Thesis Book - Seeds of Hope

SEEDS OF HOPE

NARGES ABDUL AZIZ

SEEDS OF

HOPE

A thesis book for the Final Architectural Project submitted to the Department of Architecture,

School of Architecture, Art, and Design, American University in Dubai

In partial ful!llment of the requirements for the Degree of

Bachelor of Architecture

Fall 2022

Copyright © 2022 by Narges Abdul Aziz

All rights reserved

Approval of the Thesis Book for Final Architectural Project

Department of Architecture,

School of Architecture, Art, and Design, American University in Dubai

Student’s Full Name: NARGES ABDUL AZIZ

Thesis Book Title: SEEDS OF HOPE

Student Signature: Date: 11th December 2022

Professor Name: Dr. Annarita Cornaro

Professor Signature: Date: 11th December 2022

ACKNOWLEDGEMENT

This book is dedicated to those who have supported and assisted

me throughout the entire process. I would first like to thank my

parents for their unwavering support, my siblings: Nasreen, Shabnam,

and Ferdous for guiding me throughout the writing process,

my friends: Fida, Nisreen, Bandar, Omar, Seham, and Hind for

helping, motivating, and making the whole process a fun experience.

Not to forget the two most important emotional supporters

of my life - my cats: Meeni and Lily.

Finally, I would like to thank my professor, Dr. Annarita Cornaro,

for all her dedication and hard work to make this book come

alive. Thank you for being so passionate about all your students’

work and doing everything you can to keep us motivated and

supported throughout the whole semester. I am grateful to you for

sharing your wisdom and expertise.

PROJECT NAME SEEDS OF HOPE

LOCATION UNITED ARAB EMIRATES

FUNCTION EDUCATIONAL, CULTURAL

PLOT SIZE 15,000 SQM

ABSTRACT

The Taliban takeover of Afghanistan on 15th August 2021 has

had some serious repercussions for Afghan citizens. The constant wars and

the Taliban rule are negatively affecting the Afghan culture and identity

while also depriving citizens of their fundamental human rights to freedom.

These issues make the world wonder about the possible ways the Afghan

community outside the country can help Afghans residing under Taliban rule

to overcome the adversities and culturally connect outside the country.

Research has shown that one of the largest and wealthiest Afghan communities

resides in the UAE with a population of 300,000 people. UAE has always

maintained a positive relationship with Afghanistan and the Afghan people within

the country during difficult times for over 20 years. The Afghan community, in

the present day, has bilaterally contributed to the economy of the UAE while

also controlling a high percentage of the total Afghan trade compared to other

Afghan communities. This makes the Afghan community in the UAE a major link between

Afghanistan and the rest of the world. Can it be possible for the community

residing in the UAE to overcome their country’s challenges through this link?

The rise of the Afghan community in the UAE can not only help

overcome the loss of Afghan culture, identity, and heritage of Afghanistan

but also connect people of different nationalities through its intertwined

culture. Over many centuries, the culture of Afghanistan had been influenced

by its neighboring countries and the Middle East region. This influence of

other cultures can be seen in the Afghan language, music, architecture, and

hospitality which will help people from different countries to explore Afghan

culture and discover similarities between their own culture and experience.

Through this, the community residing in the UAE can culturally connect and

create a stronger bond amongst each other for having a common goal and interest.

Keywords: Culture Preservation, Learning Spaces, Afghan Community,

Diversity, Intertwined Culture

2

01

03

section 1

Introduction PAGE 15 -19

1.1 The Country of Afghanistan

1.2 History that Led to the Loss of Culture and

Identity

Loss of Afghan Culture PAGE 22 - 53

2.1 Afghan Identity and Culture

2.2 The Influence in Afghanistan’s Culture

2.3 Loss of Cultural Heritage

2.4 Cultural Imprints After First Taliban Rule

2.5 Present Issue Endangers Culture Once Again

Loss of Woman’s FreedoM PAGE 56 - 63

3.1 Women’s Condition in the 1900s

3.2 Influence of Taliban on Women’s Freedom

3.3 Development of Women’s equality and Education

3.4 Present Issue Challenges Modern Education and

Freedom for Women

Rise of Afghan Community Outside Afghanistan PAGE 66 - 71

4.1 Afghan Migration during Invasion

4.2 Afghanistans and UAEs Relation

4.3 Home far From Home: Afghan Community in the UAE

4.4 UAE: A SMALL WORLD

05

section 1i

CASE STUDY PAGE 74 - 175

5.1 WULIEPOCH CULTURAL CENTER

5.2 MECA CULTURAL CENTER

5.3 PORTLAND JAPANESE CULTURAL VILLAGE

5.4 ISLAMIC RELIGIOUS AND CULTURAL CENTER

5.5 BAMIYAN CULTURAL CENTER

5.6 NATIONAL MUSEUM OF AFGHANISTAN

06

PROGRAM DEVELOPMENT PAGE 178 -181

6.1 PROPOSED DIAGRAM

6.2 PROGRAM SPATIAL ORGANIZATION

6.3 RELATIONSHIP MATRIX

0

07

CONTEXT ANALYSIS PAGE 184 - 215

7.1 CHOICE OF LOCATION

7.2 PROJECT GOAL

7.3 ABU DHABI VS DUBAI

7.4 ZONE SELECTION

7.5 PLOT SELECTION

7. 6 SPATIAL ANALYSIS SUMMARY

section 1iI

CONCEPT PROPOSAL PAGE 218 - 225

8.1 KEYWORDS

8.2 CONCEPT SYSTEMS

8.3 CONCEPT 1 IMMERSE

8.4 CONCEPT 2 SCATTER

8.5 CONCEPT 3 EMBED

1.0

SECTION 1

INTRODUCTION

1.1 The Country of Afghanistan

Afghanistan is a landlocked country sharing borders with

Iran, Pakistan, Turkmenistan, Uzbekistan, and Tajikistan. It is

portrayed as a country known as terra incognita - the land of tribes,

the home of warlords, as well as the graveyard of empires. The country

consists of many diverse ethnic and linguistic groups such as the

Pashtuns, Tajiks, Hazaras, and Uzbeks, however, no specific ethnic

group makes up more than one-third of the population (Evason). The

official languages of Afghanistan are Dari and Pashto - the former

being part of an Iranian Language family. The Persian language’s

Afghan artisits has

painted graffiti on the

walls of government

buildings, businesses,

and embassies in Kabul

official name is Dari, even though it is widely known as Farsi.

Other than Dari and Pashto, there are various languages spoken

across the country which include Uzbek, Turkmen, Tajik and Balochi.

Afghanistan has dealt with almost seven major conflicts from 1919

with the British and guerrilla war against the Soviet invasion to

Fig 1

AFGHAN ‘BANKSY’ TAKES OVER KABUL

the ongoing fight against the Taliban from 1994 to 2001 and now

recently the Taliban invasion. Sadly, for a long time, war has

been continuously embedded into the lives of Afghan citizens (Sadr).

15

16

1.2 History that Led to the Loss of Culture and Identity

The land of Afghanistan has had a long history of foreign conquerors

entering, dominating, and destroying the country’s culture. To understand

the Influences of war on Afghan culture and the citizen’s right to freedom,

one must understand the brief historical timeline of the country’s conflict.

The first major wave of conflict occurred in 1978 when the

Soviets took over Afghanistan to support the communist government

against the anti-communist Muslims which soon led to a civil war

in the country. By 1989, the Soviets withdrew from the country and

the Afghans that were in support of the USSR were forced to leave

the country by the anti-communist group known as the Mujahideen.

The second major conflict occurred in 1994 with the arrival of an

islamic extremist group called the Taliban who took control of the whole

country and changed the country’s laws. The group imposed a rigid interpretation

of Islam and enforced it on the Afghan people. The policies and

laws severely excluded women from public life as the Taliban forced most

women to quit their jobs and restricted their access to education by closing

schools and universities for girls. The Taliban also prohibited the use of

television, radio, movies, and any other form of entertainment during their

rule. If the laws were violated, people would be heavily punished. (Sadr)

After the fall of the Taliban rule in 2001, Afghanistan made progress in

their culture, education, infrastructure, and development of society in the

country, however, history repeated itself after 20 years with the Taliban

takeover in August 2021. Afghans now fear for the future of their home

country as they expect the group to impose their rule like in the mid-1990s.

17

18

KABUL, AFGHANISTAN

Fig 2

‘EVEN ON A MOUNTAIN, THERE IS STILL A ROAD’

pANJSHIR, AFGHANISTAN

Fig 3

20

LOSS OF AFGHAN CULTURE

2.0

2.1 Afghan Identity and CulturE

Afghanistan’s Government is an Islamic Republic that holds

Islamic values, concepts, and practices in the society. The country

is an established Sunni Republic where there is strong pressure

to follow the Sunni traditions. Few groups in the country hold

different spiritual beliefs such as Shia, Ismaili, Sikh, and Jew.

Although Afghan people do quarrel among themselves based on their

values and beliefs, they stand strong together when an outsider

threatens their home country. A sense of Identity and pride in being

an Afghan is present among the citizens despite their differences.

What characterizes the Afghan identity

and culture?

Culture is the beliefs and customs of a society that

can be expressed in their creative and artistic impressions such

as music, art, literature, film, architecture and so much more.

Through these attributes, one will be able to identify people’s

ways of living, honor, etiquette, beliefs, and behaviors.

Honor is the most important status in Afghan society which includes

respecting their elders, respecting women, and being loyal to friends

and family. These are some of the cultural qualities most citizens

share and are passed upon to the younger generations of society. The

Afghan people will also have many get-togethers, whether it is a

celebration of an engagement, a wedding ceremony, or simply a change

of season which are often accompanied by hospitality, music, and

art. Afghanistan is also known for its hospitality which has great

significance in its culture. Hospitality is part of everyday life as

Afghans form relationships within the community. By sharing food and

hosting guests, the host and the guest create a form of interpersonal

ties that involves being honest and faithful to each other. A rich

insight into Afghan culture is creating a form of community through

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those interpersonal ties among the people (Hospitality and gifts).

STREET ART IN THE AFGHAN CAPITAL

Fig 4

KABUL, AFGHANISTAN

Fig 5

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CULTURE: MUSIC

Afghan music comes in various linguistic,

ethnic, and regional traditions. The

AFGHANISTAN’S FIRST FEMALE STREET ARTIST

Shamsia Hassani

country’s neighbors like Iran, Tajikistan,

China, and Uzbekistan play a huge influence on

the regional style of music. Folk music is a

great feature embedded in the culture that is

enjoyed by rural and urban populations. One of

the most prominent examples is the Folk music

from the southern Pashtun region which has a

rich history of independence and pride expressed

in poetry. The majority of the folk song comes

in a poetic form of landay which is composed of

RABAB

nine and thirteen-syllable lines (Sakata). The

musical instrument used in this type of regional

music is Rabab which is carved out of mulberry

wood with three main playing strings and twelve

to fifteen sympathetic strings which vibrate and

create rich harmonics and tones. The instrument

is the best-known in Afghanistan as it is a virtuosic

solo instrument in the classical music of

the culture. The folk music on the western side,

however, has a similar relation to the folk traditions

of Iran with a song genre known as chahar

baiti (quatrain). These poems are often inspired

by the subject of love. The popular instrument

is known as the dutar, which means “two strings”.

