ASSIGMENT 01

Eman Hasan Khalil 20174651

Eman Sayed Mahmood 20174710
Zainab Abdul Nabi 20177177

Section 05
Dr Islam El Ghonaimy
 CONTENT

01. 02. 03.

Designing a Village Construction And The Architecture and
Museum Ecologically: Design Manual Concept of Cultural
Reuse of Historic Museum Buildings Spaces and Memory
School Building
 01.
Designing a Village Museum Ecologically:
Reuse of Historic School Building
By Özlem Karakul
 Research objectives

The purpose of this research is to illustrate the

process of creating a village museum in a historic
structure in the village as a common design
challenge shared by the disciplines of interior
design and restoration.
 THEORIES

02
Current
Understandings
01 of Reuse of 03
Historic
Buildings and
Historical Overview of
Use of Ecological A Design Problem of
Understandings of
Approaches Botsa Village Museum
Museum
Historical Overview of
Understandings of
Museum
 BEFORE

Displaying the various

elements of tangible
heritage

NOW

Safeguarding intangible
heritage on the national level
for the implementation of the
convention.
 POST-MUSEUM
Alivizatou attempts to offer new purposes and tasks for
museums by establishing the idea of "post-museum":

The new definition of museums places a greater

emphasis on displaying tangible items with their cultural
manifestations, as well as finding innovative techniques
to maintain and showcase intangible cultural treasures.

As a result, museums can employ “video and sound

recordings of cultural expressions and practices” to show
intangible cultural heritage processes.
 UNESCO 2004 EXPERT
MEETING
• Museums are a part of their surroundings therefore,
their spatial organization and display techniques
must reflect both the physical and cultural qualities
of these multi-layered contexts.

• Village museums, as local museums, must represent

the essence of their communities, which is made up
of both physical and intangible values.

• museums have taken on an educational role, teaching

local residents various subjects and local crafts in
order to boost local economic growth and generate
jobs in the community.
Current Understandings of
Reuse of Historic Buildings
and Use of Ecological
Approaches
Venice Charter
• Reusing is considered the only
method to maintain and
sustain ancient structures,
according to modern
conservation practices that
have emerged all over the
globe since the 1964 Venice
Charter.
 Adaptive reuse

Conserve the historic Adaptive reuse of historic

Adaptation and adaptive buildings; meaning to structures must have a
reuse are the new terms safeguard their qualities and minimal influence on the
used for expressing the values, their material building's cultural
reuse of the historic substances and ensure their importance, particularly
buildings. integrity for future the spatial and
generations. architectural integrity.
“THE HISTORIC BUILDINGS TO BE CONVERTED
INTO MUSEUM SHOULD ALSO BE CONSIDERED
LIKE AS AN OBJECT”.
- Madran and Özgönül.
A Design Problem
of Botsa Village
Museum
 PROJECT INFORMATION

DESCRIPTION

DURATION SPRING SEMESTER OF THE 2015-2016 ACADEMIC

LOCATION BOSTA VILLAGE, KONYA

FUNCTION MUSEUM

TYPE CONSERVATION PROJECT

 Bosta Village
The settlement dates back to iron age
2000 B.C.

Has remains buildings of Hellenistic,

Roman and Christianity periods. Bosta
Village
Peculiar earth formation due to very
long geological process

Proclaimed as an urban conservation

site and III. Degree urban,
archaeological and natural conservation WORLD MAP
site in 1994.
 LOCATION
Map Showing
Location of Botsa

Aerial Photo of
the Village
 TYPES OF BUILDINGS

The traditional architecture of Botsa Village includes both public/ commonly used buildings:

VILLAGE
MOSQUE MASJIDS SCHOOLS
ROOMS
 STREET CHARACTERISTICS AND DWELLINGS
TIMBER
BONDS

STONE
MASONRY
TECHNIQUE
TOPOGRAPHY AND DWELLINGS
TUFF ROCKS

CURVED-OUT
BUILDIBGS
 ABOUT THE BUILDING
• The old village school, constructed by using stone masonry technique in 1936
according to the information obtained from the villagers.

• has various conservation problems due to being unused for long time.

