PERFORMANCE CENTER

MAITHAM ALMUBARAK

DSGN 224

FUNDAMENTALS STUDIO III.

PROFESSOR WOODS.SPRING 2012.

SCADCAPOEIRA

I DON’T WANT TO BE INTERESTING. I WANT TO BE GOOD.

- MIES VAN DER ROHE

CONTENT

COURSE EXERCISES.

SITE/

DESIGN CONCEPT/

CAPOEIRA/

MOVEMENT/

BODY MESURMENTS/

DESIGN PROCESS/

MIDTERM/

FINAL DESIGN/

CASE STUDIES

QUESTION AND ANSWER/

PROJECT CENTERING/

INCLUDED:

STUCTURE STUDIES/

SITE ANALYSIS/

SITE SKETCHES, AND PERCEP-

TION AND SPATIAL QUALITY

EXERCISE.

CONCEPT STATEMENT.

PERFORMANCE DEFINITION.

BUTTERFLY KICK DEFINITION,

MOVEMENT STUDIES.

MESURMENT DEVICES STUDIES.

DEVELOPMENT OF DESIGN.

THE DESIGN DEVELOPED UNTIL

WEEK FIVE.

THE DESIGN AS IT WAS PRESENT-

ED AT THE END OF THE COURS.

THAT AFFECTED THE DESIGN.

TWO Q&A EXERCISES.

CENTERING Q&A.

IN GROUP OF THREE.

IN A GROUP OF FOUR.

S I T E

SCAD MUSEUM OF ART RUINS AREA

THE SITE IS AN EXTENSION BEHIND THE SCAD MU-

SEUM. IT OFFERS A UNIQUELY VISUAL LOCATION AS

WELL AS A VERY DENSE FABRIC TO PULL FROM; IT

IS CURRENTLY AN AREA WITH ENORMOUS POTEN-

TIAL FOR VISIBILITY. IN THAT IT SITES ALONG A MA-

JOR ROUTE (MLK BLVD.), IT IS THEREFOR ONE WHICH

COULD ADD IMMENSE IMPACT TO AN INTERVENTION

THAT EXPLOITS IT PROPERLY. IT ALLOWS FOR A NAT-

URAL FLOW FROM THE SCAD MUSEUM TO THE MAG-

NIFICENT COURT YARD. IT IS ALSO ACROSS FROM THE

SCAD ARCHITECTURE STUDIOS.

NOTE/ FORMAL SITE ANALYSIS AT THE END OF

THIS PORTFOLIO

PERCEPTION AND SPATIAL QUALITY

BLACK AND WHITE PRESENTATION BOARD.

THIS PROJECT MEANT TO AFFORD US AN OPPORTUNITY TO THINK CRITICALLY ABOUT THE TYPES OF SPACES THAT RESONATE WITH YOU OR HAVE LEFT A DISTINCT IMPRESSION ON US. IT

IS VITAL THAT YOU CONSIDER WHY THESE SPACES ARE SO SIGNIFICANT AND HOW THEY CREATED THE PERCEPTUAL LENS FROM WHICH WE EXPERIENCE THE WORLD AROUND US.

CONCEPT

CONCEPT STATEMENT

THIS DESIGN SEEKS TO ATTACH THE STILLNESS OF THE DEAD (SITE RUINS) TO THE MOVING ALIVE NEW STRUCTURE, AND CREAT A RELATIONSHIP

BETWEEN THE TWO LIKE THE RELATIONSHIP

BETWEEN THE SNAIL’S ALIVE PART WITHIN ITS

SHELL. LIKEWISE, THE IDEA OF BUILDING WITHIN

A BUILDING IS REPRESENTED ON THE SMALLER

SCALE IN THE OUTSIDE SKIN WITH THE SIMPLE

CONCRETE STRUCTURE.

THIS PREFOREMANCE SPACE IS INSPIRED THEO-

RETICALLY BY THE PREFORMANCE NATURE IN

THE WAY THE SPACE IS DEVIDED, AND A MORE

LITERALLY IN THE SKIN MOVEMENT.

CAPOEIRA

THE PERFORMANCE

CAPOEIRA IS A BRAZILIAN MARTIAL ART THAT COM-

BINES ELEMENTS OF DANCE AND MUSIC. IT WAS CRE-

ATED IN BRAZIL MAINLY BY DESCENDANTS OF AFRI-

CAN SLAVES WITH BRAZILIAN NATIVE INFLUENCES,

PROBABLY BEGINNING IN THE 16TH CENTURY. IT IS

KNOWN BY QUICK AND COMPLEX MOVES, USING MAIN-

LY POWER, SPEED, AND LEVERAGE FOR LEG SWEEPS.

