Thesis Book - Seeds of Hope

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NAME BAMIYAN CULTURAL CENTERARCHITECT CARLOS MAHUEL RECABARRENLOCATION BAMIYAN, AFGHANISTANYEAR 2014BUILDING TYPE CULTURE CENTER5.5PROJECT DESCRIPTIONBamiyan Cultural Centre’s design was created to fosternational unity and cultural identity while encouraging heritagepreservation and contributing to reconciliation, peace-buildingand economic development in Afghanistan. The design also evokedthe physical and historical landscape of Bamiyan, bearing witnessto the loss of a significant part of Central Asian heritage.148
PROJECT DESCRIPTIONThe construction of the National Museum of Afghanistan aimsto celebrate the richness of the country’s cultural heritage and thespirit of its people. The “Timeless Cube” design proposal by MatteoCainer Architects awakens the nation’s cultural heritage throughpowerful symbolic references, where physical fragments and tracesinform us of its past. This concept is well illustrated in the‘negative spaces’ of the artist and sculptor Rachel Whiteread thathighlight the memory of an object, rendering the invisible visiblethrough a reversal of solid and void.5.6NAME NATIONAL MUSEUM OF AFGHANISTANARCHITECT MATTEO CAINER ARCHITECTSLOCATION KABUL, AFGHANISTANBUILDING TYPE CULTURE CENTERPROJECT DESCRIPTIONThe project has been to generate the form and orientation ofthe building from the surrounding landscape itself. The fundamentalorthogonal footprint aligns with the course of the Foladi riverwhile getting a slight focus on the perspective of the westernBuddha. While the southern part of the building remains committedto this pattern, the side overlooking the valley unfolds like a fanto embrace the whole length of the cliffs, reaching the oppositelandmark of the eastern Buddha.NAME BAMIYAN CULTURAL CENTREARCHITECT ARRIGONI ARCHITETTILOCATION BAMIYAN, AFGHANISTANYEAR 2015BUILDING TYPE CULTURE CENTER149
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SEEDS OF HOPENARGES ABDUL AZIZ
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Approval of the Thesis Book for Fin
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PROJECT NAME SEEDS OF HOPELOCATION
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20103section 1Introduction PAGE 15
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1.0SECTION 1INTRODUCTION
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16
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18KABUL, AFGHANISTANFig 2
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pANJSHIR, AFGHANISTANFig 320
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2.1 Afghan Identity and CulturEAfgh
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CULTURE: MUSICAfghan music comes in
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CULTURE: MUSICThe rise of westerniz
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CULTURE: foodFood is an integral pa
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30
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32Fig 12
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Fig 14
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Fig 16HOSPITALITYOne thing that has
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2.2 The influence in Afghanistan’
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Each pattern woven in the carpet ha
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42Fig 19
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Fig 20Bamiyan - Land of the Buddhas
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2.3 Loss of Cultural HeritageMany A
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2.4 Cultural Imprints After First T
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50Fig 24
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Afghan Artists now have buried thei
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Loss of Woman’s Freedom3.0
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3.1 Women’s Condition inthe 1900s
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CITADEL HERAT, AFGHANISTANFig 263.2
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FREEDOM FREEDOMFREEDOM FREEDOMFREED
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Fig 2863
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4.1 Afghan Migration during Invasio
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4.2 Afghanistan’s and UAEs Relati
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PANJSHIR, AFGHANISTANThe largest Af
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5.0SECTION IICASE STUDIESCASE STUDI
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PROJECT DESCRIPTIONThe MECA cultura
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Fig 32WULIEPOCH CULTURAL CENTER
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SURROUNDING SCENERY ANALYSISFig 34S
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CONCEPTWuliEpoch Culture Center att
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VISIONThe complex pays a tribute to
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materials usedHABITO BOARD - CEILIN
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Fig 4087
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Fig 42FIRST FLOOR PLAN1. Entrance2.
