and culture, establishing a socio-cultural economy.

Figure 17 site location, source: The author

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2.2 Schools of thought ● ● ● ●

Post urbanism\ Modernism Contemporary Architecture Phenomenology of architecture Silk Road: Architecture as Identity Cultural\ Sense of Belonging.

Phenomenological Architecture The theory of phenomenology acknowledges this responsibility by incorporating sensory design to create an experiential, architectural space. The manipulation of space, material, light and shadow to create a memorable encounter through an influence on the human senses is phenomenology in architecture. This idea advocates for sensory perception to be integrated as a function of the architectural environment.

This results in an experience that is abstract, observed, and perceived rather than tangible. In contrast to a more rationalist design approach, an analysis of this aesthetic through interpretation of its qualitative elements and exploration of case studies by phenomenological theorists Alberto Pérez-Gómez, Peter Zumthor, and Steven Holl as supporting evidence will highlight its fundamental characteristics as a theory. Exploring the theoretical construct of phenomenology will yield an observable argument for prioritizing the human experience in design.

24 Figure 12 Architectural phenomenology book cover

2.3 History of building typology

Remnants of History 1920

The Shirvanshah Tomb 1435-1436

Divankhana 1505

decorated with stalactite carvings in limestone, burial vault is carved into the design but in reverse.

Limestone, unusual patterns carved in stone looking-glass reflection carvings

Baku crystal hall 2011 crystalline shape and illuminated façade with numerous LED lights

Figure 18 Baku’s different building typologies

the complex was used as an arms depot.

Walls were added around its perimeter, with narrow slits hewn out of the rock so that weapons could be fired from them

Heydar Aliyev Center 2007 a fluid form which emerges by the folding of the landscape's natural topography and by the wrapping of individual functions of the Center.

Three flame towers 2012 The facades function as large display screens with the use of more than 10,000 high-power LED luminaires

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2.4 Main process cultural centers have a common thought process that governs their ultimate design.

1. Resonating with the people 2. Historical references 3. Multidisciplinary Spaces 4. Integrating Nature 5. Incorporating sensory design to create an experiential, architectural space.

Figure 19

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DESIGN PRECEDENTS 27 Figure 20 Portraits of the architects behind the case studies

3. Design precedents (REASONS OF CHOICE) Louvre Abu Dhabi

Grilstad Marina

Figure 21 Louvre Abu Dhabi elevation shot

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THEME: PHENOMENOLOGY THE AESTHETIC STRONG CONCEPT FOLLOWING DESIGN UNIQUE COMPLICATED STRUCTURAL SYSTEM SUSTAINABLE

Guggenheim Bilbao

Figure 22 Grilstad Marina bird shot

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GOAL: REINTRODUCING A HISTORICAL SITE TO BECOME A COMMUNITY HUB DESIGN CHALLENGE: DESIGNING FOR STRONG WIND AND DESIGNING FOR WATER

Figure 23 Guggenheim Bilbao shot

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EXCEPTIONAL CONCEPT DESIGN A DEEP SENSE OF SPACE A LANDMARK STRANGE EXTERNAL SHAPE THAT CALLS INTO QUESTION WHAT THIS BUILDING IS, WHICH MAKES IT A DISTINCTIVE SIGN OF THE CITY. 28

3.1 Case study A | Louvre Abu Dhabi

Figure 24 Louvre Abu Dhabi site plan

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3.3 Project profile of Case study A

Architects: Ateliers Jean Nouvel Area: 97000 m² Year: 2017

Figure 25 Louvre Abu Dhabi interior

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Figure 27 Louvre Abu Dhabi dome

3.4 Concept of Case study A

• The concept is inspired by the traditional Arabic architectural culture, creating a 'museum city' in the sea.

• Its contrasting series of white buildings take inspiration from the medina and low-lying Arab settlements.

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3.4 Concept of Case study A

Purpose: To create a world of welcome that comfortably mixes light and darkness, meditation and peace and It also aims to emphasize the curiosity created by unusual encounters..

Figure 28 Louvre Abu Dhabi interior

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3.5 Site analysis of Case study A | Location

Saadiyat - Abu Dhabi - United Arab Emirates

Figure 29 Louvre Abu Dhabi site location

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3.5 Site analysis of Case study A | Land use

Louvre Abu Dhabi Louvre Park Coffee shop Bus stop Museum Art center Figure 30 Louvre Abu Dhabi land use

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3.5 Site analysis of Case study A | Accessibility and circulation

Site can be accessed by both: boats and by foot

Pedestrian circulation within the site Car circulation on the outside of the site

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3.5 Site analysis of Case study A | Entrances

Main entrance

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3.5 Site analysis of Case study A | Accessibility and circulation

Pedestrian circulation within the site Car circulation on the outside of the site Parking Drop off Bus stop 37

3.5 Site analysis of Case study A | Figure/ground relationships

semi -disconnected from the surrounding environment to secret its own ‘world’

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3.5 Site analysis of Case study A | Climate

N

Site has hot humid Unfavorable wind

Prevailing wind South sun

East sun

West sun 39

3.5 Site analysis of Case study A | Topography

Water depth • Almost a constant flow depth of 4m

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3.5 Site analysis of Case study A | Shape

geometrical shapes that are clustered to create a unified form

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3.5 Site analysis of Case study A | Area

Area: 97000 m²

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3.5 Site analysis of Case study A | Sensory Factors: views, noise, odors

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3.6 Form analysis of Case study A | structure The steel frame is supported by only four permanent piers.

The impression of a floating dome

They are concealed inside the museum buildings to give the appearance that the dome is floating.

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3.6 Form analysis of Case study A | structure

The dome provides shelter for the outdoor plaza and the buildings below, as well as lowering the energy consumption of the covered structures.

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3.6 Form analysis of Case study A | geometry

The domes complex engineering concept pattern is the result of a highly studied geometric design.

• The steel frame is repeated at various sizes and angles in the eight superimposed layers.

• Each ray of light must penetrate the eight layers before appearing then disappearing.