This long-necked, portable instrument is found

in many teahouses to be played. Other ethnic

groups such as Tajiks and Uzbeks share the same

musical style which used Chahar baiti (Sakata).

HERAT DUTAR

Fig 6

24

25

CULTURE: MUSIC

The rise of westernized music in the 1960s

made high school students in Kabul learn about

accordions, piano, guitar, and drums. New international

artists such as Ahmed Zahir and Farhad

Darya were formed and during this era of new music

was produced. Dr. Ahmed Zahir. the son of the prime

minister in 1971-72, composed traditional songs

with western rhythms which allowed him to express

his feelings about the country’s politics. Soon

Ahmed Zahir was remembered as a legend in not only

Afghanistan, but also Tajikistan, Uzbekistan, Iran,

Pakistan, and even in some communities located in

Europe and North America. Even today, many young

singers and songwriters look up to him and aspire

to be like him. The rise of the “Golden Age” music

then became apparent in the 1970s when the country

was under peaceful rule. During this time Northern

Indian music became more popular in the court. Afghan

and Indian artists were often called into the public

courts and the songs were transmitted to radio stations.

The radio stations were then programmed into

two main languages, Dari (Persian) and Pashto, and

many musical styles were broadcasted like classical

court music and traditional folk music. Overall,

their evolution of musical styles was one of the

very few things which helped the Afghans sustain

their culture and identity despite all the suffering

Fig 7

and pain they people have dealt with (Sakata).

26

Fig 8

STREET ART MOVEMENT IN KABUL INSPIRES SOCIAL CHANGE FOR AFGHANISTAN

27

CULTURE: food

Food is an integral part of Afghan

Culture, with the best possible food being

served to the guests, followed by a cup of

tea. Tea is drunk many times during the day and

most family members have a recipe of their own

creating a distinctive taste for themselves.

Every visiting guest will always be served tea,

even if the weather is hot. Tea will always be

served with something to eat on the side such

as dried fruits or biscuits. Guests are never

asked if they want to eat or drink something,

a variety of food and drinks are served from

the beginning. It is customary for the guest to

eat a lot to show their satisfaction and gratitude

towards the host. Whenever food is being

offered, it is customary to take some of every

kind, even if it can not be eaten, and place it

at the side of your plate. As for Afghan Food,

it is traditionally placed on a colorful cushion

known as a toshak which is then placed on a

low-end table. The use of toshak is also used

in many middle eastern countries. During the

time of food, the oldest person is always the

first to start eating then followed by the rest,

while the host always finishes the meal last so

that the guests feel free to eat as long as they

Fig 9

want to (What Is Culture like in Afghanistan).

28

29

30

One of the main attributes Afghanistan

is known by the rest of the world is their use

of traditional arts and crafts. Other than music,

these traditional arts and crafts include: Textiles,

Embroidery, Carpets, and Ceramics. The art of fabric

handicrafts and embroidery is deeply rooted into

Afghan culture. People visiting Afghanistan would

see carpet weaving everywhere. The carpet crafting

is not only used for the rugs under our feet but

also used as wall decorations, placed on top of

cushions and used as curtains. Each pattern woven

in the carpet has its own distinctive story as

this form of art has been deeply rooted into the

persian culture for over hundreds of years. Apart

from carpet crafting, embroidery is common with

Afghan women’s traditional attire being decorated

with all kinds of colorful, bold thread work. Other

than textiles, ceramics and pottery have also been

the most recognizable craft of Afghanistan due to

its extensive use of the turquoise color. The art

of ceramics has widely influenced architecture

across the Persian region. The use of blue textiles

with the addition of the islamic calligraphy can

be seen widely

in many mosques. Some of these

Architectures include: the shrine of Hazrat Ali in

Mazar-e-Sharif, Great Mosque of Herat, and Kart-e

Sakhi in the capital city of Afghanistan, Kabul.

arts & craft

Fig 10

31

32

Fig 12

Fig 13

Shrine of hazrat ali ,

Mazar-e-Sharif., AFGHANISTAN

KABUL, AFGHANISTAN

33

Fig 14

Fig 15

BLUE MOSQUE

HERAT, AFGHANISTAN

35

Fig 16

HOSPITALITY

One thing that has been consistent in Afghanistan

regardless of the issues going around in the country is

the hospitable culture and verbal greetings that show both

respect and integrity. There are widespread Arabic phrases

and greetings since the religion of Islam is the official

religion in the country. The most common verbal greeting

in Salaam Alaikum translates to “Peace be upon you”. This

phrase is used amongst all Muslims. Following the Phrase,

it is then required to ask the person about their health,

business, and their family. Once these pleasantries have

been concluded, you can then ask a direct question about

them. A very common form of greeting for men is to place

your right hand over your heart and nod to the person as

a way to show sincerity in your verbal exchange. Amongst

women, it is customary to kiss the cheek two or three

times when greeting others (A guide to afghan greetings).

When Arriving at the house, it is recommended

to take off your shoes even if the host mentioned it

is not necessary. The oldest person of the guest has

ushered into the house first as a sign of respect. When

entering the room, the seating room varies based on the

person’s status. The wall that is the furthest from the

door is considered a place of honor and is reserved

for guests. The oldest of the family is often placed

away from the door. It is always a polite thing to take

the place closest to the door, and only accept sitting

in the place of honor if the host insists otherwise,

which they always do (A guide to afghan greetings).

36

The carpet crafting is not only used for

the rugs under our feet but also used

as wall decorations, placed on top of

cushions and used as curtains.

37

2.2 The influence in Afghanistan’s Culture

Afghanistan is very rich in terms of its

traditions and customs mainly because of the country’s

geographical position which intersects some

of the major cultural areas. These include the

Middle East, Central Asia, the Far- East, and the

Indian subcontinent. Influences of these cultural

areas can be seen and tasted in its rich culture.

A country between Iran and the countries of

“-stans” (Turkmenistan, Tajikistan, Uzbekistan), and

a small country away from China and India, the food

Fig 17

and cuisine have taken elements of each country but

made distinctively its own. For instance, Persia has

influenced the use of coriander, mint, and saffron

in their recipes, while chilis and peppers came from

India. Also, Noodles and dumplings take the shape of

Mongolian Influences. The national dish is called the

Qabli Pulao which consists of seasoned rice with raisins,

carrots, and nuts with cooked meat in the dome.

Another common traditional dish is known as Mantoo (Meat

version) and Aushak (Vegetarian version) dumpling that

consists of Steams tortellini topped with tomato sauce

and yogurt. Lamb and Chicken in the form of Kebab

which originated from the middle east, specifically

Turkey, is also a very popular street food dish. For

all dishes, rice is the main specialty placed right

next to the traditional dishes and of course, naan

(bread) is eaten with almost everything (McElroy).

A variety of special dishes are made throughout

the year for many celebrations or festivals, there

is always an excuse to eat at such events. (food) The

food choices in the culture are heavily influenced by

the country’s location, religion, and culture. Because

Afghanistan is a landlocked country with no water body

around, seafood is not commonly eaten. Afghan people

also follow the rule of the Islamic faith in every

aspect, including food practices. For instance, pork

and products that consist of gelatins are not considered

halal, therefore are not consumed by the people.

38

Fig 18

39

Each pattern woven in the carpet has its own distinctive

story as this form of art has been deeply rooted

into the persian culture for over hundreds of years.

40

KABUL, AFGHANISTAN 41

42

Fig 19

The Afghan culture has been significantly impacted by the

constant war in the country up to a point where resilience and

politics are now embedded traits in the culture. Therefore, the

topic of politics, warfare, and the Taliban can now be a very

sensitive subject to the people as they have been linked to politics

and constant war their entire life. The Taliban had injected a new

regime that severely affected the Literature, Art, and the overall

history of Afghanistan. During this time, many refugees fled to

nearby countries while very few rural citizens stayed back for the

sole purpose of preserving their cultural values. It was important

for them to maintain a good reputation among the foreigners and

uphold their honor towards their home country. At this stage,

however, artists, musicians, and writers found it very difficult to

survive without showcasing their talent and voicing their opinions

using their works of art. Even if they were allowed to, the work

produced by them during the conflict was about endless descriptions

of torture and destruction which is why the cultural identity of

the country is always linked to its political affairs (Dupree).

43

Fig 20

Bamiyan - Land of the Buddhas

Remnants of the Buddhas of Bamiyan. In 2001, the Buddhas were destroyed

by the Taliban. There have been attempts to reconstruct the

Buddhas, but no significant projects have been undertaken.

44

The cultural heritage of the country was also heavily affected by the

continuous war. The Destruction of heritage is one way to assert dominance and

control as political propaganda (Mulholland). Taliban in Afghanistan have used

destructive acts for unprecedented media coverage as a bargaining tool for their

group to be taken seriously or as a threat to the rest of the world. The destruction

of the two giant Buddhas in Bamiyan is one of the most brutal attacks against

the historical and cultural heritage of Afghanistan committed during the time of

the Taliban rule in 2001.The impact of media coverage has also brought attention

to the lack of security for the many cultural sites and collections during that

time. An estimate of 70% of the national museum’s collection was lost, stolen,

or destroyed and several heritage sites were in complete ruin by the end of 2001.

During that time, many of the paintings in the national collections were being

saved by staff members removing the collections. Many objects of the Afghan

national collections were hidden behind false walls or switched with low-quality

copies which were later burned by the Taliban. The most remarkable was of the local

artist, Mohammad Yousef Asefi, who painted over the human figures in the paintings

that were deemed offensive by the Taliban. He spent weeks in the store and used

gouache paint on the reversible object. With Yousef Asefi’s quick thinking and

bravery, he was able to save up to 122 paintings from being burned. Sadly not all

objects and collections could be hidden and those that were displayed were torn

into pieces. For Afghanistan, their cultural losses were not reversible and many

Afghans at home as well as the ones around the world were devastated (Mulholland).

Not only have the Taliban destroyed heritage sites and collections, but they

commanded the destruction of figurative sculptures, paintings, and films made

by the Afghan citizens as it seems to be ‘idolatrous’ by the Islamic extremists.


45


Many Afghans during that time did not consider

the preservation of their cultural heritage to be a powerful

symbol of Afghanistan’s hope of recovery. But after the

Taliban left the country, heritage sites like the National

Museum in Kabul became a reminder of Afghans’ cultural

identity before the conflicts in the country occurred. The

importance of cultural heritage is there to provide the

nation with a sense of cultural ownership since the cultural

identity of Afghanistan is now more tied to political affiliation

rather than it being a national pride (Mulholland).