CAPOEIRA IS USUALLY DONE IN A RODA. RODA, MEAN-

ING “WHEEL” OR, MORE APPROPRIATELY IN THIS CASE,

“CIRCLE” IN PORTUGUESE, IS THE CIRCULAR FORMA-

TION WITHIN WHICH PARTICIPANTS PERFORM IN ANY OF

SEVERAL AFRO-BRAZILIAN DANCE ART FORMS, SUCH

AS CAPOEIRA, MACULELÊ AND SAMBA DE RODA. BY EX-

TENSION, THE WHOLE EVENT MAY BE CALLED A RODA

(AS IN “WE WILL HAVE A RODA NEXT SATURDAY”). LIKE-

WISE, SOMETIMES A RODA MAY NOT TAKE THE SHAPE

OF A CIRCLE; IT MAY BE, FOR EXAMPLE, A HALF-CIRCLE

IF THE EVENT IS A PUBLIC PERFORMANCE, IN ORDER

FOR THE PUBLIC TO BE ABLE TO SEE THE PERFORM-

ERS EASILY.

THIS PERFORMANCE SPACE IS DESIGNED TO HOST

THIS ACTIVITY. BESIDES THE ADMINISTRATION SPACE,

AND THE PRIVATE RESIDENCE, IT HAS A 54-SEAT AUDI-

TORIUM, AND MOST IMPORTANTLY THE OUTDOOR PRE-

FORMANCE SPACE, OR THE “RODA”. THE RODA SPECTA-

TORS COULD INFORMALLY STAND UP AND WATCH OR

SIT DIRECTLY ON THE STRUCTURE.

A BUTTERFLY KICK OR HORSE KICK (XUÀNZI) IS A JUMP-

ING KICK IN MARTIAL ARTS SUCH AS MODERN WUSHU

AND TAEKWONDO AND CAPOEIRA.

ALTHOUGH THE SPECIFIC NATURE OF THE KICK VARIES,

IT IS GENERALLY COMPOSED OF A TWIST OF THE BODY

WHILE BOTH LEGS ARE LIFTED FROM THE GROUND AND

SWUNG AROUND, WHILE THE TORSO REMAINS AS HORI-

ZONTAL AS POSSIBLE. IN ACTION CINEMA IT IS OFTEN

SEEN AS A KICK USED TO “CUT A SWATHE” THROUGH

MULTIPLE OPPONENTS. IN TRADITIONAL CHINESE

LONGFIST, IT IS USED DEFENSIVELY TO EVADE AN OP-

PONENT’S FLOOR SWEEP AND LAND ON THE ENEMY’S

VULNERABLE SIDE. THERE ARE MANY VARIATIONS, AND

DIFFERENT MOVEMENTS MAY BE CAPTURED UNDER

THE SAME NAME OR LIKEWISE SIMILAR MOVEMENTS

GIVEN UNDER A DIFFERENT NAME DEPENDING ON THE

MARTIAL ARTS SCHOOL OR STYLE. IT CAN BE EXECUT-

ED EITHER FROM STANDING OR FROM A STEP UP RUN.

THE NAME “BUTTERFLY KICK” IS DUE TO THE LEGS

REACHING THE APEX OF THEIR ARC THE ARMS ARE

STRETCHED OUT, LEAVING ALL LIMBS EXTENDED IN A

POSITION SIMILAR TO THAT OF A BUTTERFLY’S WINGS

IN-FLIGHT (HOWEVER, NOTE THAT THE ORIGINAL CHI-

NESE WORD FOR THIS TECHNIQUE CONTAINS NO REF-

ERENCES TO BUTTERFLIES OR KICKS).

MOVEMENT

MOVE BY ALFRED HSING.

BUTTERFLY KICK

BODY

CORRELATIONS

1. THE DESTANCE BETWEEN THE FLOOR AND THE KNEE IS ABOUT THE SAME HIGHT AS THE HIGHT OF THE

SOFA SEAT SO THE FEET REST EASILY ON THE FLOOR WHILE SOMEONE IS SITTING.

2. THE DESTANCE FROM THE FLOOR TO THE HIP IS ABOUT THE SAME AS THE KITCHEN COUNTER HIGHT SO

ONE CAN EASILY REST THEIR BODY AGAINST THE KITCHEN COUNTER AND STILL BE ABLE TO MOVE THEIR

ARMS EASILY.