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3.6 Form analysis of Case study A | order

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3.6 Form analysis of Case study A | materials

The use of stone as flooring, reduces heat during midnight

The use Low emission materials such as concrete The use of recyclable steel dome structure

Passive water and energy conservation techniques

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3.6 Form analysis of Case study A | materials

The façades of the buildings are made up of 3,900 panels of ultra-high performance fibre concrete (UHPC).

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3.7 Relationships and movements of Case study A | programming

Main entrance Galleries Children’s museum Checkpoint Admin Collection treatment Exhibition Auditorium Restaurant and cafeteria

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3.7 Relationships and movements of Case study A | Requirements and evaluation

● ● ● ● ●

Good sustainable methods Integrated sea with project Followed the purpose of the project throughout the design Created a connection between interior and exterior spaces Very aesthetic

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3.8 Weaknesses of Case study A

• Need for expertise for the complex structure • Labour-intensive construction

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3.1 Case study B | Grilstad Marina / Lund Hagem Architects

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3.3 Project profile of Case study B

Architects: Lund Hagem Architects TRONDHEIM, NORWAY

Year: 2017

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3.4 Concept of Case study B

Main purpose of the project was to organize various housing styles in an environment that not only provides everyone with access to the sea but also provides sheltered open areas for the public and single individuals.

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3.5 Site analysis of Case study B | Location Site

Strynefjellsvegen 1, 7053, Norway 63.43725651826795, 10.50292089662728

TRONDHEIM, NORWAY

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3.5 Site analysis of Case study B | Land use

Land use: Existing Grilstad Marina

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3.5 Site analysis of Case study B | Land use

Residential Coffee shop Educational center Grocery shops Garden

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3.5 Site analysis of Case study B | Accessibility to site and circulation

Vehicular Circulation Accessibility from Main road Accessibility from Secondary road Parking

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3.5 Site analysis of Case study B | Pedestrian circulation

Pedestrian Circulation

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3.5 Site analysis of Case study B | Site circulation analysis

Pedestrian Site Circulation 61 Vehicular Site Circulation

3.5 Site analysis of Case study B | Interior circulation analysis

Vertical circulation

horizontal circulation 62

3.5 Site analysis of Case study B | Interior circulation analysis

Vertical circulation

horizontal circulation

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3.5 Site analysis of Case study B | Interior circulation analysis

Vertical circulation

horizontal circulation

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3.5 Site analysis of Case study B | Entrances

Entrances to site

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3.5 Site analysis of Case study B | Figure/ground relationships

The project emphasises with its surrounding environment, where they have a similar design, color, and aesthetic

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3.5 Site analysis of Case study B | Climate

N

North direction N

Prevailing wind South sun

East sun

West sun 67

3.5 Site analysis of Case study B | Shape

Challenge: The site's long-shaped form, with water on three sides, its orientation, and the atmosphere required a range of housing styles.

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3.5 Site analysis of Case study B | Sensory Factors: views, noise, odors

flats and houses are orientated towards 2 sides at least, with balconies, terraces, and gardens on both sides.

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3.5 Site analysis of Case study B | Sensory Factors: views, noise, odors

The use of regional materials

Creating highly vegetated open gardens for the public use.

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3.6 Form analysis of Case study B | geometry

A combination of rectangles

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3.6 Form analysis of Case study B | grid

The interior spaces are arranged using a symmetrical grid system

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3.6 Form analysis of Case study B | order

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3.6 Form analysis of Case study B | order

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3.6 Form analysis of Case study B | order

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3.6 Form analysis of Case study B | materials Despite the multiple housing typologies, the use of the same materials creates a seamless look.

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3.6 Form analysis of Case study B | materials The Facades of all the houses are cedar-wood clad.

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3.6 Form analysis of Case study B | materials Each typology has its own personality and appearance, due to differing in the panel’s widths and vertical/horizontal stacking, which gives each typology a creative interesting detail in its facade Vertical stacking

Horizontal stacking

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3.7 Relationships and movements of Case study B | Programming

villas Park and playground Private pier Common pier Apartment building Row houses Private garden Common garden Common green area Common parking Entrance to private parking

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3.7 Relationships and movements of Case study B | spaces Under the flats, there is access to the basement and parking, as well as a connection to the parking floor for single-family residences.

As a result, an outdoor area free of traffic is developed, allowing the lane and community space to be converted into green parks and playgrounds for residents and tourists.

Private spaces

Public spaces

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3.7 Relationships and movements of Case study B | zoning Bedroom Bathroom Hallway Terrace Stairs Living room Kitchen Dining room Garden Storage Washing room Mechanical room Pier

Light shaft over stairs Terrace Living room Bedroom Kitchen Bathroom Pier Storage Technical room

The plan approach responds to the site, where rooms are positioned corresponding to the site.

The bedroom upstairs in single-family houses has a closed façade against the backyard, granting the house privacy while also restricting views into the surrounding gardens.

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3.7 Relationships and movements of Case study B | zoning Building entrance Apartment entrance Staircase Living room Kitchen Bathroom Bedroom Washing room Terrace

Heavy wind and even storms could come from all directions during the year-including the sunny south-meaning there was no favoured "balcony-side." As a result, all apartments and houses are at least 2-sided, with balconies, terraces and gardens on both sides.

Apartment entrance Staircase Living room Kitchen Bathroom Bedroom Washing room Terrace Walk in closet

Kitchen/dining/living areas of all housing styles provide access to parks and the water's edge.

Some of the bedrooms face the gardens, while others face the long views and water.

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3.7 Relationships and movements of Case study B | spatial relationships

The open area and landscape was designed as a "string" that links everything and to create a natural flow through the site, the edges were broken.

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3.7 Relationships and movements of Case study B | spatial relationships

The common space is linked to Playgrounds and parks which link the river to the south and the boat port to the north, linking the site/island to the mainland through a bridge as well as to the area's general network of roads.