Fig 21

STREET ART IN THE AFGHAN CAPITAL

46

Fig 22

47

2.4 Cultural Imprints After First Taliban Rule

After the first Taliban rule in 1994, the

U.S engagement in the urban Afghan society has also

affected and seeped into the culture, language, and

attitudes in many ways. This can be seen through the

graffiti arts that are covered in many neighborhoods

that express freedom of speech and showcase the unity

and conflicts occurring in the country. The American

military and aid have altered the languages spoken

by most afghans such as Dari (Farsi), and Pashto.

Many English words were embedded into Afghan languages

at that time. The country also had its version of

“American Idol” and “The Voice” and inspired rappers,

as well as singers, were using their lyrics to express

their thoughts on high unemployment, child labor,

violence against women, and many other issues in the

country. What was once forbidden in the eyes of the

Taliban has been under a cloud of history during the

20 years of development. The Afghans had a voice to

protest about the inequalities in Afghanistan. “I have

personal freedom. I can wear what I want,” Samira

Ahmad, a worker at a consulting firm said. “Now we

can have mixed parties with boys and girls. This was

all unimaginable under the Taliban.” People consider

this period as a golden era for the freedom of speech

and media after the Taliban rule. While some of the

changes and influences are seen as westernizing the

country and diluting the country’s old - ethos by

the Afghan Citizens. The country’s citizens have that

sense of freedom of speech, bold attitudes, and collective

outspokenness post-Taliban rule (Raghavan).

48

Artists, such as Shamsia Hassani, risk arrest and even murder to

spread their messages of hope and activism to the people of the

city. Through art, both men and women are able to speak out against

the violence and tyranny Afghans endure. Street art in particular

allows messages to reach a massive and diverse audience, ensuring

that people from all corners of society are able to see and enjoy,

be inspired or be incensed.

Fig 23

There is deep symbolism to Hassani’s signature art character,

the woman with closed eyes. The character conveys sadness and

pain, the desire to look away from the destruction of war and the

struggle for women, in particular. But, the image also inspires joy

through Hassani’s use of bright colors, the inclusion of musical

instruments and the simple pleasure of seeing a crumbling wall

transformed by a beautiful work of art.

Art can bring about social change in Afghanistan. Hassani, is part

of a generation who has never known peace. They spent their entire

lives in wartime and can only dream of peace in Afghanistan. Until

then, they will continue to illustrate a vision of a future in

which there is peace, equality, justice and unity.

49

50

Fig 24


Despite the immense progress made in the culture,

fund and safeguard the invaluable cultural heritage of

education, infrastructure, and society in the country in the

past 20 years, the future of the country remains undetermined

due to the swift takeover by the Taliban in August 2021. The

lack of government and economic control in the past year has

Afghanistan. It brings one back to the past of how archivists

and academics were put in hiding after the first Taliban rule

in 1994 since thousands of pieces of pottery, paintings,

and coins were destroyed, damaged, or stolen (Finnegan).

led the country into a downward spiral and a humanitarian

crisis. Concerns for the women and girls’ right to freedom,

cultural identity and heritage have been ongoing for the future

of the country. This is due to people remembering the brutal

reign of the Taliban in 1994 which had allowed the group to

impose very restrictive forms of Sharia law in Afghanistan.

After the Taliban’s threat to power in August 2021, many

fear the cultural heritage of Afghanistan is being wiped out

once again. Right after the Taliban’s takeover of Kabul, the

National Archives administrative building was broken in. The

institution’s precious collections such as the translated

ancient manuscripts from Persian scholars are currently in

danger of being wiped out. It is still unknown the efforts

the international communities like UNESCO are willing to

Poetry, film, music, art, artifacts, antiquities,

statues, museums, and many more are now at huge risk of

being destroyed, torn, or burned. The Taliban are a

group that is deeply rooted in violence that has killed

the history of Afghanistan before and has no hesitation

to do it again. And when you kill its history, you kill

the language, the leaders, the knowledge, the religion, and

the spiritual leaders of the society as a way to start a

country with no past (Finnegan). “After twenty years of

immense gains for our country and especially our younger

generations, all could be lost again in this abandonment,”

said Sahraa Karimi, who is an Afghan filmmaker and the first

woman to lead the Afghan Film Organization (Finnegan).

51

Afghan Artists now have buried their paintings in their homes and compounds in

fear of history repeating itself. Well-known filmmakers have fled the country

after burying their hard drives of films created in a secure location. In fear

of being punished, booksellers have also either burned or concealed books that

are deemed offensive to the Taliban such as the translated religious books into

Dari and Pashto. The History of destroying precious art, film, and music has

reopened people’s fear and anxiety about protecting and preserving their culture


During the first Taliban rule, there was a ban on music including

all instrumental music. This Period was considered the “Dark Age” of music

because during this time, the Taliban were destroying music cassettes and

video-tap instruments and even arrested musicians and hosts. No public performances,

music, festivals were allowed, even in private events like weddings

and engagements. Radio stations which had a prominent role in developing

the golden age of music were used to record and play their chants (Sakata).

(Raghavan). Many fear that the Taliban will soon reverse the development of

freedom and speech with their extreme vision of Islam righteousness. The Taliban

believe that when painting a human being or an animal, you are giving life and

spirit to a piece of paper (Raghavan). “Those artists will not easily be able

to work as freely as they used to. And they were so free.” Said Sahraa Karimi

(Raghavan). Artists in today’s world are a big part of the country’s society. After

the recent takeover in 2021, many artists such as Habibi had meetings with the

senior Taliban official in the Cultural Ministry to convince them that art is not

against sharia law and that it is the main part of the Afghan culture which also

helps strengthen the country’s economy, however, he has yet to hear from them.

The Taliban group has mentioned they will not let history repeat itself

and will let the citizens of the country keep their art galleries, bookstores, and

music stores open. However, there is a complete difference in what the Taliban are

saying on camera and their actions off camera. In August 2021, the fighters shot a

well-known Afghan singer Fawad Andarabi in the north mountain village of Kabul and

it was barely mentioned in the news as the Taliban control most of the news television

channels (Raghavan). The Taliban also silenced the population when protests

were going on about the flag change of the country during the Afghan independence

day. Sadly, the protesters were met with violent crackdowns by forces (Finnegan).

52

53

Loss of Woman’s Freedom

3.0

56

3.1 Women’s Condition in

the 1900s

In his book, Education in

Afghanistan: Developments,

Influences, and Legacies since

1901, Yahia Baiza provides

a historical overview of

Afghanistan’s education from

the early 1900s and how modern

education has developed for

over a century. The book goes

deep into the factors which

hindered the modern education

system. Within this period,

one of the main factors which

contributed to the development

of Education during the reign

of King Amanullah Khan in 1919

is the time of Independence

from Britain which gave

Afghanistan the possibility to

renovate academy foundations.

During this time, there was widespread support for education for both genders leading

to a legislative law in the country stating all boys and girls have the right to free

education (Yahia). According to article 35 of the 1964 constitution, Afghan male and

female citizens have the right to education, which the government must provide for free.

The Afghan Government also created a law in the 1960s and 1970s to provide primary,

secondary, and higher education for all Afghan citizens. According to the constitution

of the university after 1919, King Amanullah also introduced the concept of co-education

in schools in Kabul and Herat which made it clear to everyone that women and men are

treated and educated equally. Because of the change by the ruler, around 42% of women

in Kabul had formal education and the percentage kept on rising during the 1900s.

57

58

Fig 25

CITADEL HERAT, AFGHANISTAN

Fig 26

3.2 Influence of Taliban on Women’s Freedom

Literature and news now show Afghanistan through the lens of war and terrorism.

This cycle of news prevented the viewers to have a deeper understanding of

the context vastly affected by the invasion of the country’s education, especially

for women, and the loss of culture. The Education Goals and reforms introduced and

applied between 1960 and 1979 have been hindered after the Soviet invasion (1979-

1989), the civil war (1992 - 1996), and especially the Taliban rule (1996 - 2001).

One of the main issues the Afghan government faced after the first Taliban rule is

placing the pieces of the country’s system back into place after decades of war and

invasion that destroyed not only the education system but also the cultural heritage

of the country. During the Taliban Rule, small organizations were built by some

women to secretly run schools and teach the younger generation despite the Taliban’s

ban on girls’ education. Around 40% of Taliban attacks were on girls’ schools.

The lack of adequate safety is still embedded into people’s heads today which

prevents families from allowing girls to leave their home grounds (Alvi, 105 -106)

After a decade of the first Taliban rule in 2009, the government struggled

to increase access to and the quality of education due to the limited resources

available after the post-invasion. Higher education has also been brushed aside

even though the system plays a significant role in the economy’s social and economic

development. The quality of education has been drastically affected for not

just women but also men as the infrastructures were heavily destroyed in the past

decade. According to Hayat Alvi, funding for higher education had been completely

neglected in 2001 and there were no clear strategies for developing the sector.

By 2005 The institution incorporated a 10-year strategic development plan into

the ministry’s education of Afghanistan (Alvi). Year by year, there was a sharp

increase in the number of students enrolling in higher education. Also, due to the

carefully developed National Higher Education Strategic Plan 2010– 2014 (prepared

in 2009), major goals of the Ministry of Education were now succeeding in terms

of quality assurance and accreditation, faculty recruitment, faculty research,

and gender equity despite the major challenges like the lack of funding (Babury).

59

3.4 Present Issue Challenges Women’s Modern Education and Freedom Once Again

Ever since the collapse of the Afghan government in mid-August, the gender

gaps in the education system have been increasing due to the security and safety

issue for girls leaving their homes. After the takeover, at first, the Taliban

leaders instructed the higher education system to stop co-education which prevented

schools have been shut down. In mid-September 2021, only boys were able to return to

classrooms and the status of girls’ education was completely unaddressed. After six

months of waiting, the authorities said that schools would reopen for girls above

the sixth grade; however on arrival at school, they were sent back home (Ahmadi).

the girls and boys from being in the same classrooms and in the same schools.

They also argued about male teachers not teaching the female classrooms which is

a complete drawback to the education system considering the school faculty has

a majority of male members. Also, the school infrastructure in most states does

not have enough space that accommodates both male and female students in separate

classrooms (Zirack). The Taliban spokesperson has said they were committed to the

rights of women and that the girls will continue their higher education soon and that

their rule would be nothing like in the past. The Taliban claimed they have learned

The restriction of girls’ access to education is already causing harm to

their rights and status within the community. If this ban becomes permanent, all women

would be excluded from all sectors which ultimately takes the country a step back.

The Taliban leader’s viewpoint of the female education system will not only

impact their opportunities for success but will also strip away their identity

which includes learning about their culture, language, and their experience

of who they are as a person and their understanding of the world (Zirack).

from their past mistakes, however, their actions do seem inconsistent as the girl’s

60

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

FREEDOM FREEDOM

61

Fig 27

3.3 Development of Women’s equality and Education

Over the last two decades, Afghan women have had many great opportunities to improve their

education and lives. By the end of 2018, around 3.8 million young girls were enrolled in school compared

to only 5,000 girls by the end of Taliban rule in 2001. The number of male participants has always

exceeded the number of female members enrolling for the national exam level required by every student.