3. THE DOOR OPENING HIGHT IS ABOUT ONE FOOT TALLER THAN A TYPICAL BODY HIGHT WHICH GIVES THE

BODY SOME SORT OF SECURITY PASSING THROUGH THE DOOR WITHOUT WORRING ABOUT HITTING THEIR

HEAD.

4. THE TOTAL BODY HIGHT WITH THE ARM FULLY EXTENDED OVER HEAD IS STILL ABOUT ONE FOOT SHORTER

THAT THE CEILING HIGHT WHICH ALLOWS FOR A FREE MOVEMENT IN THE SPACE.

5. THE DESTANCE FROM THE KNEE TO THE HIP IS ABOUT THE SAME AS THE DEPTH OF THE SOFA SEAT TO

ALLOW THE BODY TO REST ON THE SEAT AND FOR THE LEG TO BEND AROUND THE SEAT END.

6. THE HIGHT OF THE DINING TABLE IS ABOUT TEN INCHES HIGHER THAN THE DESTANCE FROM THE FLOOR

TO THE KNEE, WHICH ALLOWS ONE TO EASILY SLIDE UNDER THE TABLE AND HAVE ENOUGH SPACE TO MOVE

THE UPPER BODY PART ON TOP OF IT.

7. THE LENGTH OF THE FOOT IS ABOUT THE SAME AS THE STAIR TREAD DEPTH WHICH GIVES THE FOOT

ENOUGH SPACE TO REST ON THE STEP.

BODY MEASUREMENTS EXERCISE

FROM FLOOR TO KNEE

FROM FLOOR TO HIP

FROM KNEE TO HIP

FROM FLOOR TO WAIST

LENGTH OF ARM FROM ELBOW TO FINGER TIP

YOUR HEIGHT

YOUR HEIGHT WITH ARM FULLY EXTENDED OVER HEAD

FLOOR TO SHOULDER

LENGTH OF FOOT

19”

37”

18”

39”

19”

69”

87”

60”

10”

HEIGHT OF KITCHEN COUNTER

HEIGHT OF TOP KITCHEN CABINETS

HEIGHT OF DINING TABLE

HEIGHT OF DESK

DEPTH OF KITCHEN COUNTER

HEIGHT OF CEILING

HEIGHT OF FRONT DOOR OPENING

STAIR TREAD DEPTH

HEIGHT OF MATTRESS AND BOX

HEIGHT OF SOFA SEAT

DEPTH OF SOFA SEAT

36”

54”

29”

32”

24”

96”

84”

10”

43”

18”

18”

BODY MEASUREMENTS.

FURNITURE AND ARCHITECTURAL ELEMENTS MEASURMENTS.

19”

37”

18”

69”

60”

19”

10”

GOLDEN RATIO OF THE HUMAN BODY

THE GOLDEN RATIO, ALSO KNOWN AS THE DIVINE PROPORTION, GOLDEN

MEAN, OR GOLDEN SECTION, IS A NUMBER OFTEN ENCOUNTERED WHEN

TAKING THE RATIOS OF DISTANCES IN SIMPLE GEOMETRIC FIGURES SUCH AS

THE PENTAGON, PENTAGRAM, DECAGON AND DODECAHEDRON. IT IS A RA-

TIO OR PROPORTION DEFINED BY THE NUMBER PHI ( = 1.618033988749895... ).