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3.7 Relationships and movements of Case study B | Requirements and evaluation

● ● ● ●

Good community connectivity within the site Followed the purpose of the project throughout the design Created a connection between public, private, and open spaces.

Need much work on sustainability

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3.8 Inferences of Case study B Semi-detached 2-story houses are located on the opposite side of the street, towards the south, along a narrow canal leading to the inland.

This breaks down the size and maximizes sun into the common outdoor areas and entry road, which are located between the volumes.

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3.8 Inferences of Case study B The sheltered gardens are elevated on one level, allowing the houses merely two levels from the inside view, in comparison to the three floors from the water's edge, with access to private dock and boat parking.

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3.8 Inferences of Case study B

Challenge: The site's long-shaped form, with water on three sides, its orientation, and the atmosphere required a range of housing styles.

Solution: Two 3-story buildings with flats are slightly elevated above the general outdoor area toward the north and the open sea, shielding the site from the strong breeze from the sea.

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3.1 Case study C | Guggenheim Bilbao

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3.3 Project profile of Case study C Architect Frank Gehry Construction Company IDOM Founder Gobierno Vasco, Diputación Foral de Bizkaia, Solomon R. Guggenheim Foundation Designed in

Built-up Area

1992

32.500 m2

Built in

Location

1993-1997

Bilbao, Spain 90

3.4 Concept of Case study C Inspired by the shapes and textures of a fish, it can be considered a sculpture, a work of art in itself.

The design of the building follows the style of Frank Gehry. Inspired by the shapes and textures of a fish, it can be considered a sculpture, a work of art in itself. The forms do not have any reason nor are governed by any geometric law.

The museum is essentially a shell that evokes the past industrial life and port of Bilbao.

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3.5 Site analysis of Case study C | Location

Bilbao, Spain The museum is integrated into the city both by it height and the materials used. Being below the benchmark of the city, it does not surpass the rest of the buildings. The limestone, of a sandy tone, was selected specially for this aim. Seen from the river, the form resembles a boat, but seen from above it resembles a flower.

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3.5 Site analysis of Case study C | Land use

The project's success is determined by an innovative urban plan that freed the city's waterfront of ancient shipbuilding industry and provided accessible green space capable of hosting year-round popular city activities and attractions.

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3.5 Site analysis of Case study C | Land use

University Hotels Museums Offices

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3.5 Site analysis of Case study C | Accessibility and circulation

Vehicular circulation Pedestrian circulation Entrances Parking

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3.5 Site analysis of Case study C | Accessibility and circulation

●

The central atrium serves as the point of convergence, and the galleries branch off from that.

Pedestrian horizontal circulation

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3.5 Site analysis of Case study C | Entrances The entrances appear to have irregular formations that define the entrance space

Entrances

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3.5 Site analysis of Case study C | Figure/ground relationships

Since its inception, Gehry tried to involve the project within a larger urban scheme, revitalizing the waterfront, exploring the places from where better views could be enjoyed and those where the museum should have a more modest scale.

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3.5 Site analysis of Case study C | Climate N

N

North direction Prevailing wind South sun

East sun

West sun 99

3.5 Site analysis of Case study C |

A road and railway line River The concrete structure of the Salve Bridge Museum

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3.5 Site analysis of Case study C | Land features

As it appears from the picture, the building is completely incompatible with the surrounding urban environment because Frank Gehry's first goal was to attract attention from the presence of a new design block and different from the rest of the buildings around it. Closely .

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3.5 Site analysis of Case study C | Shape

It consists of a series of interconnected volumes, some formed of orthogonal coated stone and others from a titanium skeleton covered by an organic skin. The connection between volumes is created by the glass skin.

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3.5 Site analysis of Case study C | Shape

Appearance of asymmetrical exterior

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3.5 Site analysis of Case study C | Area

Built-up Area 32.500 m2

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3.5 Site analysis of Case study C | Sensory Factors: views, noise, odors

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Irregular masses of titanium walls

3.6 Form analysis of Case study C | mass

By approximating the mass of the ship's shape, the outer cladding with titanium suggests types of bright fish, due to the fact that the building overlooks the main river of the city.

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3.6 Form analysis of Case study C | mass

Frank Gehry did not take into account the human scale when building that museum. When you enter the museum at first glance, you feel awe and luxury.

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3.6 Form analysis of Case study C | structure

The construction is made up of load-bearing walls and ceilings with an interior structure made up of metal rods that create triangle-shaped grids.

The museum's forms would not have worked if load-bearing walls and ceilings had not been used. the walls and ceilings feature many insulating layers as well as a titanium exterior covering. Each artwork is one-of-a-kind and unique to the location, as decided by Catia.

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3.6 Form analysis of Case study C | structure The steel structure is made up of 3 structural frames.

The primary steel girder frame supports the weight of the building

The secondary sheathing frame is fixed onto steel girders, defining and supporting the curved surfaces

Lastly the tertiary frame is used for fixing the titanium tiles to form the skin for the building 109

3.6 Form analysis of Case study C | geometry The forms do not have any reason nor are governed by any geometric law.

The museum is essentially a shell that evokes the past industrial life and port of Bilbao.

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3.6 Form analysis of Case study C | grid

-Disorientation -No right angles -Floor plan allows for exploration (no linear progression) -Flower motif in the architectural design is a reference to the natural elements surrounding the industrial city

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3.6 Form analysis of Case study C | order The composition of the building is a group of overlapping and overlapping blocks in a way that illustrates the idea of the project in that it is a strange block to attract visitors from all over the world..

The designer follows the constructivism in his design of the museum, as evidenced by his final image, Deconstructionism, which is typical of Jerry's designs of organic nature and sculptural style.

The outlines of a block formation are designed with the intent of being completely random.

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3.6 Form analysis of Case study C | materials

Built of limestone, glass and titanium, the museum used 33,000 pieces of titanium half a millimeter thick, each with a unique form suited to its location. As these pieces are so thin, a perfect fit to the curves is necessary. The glass has a special treatment to let in the sun’s light, but not its heat.