However, in recent years, in some cities, such as Heart, the statistics of female enrollment exams

of Higher Education had exceeded that of male participants with a ratio of 53:42 by 2019 (Zirack).

Women teams, such as the Afghan robotics teams, have also been widely praised for the potential of

women’s education in the Country. Teams such as these have recently participated in competitions around the world

in developing their skills in science, math, engineering, and technology. Many young girls in Afghanistan have

been inspired by such teams and schools encouraging, guiding, and helping students to develop such skills. Many

members of the teams have also had the chance to visit competitions abroad such as in the United States. This

shows that families of the girls are open to sending their children abroad for education purposes (Debusmann Jr).

62

Fig 28

63

4.0

Rise of Afghan Community Outside

Afghanistan

4.1 Afghan Migration during Invasion

About one in four of Afghanistan’s population has been a refugee at

one point in their lifetime. Afghan citizens have been fleeing their own country

and seeking refuge near the borders due to the constant violence and destruction

present in the country for over 40 years. Most Afghans have fled to neighboring

withdrew from the country, about 2 million people who fled the country because

of the Soviet invasion returned to the country, while 5 million Afghans who

supported the Soviet Union were forced to leave. During this time many immigrated

to Russia and some to India (“Afghan migration after the Soviet invasion”).

nations such as Iran and Pakistan. The first wave of migration occurred during

the time of the Soviet Invasion in 1979. Several Afghans fled the country for

safety precautions due to the Soviet soldiers creating an unstable environment

for living, working, or raising a family. Some Afghans left the country due to

a call from Hijra. Hijra is an Arabic term for “migration” where people only

flee their home country since their country is taken over by people who do not

follow the same religion as Islam. At this stage, the Afghan citizens were also

put into conscription which is known as being forced into the military. Around 6

million people immigrated to other countries. By 1989, after the Soviet Military

Many Afghans fled to the Western nations towards the end of the civil war

and the takeover by the Taliban in 1994. The extremist and conservative Islamic

group outlawed many forms of food, music, art, film, and restricted women’s

freedom and rights. For this reason, many refugees, especially women, fled to

the United States, Canada, and other western nations that provided basic human

rights. Towards the end of the Taliban rule in late 2001, many Afghan refugees

settled in the Middle East, Central Asia, and the United States to have an

opportunity to live in freedom (“Afghan migration after the Soviet invasion”).

Fig 29

66

67

4.2 Afghanistan’s and UAEs Relation

The United Arabs Emirates is one of the few

countries along with Saudi Arabia that has given formal

recognition to the Taliban as a way to develop a positive

relation with the group. The administration of Abu Dhabi has

always maintained a good relationship with the government’s

establishment for over 20 years and continues to do so

even in difficult times. The country has stated they are

willing to establish a positive relationship with the Afghan

people and the state regardless of who is controlling the

country (BAŞARAN). To help with the humanitarian crisis,

UAE is focused on giving aid and investing in the country

by developing strong cooperation with the Taliban. The UAE

Federal Minister of Identity, Citizenship, Customs, and

Ports has claimed to invest in solar energy and the railway

systems of the country. They have also mentioned cooperating

on the education and agriculture of the country (BAŞARAN).

On 2nd August 2022, the United Arab Emirates

participated in the conference “Afghanistan: Security and

Economic Development” held in the Uzbek capital Tashkent.

The country’s recent position is to support the security,

peace, and stability development in Afghanistan. The

UAE officials have also mentioned how Women’s rights to

freedom and education of Afghan girls should be the main

goal for all countries. Sheikha Fatima bin Zayed’s recent

initiative is to empower all Afghan women by providing them

with job opportunities and ensuring a decent lifestyle

as a way to develop the Afghan countryside (Alghoul).

68

4.3 Home far From Home: Afghan Community in the UAE

The largest Afghan community outside Afghanistan is

located in the UAE. In 2012, it was reported around 300,000

Afghans settled or residing in the UAE and these numbers are

growing. The Afghan community in the UAE has developed strong

relationships with many fields of corporations in the country

which contributes to achieving peace, security, tolerance,

and economic value between both parties. As of 2019, the

Afghan community in the UAE has invested about 4 billion

dollars in total assets in the UAE. A total of 500 well-known

Afghan businessmen have invested in the country thus the

community has bilaterally contributed to the economy of both

countries. The Afghan community in the UAE controls about 60%

of the total imports to Afghanistan making the community in

the UAE a major link between Afghanistan and the rest of the

world (“Afghanistan’s Relations with the Brother Country - the

UAE”). This is why the UAE is a perfect location for my project.

69

PANJSHIR, AFGHANISTAN

The largest Afghan community outside Afghanistan is

located in the UAE. In 2012, it was reported around 300,000

Afghans settled or residing in the UAE and these numbers are

growing. The Afghan community in the UAE has developed strong

relationships with many fields of corporations in the country

which contributes to achieving peace, security, tolerance,

and economic value between both parties. As of 2019, the

Afghan community in the UAE has invested about 4 billion

dollars in total assets in the UAE. A total of 500 well-known

Afghan businessmen have invested in the country thus the

community has bilaterally contributed to the economy of both

countries. The Afghan community in the UAE controls about 60%

of the total imports to Afghanistan making the community in

the UAE a major link between Afghanistan and the rest of the

world (“Afghanistan’s Relations with the Brother Country - the

UAE”). This is why the UAE is a perfect location for my project.

Fig 30

70

4.4 UAE: A

Small World

The largest expat population in the UAE is Indians

(2.75 million) followed by Pakistanis (1.27 million).

Bangladeshis are at 0.74 million, Philipinos are at 0.56 million

and Iranians are at 0.48 million (United Arab Emirates

Population Report 2022). The various nationalities residing

in the UAE is important as my project is intended to not only

preserve the culture, identity and the heritage of Afghanistan

but also connect people of different nationalities. Over many

centuries, the culture of Afghanistan had been influenced by

its neighboring countries and the Middle East region. This

influence of other cultures can be seen in Afghan’s language,

music, architecture, hospitality and much more which will

help people from different countries to explore Afghan culture

and discover similarities between their own culture and

experience. For example, countries like Iran, Tajikistan and

Uzbekistan have similarities with Afghanistan’s architecture,

culture and language. Therefore, I have decided to choose a

site in the UAE for not only its population but also because

of how many different nationalities are located in the UAE.

Fig 31

71

5.0

SECTION II

CASE STUDIES

CASE STUDIES OF CULTURAL CENTERS IN HOME

COUNTRY

73

NAME WULIEPOCH CULTURAL CENTER

ARCHITECT ATELIER ALTER ARCHITECTS

LOCATION BEIJING,CHINA

YEAR 2018

BUILDING TYPE CULTURE CENTER

5.1

PROJECT DESCRIPTION

WuliEpoch Culture Center is a hybrid center between a

showroom and a community center in a residential compound in the

West-North of Beijing. The project is surrounded by significant

historic sites of Badachu Monastery, Fragrance Hill Mountain,

and the Western Hills to maintain the chain. The project attempts

to create a triptych of architecture, landscape, and interior

design. The architecture and interior have put up an immersive

show within the near and far landscape of Beijing.

PROJECT DESCRIPTION

The MECA cultural center project creates a space and frame

for the celebration of contemporary art, film, and performances,

giving the city a gift of art - filled space. The space brings

together three regional art agencies together, ALCA for cinema,

literature, and audiovisuals, FRAC for contemporary art, and OARA

for performance art, in a loop around the building.

5.2

NAME MÉCA CULTURAL CENTER

ARCHITECT BJARKE INGELS GROUP

LOCATION BORDEAUS, FRANCE

YEAR 2019


PROJECT DESCRIPTION

Bishan Cultural and Art Center is located in the north of

Central Park Lake, Bishan, Chongqing. The project is the most

important component of public service complex in Chongqing Green

Island District. In the past, people used to take the mountains as

jade, so they called it Bishan (mountains which is made of jade).

Bishan Cultural and Art Center recreates the ancient description of

“Bishan” in an abstract way where it reflects the landscape of the

environment. The Architect mentioned they want the project to be a

“place” rather than a building.

NAME BISHAN CULTURAL AND ART CENTER

ARCHITECT TANGHUA ARCHITECT & ASSOCIATES

LOCATION BISHAN QU, CHINA

YEAR 2016


75

5.1

Fig 32

WULIEPOCH CULTURAL CENTER

ARCHITECT ATELIER ALTER ARCHITECTS

LOCATION BEIJING,CHINA

YEAR 2018


Fig 33

78

SURROUNDING SCENERY ANALYSIS

Fig 34

SITE OF THE PROJECT

The Project is located in Shijingshan, in

Beijing, near the scared Western Hills.

There are three main axis on the site.

The first axis aligns with the street,

the second axis points towards the

Badachu Monastery, and the last axis

is directed towards the Fragrance

Hill Mountain. The three axis creates

various scales of landscape and

courtyard spaces.

79

80

Fig 35

CONCEPT

WuliEpoch Culture Center attempts to

create a triptych of architecture, landscape, and

interior design in the project. While the project is

encompassed by the splendor of Western Hills, the

architecture and interior design put up an immersive

show within the landscape.

The project responds to the geometry of the

site by stacking layers of curved walls one on top

of the other as a way to create layers of courtyard

and spaces that lead to the building.

FOLDED SCENERY INTO BUILDING

Fig 36

81

82

Fig 37

VISION

The complex pays a tribute to the hills

in the exterior and interior of the project. For

Example,The stacked layers of curved walls, one on

top of the other in a crisscrossing manner, and

the gently sloping flooring and sinuous wood-clad

aluminum ceiling panels gradually cool in color from

yellow to white represent the surrounding site of

the project. Also, the use of Masonry nods to the

Great Wall nearby.

83

APPROACH

The project interprets nature in 3 main ways:

1. The interior part of the building consists of

wooden laminated aluminum panels, that changes

color from warm yellow to white depending on

the transitions of spaces, depicts the “autumn

foliage in Western Hills”.

2. The mortal and immortal nature are joined

simultaneously and the contrast between the

two natures give people space to think about

the nature critically. For instance, the hills

and waterfalls, created by thin masonry and

lighting, which shows the solidification and

abstraction of nature.

3. The landscape becomes the living space because

it is introduced to the interior of the building

in a dynamic way.

