Thesis Book - Seeds of Hope

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Fig 20Bamiyan - Land of the BuddhasRemnants of the Buddhas of Bamiyan. In 2001, the Buddhas were destroyedby the Taliban. There have been attempts to reconstruct theBuddhas, but no significant projects have been undertaken.44
The cultural heritage of the country was also heavily affected by thecontinuous war. The Destruction of heritage is one way to assert dominance andcontrol as political propaganda (Mulholland). Taliban in Afghanistan have useddestructive acts for unprecedented media coverage as a bargaining tool for theirgroup to be taken seriously or as a threat to the rest of the world. The destructionof the two giant Buddhas in Bamiyan is one of the most brutal attacks againstthe historical and cultural heritage of Afghanistan committed during the time ofthe Taliban rule in 2001.The impact of media coverage has also brought attentionto the lack of security for the many cultural sites and collections during thattime. 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 beingsaved by staff members removing the collections. Many objects of the Afghannational collections were hidden behind false walls or switched with low-qualitycopies which were later burned by the Taliban. The most remarkable was of the localartist, Mohammad Yousef Asefi, who painted over the human figures in the paintingsthat were deemed offensive by the Taliban. He spent weeks in the store and usedgouache paint on the reversible object. With Yousef Asefi’s quick thinking andbravery, he was able to save up to 122 paintings from being burned. Sadly not allobjects and collections could be hidden and those that were displayed were torninto pieces. For Afghanistan, their cultural losses were not reversible and manyAfghans at home as well as the ones around the world were devastated (Mulholland).Not only have the Taliban destroyed heritage sites and collections, but theycommanded the destruction of figurative sculptures, paintings, and films madeby the Afghan citizens as it seems to be ‘idolatrous’ by the Islamic extremists.2.3 Loss of Cultural Heritage45
Page 1: SEEDS OF HOPENARGES ABDUL AZIZ
Page 5: Approval of the Thesis Book for Fin
Page 8 and 9: PROJECT NAME SEEDS OF HOPELOCATION
Page 10 and 11: 20103section 1Introduction PAGE 15
Page 13: 1.0SECTION 1INTRODUCTION
Page 16 and 17: 16
Page 18 and 19: 18KABUL, AFGHANISTANFig 2
Page 20 and 21: pANJSHIR, AFGHANISTANFig 320
Page 22 and 23: 2.1 Afghan Identity and CulturEAfgh
Page 24 and 25: CULTURE: MUSICAfghan music comes in
Page 26 and 27: CULTURE: MUSICThe rise of westerniz
Page 28 and 29: CULTURE: foodFood is an integral pa
Page 30 and 31: 30
Page 32 and 33: 32Fig 12
Page 34 and 35: Fig 14
Page 36 and 37: Fig 16HOSPITALITYOne thing that has
Page 38 and 39: 2.2 The influence in Afghanistan’
Page 40 and 41: Each pattern woven in the carpet ha
Page 46 and 47: 2.3 Loss of Cultural HeritageMany A
Page 48 and 49: 2.4 Cultural Imprints After First T
Page 52 and 53: Afghan Artists now have buried thei
Page 55 and 56: Loss of Woman’s Freedom3.0
Page 57 and 58: 3.1 Women’s Condition inthe 1900s
Page 59 and 60: CITADEL HERAT, AFGHANISTANFig 263.2
Page 61 and 62: FREEDOM FREEDOMFREEDOM FREEDOMFREED
Page 63: Fig 2863
Page 66 and 67: 4.1 Afghan Migration during Invasio
Page 68 and 69: 4.2 Afghanistan’s and UAEs Relati
Page 70 and 71: PANJSHIR, AFGHANISTANThe largest Af
Page 73 and 74: 5.0SECTION IICASE STUDIESCASE STUDI
Page 75 and 76: PROJECT DESCRIPTIONThe MECA cultura
Page 77 and 78: Fig 32WULIEPOCH CULTURAL CENTER
Page 79 and 80: SURROUNDING SCENERY ANALYSISFig 34S
Page 81 and 82: CONCEPTWuliEpoch Culture Center att
Page 83 and 84: VISIONThe complex pays a tribute to
Page 85 and 86: materials usedHABITO BOARD - CEILIN
Page 89 and 90: Fig 42FIRST FLOOR PLAN1. Entrance2.
Page 91 and 92: The Project consists of a sales cen
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CIRCULATION DIAGRAMFig 50Fig 5195
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The project draws upon the inspirat
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Fig 5699
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SPACES FUNCTIONS AREA(m2)ADMINISTRA
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MÉCA CULTURAL CENTER 103
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Fig 61TO FORM A CONTINUOUS PROMENAD
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INHABITABLE LANDSCAPE AS THE EPICEN
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109
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CIRCULATION DIAGRAMCIRCULATION DIAG
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5.3BUILDING TYPE CULTURE CENTER/GAR
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5.3
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SITE SURROUNDING ANALYSISa. Shuttle
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JOURNEY TO THE SITE120Fig 77
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CONCEPTPortland Japanese Garden’s
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ACCESS TO THE SITEFig 81124
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entryFig 83126
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128Fig 85
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130Fig 87
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FIRST FLOOR PLANFig 891. Living Roo
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Fig 91FIRST FLOOR PLAN134
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Fig 93entry
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138SECTION A-AFig 95
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Fig 96ISLAMIC140RELIGIOUS AND CULTU
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PROGRAMThe program center consists
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FACADE PATTERNThe carpet-like patte
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5.5CASE STUDIESCASE STUDIES OF CULT
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PROJECT DESCRIPTIONThe construction
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Fig 101BAMIYAN CULTURAL CENTER
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Fig 103SITE OF THE PROJECTThe proje
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VISIONThe design of the projectaims
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materials usedMODERN WALL - BRICK S
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APPROACHFig 108APPROACH TO THE SITE
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TOPOGRAPHYFig 110161
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ADMINISTRATION PROGRAMLEISURE PROGR
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CIRCULATIONThe circulation is divid
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STRUCTUREFig 118GRIDFig 119167
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169
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5.6NAMENATIONAL MUSEUM OF AFGHANIST
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Orientation and inclination forsola
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MATERIALS USED FORSUSTAINABILITYA s
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SPACES FUNCTIONS 1. WULIEPOCH CULTU
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1806.2
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7.0SECTION IICONTEXT ANALYSIS
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The largest Afghan community outsid
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7.3ABU DHABI VS DUBAIAbu Dhabi and
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DUBAI189
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7.4ZONE SELECTIONCCULTURE DISTRICTe
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HeritageParkCommunityIntegritySpace
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CulturalIntegrationMixedUsePotentia
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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
Page 207 and 208:
ACCESS TO THE SITE207
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BUILDING HEIGHT209
Page 211 and 212:
SUN AND WIND DIAGRAMWIND DIRECTIONW
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213
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RELATIONSHIPMATRIXENTRANCELOBBYRECE
Page 218 and 219:
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
Page 228 and 229:
BIBLIOGRAPHYSagredo, Rayen. “Port
Page 230:
IMAGE REFERENCEFigure 28Walla, Kath
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Thesis Book - Seeds of Hope

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