Glass limestone Titanium limestone Titanium

Glass 113

3.7 Relationships and movements of Case study C | programming

Atrium Classic galleries Library Boat gallery Admission Restaurant Bookstore Entrance step Galleries

114

3.7 Relationships and movements of Case study C | programming These blocks are centered around a major axis, the central foyer, which is a massive void 165 feet high. This foyer is crowned by a metal dome.

It is affected by the glass openings that enter the natural light into the foyer, in addition to the natural light carried out by the glass walls

115

3.8 Inferences of Case study C

•Connects vehicle circulation with building without interruption • Labour-intensive construction • Titanium material lets in solar heat in the building •The highest point used in the building is 26 meters from the surface of the earth, and the highest point in the building is 53 meters, and between them there is nothing but a void.

• increased the economy of the city • Individuality and innovation in form and material • Aesthetic

•It is considered closed on itself, so we do not find openings overlooking the water body.

•They often use artificial lighting and ventilation

116

CONTEXTUAL MAPPING 117

Chapter Four: Contextual mapping (Site analysis and urban context): Baku is located 28 metres (92 ft) below sea level, which makes it the lowest lying national capital in the world and also the largest city in the world located below sea level.

Location: Baku, Azerbaijan Latitude: 40°21’06” N, 49° 50’10’’ E

118

4.1 Selection Justification (explain why you selected this country, the city, and the specific site) country Azerbaijan appears to draw more of the world's most interesting and inventive architectural developments in the years ahead, given its track record and global reputation for promoting cutting-edge, world-class building design.

When Azerbaijan gained its independence from the Soviet Union in 1991, there was an ambition to make Baku a world centre of modern architecture.

site

city Baku built on its heritage to become a beacon of modern architecture.

119

4.2 An overview of the general site (the country; its history and evolution, and main cities.)

Baku, Azerbaijan's capital, is home to a diverse collection of historic and new man-made wonders. With some of the world's most ambitious and spectacular architectural achievements, the diverse mix of inspirations from both east and west has produced a city that simultaneously honors its architectural history and aspires to the future.

120

4.2 An overview of the general site (the country; its history and evolution, and main cities.)

The culture of Azerbaijan has developed as a result of many influences; that's why Azerbaijanis are, in many ways, bi-cultural.

Azerbaijani architecture has heavy influences from Persian architecture. Many ancient architectural treasures such as the Maiden Tower and Palace of the Shirvanshahs in the Walled City of Baku survive in modern Azerbaijan.

The country was a well-known tourist spot in the 1980s.

Since 2000 the country has experienced a high rate of growth in the number of tourist visits and overnight stays. In the recent years, Azerbaijan has also become a popular destination for religious, spa, and health care tourism.

121

4.3 The selected city

Baku has wildly varying architecture, ranging from the Old City core to modern buildings and the spacious layout of Baku port. Many of the city's landmarks were built during the early 20th century, when architectural elements of the European styles were combined in eclectic style. Baku has an original and unique appearance, earning it a reputation as the 'Paris of the East. Baku joined UNESCO's Network of Creative Cities as a Design City on 31 October 2019 on the occasion of World Cities Day.

122

4.3.1 The history of the city and its evolution a.

▪ Main city districts and neighbourhoods.

Decline vs Growth of population

123

4.3.1 The history of the city and its evolution a.

▪ Main city districts and neighbourhoods.

124

4.3.1 The history of the city and its evolution b.

▪ Future developments.

The Baku White City Office Building

Baku national pavilion

Baku expo

125

4.3.2 Figure-ground relationship (city-site)

126

4.3.2 Figure-ground relationship (site)

127

4.3.2 Figure-ground relationship (site)

128

4.3.3 Circulation routes of Baku a.

▪ Main

site

A unique Baku environment was formed by the interaction of planning structure reflecting the urbanist traditions of the western cities during capitalist era with spatial elements representing Oriental-Muslim traditions and national identity.

129

4.3.3 Circulation routes of Baku b.

▪ Minor

site

130

4.3.3 Circulation routes e.

▪ Public transportation routes

131

4.3.4 Locating projects with similar function or nature (if your project was cultural, locate all cultural spaces).

Beynelxalq Mugam merkezi

Cultural center of Mariners

Edibin Evi

Baku Korean Center 132

4.3.5 Socio-cultural factors

Temples in Baku

Languages: Main: Azerbaijani Secondary: Turkish, English, Russian

Annual events: Maiden Tower International Art Festival

Pomegranate Festival

Religion: 90% of the population is Muslim, The rest of the population adheres to other faiths or are non-religious.

Baku Shopping Festival

133

4.3.5 Socio-cultural factors (Issues)

The city has a high level of noise pollution, the hasty and uncontrolled construction had a negative impact not only on the infrastructure, but also on the amount of green areas in Baku.

The main problem for the modern Azerbaijan is in the degradation of villages and small towns against the excessive growth of Baku‘s metropolitan area.

Baku is known for its poor environmental and socio-psychological living circumstances, the difficulty in developing suitable living conditions, transportation issues, and recycling and waste disposal issues. A constant influx of people is escalating the problem.

134

4.4 District

The city is divided in eleven districts and 48 municipalities. The division between the Old City and its urban centre is more significant, and it has been declared UNESCO World Heritage Site, as well as the Maiden Tower and the Shirvanshah Palace.

135

4.4.1 Land use

site

A lot of public places, which primarily focus on human factors and include social areas: parks, boulevards, statues, museums, theaters, educational institutions, communal facilities and so on.