The building, which is

located on the main street
going through the village,
has a great garden behind,
along the stream.
 PROJECT PHASES
Preparation of Preparation of the
the inventory of program of village
the building and museum considering
site survey. exhibition halls.

PHASE PHASE PHASE PHASE

01 02 03 04

Literature research on The

the reuse of historic development of
buildings, museum an original
designs, ecological conceptual
architecture and the approach and
traditional architecture of the designing
botsa village. process.
 PROJECT CONSIDERSTIONS

ECOLOGY PROGRAM INTERACTIVE COMFORT HARMONY

To discover the To organize the To utilize To realize an To be in harmony
ecological sustainable programmatic interactive and atmosphere of with the historic
principles of local requirements digital tools. village museum in building.
traditional architecture the building
and use in a
contemporary way.
 PROPOSAL
01
The main idea orienting the design process is to use a local building
material, wood, structurally for the construction of new additional
building to provide harmony with the traditional buildings and
contextual values.

by Semih Arüv
SITE PLAN
 OPEN FLOOR PLANS CAFÉ AND
EXHIBITION
ENTRANCE
SCULPTURAL STAIR DESIGNED IN
CLOSED GOING DOWN TO OPEN
EXHIBITION FOYER ON PLANNING
BASEMENT FLOOR

WORKSHOPS

BASEMENT FLOOR PLAN GROUND FLOOR PLAN

 ELEVATIONS

SCHOOL
BUILDING NEW
ADDITIONAL
STRUCTURE
 SECTIONS
Laminated
timber
structures
covered with
glass surfaces
on top of it to
provide
transparency
and not to
disturb the
visual
perception of
the historic
building.
SECTIONS
 APPLICABILITY OF THEORIES/ CONCEPT

MAIN TYPES OF
SUBJECT FORM CIRCULATION
COMPONENTS EXHIBITIONS

MAIN
OLD BUILDING SQAURISH RESTRICTED CLOSED
EXHIBITION

ADDITIONAL INERACTIVE
FREE ANGLED NETWORK OPEN
STRUCTURE SPACES
 PROPOSAL
02
The main design idea of the fourth project is not to make any new mass addition to the main
building not to disturb its massive characteristics, only to make a new large basement floor
carved out from underground rock formation. The project also tries to sustain local building
technology in a modern construction to provide harmony with the surrounding traditional
context.

by Esra Altıparmak
PLAN
 SECTIONS

SECTION A-A SECTION B-B

 SECTIONS

SECTION D-D

SECTION C-C
ELEVATIONS
 APPLICABILITY OF THEORIES/ CONCEPT

MAIN TYPES OF
SUBJECT FORM CIRCULATION
COMPONENTS EXHIBITIONS

RESTRICTED IN MAIN
OLD BUILDING SQAURISH CLOSED
BRANCHES EXHIBITION

ADDITIONAL RESTRICTED IN CONTEMPORA-

SQAURISH DIVIDED
STRUCTURE BRANCHES RY ART
ACTIVITIES
 PROPOSAL
03
The main design approach of the second design work30 is to use the
main building for exhibiting Botsa’s cultural values and the
underground floor newly designed for the contemporary art activities.

by Ayşegül Şahin
SITE PLAN
PLAN
 SECTIONS

SECTION B-B SECTION C-C

 SECTIONS
Laminated timber structure and glass coverings in a
transparent way to provide harmony with the historic
buildings and its context.

SECTION A-A
ELEVATION
 APPLICABILITY OF THEORIES/ CONCEPT

MAIN TYPES OF
SUBJECT FORM CIRCULATION
COMPONENTS EXHIBITIONS

RESTRICTED IN MAIN
OLD BUILDING SQAURISH CLOSED
BRANCHES EXHIBITION

ADDITIONAL HEMISPHERE =
FREE SECONDARY OPEN
STRUCTURE 4/8 OR ½
EXHIBITION
 OBSERVATIONS

Interdisciplinary studies on the conservation of

cultural heritage provide to raise the
consciousness of the students on both the
intangible and tangible values of the historic
buildings.