84

materials used

HABITO BOARD - CEILING PANELS

CEMENT - FLOORING AND WALL FINISH

Fig 38

WOOD VENEER - INTERIOR FINISING

85

PROGRAM

1. Main Entrance

2. Courtyard

3. Water Feature

4. Entrance

5. Courtyard

6. Villa

7. Accessible Roof

MASTER PLAN

Fig 39

86

Fig 40

87

PROGRAM INVESTIGATION

Fig 41

88

Fig 42

FIRST FLOOR PLAN

1. Entrance

2. Foyer

3. Exhibition Area

4. Negotiation Area

5. Bar

6. Elevator

7. Handling Room

8. Kid’s Area

9. Skating Rink

10. Antechamber

11. In Shoes Area

12. Male Toilet

13. Female Toilet

14. Mechanical

15. Mechanical

16. Guard

17. Female Toilet

18. Male Toilet

19. Kitchen

20. Dining Hall

ADMINISTRATION PROGRAM

LEISURE PROGRAM

CULTURAL PROGRAM

OFFICE PROGRAM

SERVICE PROGRAM

Fig 43

FIRST FLOOR PLAN OF INTERLAYER

1. Above the Lobby

2. Over the Ice Rink

3. Negotiation Area

4. Machine Room

5. Accounting Office

6. Marketing Office

7. Channel Office

8. Planning Office

9. Office

10. Complex of Offices

11. Print Zone

12. Male Toilet

13. Female Toilet

89


LEISURE PROGRAM

CULTURAL PROGRAM

OFFICE PROGRAM

SERVICE PROGRAM

Fig 44

SECOND FLOOR PLAN

1. Terrace

2. Balcony

3. Reserve Sample Room

4. Sample Room

5. VIP Room

6. VIP Room

7. VIP Room

8. Machine Room

9. Archives Room

10. Meeting Room

11. General Manager’s

Office

12. Complex of Offices

13. Office

14. Meeting Room

15. Male Toilet

16. Famale Toilet

SECTIONS

Fig 45

90

The Project consists of a sales center of 1500sm

and a community skating rink of 400sm as a way to represent

and respond to the 2022 Winter Olympics in Beijing. The

building spaces consist of exhibition areas, sample rooms,

seating areas, catering, VIP lounge, staff offices, etc.

The architecture connects with the landscape through the

circulation of the building. There is a continuous path that is

wrapped around from the exterior to the interior of the building.

The circulation connects programs of urban exhibition area, tea

bar, bar, kid’s area, and skating rink together. The ramp continues

to spiral up to the VIP room and the Mock-up exhibition area on the

second floor. The spaces are also connected in the sections. From

the VIP room, the path goes on hovering on the rooftop terrace,

where spectacular views of the scared Western Hills await.

Fig 46

91

92

Fig 47

93

FIRST FLOOR PLAN

Fig 48

SECOND FLOOR PLAN

Fig 49

CIRCULATION

ACCESS TO THE BUILDING

HORIZONTAL CIRCULATION

VERTICAL ELEVATOR

94

VERTICAL STAIRCASE

CIRCULATION DIAGRAM

Fig 50

Fig 51

95

ROOF PLAN CICULATION

Fig 52

Sloping Downwards

Sloping Upwards

Fig 53

96

The project draws upon the inspirations and

the heritage of the Western Hills, which presents a

new definition of a contemporary Chinese metropolis.

The two elements that are essential to the Vitruvian

Primitive Hut, are known as the origin of houses. are

hearth and shelter. Walking around the hearth beneath the

shelter is a daily ritual in life. The same ritual exists

also exists in religious architecture, where there is a

sacred path surrounding subjects for worship. Faith and

ritual are crucial to a house. Similar to the origin of

the house, the project draws upon the religious atmosphere

in a house and develops a revolving circulation logic

accordingly to the connections of the program. The project

allows the visitor to experience the Western Hills in a

new way that the landscape evolves around architecture

endlessly, which reassembles the incarnation in life.

97

STRUCTURE AND GRID

Fig 54

FIRST FLOOR PLAN

Fig 55

98

Fig 56

99

100

Fig 57

SPACES FUNCTIONS AREA(m2)

ADMINISTRATION Entrance 17.5

Foyer 65

LEISURE Cafe/Bar 25

Kid’s Area 65

Skating Rink 425

Dining Hall 40

Terrace 580

CULTURAL Exhibition Area 475

Negotiation Area 425

VIP Rooms 46

OFFICES AnteChambers 30.5

Accounting Office 13

Marketing Office 40

Channel Office 8.5

Planning Office 11.5

Offices 75

Print Zone 17

Meeting Room 55

General Managers Office 15

SERVICES Handling Room 16

In Shoes Area 16

WC 67

Mechanical 17

Guards Room 10

Kitchen 40

Archive Room 20

Machine Room 26

CIRCULATION Elevator 8.5

Staircase 150

Horizontal Circulaton 335

TOTAL AREA - 2880 m2 101

SITE

A huge “urban living room”

forms the heart of the looping MÉCA

cultural hub, which BIG and FREAKS

have completed beside the River

Garonne in Bordeaux, France.

The project attempts to create

a space and frame for the celebration

of contemporary art, film, and

performances, giving the city a gift

of art-filled space. The Project

brings together three regional art

agencies together. These include,

ALCA for cinema, literature, and

audiovisuals, FRAC for contemporary

art, and OARA for performance art, in

a loop around the building.

5.2

NAME

102

MÉCA CULTURAL CENTER

ARCHITECT BJARKE INGELS GROUP

LOCATION BORDEAUS, FRANCE

YEAR 2019


Fig 58

MÉCA CULTURAL CENTER 103

The building is conceived as a loop of cultural

institutions and public spaces by having the pavement

become ramps which lead into the urban living room, with

glimpses into the stage towers of OARA, the offices of

ALCA, and the rooftop galleries of FRAC. The ramp first

leads the people towards the core of MECA where the

visitors roam freely between the Quai de Paludate street

to the river promenade. At the center of the core, there

is a high MECA sign that illuminates the space with its

white LED lights. During special occasions, the core of

the project can be transformed into stages of concerts,

theaters, or an extended gallery for art installations.

Fig 59

THREE INSTITUTIONS IN ONE BUILDING

Fig 60

IN A LOOP

104

Fig 61

TO FORM A CONTINUOUS PROMENADE

Fig 62

105

106

Fig 63

INHABITABLE LANDSCAPE AS THE EPICENTER FOR CULTURE

Fig 64

107

CONTINUITY OF THE LINEAR PROMENADE

PUBLIC PASSAGE THROUGH THE BUILDING

Fig 65

Fig 66

When entering the ground

floor, the visitors arrive at the

lobby where they can relax in the

spiral or visit the restaurant,

furnished in red as a reference to

the city known for its red wine.

The same ground floor, those with

tickets can enjoy performances in

OARA’s 250-seat theatre featuring

flexible seating and acoustic

systems optimized by an all-black

checkerboard panel of concrete, wood,

and perforated metal. Upstairs,

filmgoers can view screenings at

ALCA’s red-accented 80-seat cinema or

visit the two production offices and

project incubation area.

ART-FILLED URBAN ROOM FOR THE PUBLIC

Fig 67

FRAC occupies the upper

floors with 7m high exhibition

spaces, production studios for

artists, storage facilities, a 90-

seat auditorium, and café. The 850

m2 public roof terrace serves as a

flexible extension to the exhibition

spaces, allowing future large-scale

art installations and performances to

be placed outdoors amid views of the

city and the Basilica of St.

Fig 68

Fig 67

PANORAMIC ROOF TERRACE OVERLOOKING BORDEAUX

109

110

Fig 69

CIRCULATION DIAGRAM

CIRCULATION DIAGRAM-SHARED SPACES

Fig 70

CIRCULATION DIAGRAM-OARA

Fig 72

CIRCULATION DIAGRAM-ECLA

Fig 71

CIRCULATION DIAGRAM-FRAC

Fig 73

111

5.3

CASE STUDIES

CASE STUDIES OF CULTURAL CENTERS OUTSIDE OF

HOME COUNTRY

5.3

BUILDING TYPE CULTURE CENTER/GARDEN STUDIO

NAME PORTLAND JAPANESE CULTURAL VILLAGE

ARCHITECT KENGO KUMA & ASSOCIATES

LOCATION PORTLAND, UNITED STATES

YEAR 2017

PROJECT DESCRIPTION

At Portland Japanese Garden, designed by professor Takuma

Tono in 1967, the new Cultural Village connects a sequence of

buildings to offer a complete and uninterrupted journey from

the city to the top of the hill. The ensemble includes the

first pavilion of access and three modest, human-scale buildings

arranged around a courtyard plaza, whose fourth side opens up

to the views of the landscape. The project reinterprets the

traditional concept of monzenmachi, or city that grows around the

gate to a sacred place, wherein the pilgrimage pays homage to the

spirit of nature.

114

PROJECT DESCRIPTION

The new location of the Islamic Religious and Cultural Centre

is precisely its complete lack of ‘specificity’ – an area that is

near the city centre, but abandoned and forgotten, in a fragile

undeveloped state, with an uncertain urban future. The cultural

center consists of a religious school building, a cultural and

office program, an apartment building for the employees of the

community, a restaurant, as well as a mosque, which is the first one

to be built in Slovenia.

5.4

NAME ISLAMIC RELIGIOUS AND CULTURAL CENTER

ARCHITECT BEVK PEROVIC ARHITEKTI

LOCATION SLOVENIA

YEAR 2020


PROJECT DESCRIPTION

The project features a mosque and a center for cultural and

social activities, a space that promotes constructive dialogues.

The commission is more than a space for worship. It hosts an

integration hub where people can discuss and share their ideas. The

idea of an educational facility was borrowed from the traditional

configuration of mosques where during the day it “used to be spaces

for educational purposes for children, where they learn writing

and reading”, and transforms during the night into “a forum to

discuss cultural and social affairs, where the people of the society

gather”.

NAME ISLAMIC CULTURAL CENTER

ARCHITECT WAFAI ARCHITECTURE

LOCATION TORINO, ITALY


115

5.3

Fig 74

PORTLAND JAPANESE CULTURAL VILLAGE

SITE SURROUNDING ANALYSIS

a. Shuttle Drop Off

b. Chambana Terrace Garden

c. Tsuboniwa Garden

d. Village House

e. Tateuchi Courtyard Plaza

f. Garden House

i. Bonsai Terrace

h. Umami Cafe

i. Stormwater Garden

j. Bridge

k. Tanada Path & Stormwater Garden

l. Ticket Pavillion

m. Tanabe Welcome Center

Fig 75

NAME PORTLAND JAPANESE CULTURAL VILLAGE

ARCHITECT KENGO KUMA & ASSOCIATES

LOCATION PORTLAND, UNITED STATES

YEAR 2017

BUILDING TYPE CULTURE CENTER/GARDEN STUDIO

118

SITE OF THE PROJECT

The project reinterprets the traditional

concept of monzenmachi, or a city that grows

around the gate to a sacred place, wherein the

pilgrimage pays homage to the spirit of nature.

There are four buildings, each with its means of

merging into the dramatic slopes of the terrain,

in combination with the tall vertical lines of

the Pacific Northwest conifers. The Ticketing

Pavilion floats above stepped ponds, the Tea Café

hovers above the ravine, and the two main volumes

– the Village House and the Garden House –, are

simply placed on the plaza.

