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Hussein For All


Table of Content Index Introduction: • Project proposal Section1-programming 1. Precedent Analysis • The Great Imambara • Oklahoma City National memorial • The Holocaust Memorial • Al-Husseynia Al-Fatimeya • Japanese Blood Donation Room Ikebukuro • Japanese Blood Akiba:F Donation Room • UC Irvine Campus Blood Donor Center • Design intention 2. Site Analysis 3. Building feasibility Analysis 4. Space allocation • Programing Section2-schematic design • Blocking development • Design concept development Appendix • Glossary • Bibliography • Strategic plan • Other readings


Project Proposal Why is there such significance for a battle that happened thirteen centuries ago? The story Hussein, the main figure in the battle, was a part of a family that valued love, equality and piece. He has been raised that color, class, and personal beliefs are not of significance in judging humans, so people of different beliefs respected him. On the other hand, Yazid the tyrant of the time came to erode ethics, morality, and basic human rights. His intention was to buy people’s values with money and power1. Yazid knew Hussein was a respected figure, so in order to lend reliability on his rule; he had asked Hussein’s promise of commitment, otherwise he was willing to murder him and any opposing figure. However, knowing Yazid’s immoral goals, Hussein never did because he knew if he had submitted to Yazid, it would be his statement to the world that dignity and freedom cannot face power and money, and that people are slaves to the powerful leaders and cannot dare to protest. In order to show people that freedom is a precious and expensive worthy cause, he had offered his life, his friends’, and his children’s as the cost of saying no. Hussein said, “The greatest stand is to speak the word of truth in the face of a tyrant”. Hussein knew Yazid will mass murder every single companion of his, so in order for his stand to reach humanity, he took his family with him; the woman and children. The reason was for them to witness and deliver Hussein’s message and Yazid’s brutality to the world. The result of Hussein’s stand is the victory of human values through the great sacrifice in Karbala. 2 In the summer of 680 CE, the heat of the sun, the desert of Karbala, the thirst as they had been banned from drinking water, and a 30,000 army were facing Imam Hussein and his 72 followers 3. Yazid’s Army Murdered Hussein in a way that had never been done before in the history of humanity. He murdered his six-month old infant, all of his companions, his brothers, his nephews and two of his sons. The killing never satisfied his army, so they ran their horses over the dead bodies, unclothed them, beheaded them, and raised the heads on top of spears. Yazid intension was not only to kill Imam Hussein but also to humiliate his family. He tortured the women, the little girls and boys, captivated them and walked them in caravans from country to country spreading their false victory of killing Hussein.

For thirteen centuries, lovers of Hussein has been celebrating his victorious stand and grieving his martyrdom. Commemoration started to happen in public procession, temporary structures and private residences. The Husseinya -as it takes its name from Hussein- was the architectural reaction that established the first formal shelter to Karbala memory 4. Until now, the Husseinya is the only architectural response to this rich tragic victory. The tragedy of Karbala has been studied inside the Husseinya, in the literature recited, the activities that happened inside, only inside the borders of Shia Islam.

True, it has been changing the culture of Shia Islam over centuries. To it, Iran revolution in the late 70’s led by khomaini credits its success 5. Such great victory should be available and accessible to humanity because of the amount of universal decent values it raised. People who had access to Karbala and Hussein’s move were great influence in human history like Ghandi who said “I learned from Hussein how to achieve victory while being oppressed.” Nehru considered Karbala to represent humanities strength and determination. He writes: “Imam Hussain’s (A) sacrifice is for all groups and communities, an example of the path of righteousness6. Edward Gibbon (1737-1794), considered as the greatest British historian of his time, in The Decline and Fall of the Roman Empire writes "In a distant age and climate the tragic scene of the death of Hussein will awaken the sympathy of the coldest reader."7


Project Proposal Crying is a part of the rituals of Hussein memorial. Upon listening to poetry and the narration of the story, individuals tend to shed tears and be really ignited by the heat of the tragedy that they are willing to change. In the story, there are victims of different ages, genders, classes, ethnicities and faiths. It is very likely that even a very unique person in this century relates to at least one of these victims. People change, when they are emotionally elevated. The project will explore the relationship of architecture and people, the psychology of spaces and how they influence the user unconsciousness

Project proposal statement

8

The aim is to create a memorial space that narrates the story of Karbala in a way that relates to the demographic of the society and therefore serve as a role model and allows for self-grief, meditational escapes and eventually cultural and emotional healing. The program requirements of the space will be the memorial exhibit, a blood donation center and a cultural hall

Relevant issues Client

9

“Who is Hussein” organization

Design topics: psychology of spaces, ritual architecture, spiritual design, and healthcare design.

Location •It will be located in midtown Atlanta, melting to the pot of growing art community, and feeding the multi-cultural society.

The project two main dilemmas is the story itself as well as the present reference of memorial design. For centuries, Hussein has been studied inside the Muslim world and is thought of as a divine figure. Because the Husseinya is dedicated for a divine Muslim figure memorial, it has been adopting Islamic spiritual architecture, particularly mosque architecture. Bringing the story to a humanly level that is more universal and relevant to the wider none-Muslim population can be quiet an issue. The story exhibited should not be offensive to both parties. Muslims who think figures in the story are holy should not feel they are less in the exhibit. None-Muslims who come to see a humanly uplifting example should not sense any advertising to the figures’ religion.On the other hand, the present issue with memorial exhibits is the intense emotions they charge the users with. The nature of the story is already hyper tragic. It can be overwhelming to the users. The challenge is to create a space that does not burden the user with intense emotions but also does not glorify the criminals or make the story less of a tragedy.

•Things that will be evaluated are emotional intelligence, theories on surpassing grief •Thesis well evolve around user observations and interviews •Deliverable will be models, boards, and videos.


Precedent analysis • • • • • • • •

The Great Imambara Oklahoma City National memorial The Holocaust Memorial Al-Husseynia Al-Fatimeya Japanese Blood Donation Room Ikebukuro Japanese Blood Akiba:F Donation Room UC Irvine Campus Blood Donor Center Design intention


The Great Imambara Complex of Lucknow, Lucknow, India Design Kifayat Allah.

4

The arched exterior profile, marked a curious departure from the conventional rectangular profiles used in the other gateways. The Great Imambara expanded upon domestic architecture with its long lateral rectangular chambers, and flanking rooms. A well-planned and consistent ornamental program of recurring geometric and vegetal motifs molded and cut out of stucco was employed throughout the Great Imambara complex, and areas were emphasized with progressively denser ornament.1

Concept:

The Great Imambara shows a center that combines multiple architectural traditions; domestic, funerary, palatial and religious functioning as a royal monument, a sacred storehouse, a religious assembly hall, a concert hall, a private ritual center, or a tomb, but never simply one of these.2

Site significance:

Lucknow is the capital of the present day northeastern state of Utarr Pradesh in India, 400 km southeast New Delhi.3

6

5

Program

The facade of the Great Imambara includes a series of thirteen arches, and nine chambers. The central one incorporates vault with resounding acoustics; spanning 50 m in length, 17 in width, and 15 in height. At the center lies the grave of the patron of the Great Imambara and its complex, Nawwab-Wazir Asaf al-Dawla, who was officially the Twelver Shii governor of the wealthy North Indian Mughal province of Awadh.8

Learned

Purpose-built buildings mark an important step in the evolution of Muharram ritual practices, a crystallization of religious practice with strong symbolic resonance. The Great Imambara was more than a center of ritual practice. It was, in some respects, a monumental throne hall for innumerable ta’ziya. It is a great example of a multi function complex that as a whole serves to

remember, to meditate, to glorify and to celebrate.

7


Oklahoma City

National Memorial

Hans and Torrey Butzer and Sven Berg Butzer Design Partnership

620 N. Harvey, Oklahoma City 405.235.3313

Scale: 3.3 acres 1

5

A ritualistic realm:

Isolated moments of remembrance and quiet reflection where it allows the visitors to interact with the architecture as it begins preparing their emotions in the Gates of Time, connecting them with natural soothing elements –water and sky. The outdoor area is an opportunity for quiet thoughts and personal reflections.

Site significance:

The now-sacred soil where the Murrah Building once stood3

User journey

Preparation and reflection A chronological, self-guided tour through the story of april 19, 1995, and the days, weeks, months and years that followed the bombing .4

8

Background on Terrorism Databases and personal accounts show visitors the perception and reality of terrorism in the United States in the decade leading to the Oklahoma City bombing.6

12

Watching and Waiting interviews, video footage and photos show the first few weeks, the work of the rescuers and the waiting of the families.10

11

the first hours

World reaction Rescue and recovery

The rebuilt through images and anniversaries, positive thoughts Tributes to the 168 who were killed are featured of people around the world that along with photos of each in this breathtaking better tomorrows emerge from gallery.13 the resilience of this community.13

Chaos

The hearing

damaged furnishings and pieces from buildings, personal items, as well as the sounds of police and emergency radios give visitors the feeling of chaos many experienced moments after the bombing.15

Gates of Time

16

Reflecting Pool

Hope

Gallery of Honor

Senses The impact of the explosion is heard and felt through the only known audio recording of the blast.

The ok bomb investigation

videos offer a look at what survivors experienced in the first hours after the explosion.14

Survivor experiences

the healing in progress, and the beginning of the memorial process.

12

7

Investigation story

Impact

This space is designed to teach children about the impact of violence. videos of helpers give children greater understanding of the positive effect heroes of all kinds had on the lives they touched that day.