The interdisciplinary methodology of this studio

work provided students learn thinking like as
architects, folklorist and conservation architects.
 OBSERVATIONS
Students studied the elements of cultural heritage within a historic building to understand the
building's heritage and its cultural context.

The building was designed to

provide the museum visitors
virtual spatial experiences to
interact the intangible and
tangible heritage of the village
together.
OBSERVATIONS

Interior design studio experience on village

museum in Botsa inspired students to
understand and care the values of a
historical settlement and building.

Common approach was mainly based on

designing a village museum trying to integrate
local values and traditional living culture with
the emerging new social, economic needs of
villagers.
 02
Construction And
Design Manual
Museum Buildings
 CONTENT

02 04
Building Services
Context
01 03 Engineering

The History and Theory of

Design parameters
the Museum Building
 Main Objective:
The manual guide "Museum Buildings" targets both
designers and users. The aim of the publication is to facilitate
communication in the planning process of a museum,
whether this is during the conceptual stage, the competition,
or the design and construction phase
 01.
History and theory
 The History and Theory of the Museum Building
Treasure Chambers , Showcases and Show - stopping Temples are a
Thing of the Past - Museums will be the Workshops of the Future

Hans walfgang Hoffmann

 In 1492, Leonardo di ser Piero, better known as da Vinci,
was given a little extra time to build a statue for Duke Sforza,
despite the material that he was supposed to use missing.

A pulley system cannot solve this problem, not even those

designed by him. In order to provide a compromise,
something else is needed. This could be achieved by having
wheels with interlocking teeth.

The first automatic transmission in the world has already

been tested in sketch form.

Fallbrook Technologies presented the very first fully

automatic switching gear at the International Conference on
Renewable Energy in Anaheim, California. The company's
concept is a simple and solid design that can be used in wind
generators and bicycles.
This changes the definition of museums .During that
time, cultural assets were also used to justify the
supremacy of the home country. They were also
acquired from other nations that are now
considered civilized.

The scope of work of museums has broadened

significantly. They are now detached buildings that
can be built anywhere. Cities have also become
magnets for museums.
The Schinkel Museum in Berlin was one
of the first autonomous museum
buildings on the Spree Island in Berlin.
Here, the outside stair- case continues
through to the uppermost floor.
However, true innovation occurs in the
interior where the question then arises
of the room sequences.
 The French revolutionary architecture which is
based upon path grids is particularly radial. This
form of connectivity is extremely "democratic" and Orthogonal path grid: design
for a museum Architect: Jean-
a distant dream at that time. Consequently, that Nicolas-Louls Durand (1803)
which is designed by Étienne-Louis Boullée or
Jean Nicolas-Louis Durand between 1783 and
1803 is not implemented.

Democratic access: design

for a museum Architect:
Etlenne-Louis Boullée (1783
 In the absence of exits, signs of fatigue
are inevitable- not only among the public.
The educational value remains modest -
as long as only one work is lined up next
to another, the museum undersells itself.
Key to this are the spatial relations which
the museum sets up among its exhibits.
Circult In Its pure form: Naples Natlonal Archaeological
Museum Architect: Pompeo Scniantarel (1790)
 There are many examples of art museums that put the
exhibition system before even the interiors and façades, and
in an exemplary manner. The Swiss National Museum, which
Gustav Gull built in Zürich in 1898, and Ludwig Hoffman's
Märkisches Museum in Berlin are two examples.
Museums of the 19th and 20th centuries were designed in a
series of cul-de-sacs, or hierarchies, which reflect one-to-one
the class-based society of the nine-teenth century. However,
the fact that these are ultimately dead-ends only becomes
apparent at a later point in time. System of cul-de-sacs: Swiss Natlonal
Museum In Zürlch Architect Gustav
Gull (1898)
 02.
Context
Once the museum is roughly outlined, the
project must meet a series of practical
challenges. The first obligation is to catch
the attention of the observer - an
appropriate tool may be to form a contrast
with the neighborhood. Particular Treasure trove Urban context

sensitivity in territorial museums may be

required since the place itself is a central
exhibit.