Fig 76

119

JOURNEY TO THE SITE

120

Fig 77

Fig 78

121

CONCEPT

Portland Japanese Garden’s new Cultural

Village is a modest, human-scaled set of

buildings arranged around a courtyard plaza,

whose fourth side is the existing, untouched

gardens from the 1960s. The project is a village

positioned along a journey from the city to the

top of the hill, a form of modern monzenmachi

wherein the pilgrimage pays homage to the spirit

of nature.

122

Fig 79

Fig 80

VISION

A trio of buildings clustered around a

courtyard—extracts essential elements

of Japan’s traditional architecture

while steering clear of trite

quotations. Overall, importing a keen

sensitivity to nature and meticulous

treatment of materials.

123

ACCESS TO THE SITE

Fig 81

124

MAIN GATE

Fig 82

125

entry

Fig 83

126

MASTER PLAN

Fig 84

127

128

Fig 85

materials used

While natural wood forms the

soffits, louvers, and exterior walls,

the lower roofs of each building were

conceived as tapered, thin eaves in

a limestone finish. This proposed

design posed a construction challenge

due to dimensional, weight, and

finish concerns, but was resolved

and made possible through the use of

aluminum panels finished in a custom

print to resemble a textured natural

material. Custom finish was printed

on 3mm thick aluminum sheets using a

customized offset gravure process.

The finished aluminum sheets were

then formed into tapered eave panels.

Fig 86

129

130

Fig 87

SUSTAINABILITY

The custom metal roofing at the Cultural

Village required limited processing. The material is

single-skin, non- combustible, with no reportable VOC

content, 100% recyclable and contains post-consumer

recycled content. Whereas most other metals require

additional processing, this product is ready to use.

The product has a 60-year lifecycle for exterior

applications but can be broken down and recycled in

the future, by simply removing and recycling the

panel.

Fig 88

131

FIRST FLOOR PLAN

Fig 89

1. Living Room

2. Lounge

3. Lobby

4. Gallery

5. Bonsai Display Area

6. Shop

7. Kitchen

8. Tea Cafe

9. Storage

10. Mechanical

11. WC

12. Locker Room

13. Utility

14. Office

15. Work Area

16. Classroom/Work Shop

17. Library

132


LEISURE PROGRAM

CULTURAL PROGRAM

EDUCATIONAL PROGRAM

OFFICE PROGRAM

SERVICE PROGRAM

Fig 90

SECOND FLOOR PLAN

133

Fig 91

FIRST FLOOR PLAN

134

HORIZONTAL CIRCULATION

VERTICAL CIRCULATION ELEVATOR

VERTICAL CIRCULATION STAIRCASE

Fig 92

SECOND FLOOR PLAN

135

Fig 93

entry

Fig 94

STRUCTURAL GRID

137

138

SECTION A-A

Fig 95


ADMINISTRATION Lobby 10

Living Room 50

Lounge 10

LEISURE Shops 50

Terrace 195

Tea House Cafe 45

CULTURAL Gallery Space 17

Display Area 60

EDUCATIONAL Work Area 105

Classroom/Workshops 152

Library 25

OFFICES Work Office 95

SERVICES Kitchen 15

Storage 93

Mechanical 64

WC 45

Locker Room 12

Utility 32

CIRCULATION Elevator 5

Staircase 35

Horizontal Circulation 170

TOTAL AREA - 1285 m2

139

Fig 96

ISLAMIC

140

RELIGIOUS AND CULTURAL CENTER

5.4

NAME

ISLAMIC RELIGIOUS AND CULTURAL CENTER

ARCHITECT BEVK PEROVIC ARHITEKTI

LOCATION SLOVENIA

YEAR 2020


SITE

The Islamic religious and

cultural center of Ljubljana, the

capital and largest city of Slovenia,

designed by the Bevk Perović

arhitekti studio, is located in an

area close to the city center, yet

full of contrasts, in a fragile

undeveloped state.

The program consists of a

building for a religious school, a

building for a cultural and office

program, an apartment building for

community employees, a restaurant,

and a mosque, the first mosque to

be built in Slovenia. At night, the

light emanating from the building and

the vertical of the minaret becomes

an expression of a new center of

gravity in the middle of what was a

badly lit and poorly connected part

of the city in the past.

141

PROGRAM

The program center consists of a

religious school building, a cultural program,

an apartment building for the employees of the

community, a restaurant, as well as a mosque.

The new buildings of the center are positioned

as separate entities, autonomous buildings

surrounding the central square area with a

mosque in the center of it. They are simple

volumes, oriented always towards the ‘outside’

world with their respective programs,

simultaneously surrounding the mosque building

and allowing views towards it from all sides

through the gaps in-between them.

VIEWS FROM SURROUNDING - MOSQUE AS A CENTRE OF THE PROJECT

Fig 97

URBAN PARAMETERS

Fig 98

LIFTING THE SITE - AN

‘ISLAND’ EMERGES

IRCC MUST NOT BE

INTROVERTED

CONNECTIONS TO SURROUNDINGS

ARE KEPT

142

It is a centre in motion, with people

coming and going, and with spaces that are

programmatically flexible and changeable. It is

not merely a religious and administrative centre

but also provides room for a kindergarten,

school, library and events centre, coffee house

and garden, underground garage and sports hall

below the central piazza.

Fig 99

143

FACADE PATTERN

The carpet-like pattern

of the diamond-mesh facades

discreetly addresses and

reflects the two central

elements of the complex:

the great cube of the mosque

itself and the lean vertical

of the minaret. In another

example of turning the coat

inside out, the hemispherical

dome ubiquitous in the design

of mosques is not installed on

top of the main volume but is,

with Pantheon-like simplicity,

inserted within the cube of

the hall. Upon entering,

the vast cube shows that the

outward simplicity is also

internal and structural; the

volume is carried exclusively

by the steel frame and mesh

facade, enabling a supportfree

interior.

Fig 100

144

MATERIALS USED

Bevk Perović Architects are known for their architectural

language of basic geometries and austere concrete

surfaces. However, one of their greatest achievements

has been to sculpt the surfaces using light and shade,

returning depth to the facade, rather than coating the

buildings with a two-dimensional surface veneer of

glass and concrete. The perimeter buildings turn their

simple, open, glazed facades to the city, but once the

visitor enters the introverted piazza, their coats

are turned inside out. In what would perhaps not be

expected from outwardly strictly monochrome buildings,

the piazza in the center is an almost Baroque feast of

unexpected textures, shades, illusions, and reflections.

A dense steel diamond mesh covers the three

facades, their forceful monotony broken only by a few

windows, reflecting the surrounding meshes and depths.

It is a wonderful resolution of the constitutive

dilemma between openness and safety, between the

introverted and extroverted character of the complex.

The attention to rich textures and claddings is

a contemporary nod to the ancient Islamic tradition

of geometric ornaments and plays on light and shade,

experienced in the traditional route of believers

traversing the urban bustle of a city to the sanctuary

in the middle of the complex. But the architectural

attention to the plasticity of the facade also owes

something to the local tradition of Jože Plečnik and

Edvard Ravnikar, with their lifelong reinterpretations

of the facade in the work of Gottfried Semper.

145

5.5

CASE STUDIES

CASE STUDIES OF CULTURAL CENTERS in

afghanistan

NAME BAMIYAN CULTURAL CENTER

ARCHITECT CARLOS MAHUEL RECABARREN

LOCATION BAMIYAN, AFGHANISTAN

YEAR 2014


5.5

PROJECT DESCRIPTION

Bamiyan Cultural Centre’s design was created to foster

national unity and cultural identity while encouraging heritage

preservation and contributing to reconciliation, peace-building

and economic development in Afghanistan. The design also evoked

the physical and historical landscape of Bamiyan, bearing witness

to the loss of a significant part of Central Asian heritage.

148

PROJECT DESCRIPTION

The construction of the National Museum of Afghanistan aims

to celebrate the richness of the country’s cultural heritage and the

spirit of its people. The “Timeless Cube” design proposal by Matteo

Cainer Architects awakens the nation’s cultural heritage through

powerful symbolic references, where physical fragments and traces

inform us of its past. This concept is well illustrated in the

‘negative spaces’ of the artist and sculptor Rachel Whiteread that

highlight the memory of an object, rendering the invisible visible

through a reversal of solid and void.

5.6

NAME NATIONAL MUSEUM OF AFGHANISTAN

ARCHITECT MATTEO CAINER ARCHITECTS

LOCATION KABUL, AFGHANISTAN


PROJECT DESCRIPTION

The project has been to generate the form and orientation of

the building from the surrounding landscape itself. The fundamental

orthogonal footprint aligns with the course of the Foladi river

while getting a slight focus on the perspective of the western

Buddha. While the southern part of the building remains committed

to this pattern, the side overlooking the valley unfolds like a fan

to embrace the whole length of the cliffs, reaching the opposite

landmark of the eastern Buddha.

NAME BAMIYAN CULTURAL CENTRE

ARCHITECT ARRIGONI ARCHITETTI

LOCATION BAMIYAN, AFGHANISTAN

YEAR 2015


149

5.5

Fig 101

BAMIYAN CULTURAL CENTER

SITE SURROUNDING ANALYSIS

ARCHITECT ABAMIYAN CULTURAL CENTER

LOCATION CARLOS MAHUEL RECABARREN

YEAR 2014


Fig 102

152

Fig 103

SITE OF THE PROJECT

The project is located in Bamiyan,

Afghanistan on the ancient Silk Road.The site is

located where ancient Buddha statues were destroyed

by the Taliban Group.

There are two districts surrounding the site: 1.

Residential

2. Touristic

The residential district has

houses scattered at the foot of hill while The

touristic district mainly houses hotels on a plain

top overlooking the hill.The project itself is

placed inside the landscape where there is a play

between the design and its surrounding.

153

CONCEPT

The Bamiyan Cultural Centre seeks to

create a new vital center for communicating

and sharing ideas. Therefore, the proposal

attempts to create not an object-building but

rather a meeting place; a system of negative

spaces where the impressive landscape of

the Buddha Cliffs intertwines with the rich

cultural activity. The Bamiyan Cultural Centre

is not only built but rather ‘found’ or

‘discovered’ by carving it out of the ground.

This architectural strategy creates a

minimal-impact building that fully integrates

into the landscape, takes advantage of thermal

inertia and insulation of the ground, and

gives a nod to the ancient local building

traditions.

154

Fig 104

VISION

The design of the project

aims to appear like it is

‘carved’ out of the landscape

than just placed inside the

hill. The projects main visions

is to have a major focus on its

heritage, therefore the concept

of carved insertion simulates

archaeology being dug out of the

underground.

Fig 105

155

156

KEY ELEMENT OF THE PROJECT

The key element of the project is the

visual connection of the site.