“SOME OF THE GREATEST MATHEMATICAL MINDS OF ALL AGES, FROM PY-

THAGORAS AND EUCLID IN ANCIENT GREECE, THROUGH THE MEDIEVAL ITAL-

IAN MATHEMATICIAN LEONARDO OF PISA AND THE RENAISSANCE ASTRONO-

MER JOHANNES KEPLER, TO PRESENT-DAY SCIENTIFIC FIGURES SUCH AS

OXFORD PHYSICIST ROGER PENROSE, HAVE SPENT ENDLESS HOURS OVER

THIS SIMPLE RATIO AND ITS PROPERTIES. BUT THE FASCINATION WITH THE

GOLDEN RATIO IS NOT CONFINED JUST TO MATHEMATICIANS. BIOLOGISTS,

ARTISTS, MUSICIANS, HISTORIANS, ARCHITECTS, PSYCHOLOGISTS, AND

EVEN MYSTICS HAVE PONDERED AND DEBATED THE BASIS OF ITS UBIQUITY

AND APPEAL. IN FACT, IT IS PROBABLY FAIR TO SAY THAT THE GOLDEN RA-

TIO HAS INSPIRED THINKERS OF ALL DISCIPLINES LIKE NO OTHER NUMBER

IN THE HISTORY OF MATHEMATICS.” -MARIO LIVIO

THE GOLDEN SECTION WAS USED IN THE DESIGN OF NOTRE DAME IN PARIS,

AND CONTINUES TODAY IN MANY EXAMPLES OF ART, ARCHITECTURE AND

DESIGN. IT ALSO APPEARS IN THE PHYSICAL PROPORTIONS OF THE HUMAN

BODY, MOVEMENTS IN THE STOCK MARKET AND MANY OTHER ASPECTS OF

LIFE AND THE UNIVERSE. DR. STEPHEN MARQUARDT HAS DISCOVERED A

TEMPLATE FOR HUMAN BEAUTY USING THE GOLDEN SECTION, WITH OBVI-

OUS RELEVANCE IN THE PLASTIC SURGERY INDUSTRY. MARQUARDT’S ANAL-

YSIS TAKES ETHNICITY INTO ACCOUNT, AND ILLUSTRATES VARIATIONS THAT

ARE ARE BOTH NUMEROUS AND SUBTLE, AND CLEARLY IMPORTANT IN A

PLASTIC SURGERY GUIDE. ANOTHER EXAMPLE IS THE GREAT MOSQUE OF

KAIROUAN, A GEOMETRICAL ANALYSIS OF IT REVEALS A CONSISTENT AP-

PLICATION OF THE GOLDEN RATIO THROUGHOUT THE DESIGN, ACCORDING

TO BOUSSORA AND MAZOUZ. IT IS FOUND IN THE OVERALL PROPORTION OF

THE PLAN AND IN THE DIMENSIONING OF THE PRAYER SPACE, THE COURT,

AND THE MINARET. BOUSSORA AND MAZOUZ ALSO EXAMINED EARLIER AR-

CHAEOLOGICAL THEORIES ABOUT THE MOSQUE, AND DEMONSTRATE THE

GEOMETRIC CONSTRUCTIONS BASED ON THE GOLDEN RATIO BY APPLYING

THESE CONSTRUCTIONS TO THE PLAN OF THE MOSQUE TO TEST THEIR HY-

POTHESIS.

FIBONACCI SEQUENCE ARE THE NUMBERS IN THE FOLLOWING INTEGER SE-

QUENCE: 0, 1, 1, 2, 3, 5, 8, 13, 21, 34, 55, ... AND THEY ARE INTIMATELY CON-

NECTED WITH THE GOLDEN RATIO, FOR EXAMPLE THE CLOSEST RATIONAL

APPROXIMATIONS TO THE RATIO ARE 2/1, 3/2, 5/3, 8/5, ... . APPLICATIONS

INCLUDE COMPUTER ALGORITHMS SUCH AS THE FIBONACCI SEARCH TECH-

NIQUE AND THE FIBONACCI HEAP DATA STRUCTURE, AND GRAPHS CALLED

FIBONACCI CUBES USED FOR INTERCONNECTING PARALLEL AND DISTRIB-

UTED SYSTEMS. THEY ALSO APPEAR IN BIOLOGICAL SETTINGS, SUCH AS

BRANCHING IN TREES, ARRANGEMENT OF LEAVES ON A STEM, THE FRUIT

SPOUTS OF A PINEAPPLE, THE FLOWERING OF ARTICHOKE, AN UNCURLING

FERN AND THE ARRANGEMENT OF A PINE CONE. GOLDEN RATIO IN ARCHITECTURE/ ONE OF THE MOST COMMON USES OF THE GOLDEN SECTION IS IN ARCHITECTURE.

GOLDEN RATIO IN NATURE/ ONE OF SO MANY EXAMPLES FOR THE GOLDEN RATION THAT WE CAN FIND IN NATURE ALL AROUND US.

GOLDEN RATIO IN ART/ MANY ARTIST USE THE GOLDEN SECTION TO FORTMAT THEIR WORK.