136

4.4.2 Legibility a.

▪ Vehicular paths

site Vehicular paths

137

4.4.2 Legibility e.

▪ Combined

site Main path Secondary path Pedestrian path

138

4.4.2 Legibility (edges)

site Low activity Moderate activity Intense activity

139

4.4.2 Legibility e.

▪ Combined

site Main path Secondary path Pedestrian path Major nodes w/traffic Major nodes Minor nodes Mostly upper class Mostly middle class Mostly lower class

140

4.4.2 Legibility (landmarks)

Baku olympic stadium

MOT tower

Socar tower Azersu tower

Crescent bay development

Heydar aliyev centre

141

4.4.3 Figure-Ground relationship

142

4.4.3 Figure-Ground relationship

143

4.5.1 Accessibility and approach, and possible entries (for different users)

Entrances

144

4.5.1 Accessibility and approach, and possible entries (for different users)

site Main path Secondary path Pedestrian path Entrances

145

4.5.2 Site shape and area

Site shape: Polygon Area: Perimeter: 1,254 Meters Area 47,817: Square meters

146

4.5.3 Topography (sections cutting through the whole site with adjacent buildings or lands)

147

4.5.3 Topography (sections cutting through the whole site with adjacent buildings or lands) 2

1

1 2

Because of the slopes, the streets run horizontally and vertically, and most of the vertical ones are actually stairs that takes you from one level to another.

148

4.5.4 Climate

The site is located in a semi-arid climate

149

4.5.4 Climate

150

4.5.5 Sensory Factors (views, noise, odors, textile experience)

151

4.5.5 Sensory Factors (views)

152

4.5.5 Sensory Factors (noise) Most noisy during daytime, Car honking sounds.

Good overall auditory zone, sounds of birds, serenity of waves and hearing the wind blowing.

153

4.5.5 Sensory Factors (odors)

154

4.5.6 Man-made & Natural features Natural features

ade

nM

Ma es

tur

fea

Natural features Natural features 155

4.5.7 Future expansion (possibilities for expanding the activities through the site)

The Site Connecting the tourist with the commercial activities Connecting the tourist with Baku Eye Connecting the tourist with the outdoor area Connecting the tourist with the drowned Castel Providing the tourist with parking area

156

4.5.8 SWOT analysis

S

W

trengths

-

Good views Accessible Availability of public transportation Mixed used area Easily found Interesting irregular shape of site Lots of landmarks near the site Located with major road

O

eakness

-

High Traffic area Noise Structure and construction

-

-

T

ppourtinuities

Irregular interesting design with the interesting land shape Good Outdoors Future expansion and connection with the surroundings

hreat

-

High Traffic Noise Structure Rust Building collapse due to bad sea conditions

157

PROGRAMMING AND DESIGN DATA 158

Chapter Chapter Five: Programming and Design Data Analysis Visualized program areas and relationships, Functional spatial diagrams, Massing models of Program...

MAIN FUNCTION BLOCKS

LOBBY

CREATIVE SPACE

EXHIBITION HALL

ADMINISTRATION

RECREATIONAL

PRAYING HALL

COMMERCIAL

SERVICES

AUDITORIUM

LANDSCAPING 159

5.1 Functional requirements Visualized program areas and relationships, Functional spatial diagrams, Massing models of Program...