Funerals and mourning

History of the Site

9

Children's area & classroom

17

Learned

It is a successful example of being able to express the horror as it was, without neglecting the emotions of the visitor. The user journey starting with the outdoor preparation area respects the visitor who is about to experience a sensational chaos and need a reflection afterword. 18

Children's Area

19

20

Quiet thoughts The innocence of the city before the attack

Field of Empty Chairs

The Fence


The Holocaust Berlin’s Memorial Dagmar von Wilcken

Cora-Berliner-Strabe 1, 10117 Berlin, Germany between the Brandenburg Gate and Potsdamer Platz

0

Scale: 5-acre of real estate

Site significance:

The stelae stand on gently and unevenly sloping ground covering 19,000 sq. m.

The capitol of the Nazi regime

A ritualistic realm

The Field of Stelae is the space of isolated moments where it allows the visitor to interact with the architecture, experience its materiality and observe its absolute abstract symbolism. The interpretation is open to the visitor. 11

User journey

User journey

The journey here narrates the story in in the scale of total numbers and groups and gradually identifies individuals and families.

Preparation and reflection

1 4

6 large-scale portraits 6 million Jewish victims.

senses

5

3

Starting Hall

Room of Names

Transforming numbers to individuals and clearing up the anonymity of mass death

Room of Sites

historical films and photographs include mass shootings extermination

12

2

6 7

a running band of the number of Jewish victims Minimum evidence of real text about personal suffering

over 400 memorial sites, museums and monuments in 34 countries.

collection of names of Jews murdered in the Holocaust at the disposal of the Foundation Memorial.

8 9

Federal Archive Portal research tool

Video Archive

engage with the life stories of survivors in more than 150 video interviews.

Learned

When creating a memorial for such a horrifying conundrum, there is possibility that the architecture could end up glorifying the horror. The holocaust, it is an artwork that successfully expresses the struggle of the victims, and therefor condemns the crime. However, by being so intensely expressive, there is not a space for relief for the visitor to

Peter Eisenman

15 Jewish families expressing social, national, cultural and religious life before, during and after the persecution, the destruction of Jewish culture and the associated loss

Room of Dimensions

Information Portal of European Sites of Remembrance

Yad Vashem Portal

Room of Families

reflect upon.


Al-Husseynia Al-Fatimeya Saihat, Eastern province, Saudi Arabia Site significance:

Thirty years ago, Helal Alsuyod has turned his old house into a Husseinya that houses mourning rituals of Hussein bin Ali. Recently, the Husseinya staff has bought two more nearby residences and merged them to the original one. While it is not a great location considering accessibility and visibility, the site significance is accredited to the history of the neighborhood as well as the history of the Husseinya itself. Al-Husseinya Al-Fatimeya is located in downtown Deerah, the oldest neighborhood in Saihat. In addition, being one of the first Husseinyas built ever in Saihat, it holds so much importance that people from neighboring areas commute to it.

Activities

The activities in the Husseinya started as basic mourning rituals for the martyr Hussein bin Ali who was murdered in the 7th century. These include chest beating, story narration, and plays. By time, the Husseinya has expanded its activities and programs. It is now housing daycare programs, English courses, human resources lectures, afterschool tutoring programs, and camping in and outside Saudi Arabia.

Program:

Size: The overall size of the space is the sum of three small residence Design and Style: The overall style of the hall is Islamic with mosque elements like the Member, and the carpet orientation. There is no evidence of space planning as it is the result of organic expansion. There is, however, a clear understanding of space requirements. This shows in providing storage spaces, raised built in stage with acoustic properties as well as the defined enclosure in the classroom area.

Entrance Kitchen Storage

Restrooms Hall a Hall b

Class Storage

Learned The critique is design based. There is a limited understanding of space planning. The style identity is lost within the latest functional expansions and activity addition. The space is not anymore a space for rituals only. To begin with, it was not designed for the rituals and now it does not properly serve both.


Japanese Blood

Donation Room Ikebukuro Buratto 3F FUJIKI Build. 1-12-8 Higashi-Ikebukuro, Toshima-ku, TOKYO

SEMBA Design & construction

Accessibility: 1

Scale:

Ikebukuro (ćą č˘‹?) is a commercial and entertainment district in Toshima, Tokyo, Japan. 5 minute walk, from Ikebukuro Sunshine station east exit 15

372m2 4004.17 sq.ft 16

concept:

The concept is ethical. With the open floor plan, the design aims to reflect openness to social contribution. There is a feeling of cleanliness because of the material selection and the casual open atmosphere. Green street trees and sunlight coming through windows create a natural calming space in the middle of the busy city. 16

2

Program Operation room

Treatment room

3 Entrance

5

Medical interview room

10

Cardiogram room

6

4

9

7

8

Premier Heart's Multifunction Cardiogram is the only non-invasive online diagnostic testing tool designed to assist physicians in quickly and accurately detecting heart diseases, including CAD ischemia. When compared to traditional methods MCG has consistently been able to more accurately detect ischemia at earlier stages, enabling physicians to intervene and save lives. 17

Learned

The recreation feel of the space can help decrease the anxiety associated with institutional facilities especially those aimed for blood donation.

11

12

13

14


Japanese Blood 1

Akiba:F Donation Room 5th Floor Asakaze Building, 1-16-9 Soto Kanda, Chiyoda-ku, Tokyo Accessibility: The blood donation center, one of 14 in Tokyo alone, is set up in the Akihabara district of Tokyo’s Chiyoda Ward, a world-renowned center of anime, manga and gaming culture. 2

concept: the main hall of the center has an overall futuristic theme, and is designed to look like the inside of a space vehicle. setting up exhibits of model trains and anime figurines in homage to its location. Tokyo health organization is providing the latest manga for people to read when they are resting and recovering from their blood donation. 2

Program 3

4

Reception area

6

8

snack area

Blood donation room 5

Exhibit area

7

Medical interview room

Learned

The concept of attracting people to donate in the exciting Sci-fi environment could be good and bad. It is good within the context of the place. The area is renowned for its anime and gaming culture. The target audience is meant to be as specific as the area is. Here, it works well to the culture of the area. When considering universal design, the concept might not work in a culture other than the indicated above and is l ikely to fail in a place where the biggest population is not younger generation, nether an anime culture

2012 has seen a mild revival in in numbers according to preliminary reports


UC Irvine Campus UC Irvine Campus,106 B, Student Center, Irvine, CA 92697-1550

1

Accessibility:

University of California Irvine campus

Concept:

The concept is to attract younger student to donate by placing the center in a campus setting, where it is so accessible to students.

2

Program Reception Scanning Donating area Office Snack area

Works well The concept of attracting the younger generation to donating works well in the context of a university campus for several reasons. Schools are perfect environments to start a campaign for younger audience. Words of mouth, student meetings, and activities can popularize a campaign really fast and get other students involved. Usually, habits that start in schools are likely to stay even after school. The blood center is probably going to get alumni coming back. Not only they could it attract student, but faculty and staff as well.

Does not work well However, the context itself is not enough to attract students. Design should be more involved in keeping students and faculty interested. Being in a school environment, the space will benefit from IPads, IPods, libraries, dedicated snack areas. Not only it will keep the audience coming back, but it will also decrease the clinical institutional feel of place.

3


Design intention A ritualistic realm Architecture can be evocative only to a certain extent. People are left with their own Interpretation, and those vary according to cultures, and beliefs. Isolated spaces with natural elements can create quiet thought zones Architecture should not recall attention to its self, but derives the focus towards remembrance.

A successful user journey starts by preparing the user for the intense emotion they are about to encounter, display the events and conclude with reflection and hope. Site is significant and specific to the meaning of the memorial Senses are design elements that make the experience well deliverable. Using colors, audios, and textures, give the thought process of the visitors another dimension.

A place to remember and learn

A place to give life going to be open for p ublic from different cultures and belief system, universal design should be applied. The facility can be incorporated in the museum to keep the audience involved and interested. A recreation feel in this particular area can help minimize the anxiety of institutional facilities as well as act as the end reflection part of the user journey

The integration is to remember, to grief, to meditate, and to do

Connection between each program requirement is essential to make the composition of the project cohesive. The user journey should be implied at the larger scale of the entire project not only in the interior of the museum. The user will be left with his or her own interpretation but a sample option of DO SOMETHING facility will be provided in a recreation fashion to reflect upon.


Site and building feasibility Analysis


Site Analysis FREDERICK D. JORDAN HALL 569 Martin Luther King Jr Drive Atlanta, Georgia 30314

Atlanta Atlanta is the capital of Georgia, the state's largest city, and the seat of Fulton County. The popu lation of Atlanta is 420,003. It is also one of the most important commercial, financial, and transportation centers of the southeastern United States.2

State of Georgia The largest of the U.S. states east of the Mississip pi River and the youngest of the 13 former English colonies, Georgia was founded in 1732, at which time its boundaries were even larger—including much of the present-day states of Alabama and Mississippi.1

CNN building Centennial Park Oakland Vine City Park The fox theatre Emory hospital The Martin Luther King, Jr., National Historic Site Morris brown campus Clark University cemetery Georgia dome Georgia Dome

wi

er

Su

mm

nte r

N

The structure appears to be a type III, a mix of combustible and none combustible elements. The exterior wall is composed of none combustible materials which is brick. Ceiling elements show wood joist. Some interior photos show exposed masonry walls. Further investigation is needed to confirm if the building is protected or not and if the walls are bearing or none-bearing

Sustainable design Transportation: Repurpose and Reuse. Indoor energy Displacement ventilation Window-mounted switches Green roof Water solutions

Industrial District O-I IBC 2009,GA Amendment 2009.