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The Project consists of a sales cen
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Fig 4793
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CIRCULATION DIAGRAMFig 50Fig 5195
Page 97 and 98: The project draws upon the inspirat
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Page 101 and 102: SPACES FUNCTIONS AREA(m2)ADMINISTRA
Page 103 and 104: MÉCA CULTURAL CENTER 103
Page 105 and 106: Fig 61TO FORM A CONTINUOUS PROMENAD
Page 107 and 108: INHABITABLE LANDSCAPE AS THE EPICEN
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Page 111: CIRCULATION DIAGRAMCIRCULATION DIAG
Page 114 and 115: 5.3BUILDING TYPE CULTURE CENTER/GAR
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Page 118 and 119: SITE SURROUNDING ANALYSISa. Shuttle
Page 120 and 121: JOURNEY TO THE SITE120Fig 77
Page 122 and 123: CONCEPTPortland Japanese Garden’s
Page 124 and 125: ACCESS TO THE SITEFig 81124
Page 126 and 127: entryFig 83126
Page 128 and 129: 128Fig 85
Page 130 and 131: 130Fig 87
Page 132 and 133: FIRST FLOOR PLANFig 891. Living Roo
Page 134 and 135: Fig 91FIRST FLOOR PLAN134
Page 136 and 137: Fig 93entry
Page 138 and 139: 138SECTION A-AFig 95
Page 140 and 141: Fig 96ISLAMIC140RELIGIOUS AND CULTU
Page 142 and 143: PROGRAMThe program center consists
Page 144 and 145: FACADE PATTERNThe carpet-like patte
Page 147: 5.5CASE STUDIESCASE STUDIES OF CULT
Page 151 and 152: Fig 101BAMIYAN CULTURAL CENTER
Page 153 and 154: Fig 103SITE OF THE PROJECTThe proje
Page 155 and 156: VISIONThe design of the projectaims
Page 157 and 158: materials usedMODERN WALL - BRICK S
Page 159 and 160: APPROACHFig 108APPROACH TO THE SITE
Page 161 and 162: TOPOGRAPHYFig 110161
Page 163 and 164: ADMINISTRATION PROGRAMLEISURE PROGR
Page 165 and 166: CIRCULATIONThe circulation is divid
Page 167 and 168: STRUCTUREFig 118GRIDFig 119167
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Page 171 and 172: 5.6NAMENATIONAL MUSEUM OF AFGHANIST
Page 173 and 174: Orientation and inclination forsola
Page 175: MATERIALS USED FORSUSTAINABILITYA s
Page 178 and 179: SPACES FUNCTIONS 1. WULIEPOCH CULTU
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Page 183 and 184: 7.0SECTION IICONTEXT ANALYSIS
Page 185 and 186: The largest Afghan community outsid
Page 187 and 188: 7.3ABU DHABI VS DUBAIAbu Dhabi and
Page 189 and 190: DUBAI189
Page 191 and 192: 7.4ZONE SELECTIONCCULTURE DISTRICTe
Page 193 and 194: HeritageParkCommunityIntegritySpace
Page 195 and 196: CulturalIntegrationMixedUsePotentia
Page 197 and 198: GuuggenheimMuseumLouvreAbuDhabiZaye
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CommunitySchoolsAfghanCommunityComm
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CommunityIntegrationSitePotentialCo
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7.5PLOT SELECTIONMASS AND VOID203
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AREA - 17900 m2CHOSEN PLOT205
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ACCESS TO THE SITE207
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BUILDING HEIGHT209
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SUN AND WIND DIAGRAMWIND DIRECTIONW
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213
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RELATIONSHIPMATRIXENTRANCELOBBYRECE
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2188.1KEYWORDS
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ARIEL VIEW8.3CONCEPT 1IMMERSEOpen P
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ARIEL VIEW8.4CONCEPT 2 SCATTERCreat
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ARIEL VIEW8.5CONCEPT 3 embedTwo sha
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BIBLIOGRAPHY“A Guide to Afghan Gr
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BIBLIOGRAPHYSagredo, Rayen. “Port
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IMAGE REFERENCEFigure 28Walla, Kath
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Thesis Book - Seeds of Hope

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