ONE OF THE IMPORTANT PROPORTIONING SYSTEMS IS THE RATIO OF (SQUARE ROOT OF 2) : 1.THE

SIMPLICITY OF THE DERIVATION (SQUARE ROOT OF 2 IS THE DIAGONAL THROUGH A SQUARE OF

SIDE LENGTH 1) IS PARALLELED BY THE EASE OF MAINTAINING THE PROPORTION THROUGH DIVI-

SION OR MULTIPLICATION OF THE PROPORTIONED RECTANGLES. THE SUM OF TWO RECTANGLES

OF PROPORTION (SQUARE ROOT OF 2) : 1 LONG SIDE BY LONG SIDE IS (SQUARE ROOT OF 2) : 2.DI-

VIDED BY THE SQUARE ROOT OF TWO WE ARRIVE AT 1 : (SQUARE ROOT OF 2), THE SAME RATIO AS

THE TWO RECTANGLES THAT WERE ADDED TOGETHER, ONLY WITH A CHANGE OF ORIENTATION.

THE PREVALENT PAPER FORMATS IN GERMANY ARE DEFINED BY THE DIN 476 (DIN IS THE GER-

MAN INSITUTE FOR STANDARDIZATION, COMPARABLE TO ANSI IN THE U.S.A, ISO INTERNATIONALLY,

ETC.). THE SEQUENCE A OF SIZES IS BASED ON THE RATIO (SQUARE ROOT OF 2) : 1. THIS OF

COURSE MEANS THAT PASTING TWO DIN A PAGES TOGETHER AT THEIR LONG SIDES YIELDS THE

NEXT LARGER DIN A FORMATTED PAGE. SIMILARLY, CUTTING A DIN A PAGE INTO HALVES BY DIVI-

SION OF THE LONGER SIDE, YIELDS TWO PAGES OF THE NEXT SMALLER DIN A FORMATTED PAGE.

THE MODULOR IS AN ANTHROPOMETRIC SCALE OF PROPORTIONS DEVISED BY THE SWISS-BORN

FRENCH ARCHITECT LE CORBUSIER. LE CORBUSIER DEVELOPED THE MODULOR IN THE LONG TRA-

DITION OF VITRUVIUS, LEONARDO DA VINCI’S VITRUVIAN MAN, THE WORK OF LEONE BATTISTA AL-

BERTI, AND OTHER ATTEMPTS TO DISCOVER MATHEMATICAL PROPORTIONS IN THE HUMAN BODY

AND THEN TO USE THAT KNOWLEDGE TO IMPROVE BOTH THE APPEARANCE AND FUNCTION OF

ARCHITECTURE.THE SYSTEM IS BASED ON HUMAN MEASUREMENTS, THE DOUBLE UNIT, THE FIBO-

NACCI NUMBERS, AND THE GOLDEN RATIO. LE CORBUSIER DESCRIBED IT AS A “RANGE OF HARMO-

NIOUS MEASUREMENTS TO SUIT THE HUMAN SCALE, UNIVERSALLY APPLICABLE TO ARCHITECTURE

AND TO MECHANICAL THINGS.”

WITH THE MODULOR, LE CORBUSIER SOUGHT TO INTRODUCE A SCALE OF VISUAL MEASURES THAT

WOULD UNITE TWO VIRTUALLY INCOMPATIBLE SYSTEMS: THE ANGLO SAXON FOOT AND INCH AND

THE FRENCH METRIC SYSTEM. WHILST HE WAS INTRIGUED BY ANCIENT CIVILISATIONS WHO USED

MEASURING SYSTEMS LINKED TO THE HUMAN BODY: ELBOW (CUBIT), FINGER (DIGIT), THUMB (INCH)

ETC., HE WAS TROUBLED BY THE METRE AS A MEASURE THAT WAS A FORTY-MILLIONTH PART OF

THE MERIDIAN OF THE EARTH.

WHILST INITIALLY THE MODULOR MAN’S HEIGHT WAS BASED ON A FRENCH MAN’S HEIGHT OF 1.75M

IT WAS CHANGED TO SIX FEET IN 1946 BECAUSE “IN ENGLISH DETECTIVE NOVELS, THE GOOD-LOOK-

ING MEN, SUCH AS POLICEMEN, ARE ALWAYS SIX FEET TALL!”[6] THE DIMENSIONS WERE REFINED

TO GIVE ROUND NUMBERS AND THE OVERALL HEIGHT OF THE RAISED ARM WAS SET AT 2.262M.