Museums are suitable for almost any

construction site. Any attempt to create Open-air museum Industrial plant
ostentatious architecture would be
counterproductive. The organization of
public access in turn means that the location
of the museum must be reconciled with its
visitor profile. Tourists are almost always
the most important group.
Museum within a park Amusement park
 03.
Design Parameters
 1.Space Allocation plans

• The design addresses the core of the building once the

formalities are cleared. The space allocation plan, which
is inherent in every tender procedure, serves as the basis
for the planning work. The bulk of the demands placed
on museums provides a less sophisticated reading than
those of other architectural tasks. Room for maneuvers
is almost always created in every other aspect. Since the Horizontally divided spatially divided
portion of remaining spaces has increased nearly
twenty-fold in the past 150 years, stinginess here is
uncalled for.

• In the construction of museums, the distinction between

public and internal, or between non-public has become
established. In a classic scenario, the two categories
stand for themselves and can be accessed separately. Vertically divided Mixed-use

The long lists must be roughly divided up in order to

translate the space allocation plan into the structure of
the building. Public area Areas not open to the public
Lobby, exhibition rooms etc. Administration ,library ,workshop etc.
 1.Space Allocation plans

• Interior components are the initial candidates for Horizontally divided spatially divided
complete outsourcing. In addition to the clear division
within the building, the option of a mixed-use space
allocation plan also presents itself. This is especially
recommended if the museum is already very large and
its demand for space is designed for growth.

Vertically divided Mixed-use

Public area Areas not open to the public

Lobby, exhibition rooms etc. Administration ,library ,workshop etc.
 2.Access

Inner spiral
Solomon R. Guggenhelm Museum In New York Architect: Frank Lloyd Wright (1959)

Solomon R. Guggenhelm Museum, New York

Each floor has its own lifts to lead to the uppermost floor
which is devoted to the exhibition space. It is impossible to
leave the exhibition without at least indirectly- strolling past
each individual exhibit.
 2.Access

Centre Pompldou in Parls Architects: Renzo Plano, Richard Rogers (1977) External vertical access

Centre Pompidou, Paris

Every vertical access is in the building envelope. Its
Plexiglas tube extends across the full broadside of the
façade. All floors have an open floor plan with variable
walls. The stairwells are one-way and only lead out from
the exhibition areas.
 2.Access

Glsss pyramid of the Musée du Louvre In Paris Architect: 1, M. Pel (1989) Central entrance building

Musée du Louvre, Paris

M.Pei's souterrain extends across all the Louvre's
courtyards, creating a highly efficient access area. It also
turned the most visited museum worldwide into the largest,
based on area, for the first time in the world.
 2.Access

Jewish Museum In Bertin Architect: Danie Lisesicind(1929)

Access via neighboring buildings

Jewish Museum, Berlin

The Jewish Museum focuses on cultural heritage equally
as much as on its loss. The access area and entrance are
in the existing palace. A cellar passage connects it with
the new wing. One branching point ends up in a tower
which is a dead-end, a second in a hermetic garden.
 04.
Building Services
Engineering's
 Security Staff entrance and exit
Protection of exhibit

General access

Membrane

The collapse of the air-conditioning system may

bring about the worst-case scenario. But
how do museums arm themselves against
the multiple dangers to which they are
constantly exposed?

Safety zones

Safeguarding the collection is the oldest challenge

of all for museums. Architects must also
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 Security Driveway

Chimney

Skylights

Air channels

Ground floor windows

Sewerage

Outer Ramparts Side not open to the public

Skylights, chimneys, windowsills, fire ladders,

emergency access routes, manholes, air-
conditioning ducts, the sewerage system
and suchlike. This is not an argument for
windowless façades! However, no rampart
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 Security

Exhibition Supervision

No one can intervene on site more rapidly than

the supervisor. Architects can assist in the
exhibition sector by dispensing with the
need for walls or at least positioning them in
such a way that there are no blind spots.
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 Security

Protection of Items

The days when objects are cordoned off are over.

In order to maintain distance between
(hidden) showpieces, alarm systems are the
prime choice nowadays. Valuable goods in
particular require safety glasS casing. There
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 03
The Architecture and
Concept of Cultural
Spaces and Memory
Architecture ,Space, Place, and Memory
 INTRODUCTION
Show the relationship between architecture and memory is
discussed in this presentation and how architecture elicits memories
from the past and present.