4

5

To the community In the condense African American neighborhood, there is a need for a foreign reviving reflection. Imam Hussein being a universal role model that retained victory through struggle can fit perfectly to revive the African American spirit without reviving the renowned African American struggle.

The building is located on the northwest corner of Martin Luther King Junior Drive and Maple Street in the Vine City neighborhood. The area is highly accessible. It is located two blocks west from the Georgia Dome and Georgia World Congress Center and two blocks east of the Vine City MARTA station 7

6 To the earth the project aims to preserve a historic site that would be otherwise abandoned or demolished.

To the people The memorial exhibit is an advantage creating job opportunities for demographic.


Building Feasibility and

Code Compliance Analysis FREDERICK D. JORDAN HALL 569 Martin Luther King Jr Drive Atlanta, Georgia 30314 •Unsprinklered

•Gross area Basement 12,920 First floor 20,346 Second floor 14,194 Two floors

2

•Occupancy

P

(E)(B) •Type IB 1

Future growth ability to accommodate future GROWTH lies within the building own skin, or its outdoor soccer field

including Georgia state amendments

IBC 2006 IFGC 2006 IMC 2006 IPC 2006 NEC 2005 IECC 2000 IFC 2006

Georgia state handicapped accessibility law 120-3-2Rules and regulation of the safety fire commissioner for the state minimum fire safety standards chapter 120-3-3 January 5,2007(Georgia safety fire law) (NFPA)101 life safety code 2000 edition with Georgia state amendments 3

25 space

The area is highly accessible. It is located two blocks west from the Georgia Dome and Georgia World Congress Center and two blocks east of the Vine City MARTA station 10 •Column bay spacing 7’-5”, 10’ •Mullion spacing 15” •Ceiling heights 9 ft 12 to plenum •4 compliant stairs •Elevators – loca tion, size and numbers •One elevator to the north •Restroom facili ties Two rest room facilities in each floor 4

storage capabilities 4 supply room in the basement 8 in the first floor 4 in the Second floor

City of Atlanta bureau of building,

4 exits all rated 1/3 diagonal rule 5 Occupancy load on typical floor

Basement Floor 1 Floor2 Total

Classroom 2522/20=127 5500/20=275 8060/20=403 127+275+403=805

Vocational 4681/50=94 10813/50=216 11264/50=123 94+216+123=433

Business 5717/100=57 4033/100=40 408/100=4 57+40+4=101


Building Feasibility and Code Compliance Analysis Accessibility The building has been updated to ADA, but it is not fully accommodating handicapped.6

•There is only one elevator. •Only four exits/entrances are handicapped accessible in a total of twelve exits. •Ramps are provided as needed in the interior. •Door width comply with the 32” minimum •Wider exit to accommodate assembly space near the basket ball larger occupancy •Rest rooms and water fountains are handicapped accessible 7

Strategic opportunities Day light and noise Building orientation shape of the building Masonry wall and trees The double story basketball Tinted windows

Travel distance less then 200 ft 8

north with minimum exposure to southern glare. The area is highly accessible.

Ventilation Wind Displacement ventilation Envelope inefficiency vegetated roof, cool roof, or solar roof

Circulation: Out door envelope. Interior masonry The many opening/exits Main entrance relocation

Occupancy load on typical floor WC.reg Prov Basement Floor 1 Floor2 Total

5 10 9 21

6 11 11 28

lav reg 4 8 8 20

Prov 4 6 6 16

Fount reg 1 1 1 3

Prov 1 0 0 1

Sink reg 1 NA NA 1

Prov 1 NA NA 1


Programing


Programming

Narrative

For centuries, the tragedy of Karbala, its morals and its martyrs have inspired great personalities. People like Ghandi, Dickens, Nehru, Gibbon..Etc were inspored by Hussein’s patience, sacrifice, righteousness and courage. Taking Hussein and the tragedy of Karbala as a subject of a memorial exhibit is a universal fit in any culture because of the universal yet specific values of the tragedy that can speak to any and each culture and individual. It is time to open the school of patience, sacrifice, righteousness and courage with its various examples and making it available to those who are looking for uplifting examples. The aim is to create a project that narrates the story of Karbala in a way that relates to the demographic of the society and therefore serves as a role model and allows for self introspection, meditational escapes and eventually emotional healing. The main program requirements are the exhibit, the retail, the multi-faith space and the meditation space.

ADJACENCY /CRITERIA MATRIX

-Foster interactive exhibit space

-Create an interesting conceptual design within the space’s structural limitation

1 1 1 1 2 2 2 2 2 2

2 Multi-function auditorium hall 2 Projection room 2 Stairs 2 Hall storage 3. Administration 3 Administrative o 3 Workstation 3 Conference 3 File Room 3 Break room 3 Coat Storage 3 Mechanical Room 4.Outdoor 4 Outdoor r 4 parking Legend:

Primary Secondary NOT Adjacent No Relationship

-Elevate the user’s emotions through the different layers of meditation spaces -Create accessible spaces based on universal design. -Create a cohesive user journey that starts with preparation and ends up with reflection.

Acoustics

parking 1.02

2 Donor wall

Security

Outdoor r 4.01

Rest room Exhibit room Art storage Lounge Theatre Meditation escape

Plumbing

Mechanical Room 3.07

2.Exhibit

Privacy

Coat Storage 3.06

Lobby / Entry Area Gift shop/ retail Loading/storage Reception

Daylight and/or View

Break room 3.05

1. RECEPTION

Public Access

Conference

3.02

File Room

Workstation

3.01

3.04

Administrative o

2.2

3.03

Stairs

Hall storage

2.1

Multi-function auditorium hall

Projection room

Donor wall 2.07

2.09

Meditation escape 2.06

2.08

Lounge

Theatre

Art storage 2.03

2.05

Exhibit room 2.02

2.04

Reception

Rest room 2.01

Loading/storage

1.04

1.03

Lobby / Entry Area

scale, shapes, volumes, light, scents, temperature, and sounds. through the play of,

Gift shop/ retail

-Stimulate the user senses

1.02

Goals

1.01

ADJACENCY / CRITERIA MATRIX


Programming

Space requirement

Prototypical

CURRENT SPACE REQUIREMENT

Ref #

Room Name

Space Type

Size/SF

# of occupents

Quantity

NET SF

Occ.

1. RECEPTION

One foot ceiling change with sky light

Meditation space:

1.01 Lobby / Entry Area

LBY

500

0

1

500

A

1.02 Gift shop/ retail

MERC

300

5

1

300

M

1.03 Loading/storage 1.04 Reception

SERV LBY

150 200

1 1

150 200 1150 287.5 1437.5

M A

A

1 3 NET SF Subtotal Circulation (25%) Gross SF

2.Exhibit

The play of light, nonsensical puzzle, volume, scents, levels, volumes, and temperature the meditation assemblies aim to express ambiguity alienation inside and outside in order to provoke thoughts.

2.01 Rest room

RR

15

1

10

150

2.02 Exhibit room

EXB

900

3

14

12600

A

2.03 2.04 2.05 2.06 2.07 2.08 2.09 2.1 2.2

STG LNG THRE MIDT SEAT HLL IT VC STG

900 500 780 80 250 760 260 216 300

2 8 24 0 0 3 1 0 2

1 1 1 20 1 1 1 4 1

900 500 780 1600 250 760 260 864 300

S A A A A A A A A

collection storage Lounge Theatre Meditation escape Donor wall Multi-faith auditorium hall Projection room Stairs Hall storage

NET SF Subtotal

18964

Circulation (25%)

4741

Gross SF

23705

3. Administration 3.01 Administrative offices 3.02 Workstation

OFFC WKST

180 304

1 3

2 1

360 304

3.03 Conference

WKST

72

6

1

72

B

3.04 3.05 3.06 3.07

STG BKR STG MECH

100 250 40 578

0 6 0 2

1 1 1 1

100 250 40 578

S B S U

File Room Break room Coat Storage Mechanical Room

NET SF Subtotal

1704

Circulation (25%)

426

Gross SF

2130

Total Circulation Total Gross SF 4.Outdoor 4.01 Outdoor reflection 4.02 parking

FF & E

15042 162

5454.5 27272.5

0

1 100

15042 12600

FURNITURE & EQUIPMENT REQUIREMENTS WORKSURFACE Ref#

SEATING

EQUIPMENT

Display

GENERAL NOTES

Room Name

1. RECEPTION 1.01

Lobby / Entry Area

1.02

Gift shop/ retail

1.03

Loading/storage

1.04

Reception

(1) Bookcase 4’-3 ½”x2-41/2” (2) Rack display system H60”xL54”xD1-1/4” (1) Shirt display case 3’x6’ (1) Pedestal 3’x2’ (4) Custom millwork

(1) L6'XD2'-2”XH3’3” Counter

(1) L6'XD2'- 2”XH3’3” Counter

(1) Bench 24’x5’ (2) Chairs 2’9” (1) Table 2’9”

(1) Custom made map/brochure display

(1) Cash register (1) Computer (2) Loading carts (1) Computer (1) Computer

Exhibit 1.2.Exhibit 2.01

Rest room

2.02

Exhibit room Collection storage

2.03 2.04 2.05

Lounge

(1) Desk46”x20”