The building volumes are placed in such a way

that there are direct views of the Big Buddha and

the Small Buddha. The vast public plaza in the

center of the project helps accentuate the view

cones and integrate the statues themselves with

the building.

materials used

MODERN WALL - BRICK STRIPS

PATTERN

The interior structure is made

of brick construction becuase the

linearity of the brick strips creates

a sense of continuation which leads

to the views on the outside. The beige

color is mainly used to be reminded of

natural essence of the land. On the

exterior, beige painted concrete is

used to blend with the

ground and the site.

Fig 106

157

158

Fig 107

APPROACH

Fig 108

APPROACH TO THE SITE

159

PROGRAM

Fig 109

MASTER PLAN

160

TOPOGRAPHY

Fig 110

161

PERFORMANCE AND EXHIBITION BUILDING

ADMINISTRATION BUILDING

RESEARCH AND EDUCATION BUILDING

Fig 111

INTERIOR PROGRAM

RAINWATER WALTER COLLECTION POND

162

Fig 112

EXTERIOR PROGRAM


LEISURE PROGRAM

CULTURAL PROGRAM

EDUCATIONAL PROGRAM

OFFICE PROGRAM

SERVICE PROGRAM

PROGRAM ZONES AND SPACES

1. Lobby

2. Tea House

3. Retail Store

4. Collection Store

5. Exhibition Space

6. Reception

7. Performance Hall

8. Off Storage Area

9. Conference Room

10. Office

11. Kitchenette

12. Workshop Studio

13. Classroom

14. Library

15. Study Rooms

16. Research Rooms

17. Music Performance

18. Bathroom

Fig 113

163

SLOPE CIRCULATION

CIRCULATION BETWEEN BUILDINGS

STAIRCASE CIRCULATION

ACCESS TO THE BUILDING

CIRCULATION DIAGRAM

Fig 114

164

CIRCULATION

The circulation is divided into two

categories:

one circulaton that is coming from over

the structure and another from under. The

buildings that are sunk in the landscape,

need access to be provided from both the

levels. The path is led from an upper

green area to a lower green area creating

a connection of travel between the two

points.

MAIN ACCESS TO THE BUILDING

FACADE RESEARCH CENTER

FACADE EXPOSITION AREA

Fig 115 Fig 116 165

Fig 117

CIRCULATION

STRUCTURE

Fig 118

GRID

Fig 119

167


ADMINISTRATION Lobby 148

Reception 15

LEISURE Tea House 81

Retail Store 54

CULTURAL Performance Hall 240

Exhibition Spaces 445

Music Performance 37

EDUCATIONAL Workshop Studio 100

Classrooms 240

Library 65

Study Rooms 31

Research Rooms 80

OFFICES Office 106

Conference Room 85

SERVICES Collection Store 114

Storage Area 30

Kitchen 15

WC 62

CIRCULATION Vertical Circulation 80


168

169

Fig 120

5.6

NAME

NATIONAL MUSEUM OF AFGHANISTAN

ARCHITECT MATTEO CAINER ARCHITECTS

LOCATION KABUL, AFGHANISTAN


CONCEPT

The construction of the National Museum

of Afghanistan aims to celebrate the richness

of the country’s cultural heritage and the

spirit of its people. The “Timeless Cube”

design proposal by Matteo Cainer Architects

showcases the nation’s cultural heritage

through powerful symbolic references, where

physical fragments and traces inform us of its

past. This concept is well illustrated in the

‘negative spaces of the artist and sculptor

Rachel Whiteread that highlight the memory

of an object, rendering the invisible visible

through a reversal of solid and void.

Fig 121

171

Fig 122

‘ABSENT PRECENCE’ ‘PROTECTED REBIRTH’ HISTORY AND CULTURE GALLERIES CARVED FROM

MONOLITH

The Timeless Cube embodies the strength,

pride and traditions of the Afghan people,

providing visitors with better understanding

of the country. The new landmark will be a

stage for debate and reconciliation through

an educational program that creatively engages

people of all ages in traditional and nontraditional

learning. The history, identity

and traditions of its peoples will provide the

bedrock for future generations to understand

the culture of their forefathers and a unity in

the region.

VIP ACCESS AND CIRCULATION

PUBLIC ACCESS AND CIRCULATION

ACCESS TO LOADING AND TECHNICAL

172

Fig 123

Orientation and inclination for

solar harvesting technology and

renewable energy

Cube dimensions representing the

symbolic significance of 7.8 in

Islamic culture

Digitally controlled

sunshades against solar

gain

Building envelope with

Islamic architectural

typologies which acts as

water purifying mechanism

for the museum

Exposed concrete envelop for

thermal mass and security

protection

Main entrance

through descending

stairs

Entrance to high level

restaurant

Event plaza and outdoor

theatre for lectures and

performances

Biodiversity through

indigenous plants and

native grasses

Outdoor plaza

with bar

Cool shaded area

for promenades

Fig 124

Water feature designed

to refresh air during

summer

173

PROGRAM

The façade acts as a reflection of our society

today, while the monolithic walls embody our history

and culture. The galleries bring to mind the very

origins of space and knowledge. Each of the country’s

eight significant historic periods is represented in

a dedicated space designed to house representative

artifacts. Through this sequence of spaces, one unfolds

a voyage of learning and discovery. Carved ramps and

stairs overlook the foyer with the sequence of galleries

unfolding in an intriguing and complex geometry. The new

museum’s 56 meter square cube represents the significance

of 7 and 8 in Islamic culture. There are seven verses in

the Koran, here representing rebirth, and eight principal

galleries in the program, the indeterminate open sky

acting as a metaphor for the future.

STRUCTURE

Fig 125

SECTION A-A

Fig 126

174

MATERIALS USED FOR

SUSTAINABILITY

A sustainable environmental

concept determined the orientation,

layout, and design of the building

envelope. The exposed concrete

envelope introduces the required

thermal mass, and the natural/

displacement ventilation and highly

efficient lighting systems reduce the

overall energy consumption and provide

a passive internal environment.

Above the main foyer, digitally

controlled external sunshades respond

to protect the interior from the

intense solar gain, reducing cooling

loads internally. The orientation and

inclination of the building allow

controlled daylight internally with

the potential for solar harvesting

technology and a renewable energy

supply. Internal heating and cooling

are achieved through boreholes/earth

tubes or crypt cooling, allowing air

to circulate through large-diameter

underground pipes that discharge

internal heat build-up via a stack.

Materials are generally specified to

be sourced and fabricated locally.

175

PROGRAM DEVELOPMENT

6.0

SPACES FUNCTIONS 1. WULIEPOCH CULTURAL CENTER (AREA m2) 2. PORTLAND JAPANESE VILLAGE (AREA m2) 3. PORTLAND JAPANESE VILLAGE (AREA m2)

ADMINISTRATION Entrance 17.5 - -

Foyer/Lobby 65 10 148

Reception - - 15

Lounge - 10 -

Living Room - 50 -

LEISURE Cafe 25 - -

Kid’s Area 65 - -

Skating Rink 425 - -

Dining Hall 40 - -

Terrace 580 195 -

Tea House - 45 81

Retail Store/Shop - 50 54

CULTURAL Exhibition Area 475 - 445

Negotiation Area 425 - -

VIP Rooms 46 - -

Music Performance - - 37

Performance Hall - - 240

Gallery Space - 17 -

Display Area - 60 -

EDUCATIONAL Workshop Studio - 105 100

Classrooms - 152 240

Library - 25 65

Study Rooms - - 31

Research Rooms - - 80

OFFICES AnteChambers 30.5 - -

Offices 163 95 106

Print Zone 17 - -

Meeting Room 55 - -

Conference Room - - 85

OFFICE WC 67 45 62

Mechanical 17 64 -

Guards Room 10 - -

Kitchen 40 15 15

Storage Area 52 93 144

Locker Room - 12 -

Utility 26 32 -

CIRCULATION Elevator 8.5 5 -

Staircase 150 35 80

6.1

PROPOSED

PROGRAM

SPACES

FINAL PROJECT PROGRAM


Foyer/Lobby 75

Reception 15

Lounge 10

- -

LEISURE Cafe 25

Kid’s Area 65

- -

- -

Terrace 390

Tea House Cafe 81

Retail Store/Shop 54


- -

VIP Rooms 46


Performance Hall 240

- -

Display Area 60


Classrooms 240

Library 65

Study Rooms 31

Research Rooms 80

OFFICES - -

Offices 120

Print Zone 17

Meeting Room 55

Conference Room 85

OFFICE WC 67

Mechanical 64

- -

Kitchen 40

Storage Area 96

Locker Room 12

Utility 32



Staircase 150

180

6.2

6.3

RELATIONSHIP

MATRIX

ENTRANCE

LOBBY

RECEPTION

LOUNGE

CAFE

KID’S AREA

TERRACE

TEA HOUSE CAFE

RETAIL STORE/SHOP

EXHIBITION AREA

VIP ROOMS

MUSIC PERFORMANCE

PERFORMANCE HALL

DISPLAY AREA

WORKSHOP STUDIO

CLASSROOMS

LIBRARY

STUDY ROOMS

RESEARCH ROOMS

OFFICES

PRINT ZONE

MEETING ROOM

CONFERENCE ROOM

WC

MECHANICAL ROOM

GUARDS ROOM

KITCHEN

STORAGE AREA

LOCKER ROOM

UTILITY

ENTRANCE

LOBBY

RECEPTION

LOUNGE

CAFE

KID’S AREA

TERRACE

TEA HOUSE CAFE

RETAIL STORE/SHOP

EXHIBITION AREA

VIP ROOMS

MUSIC PERFORMANCE

PERFORMANCE HALL

DISPLAY AREA

WORKSHOP STUDIO

CLASSROOMS

LIBRARY

STUDY ROOMS

RESEARCH ROOMS

OFFICES

PRINT ZONE

MEETING ROOM

CONFERENCE ROOM

WC

MECHANICAL ROOM

GUARDS ROOM

KITCHEN

STORAGE AREA

LOCKER ROOM

UTILITY

MUST

SHOULD

MAYBE

181

7.0

SECTION II

CONTEXT ANALYSIS

184

7.1

Choice OF LOCATION

WHY UAE ?

The reason why the UAE is chosen

for this project’s location is that the

UAE has the largest Afghan community

and ex-pat population. This serves as

a chance for other nationalities to

explore Afghan culture and discover

similarities. These issues make us

wonder about the possible ways the

Afghan community outside the country

can help preserve its cultural

heritage and ultimately connect

with other communities considering

the afghan culture is a mix of many

cultures in the middle east and Asia.

I have also decided to choose a site

in the UAE for not only its population

but also because of how many different

nationalities are located in the

country because my project is to not

only preserve the cultural identity,

and the heritage of Afghanistan but

also connect people of different

nationalities with similarities in

their culture and experience. Some of

these countries include Iran, in terms

of its architecture and celebrations,

Tajikistan, Uzbekistan, in terms of

the language, the South Asian and

Middle Eastern countries, in terms of

their hospitality and food, and much

more.

The largest Afghan community outside Afghanistan

is located in the UAE. In 2012, it was reported around

300,000 Afghans settled or residED in the UAE and these

numbers are CONTINUOUSLY GROWING.