CULTURAL CENTER FUNCTION BLOCKS

LOBBY 500 PPL

CREATIVE SPACE 500 PPL

WAITING AREA TOILETS

MAIN LOBBY RECEPTION

EXHIBITION HALL

RESTAURANTS

FRONT DESK

AUDITORIUM 500 PPL

Mechanical room

Server room KITCHEN

RECREATIONAL CONTROL ROOM

KITCHEN TOILETS

SHOPS

STORAGE

TOILETS

SEATING AREA

MEETING ROOMS

COLLECTION SPACE

WORK SPACES

Storage

TOILETS

HALLS

HALLS

SERVICES

KITCHEN RECEPTION

SAFE ROOM

COMMERCIAL

OFFICES

OFFICES

LOUNGE

ADMINISTRATION

LANDSCAPING

Public spaces

Open paces

PRAYING HALL 100M 100F

BACKSTAGE STORAGE

TOILETS

SEATING AREAS

160

5.2 Spatial requirements

NAME OF SPACE Entrance hall

AREA/ m^2

_

150

Reception and front desk

Guide visitors

100

offices

Meeting rooms and stations

200

OFFICES

Lounge

Resting area

300

SEATING AREA

kitchen

Food preparation

50

LOBBY WAITING AREA TOILETS

MAIN LOBBY

SAFE ROOM

RECEPTION

FRONT DESK

LOUNGE

FUNCTION OF SPACE

KITCHEN TOILETS

Toilets

_

Total area

840m^2

40 161

5.2 Spatial requirements

ADMINISTRATION

NAME OF SPACE

FUNCTION OF SPACE

AREA/ m^2

offices

workspaces

200

Meeting rooms

_

150

OFFICES KITCHEN

kitchen

Food preparation

50

TOILETS MEETING ROOMS

storage

_

40

Toilets

_

40

Total area

480m^2

162

5.2 Spatial requirements

EXHIBITION HALL

RECEPTION HALLS COLLECTION SPACE STORAGE

NAME OF SPACE

FUNCTION OF SPACE

AREA/ m^2

Reception and front desk

Guide visitors

100

Exhibition hall

Art hall and events

500

Historical showrooms

Heritage showroom

300

Collection space

Unique collection storing

150

storage

_

Total area

1100m^2

50 163

5.2 Spatial requirements

CREATIVE SPACE

HALLS

NAME OF SPACE

FUNCTION OF SPACE

AREA/ m^2

Main hall

Show rooms

1500

Multipurpose hall

Hosting events

500

Multifunctional hall

Different events

750

WORK SPACES TOILETS

Workshops

_

400

Design studios

_

250

toilets

_

40

Total area

3,440m^2

164

5.2 Spatial requirements

AUDITORIUM

CONTROL ROOM BACKSTAGE

NAME OF SPACE

FUNCTION OF SPACE

AREA/ m^2

Stage

Platform

1500

Backstage

Wings and services

300

Storage

_

150

Dressing room

_

85

Service space

Lockers and services

250

Control room

Command center

70

STORAGE

Total area

2355 m^2 165

5.2 Spatial requirements

COMMERCIAL

SHOPS

NAME OF SPACE

FUNCTION OF SPACE

AREA/ m^2

Shops

Different shops

100

Restaurants seating

Indoor and outdoor restaurant seatings

200

Cafes

Indoor and outdoor cafe seatings

100

Kitchen

Food storage and preparation

80

Toilets

_

40

RESTAURANTS

KITCHEN

TOILETS

SEATING AREAS

Total area

520m^2 166

5.2 Spatial requirements

RECREATIONAL

AREA/ m^2

NAME OF SPACE

FUNCTION OF SPACE

Fishing area

Fishing equipments and open space

150

Birdwatching area

Shaded outdoor area

150

Bike storages

_

70

Open paces Public spaces

leasure

open areas for public

300

Star gazing

Area to watch stars at night

90

Total area

760 m^2 167

5.2 Spatial requirements

SERVICES

Storage

NAME OF SPACE

FUNCTION OF SPACE

AREA/ m^2

Staff area

Resting area

70

storage

Center storage

250

Mechanical rooms

Electrical and mechanical equipment

150

Server rooms

Computer servers

70

Service points

Utility supply and Security

50

Mechanical room

Server room

Total area

590 m^2 168

5.2 Spatial requirements

NAME OF SPACE PRAYING HALL

FUNCTION OF SPACE

AREA/ m^2

Toilets

_

40

Female praying room

_

50

Female praying room

Male praying room

_

70

Male praying room

Total area

160 m^2

Total area

3500 m^2

TOILETS

LANDSCAPING

169

5.3 Spatial relationships Lobby

840m^2

Administration

480m^2

Exhibition hall

1100m^2

Creative space

3440m^2

Auditorium

2355m^2

Total area is 14,845m^2

Commercial

520m^2

Recreational

760m^2

Praying hall

160m^2

Services

590m^2

Total area for B.O.H is 590m^2

Add 20% for corridors, mechanicals and stairwells.

Total area is 17,814 FAR=Total covered area / Area of plot 17,814 / 47,817= 0.373 BSF= Area plot*Far BSF=47,817*0.37= 17,692m^2

landscaping

3500m^2

Total area for Landscaping is 3500m^2

17,814 m^2

Total area for F.O.H is 10,755m^2

170

5.3 Spatial relationships Lobby 840m^2

Commercial

520m^2

Services 590m^2 Auditorium 2,355m^2

Exhibition hall

4,453

1100m^2 17,814 1,112

Reference

278

Praying hall 169m^2

Recreational 760m^2 17,814

69.5

Landscaping 3,500m^2

Creative space 3,440m^2 Admin 480m^2

171

5.4 Spatial diagrams Visualized program areas and relationships, Functional spatial diagrams, Massing models of Program...

ADMINISTRATION 480m^2 COMMERCIAL 520m^2 CREATIVE SPACE 3,440m^2 AUDITORIUM 2,355m^2 RECREATIONAL 760m^2 SERVICES 590m^2 LANDSCAPING 3,500m^2 LOBBY 840m^2 EXHIBITION HALL 1100m^2 PRAYING HALL 160m^2

172

5.4 Spatial diagrams Visualized program areas and relationships, Functional spatial diagrams, Massing models of Program...

PROPOSED ENTRANCES AND CONNECTIONS ADMINISTRATION 480m^2 COMMERCIAL 520m^2 CREATIVE SPACE 3,440m^2

●

The core of a built-up environment is the embodiment of culture, and buildings essentially capture the everyday life of a civilization. They are repositories of a society's or people's patterns of activity and movement. In a cycle that arcs from art, food, auditoriums, music, and so on, architecture reflects and influences culture, embracing ideals.

AUDITORIUM 2,355m^2 RECREATIONAL 760m^2 SERVICES 590m^2 LANDSCAPING 3,500m^2 LOBBY 840m^2 EXHIBITION HALL 1100m^2 PRAYING HALL 160m^2

173

site

5.4 Spatial diagrams

Main path Secondary path Pedestrian path Major nodes w/traffic Major nodes Minor nodes Mostly upper class Mostly middle class Mostly lower class

Legibility with proposed program

ADMINISTRATION 480m^2 COMMERCIAL 520m^2 CREATIVE SPACE 3,440m^2 AUDITORIUM 2,355m^2 RECREATIONAL 760m^2 SERVICES 590m^2 LANDSCAPING 3,500m^2 LOBBY 840m^2 EXHIBITION HALL 1100m^2

174 PRAYING HALL 160m^2

5.4 Spatial diagrams Visualized program areas and relationships, Functional spatial diagrams, Massing models of Program...

ADMINISTRATION 480m^2 COMMERCIAL 520m^2 CREATIVE SPACE 3,440m^2 AUDITORIUM 2,355m^2 RECREATIONAL 760m^2 SERVICES 590m^2 LANDSCAPING 3,500m^2 LOBBY 840m^2 EXHIBITION HALL 1100m^2 PRAYING HALL 160m^2

175

5.4 Spatial diagrams Visualized program areas and relationships, Functional spatial diagrams, Massing models of Program...

ADMINISTRATION 480m^2 COMMERCIAL 520m^2 CREATIVE SPACE 3,440m^2 AUDITORIUM 2,355m^2 RECREATIONAL 760m^2 SERVICES 590m^2 LANDSCAPING 3,500m^2 LOBBY 840m^2 EXHIBITION HALL 1100m^2 PRAYING HALL 160m^2

176

5.4 Spatial diagrams b.

▪ Vertical (initial sectional layout with site)

PRAYING HALL 160m^2 COMMERCIAL 520m^2 CREATIVE SPACE 3,440m^2 AUDITORIUM 2,355m^2 LOBBY 840m^2

177

5.5 Massing studies

Multiple masses creates a unique journey throughout the site.