Task chair19”x21”

(2) Coffee table 25”dia

25'D x 20'W sofa Table 24dia 15.75h

Theatre Meditation e scape

2.06 2.07

Donor wall

2.08

Multi-faith auditorium hall

2.09

(3) Bench 24’x5’

Table Pedestal

Custom made pedestals6’x6’, acrylic display cases4’x2’, platforms and modular wall system

Lock and alarm system Sound system, projector, screen

Custom made Art racks, artifacts cabinets, textile racks

Lock and alarm system Processing/research computer

(1) Bookcase 4’-3 ½”x2-41/2”

Vending machine

Light control

Task lighting Internet access

(28) Theatre seating 33”x28”

Screen, projection equipment, sound system

Light control Acoustic

(1) Chair16'D x 16'W (1) Bench 24’x5’

Sound system Scents producers Temperature control Plumping

Accessibility

Stage C 33’x12’

Projector, screen, sound system

Option for floor seating

Cabinets, costume closet

Computer

Space for stacking chairs And tables

( Cabinets

Computer

Graphics- artworks

Glass wall case Sermon table

Chairs, prayer rugs. Benches

Projection room

2.1

Stairs

2.2

Storage

(1) Desk 46”x20”

Task chair19”x21”

Serving space Administration 3.3.Administration (2) Desk 46”x20”

3.01

Administrative offices

3.02

Workstation

(4) Workstation 6’x6’

3.03

Conference

Conference table 36”x72”

3.04

File Room

3.05

Break room

3.06

Coat Storage

3.07

Mechanical Room

3.08

Storage

2) Executive chair 23”x15”

19”x21”

4.02

(6) 18”x 36” x 78” Lockers

(4) bar Stools 18” dia

Projector, screen, computer, internet, camera

Printer, fax Refrigerator, coffee maker, dishwasher, microwave

Plumping

(1) Bench 24’x5’ Card access Security alarm

Outdoor reflection parking

( File storage 36”x25”

Bar, cabinets, sink

4. Outdoor 4. Outdoor 4.01

Computer

(4) Task chair 19”x21” 6) Conference chairs

(3) Bench 24’x5’

B B

A A


Programming “With nothing whatsoever to do with religion, people have always drawn strength from periods of quiet reflection , using whatever techniques they have been able to find to calm the mind and open it to the world” ”(Freeman,2005, p.54) display case

Lounge Opportunities to rest with books and snacks

Exhibit Rooms that houses rooms with attention to acoustics, security and circulation

Program problem

- Exhibit rooms speak of individual victims. Within each exhibit room, there is an isolated meditational escape. Isolation will be reinforced with sounds and acoustics, aromas, books, textures, materials, temperature, light and darkness, humidity, water, size, shape, volume, pattern, accessibility, and movement. The segmentation of spaces while aimed to express the different individuals in the story and provide isolation for clear thoughts might interrupt the cohesiveness of the narration. Connective design elements should be implemented in order to remind the individuals of the larger context of the story. This element might be a design aesthetic like water that is commonly denied for all victims –in all exhibit rooms—It can also be a part of the conceptual zoning and configuration of the space, making the rooms float in a larger open and embracing space. Investor: The investor will benefit from the potential savings in the repurpose of Hussein relates to the community in a direct the building. In addition, and indirect relationships. Martin Luther king the investor will be raising was inspired by Ghandi. Ghandi’s inspiraawareness of cultural issues tion, on the other hand, was Hussein. He and how they may be even took 72 followers copying Hussein relevant to the local commovement. The memorial will serve the munity. community by giving them the original Customer- the project will values that Martin Luther king acquired through Ghandi. It is also relating to the provide the customer with demographic and the culture of followers accessible meditation that are relevant to the culture of African architecture, open and Americans. The community needs to pause, intimate. The customer will look, and restart. Imam Hussein being a experience a ritualistic universal role modelthat retained victory journey of emotional through struggle can fit perfectly to revive agitation, embraced in the African American spirit spaces, and released to the outdoors, experiencing unconscious thoughts with the aid of sensational tragic literature. The project aims to be provocative but also positive and 42” changing as the customer gradually and slowly loops around the building.

Stake holders:

4’

5’

Theatre -A welcoming feature to the facility

Multi-faith space Attracting different faiths as a reflection space that attempts to provide different faith with their services requirements, and allows for lectures and house different events


Schematic Design • •

Blocking development Design concept development

Upon further research, some program requirements had changed. Blood donation center and the cultural hall have been diffused into one multi-faith meditational/event space that hosts lectures for the physical and emotional healing of the society like blood donation events. There is also an addition of a retail space that will be geared towards artworks, books that are relevant to the story as well as the reflection of the users .


Blocking development


Schematic Space Plan Process

Floor Plan Scale:1/8”=1’-0”

Section


Design Concept Concept statement Paused reverberation is about stopping the action of reflective movement so that every moving element stays static and visible -while in motion- The aim is to stretch the moment of vibration even if it might be defying gravity. The shaking reality of the vibration will charge the user while firstly walking in the exhibit; this energy will be then released in the form of united reflection in the multi-faith event space, and finally closed off in the form of a book/artwork eternal take away.

1

2

3

5

4

6

7


Design Concept Shape

When vibration is at it is peaks, shape is wavy, curly, rhythmic, tangled, echoic, condensed and organic. Shape then transition to a looser, untangled, and less curvy where reflection happens and finally it straightens up to become semi-geometric at the eternal take away.

Organization

It will be a dynamic combination of linear and radial organization that is significant in the sequence of the story and the comfort of the user

10

Mood

8

11

The mood of the space will be ritualistic transitioning the user emotions from hyperemotional to neutral to confident. The user will experience a rite of passage that begins with shaking emotions fed by the tragic literature and transitions to calmer unconscious thoughts released in a reflection fashion and closed off with stable rooted take away.

9

12

Form

Beginning in the exhibits, Form is fluid, volumetric defying gravity, kinetic, airy, and hollow. Form then change from transparent to translucent to opaque. Volumes are leveled and neutralized as it closes off the story with eternal take away 13

tion The logo reflects on the reverberation nature of the concept expanding on the expected vibration while capturing the action and making it visible. Each logo then takes the reverberation icon and specifies the program space with additive text and reflective icon. 14

15


Design Concept AWAKENING VIBRATION

Color

This combination is a monochrome relationship with yellow and red accents. It aims to reflect on the meaning of awakening vibration. The grey scale aims to provoke unconscious thoughts. Pops of reds and yellows aim to energize the color palette and add to its provocative feel. 16

Awakening vibration Reverberations are waves that need medium to travel through. Medium could be air, solids, or liquids. According to the medium, the waves might be either visible, or sensible. The user can interact with the reverberation waves in many ways. The user can see and touch the waves as they are represented in form, shape, line, and color of the exhibit. He or she can also be the medium that reverberation travels through and be shaken and chilled by their pulse. Being a medium that vibration travels through is a metaphor for the vibrating tragedy that travels through the users’ sense as they walk through the exhibit.

17

18

19


Design Concept The concept of the multi faith A humanized free reflection

nn nn

HUMANIZED REFLECTION

20 The color palette offers a secondary color combination of uplifting, soothing and rejuvenating colors with yellow accents. With the intense emotions at the exhibit, purple helps calming the nerves and offers a sense of spirituality, green establish recovery and emotional healing. 21

22

This space is dedicated for releasing the potential energy charged by the exhibit whether in worship, united reflection, and community service. The idea is to group humans in a space that is reflective of their universal values. It is about pushing away fundamental religious differences while holding on common local and global human concerns. The space will be housing lectures and events that contribute to the physical and cultural healing of the local neighborhood, and the bigger society. Such events will be annual blood donation, shelters, training program‌etc. The space will be available for the larger society to rent for relevant issue. As part of the intimate specific reflection the space will also be allowing worship to happen in a multi faith meditation fashion.

23

24


Design Concept 25

ETERNAL TAKE AWAY

Eternal take away The concept of the retail space is allowing the visitor to close off the26 journey while given a chance to take away an eternal human scale memorial that summarizes what was exhibited whether in the form of a book, phrases, bracelets, t shirts, bands, or artworks.

27

Color

28

29

30

The color palate here offers a contrast of cool and warm temperature connecting the user to a more stabilizing environment where earthy tones are beneath and cooler tones are the wrapping atmosphere This way, the user will be well prepared to exit the space with clear thought. 31


Story board


Project Storyboard Part 1: general project description:

A great human being named Hussein has been always inspiring to humanity. Though he lived 13 centuries ago, his words, his humanity, and his victorious sacrifice have been enlightening to me and to the lives of thousands and thousands of individuals until this day. Hussein has made an outstanding stand in the face of a tyrant and scarified his life in order to save the values of humanity. The aim of this project is to glorify this sacrifice and present it as an example that could reflect to the lives of every individual. The memorial space will narrate the story of Hussein's stand in a way that relates to the demographic of the society and therefore serve as a role model and allows for self-grief, meditation escapes and eventually cultural and emotional healing. The program requirements of the space will be the memorial exhibit, a blood donation center and a cultural hall.

Client

"Who is Husain's" organization is a none profit organization based in the UK. Inspired by Hussein, their mission is to create a global grassroots movement of inspired individuals aiming to be compassionate and kind to all those around them, regardless of gender, class, religion, creed or any other superficial factor that divides the common humanity.