THE MODULOR

THE KEN WAS INTRODUCED IN THE LATTER HALF OF JAPAN’S MIDDLE AGES. ALTHOUGH IT WAS

ORIGINALLY USED SIMPLY TO DESIGNATE THE INTERVAL BETWEEN TWO COLUMNS AND VARIED IN

SIZE, THE KEN WAS SOON STANDARDIZED FOR RESIDENTIAL ARCHITECTURE. IT HAS TWO PRINCI-

PAL USES:

1. AS A PROPORTION FOR INTERVALS BETWEEN THE PILLARS OF TRADITIONAL-STYLE BUILDINGS.

THE WORD IS TRANSLATED IN THIS CASE IN ENGLISH AS “BAY”. TRADITIONAL BUILDINGS USUALLY

MEASURE AN ODD NUMBER OF BAYS, FOR EXAMPLE 3×3 OR 5×5. A TYPE OF TEMPLE’S GATE CALLED

RMON CAN HAVE DIMENSIONS GOING FROM 5×2 BAYS TO THE MORE COMMON 3×2 BAYS DOWN TO

EVEN 1×1 BAY. THE ZEN BUTSUDEN IN THE ILLUSTRATION MEASURES 5×5 KEN ACROSS EXTERNALLY

BECAUSE ITS 3×3 KEN CORE (MOYA) IS SURROUNDED BY A 1-KEN AISLE CALLED HISASHI.

2. AS A LENGTH, PART OF THE SHAKKAN-H TRADITIONAL SYSTEM OF MEASUREMENT, WHOSE VALUE

VARIED IN HISTORY BUT WAS ALWAYS AROUND JUST UNDER 2 M (6.6 FT). A KEN IS DIVIDED INTO

SIX SHAKU, EACH EQUIVALENT TO 10 SUN.

ALTHOUGH MOSTLY SUPPLANTED BY THE METRIC SYSTEM, THIS UNIT IS STILL IN SOME USE IN

CARPENTRY AND OTHER FIELDS. FOR EXAMPLE, THE STRAW MATS CALLED TATAMI THAT COVER

THE FLOORS OF MOST JAPANESE HOUSES ARE 1-KEN LONG AND HALF KEN WIDE, AND FLOOR SUR-

FACES ARE STILL MEASURED MOSTLY NOT IN SQUARE METERS BUT IN TATAMI (AS IN “A SIX-TATAMI

ROOM”), AND THEREFORE INDIRECTLY IN KEN.

KENSQUARE ROOT OF 2

PROCESS

STEPS BEFORE THE DESIGN

AS A DESIGN INSPIRED FROM THE BODY MOVEMENT,

IT IS IMPORTANT TO UNDERSTAND HOW THE MUSCLES

WORK. FROM THE MOVEMENT, AND AFTER ABSTRACT-

ING IT, CAME THE FORM. DIFFERENT FORMS COULD

HAVE BEEN CREATED FROM DIFFERENT WAYS OF AB-

STRACTING. EACH FORM WOULD BE PUT TO THE TEST

OF BEING IN THE SITE. THE SITE WOULD ALSO HAVE

ITS INFLUENCE ON THE FORM TO CREAT THE ARCHI-

TECTURE.

THE CHOSEN FORM WOULD BE MANIPULATED TO BE

ABLE TO CONTAIN USEABLE SPACES. FINALLY, DIFFER-

ENT SYSTEMS WOULD BE TESTED TO CREAT A REPRE-

SENTATION OF THE CHOSEN FORM. IN THE CASE OF

THIS DESIGN, A SKIN MADE OUT OF CUSTOM MADE

GLUELAM WOOD LOUVERS WOULD.

CONCEPTUAL SKETCH A/ A TOP VIEW FORM THAT IS MADE OUT OF TWO PIECES CONECTED BY A VERY STEEP SLOPE.

CONCEPTUAL SKETCH B/ A SHELL-LIKE FORM IN ELEVATION VIEW. THE FORM START AT A LOW POINT TO CREAT AN INTIMATE RELATIONSHIP WITH THE GROUND AND THE MAN AS WELL.

CONCEPTUAL SKETCH C/ A SKETCH OF A TOP VIEW FORM THAT SHOWS A TWIST IN AN ANGULAR FORM.

CONCEPTUAL SKETCH D/ A SKETCH OF A SKELETON STRECTURE THAT HAVE TWO LOW POINTS, AND TWO HIGH ONES.

FIRST PROPOSAL

GREEN SPACE

GREEN SPACE

OUTDOORPREFORMINGSPACE

ADMIN ENTRY STAGE AUDIENCE

BATHROOMS

SECOND PROPOSAL

MIDTERM

MIDTERM CONCEPT STATEMENT

THIS DESIGN SEEKS TO ATTACH THE STILLNESS OF THE

DEAD (SITE RUINS) TO THE MOVING ALIVE NEW STRUC-

TURE, AND CREAT A RELATIONSHIP BETWEEN THE TWO

LIKE THE RELATIONSHIP BETWEEN THE SNAIL’S SHELL

AND ITS ALIVE PART.