178

5.5 Massing model of program

ADMINISTRATION 480m^2 COMMERCIAL 520m^2 CREATIVE SPACE 3,440m^2 AUDITORIUM 2,355m^2 RECREATIONAL 760m^2 SERVICES 590m^2 LANDSCAPING 3,500m^2 LOBBY 840m^2 EXHIBITION HALL 1100m^2 PRAYING HALL 160m^2

5.5 Massing model of program

180

5.5 Massing model of program

Site circulation

Interior circulation

181

CONCEPTUAL THINKING 182

Challenge

Baku is the world's lowest lying capital city. It sits 28 metres below sea level, which makes it the world's lowest lying capital city.

The primary design challenge stems from the site's and Baku's climatic conditions.

The city lies below the standard sea level and is subjected to the world's fiercest winds.

183

Challenge

Design for all

Design for wind

Design for water

Design for experience

Design for sustainability

184

Surroundings Eight islands in the Baku Archipelago are mud volcanoes by origination, they are located far from settlements. Most of these territories are under protection, and people are strictly forbidden to enter there without special permission.

185

Idea mud volcanoes of Baku become one of the nominees in the contest “New wonders of nature.”

The mud volcano creates a semi-like central node that branches out organically, in a beautiful way.

186

6.1 Spatial diagrams

Having a core that branches out main functions

Admin 480 sqm

Auditorium 2355 sqm

Praying area 160 sqm

Open

spaces

Cafe 100sqm

Exhibition block 1100 sqm

Lobby 840 sqm

Multi purpose hall 760 sqm

Creative space 3,440 sqm

Restaurants 100 sqm

Commercial area 520 sqm

Open spaces

Node 2 Node 1

Node 3 Node 4

Each node branches out different main functions Node 1: Religion Noude 2: Administration Node 3: Culture Node 4: Commercial 187

6.1 Spatial diagrams 1. A full detailed spatial diagram including all your design proposals and conclusions based on your previous study: The nature of the design challenge Admin 480 sqm

Auditorium 2355 Exhibition block 1100 Multi purpose sqm hall 760 sqm sqm

Praying area 160 sqm

Open

space

s

Cafe 100sqm

Lobby 840 Creative space 3,440 sqm sqm Restaurants 100 Commercial area sqm 520 sqm

Proposed layout acts as a connector between the city of baku, silk route and the sea view whereas the forms, some are extended into the city and some are pushed back to connect the site to the sea

Open spaces

188

6.1 Spatial diagrams 1.

A full detailed spatial diagram including all your design proposals and conclusions based on your previous study: The theoretical background

Admin 480 sqm

Phenomenology: sensory design to create an experiential, architectural space

Auditorium 2355 Exhibition block 1100 Multi purpose sqm hall 760 sqm sqm

Praying area 160 sqm

Creating a sense of belonging and connections

Open

space

s

Cafe 100sqm

Lobby 840 Creative space 3,440 sqm sqm Restaurants 100 Commercial area sqm 520 sqm

Open spaces

189

6.1 Spatial diagrams 1.

A full detailed spatial diagram including all your design proposals and conclusions based on your previous study: The design precedents

●

THE CREATION OF A GOOD COMMUNITY CONNECTIVITY REINTRODUCING A SITE TO BECOME A COMMUNITY HUB WITH A DISTINCTIVE DESIGN IN BAKU

●

Open

space

s Open spaces

Axis line created to divide main functions and create a friendly walk through experience for visitors It starts cutting through the middle of the site and branches out to divide the spaces in an organic way, which ends at the commercial part of the site

190

6.1 Spatial diagrams 1. A full detailed spatial diagram including all your design proposals and conclusions based on your previous study: context and environment study uffer

b Wind

Admin 480 sqm

rs buffe Auditorium 2355 Exhibition block 1100 Multi purpose sqm hall 760 sqm sqm

s

Cafe 100sqm

Lobby 840 Creative space 3,440 sqm sqm

Shaded ar

eas

Shaded

areas

Restaurants 100 Commercial area sqm 520 sqm

Open spaces

rs

space

ffe

Open

bu

Praying area 160 sqm

Wi nd

Wind

s

191

1 Spatial diagrams 1.

A full detailed spatial diagram including all your design proposals and conclusions based on your previous study: activities.

exhibition

Open public space

Creative space

Recreational area

Auditorium and amphitheatre hall

Sea view

Cafes and shops

192

Challenge 1. A full detailed spatial diagram including all your design proposals and conclusions based on your previous study: The nature of the design challenge Admin 480 sqm

Sea view Multi purpose hall 760 sqm

Praying area 160 sqm Lobby 840 sqm

Restaurants 100 sqm

193

1 Spatial diagrams 1.

A full detailed spatial diagram including all your design proposals and conclusions based on your previous study: programming.

Admin 480 sqm

Praying area 160 sqm

Auditorium 2355 Exhibition block 1100 Multi purpose sqm hall 760 sqm sqm

Open

space

Cafe 100sqm

s

Lobby 840 sqm

Creative space 3,440 sqm Restaurants 100 Commercial area sqm 520 sqm

Open spaces

194

1 Spatial diagrams 1.

A full detailed spatial diagram including all your design proposals and conclusions based on your previous study: programming. significant public and art spaces that would stimulate social interactions

Admin 480 sqm

Auditorium 2355 Exhibition block 1100 Multi purpose hall sqm 760 sqm sqm

Praying area 160 sqm

Open

space

s

Cafe 100sqm

Lobby 840 Creative space 100 sqm sqm Restaurants 100 sqm

Commercial area 520 sqm

Open spaces

195

1 Spatial diagrams 1.

A full detailed spatial diagram including all your design proposals and conclusions based on your previous study: buildings and landscape.

CIRCULATION

landscape

buildings

196

1 Spatial diagrams 1. A full detailed spatial diagram including all your design proposals and conclusions based on your previous study: a study on potential structure system

ultra-high performance fibre concrete (UHPC).

Concrete walls and columns

Space frame steel shell

Concrete slabs

197

1 Spatial diagrams 1.

A full detailed spatial diagram including all your design proposals and conclusions based on your previous study: a study on lighting

Admin 480 sqm Auditorium 2355 sqm

Praying area 160 sqm

Open

space

s

Exhibition block 1100 sqm

Multi purpose hall 760 sqm

Cafe Lobby 840 Creative space 3,440 sqm 100sqm sqm Restaurants 100 sqm

Commercial area 520 sqm

Open spaces

Glass facade (sun light)

198

1 Spatial diagrams 1.

A full detailed spatial diagram including all your design proposals and conclusions based on your previous study: movement patterns.