Location Atlanta, Ga

Part 2:

Review one will include 60% of finished work Review two will include 90% of finished work

Part 3: Final presentation

The presentation will be 15 minutes in length and will be presented chronologically as follows: 1-Three minutes for the video 2-Nine minutes for verbal presentation with the boards and digital presentation assistance the boards will 24�X36� in size. Include the 3-Three minutes for questions

The final deliverables will be:

1-Project proposal – including the branding Project Statement: A Clear statement of the interior design problem or topic being studied identifying the academic and discipline topic being researched. 2-Client/User Identification Demographics using the space and why Stake holders 3-Concept Statement/Direction: This will be a combination of project identity including logo design and color scheme as well as written text, imagery, diagrams, and conceptual perspectives that synthesize the idea of the project. 4-Site Plan outlining Approach and Location: An overview of site name, address, city, state, and county location. This will also identify the square footage, zoning, list of uses, number of users, amenities, access to transportation and finally list its attributes for the stakeholders


Project Storyboard 5-Process work will include selected process work like, adjacency diagrams, block diagrams, programing, prototypical and schematic designs.

6-Drawing Set will include the following Rendered Furniture/Finish Plans Rendered Reflected Ceiling Plans Building Section

Longitudinal Latitudinal cutting through the sanctuary space to outdoor reflection garden

Project Perspectives

One perspectives will be of the multi faith meditation space One for the sanctuary/pond space emphasizing lighting One for different exhibit areas emphasizing lighting One for art gallery space One for the outdoor reflection garden One for the reception area One for the retail space

Interior Elevations Donation wall Lounge area Administration Theatre Exhibit rooms

Custom Mill-work Design

Perspective of retail space display cases Interior Sections Details Reception desk Retail space display cases Three exhibit display case

7-Materials, Finishes, Furniture, & Fixture Selection

Materials will be presented in a tray and will be scanned for the boards.

8-Environmental Graphics and Way finding

This will include the overall sign-age and graphics used to guide the user through the space.

9-Art and Accessories

This include, art installation, 2D artworks, plantation and lighting fixtures

10-Digital presentation Video:

A three and a half minute long video that is aimed to convey the project concept and goals. The video will follow a documentary style with metaphoric clips and imagery and will relate the project to the stakeholders.

Power point.

A digital presentation highlighting floor plans for a better view, enlarged perspective, detail and FF and E in order to supplement the boards.

Project book

A digital and hard copy versions, including all the work from studio five and six.

Project blog

Continue to post the project phases.

The completion schedule Week 2

First mentor meeting Finish up project storyboard Order material samples Refine schematic

Week 3

Set up next mentor meeting Mentor agreement due Project story board due Work on video FF & E selection Pick perspectives Art and accessories and elevations Finalize floor plan

Week 4

Set up digital presentation for midterm review Finish rendered floor plan Finalize color palette Finish rendered RCP

Week 5

Project video due Finalize elevations Mentor report due Rendering perspective

Week 6

Midterm review due Work on elevation Call printers for prices for boards and project book Mentor report due

Week 7

Revising floor plans Details Lighting

Week 8

Prepare for the second review Review 2 due Revised video Work on digital presentation

Week 9

Boards done digitally Send boards to printing Prepare for verbal presentation

Week 10

Final presentation IDLU


Project Storyboard The boards will be 24”X36” laid as follows:


Design Development


Design Development

ETERNAL TAKE AWAY UP

-

RECEPTION

ADMINISTRATION

STORAGE AUGMENTED REALITY ZONE

UP

-

-

LOUNGE

Terrace floor plan


Design Development

-

6'

-

Reflected ceiling plan

-

8

3/

" 32


Design Development

DN DN

UP

EITHER OR EXHIBIT A WOMANLY ANGER EXHIBIT

STAGES OF WISDOM EXHIBIT

A HUSSEIN REVERBERATION EXHIBIT

YOUTH FINGERPRINTS EXHIBIT

UP

DN

A RITE OF PASSAGE EXHIBIT

-

-

INNOCENT LOSS EXHIBIT

INTERFAITH CHAPEL

Out of scope

First level floor plan


Design Development

-

-

-

-

-

-

Reflected ceiling plan


Design Development

Section

Reception elevation

Millwork detail

Millwork perspective


Design Development

Lounge section

Workspace section


Design Development

Entrance perspectives


Design Development Youth Exhibit perspective This art installation is aimed for youth referencing the youth participants karbala and other historical and present influential youth. Each acrylic ball will house a picture of these youth, 3d augmented reality will be incorporated to engage users to be inside this collage of pictures like those youth. The floor pattern as well as the art installation will be encouraging the users to walk through this exhibit starting from the intimate pods where sound and visuals would be played.


Design Development

Either or Exhibit perspective

Either or Exhibit detail


Design Development


Design Development


Design Development I learned from this project what it takes to make a dream come true. The early proposed ideas may or may not end up in the actual design. Though a lot of my initial ideas had been changed, altered or modified, the intensive research process had been always informing my design decisions. I leaned that a very basic idea cannot be turned into a successful design unless exhaustedly researched, and intensively analyzed. The Hussein’s center started as a love to a person because of religious attachment. The difficulty of executing this project was breaking out from these religious attachments in order to design and make a statement. Because the design is not in a society that knows this personality, my challenge was even bigger. I had to come up with a solution that satisfies myself as a Muslim who loves Hussein and as a designer who wants to design without religious constraints. The end product is something I really love. I came up with a solution that portrays Hussein to both Muslims and none Muslims in a way that was not delivered before to both groups.


Glossary Husseinya: A place taken from the name Hussein referencing Hussein bin Ali, the grandson of the prophet of Islam who was a martyr because he refused to pledge allegiance to Yazid I, the Umayyad caliph. The place originated in Shia Muslim societies to mourn Hussein and is now a cultural, political and religious hall. Euphrates: It is the longest and one of the most historically important rivers of Western Asia. It passes through Karbala, Iraq where Hussein was martyred. Emotional intelligence: is the ability to identify, assess, and control the emotions of oneself, of others, and of groups. Ghandi: Mohandas Karamchand Gandhi 2 October 1869 – 30 January 1948), commonly known as Mahatma Gandhi or Bapu (Father of Nation) was the preeminent leader of Indian nationalism in the Raj (British-ruled India). Employing non-violent civil disobedience, Gandhi led India to independence and inspired movements for non-violence, civil rights, and freedom across the world. Nehro: He was the first Prime Minister of India and a central figure in Indian politics for much of the 20th century. He emerged as the paramount leader of the Indian Independence Movement under the tutelage of Mahatma Gandhi and ruled India from its establishment as an independent nation in 1947 until his death in office in 1964 Muharram: It is one of the four sacred months of the year. Since the Islamic calendar is a lunar calendar, Muharram moves from year to year when compared with the Gregorian calendar. Ta’ziah: Means comfort, condolence. It comes from roots aza which means mourning. The Murrah building: The Alfred P. Murrah Federal Building was a United States federal government complex located at 200 N.W. 5th Street in Downtown Oklahoma City, Oklahoma, United States. The building was the target of the Oklahoma City bombing on April 19, 1995, which killed 168 people, including 19 children all under age 6.Half of the building collapsed seconds after the truck bomb detonated. The remains of the building were imploded a month after the attack, and the Oklahoma City National Memorial was built on the site. Chest beating: It is a display of Shia Muslim devotion to Imam Hussein and in remembrance of his suffering. Member: the pulpit in the mosque for speaker to offer a sermon.


Bibliography Project Proposal Bibliography 1. In Who is Hussain. Retrieved Jun. 29, 2013, from http://www.whoishussain.org/who-is-hussain 2. In Who is Hussain. Retrieved Jun. 29, 2013, from http://www.whoishussain.org/who-is-hussain 3. Chelkowski, PE. (1989). Narrative Painting and Painting Recitation in Qajar Iran. Muqarnas, 6 PP 98-111. 4. Nakash, YI. (1993). An Attempt to Trace the Origin of the Rituals of Ashura Die Welt des Islams, 33 (2), PP 161-181. 5. Baqian, M.. (Year, Month. Day ). In Ashuraas place in genesis of Islamic Revolution of Iran. (chap. Muharram and Islamic Revolution (1Islamic Revolution Document Center) Retrieved Jun. 31, Year, from 6. Asghar, A.. (Year, Month. Day ). In Famous quotes regarding hussain. Retrieved Jun. 31, 2013, from http://h72.org/showthread.php?p=1 http://www.irdc.ir/en/content/25078/print.aspx 7. In Imam Hussain (A.S.) in View of Intellects, Philosophers and Orientalists. Retrieved Jun. 31, 2013, from http://www.rohama.org/en/content/438 8. Retrieved Jun. 31, 2013, fromhttp://24.media.tumblr.com/tumblr_mdlopvKq001qme6fzo1_1280.jpg 9. Retrieved Jun. 31, 2013, http://media-cache-ec0.pinimg.com/550x/48/3b/50/483b5048f7c853ad67e0020a55c83faa.jpg