How we use our memories to respond to questions by putting

ourselves in the shoes of the person who asked them. According to
Youssef Abdelhamid, the mind reconstructs memories under the
influence of society.
 MAIN POINTS ON THE THEORY

02 THE DESIRE OF
CHANGE
01 SENSATION AND
03 PERCEPTION
REFLECTION
 MAIN POINTS ON THE THEORY

05 ARCHITICTURAL
DESIGN
06 Applicability of
04 MENTAL IMAGERY
theory
 01.
Sensation And Reflection
SENSATION AND
REFLECTION
 Our ideas are formed by processes of induction.
They can be learned, experienced, or simply
made.

 Everything in the world can be gained by

experience as it is received by our senses.

 Addison states that the sense of Seeing is the

best of the senses, and there are two kinds of
pleasures that we can enjoy, both of which are
provided by the objects we see.

 These kinds of thinking make us more

imaginative.
 02.
The Desire Of Change
THE DESIRE OF CHANGE
 Architecture before architects dealt with
architecture as a symbol of a way of life instead
of a historian’s technique of building.

 People find it fascinating to devote their

attention to the lives in those ancient
architecture duo to the Stone Age relics.

 There are limits to the desirability of change.

Novelty causes a progressive improvement in
taste if it is confined to generalized imitation.

 When Modern architects abandoned ornament

on buildings, they designed building that were
ornament in themselves
 03.
Perception
PERCEPTION
Perception is then the direct
exploration of what is out
there for the purpose to it fit
the requirements of the
beholder

The characteristics of
perception not only help
wisdom, but they also
restrict it at the level of
conscious perception than in
sensation
 04.
Mental Imagery
 MENTAL IMAGERY

Aristotle explaining why Mental images such as When no objects are

we need memory, pointed human figures or present, they are replaced
out that «without a landscapes are evoked by by some imagery which is
presentation intellectual abstract concepts as the prime mover of
activity is impossible.» modesty or gravity. constructive imagination.
Thinking deals with
perceived objects
 05.
Architectural Design
 ARCHITICTURAL DESIGN

A great deal of visual The architect is the expert Each building reflects the
thinking must be done to on how one does organize architect’s interpretation
grasp the essential traits, a visual pattern. He is and invention, and the
to give a sense of well- accustomed to visualizing understanding of the
being by presenting a complexity and to forces that shapes its
human needs, conceiving of phenomena existence because in
and problems in visual architecture the image is
terms. the statement.
 06.
Applicable Of Theory
APPLICABILTY OF THEORY:
 Architect Daniel Libeskind presents
us the operation of the memories
through architecture of the Jewish
Museum in Berlin

 The spaces in the museum are an

important point because they tell
more accurate stories to visitors
where these fractures represent the
broken history of the Jews
Applicability of theory
Access:

 The last access of the museum is the

centerpiece of continuity, where this museum is
provided to the visitors and helps them escape
the hoped-for escape

 This is happened as a result of their

dissatisfaction in the place, just as it happened
with some Jews migrating from Berlin as a
result of the pressure
Applicability of theory
Voids:

 There is a void whose floor covers 10,000 faces

made of coarse iron as a symbol of those who
were lost during the Holocaust.

 When looking at these amazing faces in their

number, a person can sense their suffering and
the persecution they experienced.

 In addition, disturbing sound that comes when

people walk on them illustrates some of the
horror and suffering that was at that time.
Applicability of theory
Interior spaces :

 They are made of reinforced concrete, and they

only penetrate a small part of the light,

 This is referred as a symbolic point for museum

visitors to experience what the Jewish people
went through during the war

 when people see the narrow light openings,

they will feel what the Jews were feeling when
they passed their hardest moments, and then
the sparkle of hope came to them
CONCLUSION
Even though the picture of the past changes all
the time, memory ensures cultural continuity.
When a society is on the verge of extinction, it
looks for precedents from the past that mirror
the current situation. History, on the other hand,
is made up of both continuity and change.

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