Admin 480 sqm Auditorium 2355 sqm

Praying area 160 sqm

Open

space

s

Exhibition block Multi purpose hall 760 sqm 1100 sqm Cafe 100sqm Lobby 840 Creative space 3,440 sqm sqm Restaurants 100 sqm

Commercial area 520 sqm

Open spaces

199

1 Spatial diagrams 1.

A full detailed spatial diagram: The relationships (spatial and visual flows) indoors-outdoors Massing emerges from the landscape and rise up to to emerge with heights of baku

slightly elevated above the general outdoor area toward the north and the open sea, shielding the site from the strong breeze from the sea.

Admin 480 sqm Auditorium 2355 sqm

Praying area 160 sqm

Open

space

s

Exhibition block 1100 sqm

Multi purpose hall 760 sqm

Cafe Lobby 840 Creative space 3,440 sqm 100sqm sqm Restaurants 100 sqm

Commercial area 520 sqm

Open spaces

Lowest point Highest point

200

1 Spatial diagrams

201

2 Spatial sections

2. Two spatial sections: -

Your sections should cut through the whole site with the adjacent context on both sides.

202

2 Spatial sections

2. Two spatial sections: -

Show visual and spatial flow between the inside and outside spaces as well as between the inside spaces.

ELEVATOR ESCALATOR

203

Admin 480 sqm

2 Spatial sections

Auditorium 2355 sqm

Praying area 160 sqm

Open

space

s

Exhibition block 1100 sqm Cafe 100sqm

Lobby 840 Creative space 3,440 sqm sqm Restaurants 100 Commercial area Open spaces sqm 520 sqm

2. Two spatial sections: -

Multi purpose hall 760 sqm

Show the horizontal and vertical circulation.

ELEVATOR ESCALATOR

204

3 Massing study 3. 3D massing proposal of your spatial diagram:

Context: Design is aligned lateral to the city and acts as a gateway and icon for both city and adjacent to the water body.

-

Use the same color code that you used in your spatial diagram for the main functions.

-

Use explanatory text and sketching to explain and track the metamorphosis of your massing. This is a computerized massing proposal.

1

1 2

2 3 4

3

4

205

3 Massing study

The signature design is to create an artistic icon that highlights the strong historic connection that city and water share which shapes its future

206

3 Massing study

The design will accommodate multiple creational and social spaces, cultural areas and the open exhibitions. the structure used is ultra-high performance fibre concrete (UHPC), space frame steel shell and concrete slabs which highlights its context, rises from the history whereas the glass design showcases the futuristic part of baku, and the facade will include traditional patterns that symbolizes the region of baku

207

CONCEPTUAL INSPO 208

4 Concepts (BAKU’S MUD VOLCANOES)

209

4 Concepts (BAKU’S MUD VOLCANOES)

210

4 Concepts (BAKU’S NATURAL ELEMENTS)

211

4 Concepts (BAKU’S NATURAL ELEMENTS)

212

4 Concepts (Baku’s interactivity) | Origami

213

4 Concepts

214

References ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ● ●

https://www.louvreabudhabi.ae/en/about-us/architecture https://www.archdaily.com/883157/louvre-abu-dhabi-atelier-jeannouvel/?ad_source=myarchdaily&ad_medium=bookmark-show&ad_content=current-user • https://www.windfinder.com/windstatistics/abu_dhabi https://thesustainabilist.ae/dubai-carbon-the-sustainabilist-april-tourism-louvre-abu-dhabi/ https://www.archdaily.com/891410/grilstad-marina-lund-hagem-architects?ad_medium=gallery https://artsandculture.google.com/project/guggenheim-bilbao https://www.windfinder.com/windstatistics/bilbao https://en.wikiarquitectura.com/building/guggenheim-bilbao/ https://www.archdaily.com/422470/ad-classics-the-guggenheim-museum-bilbao- frank-gehry https://www.louvreabudhabi.ae/en/about-us/architecture https://www.archdaily.com/883157/louvre-abu-dhabi-atelier-jeannouvel/?ad_source=myarchdaily&ad_medium=bookmark-show&ad_content=current-user • https://www.windfinder.com/windstatistics/abu_dhabi https://thesustainabilist.ae/dubai-carbon-the-sustainabilist-april-tourism-louvre-abu-dhabi/ https://en.wikipedia.org/wiki/Baku https://documents1.worldbank.org/curated/en/135331468250263045/pdf/840360v50WP0Bo0LIC00Appendix040Baku.pdf https://en.wikipedia.org/wiki/Baku https://www.researchgate.net/publication/313563647_Understanding_urban_development_of_Baku/link/5aa242bbaca272d448b53d86/download https://www.openstreetmap.org/#map=13/40.3765/49.8748&layers=T https://president.az/files/future_en.pdf https://www.archdaily.com/374517/baku-white-city-office-building-proposal-adec-nil-azerbaijan-development-company/51951ca4b3fc4bcd16000021-baku-white-city-office-building-proposal-adec-nil-azerbaijan-development-company-image https://caspiannews.com/news-detail/baku-in-running-to-host-world-expo-2025-2018-10-26-24/ https://www.thecollector.com/what-was-the-silk-road/ https://www.worldhistory.org/Silk_Road/ https://www.advantour.com/silkroad/azerbaijan.htm https://www.silkroadbriefing.com/news/2018/06/27/baku-city-watch-chinas-belt-road-divides-caucasus/ https://caravanistan.com/transport/train/azerbaijan/ https://displate.com/displate/603325

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Prince Sultan University | Architectural Engineering Course: ARCH498 | Senior project 1 Name: Thanaa sadik | 216410367 Instructor: Dr. Ola Jarrar