185

As for my project goal, I would

like to first raise awareness and

educate people on the loss of culture

currently occurring in the country.

Second, to preserve the culture and

identity outside Afghanistan through

the use of exhibition spaces and

workshops. And finally, to allow

different nationalities to exchange

their own culture and idea within the

space created. This will ultimately

create a stronger bond within the

community for having similar goals and

interests.

7.2

186

7.3

ABU DHABI VS DUBAI

Abu Dhabi and Dubai are home to many

afghans. Before selecting the potential

plot, This chapter will analyze the two

emirates based on certain criteria and

characteristics

The characteristics involved that will aid

in the selection of the potential site are

the following:

1. Community Integration

2. Consulates/ Embassies

3. Cultural, Social, and Historical Values

4. Potential for Site Expansion

5. Population Density of Afghan Community.

187

criteria

ABU DHABI

188

DUBAI

189

A

AL ZAHIYAH

B

MUNICIPALITY

MASS PLAN OF FIVE MAIN ZONES

190

d

AL SAFARRAT

7.4

ZONE SELECTION

C

CULTURE DISTRICT

e

AL REHHAN

191

Heritage

Park

AL ZAHIYAH OVERVIEW

Relationship with the city

• The area is on the eastern side of Abu Dhabi. It is one

of the downtown areas of the capital city and enjoys a

prime location at the centre of Corniche Road East and

Al Falah Street.

• The area is not dominated by a single nationality,

instead, it’s home to many with a huge variety of

restaurants - Arabic, Chinese, Japanese, and European

on offer to visitors. It also has a large number of

coffee shops, restaurants, and hotels.

• A zone for potential expansion.

• The zone is a busy zone with frequent movement of

public buses, taxis, and private cars. There are plenty

of parking spaces for visitors and most tenants can use

their reserved parking spaces.

• A zone with a strong sense of community integration.

Consists of various transportation services.

• Sheikh Khalifa Bin Zayed Street (E12), with many mixeduse

buildings around the zone.

• It is considered by many as the heart of Abu Dhabi.

Al Markaziyah

East

Municipality

Diverse spatial layout with

small intermediate spaces in

between

192

Heritage

Park

Community

Integrity

Spaces

Potential

Site

Expansion

Community

Integrity

Spaces

Music

Center

CRITERIA

193

Al Markaziyah

East

Al Zahiyah

Zayed City

MUNICIPALITY OVERIVEW


Diverse spatial layout with

empty plots and intermediate

spaces in between

• Surrounded by many restaurants of different countries

and cultures.

• Surrounded by many community schools and branches

Consists of many transportation services surrounding

the zone.

• Sheikh Zayed Bin Sultan Street (E10), with many mixeduse

buildings at the top of the zone, while community

schools and government offices are located below the

site.

• Close Proximity between Residential and Commercial

Buildings.

• High-density population.

194

Cultural

Integration

Mixed

Use

Potential

Site

Governement

Buildings

Community

Schools

CRITERIA

195

cultural district OVERVIEW


Saadiyat

Marina

District

• Huge Potential For Site Expansion.

• Many Cultural Sites such as the Louvre Museum, Zayed

National Museum, and the Guggenheim Abu Dhabi Museum

(in construction) are located in the zone.

• Emerging as a popular travel destination, the Saadiyat

Cultural District is a global hub for the arts,

culture, and tourism.

• Other upcoming developments include the Maritime

Museum, a Biennale Park, and a premiere Performing Arts

Centre.

• A mixed commercial, residential, and leisure project

is currently under construction on the island. When

completed, Saadiyat Island is expected to become Abu

Dhabi’s cultural center, mostly for the Island’s

Cultural District which is expected to include eight

museums.

• Surrounded by some greenery.

• Quite and peaceful.

Continuous layout with many

empty plots

196

Guuggenheim

Museum

Louvre

Abu

Dhabi

Zayed

National

Museum

Potential

Site

Expansion

Community

Ingtegration

CRITERIA

197

AL Safarrat

al rehhan OVERVIEW


• Al Rehhan Abu Dhabi UAE is home to numerous residential

buildings, commercial properties and government

offices.

• Potential Site towards the central zone.

• Many Mixed use building are located at the center while

educational building are surrounding it.

• Most of Consulates and Embassies are located below the

zone.

• Surrounded by many greenery.

• The area is home to well-known schools, restaurants,

supermarkets, banks, parks, hotels and beauty salons.

• The area is also well connected by Al Aman Street, Al

Banadir Street, Al Gharreed Street, Al Hamlah Street

and. Al Inshirah Street with many public transportation

nearby.

• Al Rehhan, Abu Dhabi can find several bus stops located

within a 5-minute driving distance.

Continuous Layout with some

intermediate spaces

198

Community

Schools

Afghan

Community

Community

Integration

Mixed use

Buildings

Government

Building

Site

Potential

Consulates

Community

Integration

CRITERIA

199

Al Rehhan

Diverse Spatial Layout with

many intermediate spaces

al SAFARRAT OVERVIEW


• Al Safarrat Abu Dhabi UAE is home to numerous embassy

and cultural buildings.

• The area is also well connected by Al Aman Street,

Al Banadir Street, Al Gharreed Street, Al Hamlah

Street and. Al Inshirah Street with many public

transportations nearby.

• Surrounded by greenery.

• Al Safarrat, Abu Dhabi can find several bus stops

located within a 5-minute driving distance.

200

Community

Integration

Site

Potential

Consulates

Community

Integration

National

Exhibition

Center

CRITERIA

201

ZONE SELECTION score

202

CRITERIA A B C D E

COMMUNITY INTEGRATION

CONSULATES/EMBASSIES

CULTURAL, SOCIAL, AND HISTORICAL VALUES

POTENTIAL FOR SITE EXPANSION

POPULATION DENSITY OF AFGHAN COMMUNITY

TRANSPORTATION ACCESS

VEGETATION

FINAL SCORE 3 3 4 6 5

AL REHHAN

7.5

PLOT SELECTION

MASS AND VOID

203

204

LANDMARKS AROUND

THE SITE

AREA - 17900 m2

CHOSEN PLOT

205

206

ROAD ACCESS

ACCESS TO THE SITE

207

208

VEGETATION

BUILDING HEIGHT

209

210

BUILDING TYPE

SUN AND WIND DIAGRAM

WIND DIRECTION

WIND ROSE

SUN PATH

211

SPACES

FINAL PROJECT PROGRAM

7.6

SPATIAL ANALYSIS SUMMARY


Foyer/Lobby 75

Reception 15

Lounge 10

- -

LEISURE Cafe 25

Kid’s Area 65

- -

- -

Terrace 390

Tea House Cafe 81

Retail Store/Shop 54


SELECTED PLOT


- -

VIP Rooms 46

Performance Hall 240

- -

Display Area 60


AREA - 17900 m2

Library 65

Classrooms 240

Study Rooms 31

Research Rooms 80

OFFICES - -

Offices 120

Print Zone 17

Meeting Room 55

Conference Room 85

OFFICE WC 67

Mechanical 64

- -

212

PROPOSED

PROGRAM


Kitchen 40

Storage Area 96

Locker Room 12

Utility 32


Staircase 150

213

GRID LAYOUT

SURROUNDING HEIGHT

Continuous Layout with some

intermediate spaces

214

RELATIONSHIP

MATRIX

ENTRANCE

LOBBY

RECEPTION

LOUNGE

CAFE

KID’S AREA

TERRACE

TEA HOUSE CAFE

RETAIL STORE/SHOP

EXHIBITION AREA

VIP ROOMS

MUSIC PERFORMANCE

PERFORMANCE HALL

DISPLAY AREA

WORKSHOP STUDIO

CLASSROOMS

LIBRARY

STUDY ROOMS

RESEARCH ROOMS

OFFICES

PRINT ZONE

MEETING ROOM

CONFERENCE ROOM

WC

MECHANICAL ROOM

GUARDS ROOM

KITCHEN

STORAGE AREA

LOCKER ROOM

UTILITY

ENTRANCE

LOBBY

RECEPTION

LOUNGE

CAFE

KID’S AREA

TERRACE

TEA HOUSE CAFE

RETAIL STORE/SHOP

EXHIBITION AREA

VIP ROOMS

MUSIC PERFORMANCE

PERFORMANCE HALL

DISPLAY AREA

WORKSHOP STUDIO

CLASSROOMS

LIBRARY

STUDY ROOMS

RESEARCH ROOMS

OFFICES

PRINT ZONE

MEETING ROOM

CONFERENCE ROOM

WC

MECHANICAL ROOM

GUARDS ROOM

KITCHEN

STORAGE AREA

LOCKER ROOM

UTILITY

MUST

SHOULD

MAYBE

215

8.0

SECTION III

CONCEPT PROPOSAL

218

8.1

KEYWORDS

8.2

INTRODUCING CONCEPT SYSTEMS

IMMERSE SCATTER EMBED

The first concept is about

creating one clear path emerged from

the ground. The direction and Height of

the loop is depended on the surrouding

building heights. Disguising the

building partialy to the ground creates

a strong harmony with its surrounding

nature and allows a 360 degree view of

the site for the users. This loop can

allow the users to go through the journey

of what the culture has gone through it

darkest days (emerging from the ground)

and continues to remain solid when

reaching to the end point of the space.

The second concept uses

circulation pathways to branch

and scatter the space out for the

programs. The shape resembles a broken

or exploded mass element where the

pathways interconnect the interior to

the exterior areas. The interior walls

of the building resemble the cusped

muqarnas used in Persian architecture

while the exterior walls are a complete

contrast. These physical fragments and

traces remind us of history while the

facade (smooth and linear) acts as a

reflection of hope for the future.

The third concept is to link

the two main program organization

which is preservation of the culture

and learning about the culture. The two

main programs are then connected by a

third shape where people are able to

exchange information and ideas between

each other. the shape of the project

resembles two mountains intertwined

with each other to create a central

point where all programs can meet.

219

ARIEL VIEW

8.3

CONCEPT 1

IMMERSE

Open Passage Entry towarnds the

parking

Access to different levels

from the roof

Interior Courtyard

220

CONCEPT DIAGRAM

STATEGY:

MERGING

LOOP

AIMS:

UNITING

ACCESS

CONNECTED PROGRAM

TOP VIEW

221

ARIEL VIEW

8.4

CONCEPT 2 SCATTER

Creating pathways

Use of cusped muqarnas for

the interior pathways

CONCEPT DIAGRAM

222

STATEGY:

DIVISION

SCATTER

AIMS:

ORGANIZED PROGRAM

OPENNESS

FLEXIBILITY

TOP VIEW

223

ARIEL VIEW

8.5

CONCEPT 3 embed

Two shapes connected by a central shape

Roof Top Access from

Both Directions

224

CONCEPT DIAGRAM

STATEGY:

MERGING

AIMS:

CONNECTIVITY

INTERSECTION

UNITING

TOP VIEW

225

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