Precedent Analysis Bibliography The Great Imambara Bibliography 1. Keshani, H.. (2006,). Architecture and the Twelver ShiĂŠÂżi Tradition: The Great Imambara Complex of Lucknow. Muqarnas 23 p 219-250. Retrieved Jul. 6, 2013, from http://0-www.jstor.org.library.scad.edu/stable/25482443. Oklahoma national memorial Bibliography 1. In Oklahoma City National Memorial. (chap. Area) Retrieved Jul. 12, 2013, from http://en.wikipedia.org/wiki/Oklahoma_City_National_Memorial 2. In Hans and Torrey Butzer and Sven Berg Butzer Design Partnership Oklahoma City Oklahoma. (chap. About the Designers) Retrieved Jul. 6, 2013, from http://www.oklahomacitynationalmemorial.org/secondary.php?section=2&catid=31 3. In Exhibit Walk-through. (chap. Memorial museum ) Retrieved Jul. 6, 2013, from http://www.oklahomacitynationalmemorial.org/secondary.php?section=12&catid=136 4. In Exhibit Walk-through. (chap. Memorial museum ) Retrieved Jul. 6, 2013, from http://www.oklahomacitynationalmemorial.org/secondary.php?section=12&catid=136 5. In Symbolism. (chap. Outdoor Symbolic Memorial) Retrieved Jul. 6, 2013, from http://www.oklahomacitynationalmemorial.org/images/groundsmap.jpg 6. In Exhibit Walk-through. (chap. Memorial museum ) Retrieved Jul. 6, 2013, from http://www.oklahomacitynationalmemorial.org/secondary.php?section=12&catid=136 7. In Exhibit Walk-through. (chap. Memorial museum ) Retrieved Jul. 6, 2013, from http://oklahomacitynationalmemorial.org/uploads/images/walkthru/chap1.jpg 8. In Exhibit Walk-through. (chap. Memorial museum ) Retrieved Jul. 6, 2013, from http://oklahomacitynationalmemorial.org/uploads/images/walkthru/chap2.jpg


Bibliography 9. In Exhibit Walk-through. (chap. Memorial museum ) Retrieved Jul. 6, 2013, from http://oklahomacitynationalmemorial.org/uploads/images/walkthru/chap5.jpg 10. In Exhibit Walk-through. (chap. Memorial museum ) Retrieved Jul. 6, 2013, from http://www.oklahomacitynationalmemorial.org/secondary.php?section=12&catid=136 11. In Exhibit Walk-through. (chap. Memorial museum ) Retrieved Jul. 6, 2013, from http://oklahomacitynationalmemorial.org/uploads/images/walkthru/clock.jpg 12. In Exhibit Walk-through. (chap. Memorial museum ) Retrieved Jul. 6, 2013, from http://oklahomacitynationalmemorial.org/uploads/images/walkthru/goh.jpg 13. In Exhibit Walk-through. (chap. Memorial museum ) Retrieved Jul. 6, 2013, from http://www.oklahomacitynationalmemorial.org/secondary.php?section=12&catid=136 14. In Exhibit Walk-through. (chap. Memorial museum ) Retrieved Jul. 6, 2013, from http://www.oklahomacitynationalmemorial.org/secondary.php?section=12&catid=136 15. In Exhibit Walk-through. (chap. Memorial museum ) Retrieved Jul. 6, 2013, from http://www.oklahomacitynationalmemorial.org/secondary.php?section=12&catid=136 16. In Symbolism. (chap. Outdoor Symbolic Memorial) Retrieved Jul. 6, 2013, from http://oklahomacitynationalmemorial.org/uploads/images/symbolism/gate.jpg 17. In Symbolism. (chap. Outdoor Symbolic Memorial) Retrieved Jul. 6, 2013, from http://oklahomacitynationalmemorial.org/uploads/images/symbolism/reflecpool.jpg 18. In Symbolism. (chap. Outdoor Symbolic Memorial) Retrieved Jul. 6, 2013, from http://oklahomacitynationalmemorial.org/uploads/images/symbolism/chairs.jpg 19. In Symbolism. (chap. Outdoor Symbolic Memorial) Retrieved Jul. 6, 2013, from http://oklahomacitynationalmemorial.org/uploads/images/symbolism/children.jpg 20. In Symbolism. (chap. Outdoor Symbolic Memorial) Retrieved Jul. 6, 2013, from http://oklahomacitynationalmemorial.org/uploads/images/symbolism/fence.jpg The Holocaust Berlin’s Memorial Bibliography 0. In Starting Hall. (chap. Information Centre Room Navigation) Retrieved Jul. 6, 2013, from http://www.stiftung-denkmal.de/typo3temp/pics/a4b7130a10.jpg 1. In Starting Hall. (chap. Information Centre Room Navigation) Retrieved Jul. 6, 2013, from http://www.stiftung-denkmal.de/uploads/pics/509x254_0001_Ebene_5_02.jpg 2. In Room of Dimension. (chap. Information Centre Room Navigation) Retrieved Jul. 6, 2013, from http://www.stiftung-denkmal.de/uploads/pics/509x254_0003_Ebene_3_01.jpg 3. In Room of Families. (chap. Information Centre Room Navigation) Retrieved Jul. 6, 2013, from http://www.stiftung-denkmal.de/uploads/pics/509x254_familien_01.jpg 4. In Room of Names. (chap. Information Centre Room Navigation) Retrieved Jul. 6, 2013, from http://www.stiftung-denkmal.de/en/memorials/the-memorial-to-the-murdered-jews-ofeurope/ information-centre/room-of-names.html#c1727 5. In Room of Sites. (chap. Information Centre Room Navigation) Retrieved Jul. 6, 2013, from http://www.stiftung-denkmal.de/en/memorials/the-memorial-to-the-murdered-jews-ofeurope/ information-centre/room-of-sites.html#c1731


Bibliography 12. ASAI, Y..In Japanese Blood Donation Room Ikebukuro Buratto. (chap. YUGO ASAI) Retrieved Jul. 11, 2013, from http://behance.vo.llnwd.net/profiles21/848987/projects/4081079/e1056e419f2a39e19845e16b669840e2.jpg 13. ASAI, Y..In Japanese Blood Donation Room Ikebukuro Buratto. (chap. YUGO ASAI) Retrieved Jul. 11, 2013, from http://behance.vo.llnwd.net/profiles21/848987/projects/4081079/506e0a70c59bb5b589bbdc9dd95010bc.jpg 14. ASAI, Y..In Japanese Blood Donation Room Ikebukuro Buratto. (chap. YUGO ASAI) Retrieved Jul. 11, 2013, from http://behance.vo.llnwd.net/profiles21/848987/projects/4081079/abaf5ae8b4c90a41a58e5ac08e19a59c.jpg 15. Tokyo essentials. In Ikebukuro. Retrieved Jul. 10, 2013, from http://www.tokyoessentials.com/ikebukuro.html 16. SEMBA Design & construction, . In Tokyo Red Cross Blood Center blood donation room Ikebukuro Bra. (chap. health care related facilities InnovationFeeling of Ethical ) Retrieved Jul. 13, 2013, from http://www.semba1008.co.jp/casestudy/medical/ikebukuro_buratto_bdr.html 17. Premier Heart. In Multifunction Cardiogram . (chap. Reinventing the EKG) Retrieved Jul. 13, 2013, from http://www.premierheart.com/webapp/contents/index.php Japanese Blood Akiba:F Donation Room Bibliography 1. GGT2,. In Akiba:F Blood Donation Room. Retrieved Jul. 8, 2013, from + http://www.nekomagic.net/misc_news/200910/akiba-f_033.jpg 2. Hofilena, J.. (2013, May. 13 ). In Tokyo Red Cross looks to attract young blood donors with creative strategies.Retrieved Jul. 14, 2013, from http://japandailypress.com/tokyo-red-cross-looks-to-attract-young-blood-donors-withcreativestrategies-1328692/ 3. GGT2,. In Akiba:F Blood Donation Room. Retrieved Jul. 8, 2013, from + http://www.nekomagic.net/misc_news/200910/akiba-f_035.jpg 4. Choo, D.. (2009, Sep. 30 ). In Akiba:F. Retrieved Jul. 9, 2013, from http://farm4.static.flickr.com/3498/3968141599_5831b247b1_o.jpg 5. Choo, D.. (2009, Sep. 30 ). In Akiba:F. Retrieved Jul. 9, 2013, from http://farm3.static.flickr.com/2427/3968141427_52c8858612_o.jpg 6. Choo, D.. (2009, Sep. 30 ). In Akiba:F. Retrieved Jul. 9, 2013, from http://farm3.static.flickr.com/2627/3968916314_0aae887de2_o.jpg 7. Choo, D.. (2009, Sep. 30 ). In Akiba:F. Retrieved Jul. 9, 2013, from http://farm4.static.flickr.com/3424/3968916404_f175d29c97_o.jpg 8. Choo, D.. (2009, Sep. 30 ). In Akiba:F. Retrieved Jul. 9, 2013, from http://lilfyenlaboratorium.blogspot.com/2009_11_01_archive.html The UC Irvine campus blood donor center 1. (2012, Jan. 9 ). In Campus Donor Center. Retrieved Jul. 15, 2013, from https://fbcdn-sphotos-e-a.akamaihd.net/hphotos-ak-frc1/400198_274732789246810_2044007396_n.jpg 2. (2012, Jan. 9 ). In Campus Donor Center. Retrieved Jul. 15, 2013, from https://fbcdn-sphotos-f-a.akamaihd.net/hphotos-ak-ash4/374204_274732689246820_516267770_n.jpg 3. (2012, Jan. 9 ). In Campus Donor Center. Retrieved Jul. 15, 2013, from https://fbcdn-sphotos-e-a.akamaihd.net/hphotos-ak-frc1/380430_274732502580172_706717321_n.jpg