THE NEW STRUCTURE ALSO SEEKS TO EMPHASES THE

RELATIONSHIP BETWEEN THE OPEN SPACE, AND THE

CLOSE SPACE AS IT ATTACHES THEM USING THE SAME

CONTINUOUS MOVEMENT. THE NEW STRUCTURE GOES

ALL THE WAY DOWN TO THE GROUND TO CREAT A DI-

RECT RELATIONSHIP WITH THE BODY.

MIDTERM MODEL/ IN DIFFERENT VIEWSMIDTERM DESIGN/ AS IT WAS PRESENTED IN WEEK FIVE.

CASESTUDIES POLYMORPHIC

TEN ARCHITECTURE STUDENTS FROM COLUMBIA UNIVERSITY.

A DI ALCANTARA.

SERVETTO ARCHITETTI ASSOCIATI.

LIVE ARCHITECTURE: CHARKHA.

NURU KARIM.

NORWEGIAN WILD REINDEER CENTRE PAVILION.

SNØHETTA.

FINAL PRESENTATION PERSPECTIVE/ HYBRID IMAGE BREAKING THE DESIGN OPEN AT THE MAIN AXIS.

FINALDESIGN

SCAD MUSEUM OF ART

SCAD MOACENTRAL PLAZA SERV ICE COURT

SERV ICECOURT

K IAH HALL

T U R N E R S T R E E T

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ML

KB

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RD

E ICHBERG SHEDS E ICHBERG HALL

SITE PLAN AND SECTION/ SHOWING THE SURROUNDINGS, EGRESS DESIGN, AND ADA ACCESSIBILITY.

FAHM STREET

0 30 60 120FT

TRANSFORMATION DIAGRAM/ ILLUSTRATING HOW DID THE MOVEMENT INFLUENCED THE DESIGN.

ř OUTDOOR PERFORMANCE SPACE.Ś INDOOR AUDITORIUM.ś�LADIES’ RESTROOMS.Ŝ�MEN’S RESTROOMS.ŝ INFORMATION DESK.Ş WAITING AREA.ş CAFE.Š STORAGE.š�EMPLOYEES RESTROOM.řŘ OFFICES.řř PRIVATE RESIDENCE.řŚ PRIVATE PATIO.řś SCULPTURES GARDEN.

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ş

Š š

řŘ řř řŚ

A A

B

0 10 20 40FT

B

1 OUTDOOR PERFORMANCE SPACE.

2 INDOOR AUDITORIUM.

3 LADIES’ RESTROOMS.

4 MEN’S RESTROOMS.

5 INFORMATION DESK.

6 WAITING AREA.

7 CAFE.

FLOOR PLAN/ SHOWING THE DESIGN’S PROGRAM.

8 STORAGE.

9 EMPLOYEES RESTROOM.

10 OFFICES.

11 PRIVATE RESIDENCE.

12 PRIVATE PATIO.

13 SCULPTURES GARDEN.

0 10 20 40FT

SC

AD

M

US

EU

M

OF

A

RT

A BC

E

NORTH ELEVATION/ SHOWING THE DESIGN FROM TURNER STREET.

SOUTH ELEVATION/ SHOWING THE DESIGN FROM SCAD MUSEUM OF ART PLAZA.

0 10 20 40FT

0 10 20 40FT

SECTION A-A/ SHOWING THE DESIGN’S AUDITORIUM AND ACOUSTICS.0 10 20 40FT

PERSPECTIVE D/ SHOWING A VIEW FROM THE WEST, AND BODY INTERACTION WITH THE STRUCTURE. PERSPECTIVE E/ SHOWING THE SECTION CUT B-B, AND BODY INTERACTION WITH THE STRUCTURE.

STRUCTURE

A

BB

A

OUTDOOR PERFORMANCE FENCE. TYPICAL WALL WITH LOUVERS.STRUCTURE LAYERING.

MODEL

PERFORMANCE CENTER

MAITHAM ALMUBARAK

DSGN 224

FUNDAMENTALS STUDIO III.

PROFESSOR WOODS.SPRING 2012.

Q&A

EXERCISE ONE

IN THE READING (THE EYES OF THE SKIN) BY JUHANI PALLASMAA, HE SAYS: “CONSTRUCTION IN TRADITIONAL

CULTURES IS GUIDED BY THE BODY IN THE SAME WAY THAT A BIRD SHAPES ITS NEST BY MOVEMENT OF ITS

BODY”.