Bibliography 6. In Information Portal of European Sites of Remembrance. (chap. Information Centre Room Navigation) Retrieved Jul. 6, 2013, from http://www.stiftung-denkmal.de/en/memorials/the-memorialtothe-murdered-jews-of-europe/information-centre/portal.html#c1735 7. In Yad Vashem Portal. (chap. Information Centre Room Navigation) Retrieved Jul. 6, 2013, from http://www.stiftung-denkmal.de/en/memorials/the-memorial-to-the-murdered-jews-ofeurope/ information-centre/yad-vashem-portal.html#c1744 8. In Federal Archive Portal . (chap. Information Centre Room Navigation) Retrieved Jul. 6, 2013, from http://www.stiftung-denkmal.de/en/memorials/the-memorial-to-the-murdered-jews-ofeurope/ information-centre/online-memorial-book-of-the-bundesarchivs.html#c1752 9. In Video Archive. (chap. Information Centre Room Navigation) Retrieved Jul. 6, 2013, from http://www.stiftung-denkmal.de/en/memorials/the-memorial-to-the-murdered-jews-ofeurope/ information-centre/video-archive.html#c1739 10. In Room of Names. (chap. Information Centre Room Navigation) Retrieved Jul. 6, 2013, from http://www.stiftung-denkmal.de/uploads/pics/509x254_0003_Ebene_3_01.jpg 11. In Room of Names. (chap. Information Centre Room Navigation) Retrieved Jul. 6, 2013, from http://www.stiftung-denkmal.de/uploads/pics/509x254_0003_Ebene_3_01.jpg Japanese Blood Donation Room Ikebukuro Buratto Bibliography: 1. JRCS. In access from Ikebukuro Station East Exit. (chap. Guidance of blood donation venue Innovation> blood donation room Ikebukuro .Japanese red cross society ) Retrieved Jul. 11, 2013, from http://www.tokyo.bc.jrc.or.jp/rooms/roomhp/room22.html 2. Byunguh Yu,. (1996). In Fujiki Building. Retrieved Jul. 12, 2013, from http://www.cnu.daejeon.kr/AWA/Asia-Japan/Osaka/WFAasi%20Japan-Fujiki%20Building-01.jpg 3. ASAI, Y..In Japanese Blood Donation Room Ikebukuro Buratto. (chap. YUGO ASAI) Retrieved Jul. 11, 2013, from http://behance.vo.llnwd.net/profiles21/848987/projects/4081079/037a9144a262a387af704b91f02a92f3.jpg 4. ASAI, Y..In Japanese Blood Donation Room Ikebukuro Buratto. (chap. YUGO ASAI) Retrieved Jul. 11, 2013, from http://behance.vo.llnwd.net/profiles21/848987/projects/4081079/9366b4df3e06bfc7bef8d73f7794c17e.jpg 5. ASAI, Y..In Japanese Blood Donation Room Ikebukuro Buratto. (chap. YUGO ASAI) Retrieved Jul. 11, 2013, from http://behance.vo.llnwd.net/profiles21/848987/projects/4081079/dd2863cbce0673ee7c1e5565c0a9f69a.jpg 6. ASAI, Y..In Japanese Blood Donation Room Ikebukuro Buratto. (chap. YUGO ASAI) Retrieved Jul. 11, 2013, from http://behance.vo.llnwd.net/profiles21/848987/projects/4081079/cdeab3344dd0d6ecd05bc3e39f414811.jpg 7. ASAI, Y..In Japanese Blood Donation Room Ikebukuro Buratto. (chap. YUGO ASAI) Retrieved Jul. 11, 2013, from http://behance.vo.llnwd.net/profiles21/848987/projects/4081079/cc597ee4e55a2c86d670a0600a89a6ec.jpg 8. ASAI, Y..In Japanese Blood Donation Room Ikebukuro Buratto. (chap. YUGO ASAI) Retrieved Jul. 11, 2013, from http://behance.vo.llnwd.net/profiles21/848987/projects/4081079/fb8185e43f10a3c5453a5929cd703c10.jpg 9. ASAI, Y..In Japanese Blood Donation Room Ikebukuro Buratto. (chap. YUGO ASAI) Retrieved Jul. 11, 2013, from http://behance.vo.llnwd.net/profiles21/848987/projects/4081079/25deb101a9806fd9c313c7bca2ab404f.jpg 10. ASAI, Y..In Japanese Blood Donation Room Ikebukuro Buratto. (chap. YUGO ASAI) Retrieved Jul. 11, 2013, from http://behance.vo.llnwd.net/profiles21/848987/projects/4081079/fe7a6945291e286553dd136cc7ac67dc.jpg 11. ASAI, Y..In Japanese Blood Donation Room Ikebukuro Buratto. (chap. YUGO ASAI) Retrieved Jul. 11, 2013, from http://behance.vo.llnwd.net/profiles21/848987/projects/4081079/6287ef6b74505fdf9a8b86e80c06f11c.jpg


Bibliography Site Analysis Bibliography 1. In Georgia. Retrieved Jul. 17, 2013, from http://www.history.com/topics/georgia 2. In Airports in Georgia. Retrieved Jul. 17, 2013, from http://www.mapsofworld.com/usa/states/georgia/georgia- airports.htmlM 3. (2008, May. 9 ). In Interstate Highway System . (chap. land) Retrieved Jul. 18, 2013, from http://www.georgiaencyclopedia.org/nge/Article.jsp?id=h-2423&hl=y 4. (2012, Feb. 16 ). In Atlanta. (chap. Cities and Towns) Retrieved Jul. 18, 2013, from http://www.georgiaencyclopedia.org/nge/Article.jsp?path=/CitiesCoun ties/Cities&id=h-2207 5. Retrieved Jul. 20, 2013, from http://blog.redbeacon.com/wp-content/uploads/2011/11/cheap- hotels-in-atlanta-ga.jpg 6. In Neighborhood Information for Atlanta, GA, 30314. Retrieved Jul. 17, 2013, from http://www.movoto.com/neighborhood/ga/atlanta/30314.htm 7. Redrock global. In FREDERICK D. JORDAN HALL FOR SALE. Retrieved Jul. 14, 2013, from http://www.redrockglobal.net/docs/Jordan%20Hall_RRG_%20Fl yer.pdf 8. In Atlanta Preparatory Academy facebook. Retrieved Jul. 16, 2013, from https://fbcdn-sphotos-d-a.akamaihd.net/hphotos-akash4/ 392274_10151115346560024_760682691_n.jpg 9. Redrock global. In FREDERICK D. JORDAN HALL FOR SALE. Retrieved Jul. 14, 2013, from http://www.redrockglobal.net/docs/Jordan%20Hall_RRG_%20Fl yer.pdf 10. Redrock global. In FREDERICK D. JORDAN HALL FOR SALE. Retrieved Jul. 14, 2013, from http://www.redrockglobal.net/docs/Jordan%20Hall_RRG_%20Fl yer.pdf 11. In Owner and Parcel Information. Retrieved Jul. 18, 2013, from http://qpublic9.qpublic.net/ga_display_dw.php?county=ga_fulto n&KEY=14%20008300070871 12. In Climate in Fulton County, Georgia. Retrieved Jul. 17, 2013, from http://www.bestplaces.net/climate/county/georgia/fulton 13. In Fulton county parcel maps. Retrieved Jul. 19, 2013, from http://qpublic9.qpublic.net/qpmap4/map.php?county=ga_fulton &parcel=14%20008300070871&etent=2223093+1364716+22 24603+1367656&layers=parcels+parcel_sales+roads+streetnu m+lakes+dims 14. Suggs, E.. (2013, Aug. 23 ). In With foreclosure looming Morris Brown College on the brink. Retrieved Jul. 19, 2013, from http://www.ajc.com/news/news/local/with-foreclosure-loomingmorris-brown-college-on-t/nRMQB/ 15. Saporta, M.. (2013, Jun. 26 ). In City of Atlanta proposes moving Martin Luther King Jr. Drive to avoid buying Friendship Baptist Church. Retrieved Jul. 17, 2013, from http://saportareport.com/wpcontent/uploads/2013/06/MLK-JR-DRIVE-REALIGNMENT-CONCEPT.jp

Strategic plan


Bibliography Building feasibility Analysis Ching, F, & S. Winkel. (2012). Building codes illustrated: a guide to understanding the 2012 international building code. , 2012. Print. , New Jersey: John Wiley and Sons. Kadlubowski, R. P, and D. Yates. (2009). The Building Envelope: Energy Efficiency and Economics. Hoffmann Architects, 26 (4

Programming Bibliography

1.Corp, s.. Retrieved Aug. 8, 2013, from http://www.smallcorp.com/index.html 2.Exhibit, I.In Museum Exhibitions. Retrieved Aug. 8, 2013, from http://www.insightmuseumexhibits.com/museum-exhibitions/ 3.Freeman, M. (2005). Meditative Spaces. NY: Universe Publishing. 4.Harmon, S, & K. AIA. (2008). the code guidebook for interiors. hoboken, NJ: Wiley. 5.In south west solutions. Retrieved Aug. 9, 2013, from http://content.yudu.com/Library/A1yl6d/BusinessFilingRotary/resources/1.htm 6.Saver,. In space saver. (chap. MANUAL MOBILE) Retrieved Aug. 8, 2013, from http://museum.spacesaver.com/Museum/ProductSolutions/MobileStorage/ManualMobile.htm 7.Steelcase,. In collaborative settings. Retrieved Aug. 8, 2013, from http://www.steelcase.com/en/products/category/seating/lounge/media-scape-lounge/documents/mediascape_brochure_multicamera_singles.pdf 8.amazon,. In Value Max Locker Double. Retrieved Aug. 8, 2013, from http://www.amazon.com/Value Locker-Double-Tier-Assembled/dp/B001VXU3UC 9.Wanga,. In Advanced technology of security and conservation. Retrieved Aug. 8, 2013 from http://www.wangdashowcases.com/html/technology.asp?BigClassName=Advanced%20technology%20of%20security%20and%20conservation