ANIMALS, UNLIKE HUMAN, THEIR ACTIONS CAN ALWAYS BE EXPLAIN BY GOING BACK TO THEIR NATIVITY, THIS IS

WHY WE DO NOT SAY MUCH CHANGES IN THE WAY THEY GET THEIR JOBS DONE. FOR EXAMPLE, A LION WOULD

TEACH HIS BABIES TO HUNT THE EXACT SAME WAY LIONS LONG TIME AGO USED TO. IN THE SAME WAY, BIRDS

BUILD THEIR NESTS. A BIRD WOULD BUILD A PERFECT HOME JUST THE WAY BIRDS MANY GENERATIONS AGO

USED TO DO IT, ITS WAY OF DOING THIS WOULD NOT BE EFFECTED BY ANY SORT OF CULTURAL OR SOCIAL EL-

EMENTS LIKE IT WOULD IN THE HUMAN WORLD. TO UNDERSTAND WHY THIS HOME IS PERFECT FOR THIS BIRD,

WE COULD LOOK AT THE WAY THAT IT DOES IT. IN MOST SPECIES, THE MALE BIRD WOULD BE IN CHARGE OF

MAKING THE NEST WHEN ITS EXPECTING BABIES, IT WOULD USE ITS WHOLE BODY AND ALL ITS SENSES FROM

STEP ONE WHICH IS FINDING A SUITABLE SPOT, TO COLLECTING MATERIALS, AND FINALLY BUILDING. THE BIRD

DOES NOT GIVE ONE SENSE MORE ATTENTION THAN THE OTHER, BUT IT TREATS THEM ALL EQUALLY THAT IS

WHY ITS ARCHITECTURE IS PERFECTLY SUITABLE FOR IT.

IMAGES:

EVERYTHINGSPOSSIBLE.FILES.WORDPRESS.COM

EXERCISE TWO

THE TEXT BEYOND THE BODY BOUNDARY STATES THAT: “IN MEDITERRANEAN CULTURES THE ARCH AND DOME

WERE FAVORED. THE FORMS WERE ENDOWED WITH CELESTIAL SIGNIFICANCE (DOMUS IS THE WORD FOR

HOUSE, AS WELL AS FOR THE DOME OF HEAVEN), SOMETIMES PAINTED BLUE INSIDE WITH STARS, AND ALWAYS

CROWNING THE BUILDING.” WHAT IS THE SYMPOLIC VALUE THE DOMES HAVE IN PLACES OF WORKSHIP?

MIDDLE BYZANTINE CHURCHES WERE DECORATED IN A SYSTEMATIC MANNER AND CAN BE SEEN AS HAVING

THREE ZONES OF DECORATION, WITH THE HOLIEST AT THE TOP. THIS UPPERMOST ZONE CONTAINED THE

DOME, DRUM AND APSE.

LIKEWISE, MUSLIM ROYALTY BUILT PALATIAL PLEASURE DOMES IN CONTINUATION OF THE ROMAN AND PERSIAN

IMPERIAL MODELS. IN THE EARLY CENTURIES OF ISLAM, DOMES WERE CLOSELY ASSOCIATED WITH ROYALTY.

A DOME BUILT IN FRONT OF THE MIHRAB OF A MOSQUE, FOR EXAMPLE, WAS AT LEAST INITIALLY MEANT TO

EMPHASIZE THE PLACE OF A PRINCE DURING ROYAL CEREMONIES. OVER TIME SUCH DOMES BECAME PRI-

MARILY FOCAL POINTS FOR DECORATION OR THE DIRECTION OF PRAYER. THE USE OF DOMES IN MAUSOLE-

UMS CAN LIKEWISE REFLECT ROYAL PATRONAGE OR BE SEEN AS REPRESENTING THE HONOR AND PRESTIGE

WHICH DOMES SYMBOLIZED, RATHER THAN HAVING ANY SPECIFIC FUNERARY MEANING. THE PHENOMENON OF

MUQARNAS DOMES, IN PARTICULAR, IS AN EXAMPLE. IT IS EXPLAINED THAT THE DEVELOPMENT AND SPREAD

OF MUQARNAS DOMES THROUGHOUT THE ISLAMIC WORLD BEGINNING IN THE EARLY 11TH CENTURY AS THE

VISUAL EXPRESSION OF A THEOLOGICAL IDEA.