Design Concept Bibliography

1. GPI,. (2013, Jul. 18 ). Retrieved Aug. 19, 2013, from http://www.gpidesign.com/images/UnwovenLight-Chain-Link-Fence-Refraction.jpg 2. (2013, Jul. 11 ). Retrieved Aug. 21, 2013, from http://24.media.tumblr.com/e76ca550825a323ab378d757f946880e/tumblr_mpnp1y88cB1rub 0hvo1_500.png 3. Retrieved Aug. 19, 2013, from http://media-cacheak0. pinimg.com/originals/b6/a6/b3/b6a6b37a8cd2a5a4af591fa4f6b773a2.jpg 4. Retrieved Aug. 19, 2013, from https://fbcdn-sphotos-e-a.akamaihd.net/hphotos-akash4/ q71/1004780_592442584129136_859041152_n.jpg 5. Retrieved Aug. 19, 2013, from https://fbcdn-sphotos-e-a.akamaihd.net/hphotos-akash3/ 1010034_10151598803351262_455414322_n.jpg 6. Retrieved Aug. 19, 2013, from http://24.media.tumblr.com/6b69e70ac45d284d7a3db69f37973578/tumblr_mogd1he0dv1qlq9 poo1_500.jpg


Bibliography 7. Eskuche, A..In Those amazing clouds. Retrieved Aug. 24, 2013, from http://media-cacheak0. pinimg.com/550x/96/dc/d5/96dcd54a68bcf6997e52b95f390d39b4.jpg 8. Kim, A.. (2012, Month. Day ). Retrieved Aug. 15, 2013, from http://24.media.tumblr.com/2684b0b9d706fcde83ff053554cb0f05/tumblr_mko2qiEVsk1qe31l co1_500.jpg 9. Retrieved Aug. 19, 2013, from http://media-cache-ec0.pinimg.com/550x/19/48/6d/19486d1de2d75ec2f674fa411e3f62d9.jpg 10. (2012, Jan. Day ). Retrieved Aug. 17, 2013, from http://thechive.files.wordpress.com/2012/01/gorgeous-vacation-spots-17.jpg?w=920&h=591 11. Retrieved Aug. 17, 2013, from http://www.naturallycleanaz.com/uploads/7/3/5/5/7355574/9679572.jpg?232 12. Carr, S.. (2013, Jun. 12 ). Retrieved Aug. 12, 2013, from http://photography.nationalgeographic.com/photography/photo-of-the-day/waves-beachiceland/ 13. Retrieved Aug. 19, 2013, from http://media-cacheak0. pinimg.com/originals/e4/9c/d2/e49cd24c5009b51a3bcd0da8f69453d2.jpg 14. Retrieved Aug. 19, 2013, from http://media-cacheak0. pinimg.com/550x/79/82/a5/7982a5f3c54309bdbac7881b33fad772.jpg 15. Retrieved Aug. 19, 2013, from http://whatscookingamerica.net/Foto4/BoilingWater.bmp 16. Smith, K.. (chap. Color Meaning, Symbolism and Psychology All About The Color PURPLE) Retrieved Aug. 24, 2013, from http://www.sensationalcolor.com/color-meaning/colormeaningsymbolism-psychology/all-about-the-color-purple-4329#.UhtvjBushcY Smith, K.. (chap. Color Meaning, Symbolism and Psychology All About The Color Pink) Retrieved Aug. 24, 2013, from http://www.sensationalcolor.com/color-meaning/color-meaning-symbolismpsychology/ all-about-the-color-pink-4342#.UhtwthushcY Smith, K.. (chap. Color Meaning, Symbolism and Psychology All About The Color Green) Retrieved Aug. 24, 2013, from http://www.sensationalcolor.com/color-meaning/color-meaningsymbolismpsychology/all-about-the-color-green-4309#.UhuZQBushcY 17. Retrieved Aug. 19, 2013, from http://media-cacheak0. pinimg.com/originals/31/ae/dc/31aedc6b91b01fcdeb759ab0b92c0a87.jpg 18. Retrieved Aug. 19, 2013, from http://media-cache-ak0.pinimg.com/550x/6f/4b/87/6f4b8705ffc7146b513fb5c17e9f1021.jpg 19. Retrieved Aug. 19, 2013, from http://media-cacheec0. pinimg.com/550x/9b/47/7d/9b477d0c481fee8721836e3925003542.jpg 20. Retrieved Aug. 19, 2013, from http://media-cacheec0. pinimg.com/550x/bd/77/81/bd778197d75a2cfe991eadea6d247413.jpg


Bibliography 21. Smith, K.. (chap. Color Meaning, Symbolism and Psychology All About The Color Black) Retrieved Aug. 24, 2013, from http://www.sensationalcolor.com/color-meaning/color-meaningsymbolismpsychology/all-about-the-color-black-4382#.Uht0WBushcY Smith, K.. (chap. Color Meaning, Symbolism and Psychology All About The Color White) Retrieved Aug. 24, 2013, from http://www.sensationalcolor.com/color-meaning/color-meaningsymbolismpsychology/all-about-the-color-white-4369#.Uht0yxushcY Smith, K.. (chap. Color Meaning, Symbolism and Psychology All About The Color Yellow) Retrieved Aug. 24, 2013, from http://www.sensationalcolor.com/color-meaning/color-meaningsymbolismpsychology/all-about-the-color-yellow-4297#.Uht0fBushcY Red Smith, K.. (chap. Color Meaning, Symbolism and Psychology All About The Color Grey) Retrieved Aug. 24, 2013, from http://www.sensationalcolor.com/color-meaning/color-meaningsymbolismpsychology/all-about-the-color-gray-4378#.Uht06RushcY 22. Retrieved Aug. 17, 2013, from http://media-cache-ak0.pinimg.com/550x/91/7a/f0/917af0d43c303fb98293bee029ee4f1e.jpg 23. Retrieved Aug. 17, 2013, from http://media-cache-ak0.pinimg.com/550x/d7/95/5a/d7955a2fb0a0bf024bf8d7ff4699e075.jpg 24. Retrieved Aug. 17, 2013, from http://media-cacheak0. pinimg.com/550x/4d/ea/96/4dea960595d1cd71407072854b0f0901.jpg 25. Dezeen,. (2011, Jan. 12 ). Retrieved Aug. 26, 2013, from http://static.dezeen.com/uploads/2011/01/dzn_Tree-Hotel-by-Tham-and-Videgard-Arkitekter14.jpg 26. Retrieved Aug. 19, 2013, from http://media-cacheak0. pinimg.com/550x/7e/97/21/7e97211d666cd97defad0420c94326d0.jpg 27. Retrieved Aug. 19, 2013, from http://media-cacheec0. pinimg.com/originals/51/d1/31/51d13178e1c550f7620ed83352300fcb.jpg 28. Retrieved Aug. 21, 2013, from http://www.trendir.com/interiors/meditation-space-fire-features.html 29. Retrieved Aug. 21, 2013, from http://media-cache-ak0.pinimg.com/550x/f9/2f/42/f92f4256fb2ad3474c5f035d63f2400d.jpg 30. Retrieved Aug. 21, 2013, from http://media-cacheec0. pinimg.com/originals/01/8b/e6/018be64589f7c053aa7dcf1bf7f3670e.jpg 31.Red Smith, K.. (chap. Color Meaning, Symbolism and Psychology All About The Color brown) Retrieved Aug. 24, 2013, from http://www.sensationalcolor.com/color-meaning/colormeaningsymbolism-psychology/all-about-the-color-brown-4365#.Uht1WxushcY


Strategic plan The Goal is to approach design next quarter in these phases Schematic design: • Block diagraming • Program development • Mentor selection Design development: • Parti diagram • Functional parti • Conceptualization • Floor plan • Elevations and sections • FF&E • Perspective • Details Final deliverable • Design refinement • Documents in Computer • Renderings • Book • Blog • Final board • Video • Final presentation


Other Readings Almutahari,M.(2002. Almalhamah Alhussainyah.Bayroot, Aldar Aleslameya Barrie, T (1996). Spiritual path, Sacred place: Myth, Ritual, and Meaning in Architecture. Ma: Shambhala publications. Bergmann, S (2005) Architecture, Aesth/Ethics and Relgion. London, IKO Freeman, M. (2005). Meditative Spaces. NY: Universe Publishing. Guthrie, D. (2004). Cube. NY: Princeton Architectural Press Mogensen,L.(1988).The Idea of The Museum: Philosophical, Artistic and Political Questions.NY:The Edwin Mellen Press Richardson, P.(2004). New Spiritual Architecture. NY: Abbeville Press publishers. Williams, P. (2007). Memorial Museum: The Global Rush to Commemorate Atrocities. NY: Berg.

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