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THE STORY BAHRAIN DESIGN VALLEY SCHOOL OF DESIGN AND ARCHITECTURE Fay Al Khalifa 20053101 University of Bahrain Department of civil engineering and architecture

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Page 1: Bahrain Design Valley: Fostering creativity and innovation

THE STORY BAHRAIN DESIGN VALLEY SCHOOL OF DESIGN AND ARCHITECTURE

Fay Al Khalifa

20053101

University of Bahrain Department of civil engineering and architecture

Page 2: Bahrain Design Valley: Fostering creativity and innovation

School of DESIGN And

University of bahrain Department of civil engineering and architecture Bahrain design valley Fay Al Khalifa 20053101 Supervisor : Dr. Ranjith Dayaratne

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I

Acknowledgements …

By penning down my gratefulness in words, I thank firstly the almighty Allah for the blessing showered on me and making everything possible. My thanks goes to Dr. Ranjith Dayaratne for being extremely supportive and encouraging in all matters. Thank you for being a wonderful supervisor, for motivating me and for having confidence in me. Thank you for your unlimited support at all times. Deep appreciation and acknowledgment to all of my instructors who helped me develop my skills and upgrade my knowledge in this field during the five years of studying architecture. I have a piece of everyone of you in me, you helped me shape my believes and values and I shall be always grateful for that. My gratefulness extends to my family whom without their support and encouragement I would not have been the person I am, thank you for the gift of life, thank you for believing in me and for directing me to be a better person everyday. I wouldn’t have succeed one day if it wasn’t for the constant encouragement and motivation I get from you. Patch of 2005, it has been an honor knowing you all. I enjoyed every single moment with you, thank you for the wonderful memories I shall never forget and for the moments scared in my heart forever. Last but not least, to all of my friends. Thank you for your patience, love and continuous support. Thank you for always having my back and for constantly being there when I needed you. Your friendship is the most valuable thing I have earned during those years.

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Just as everyone has begun to understand the demands of the Information Age, several authors propose another paradigm shift, identified by Pink (2005), as the Conceptual Age. This research engages with the trends that encompass this shift and attempt to reflect those trends in an architectonic matter. This research tackles some of the necessary knowledge, attitudes, and skills that are important to success in this new age but mostly it undertakes the issue of creativity. And discusses how it is becoming increasingly important to provide spaces to foster creativity. fostering creativity is a crucial matter that should be addressed more seriously especially in the education field. The vision for this project is to encourage and speed up the new movement in educational architecture, a movement that produces architecture to serve as a fundamental component in the process of fostering creativity in students. This research is divided into eight chapters discuss the following: Chapter one: introduction an argument of what is the project ? Why do we need it and to whom it is being aimed at will be presented. Chapter two: design concerns introduce the issue of creativity , its importance and implementation in the educational process it also discuss how fostering creativity is fundamental in the design of the new school of architecture and design. Chapter three: case studies Analysis of three case studies chosen to study different spatial solutions and their impact on students. Chapter four: program development the development of the components and the functional program Chapter five: functional relationships A study of the functional relationships using connection diagrams. Chapter six: the story of the site Explains the criteria used in selecting the appropriate location for the project and an assessment of some appropriate sites followed by an analysis of the selected site. Chapter seven: technical requirements A study of some technical issues relating to the project Chapter eight: preliminary design concept A conception of how the project is going to be designed with guidelines to help in the design process.

ABSTRACT …

II

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ملخص البحث

II

. تعهد مسألة اإلبداعا تتناول هذا البحث بعض المعارف الضرورة والمواقف والمهارات الت تعتبر مهمة لتحقق النجاح ف هذا العصر الجدد ولكن ف الغالب أنه

.وناقش كف أنها أصبحت ذات أهمة متزادة لتوفر مساحات لتشجع اإلبداع

الرؤة لهذا المشروع هو تشجع وتسرع حركة جددة ف . تشجع اإلبداع هو مسألة جوهرة نبغ اعتناقها بمزد من الجدة وخاصة ف مجال التعلم

.الهكل التعلم ، وه الحركة الت تنتج العمارة لتكون بمثابة عنصر أساس ف عملة لتعزز اإلبداع لدى الطالب

:هذا البحث ينقسم إلى ثمانية فصول مناقشة المسائل التالية

مقدمة: الفصل األول

.حجة ما هو المشروع؟ لماذا نحن ف حاجة إلها وإلى أنه هو الذي هدف إلى ستعرض

مخاوف التصميم: لفصل الثاني ا

عرض مسألة اإلبداع ، وأهمته وتنفذها ف العملة التعلمة وأضا مناقشة كفة تعزز اإلبداع أمر

.جوهري ف تصمم المدرسة الجددة للهندسة المعمارة والتصمم

دراسات حالة: الفصل الثالث

.تحلل ثالث دراسات حالة اختاره لدراسة مختلف الحلول المكانة وتأثرها على الطالب

برنامج التنمية: الفصل الرابع

تطور مكونات البرنامج وظفة

العالقات الوظيفية: الفصل الخامس

.دراسة العالقات الوظفة باستخدام المخططات الصدد

القصة من موقع: الفصل السادس

تشرح المعار المستخدمة ف اختار الموقع المناسب للمشروع وتقم بعض المواقع المناسبة تال ذلك

.تحلل للموقع المحدد

المتطلبات التقنية: الفصل السابع

دراسة لبعض القضاا الفنة المتعلقة بالمشروع

مفهوم التصميم األولية: الفصل الثامن .تصور لكفة المشروع ستكون مصممة مع المبادئ التوجهة للمساعدة ف عملة التصمم

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acknowledgement I

Abstract II

Table of contents IV

Chapter one: introduction 1.1 identifying the problem 1.2 the need for this project 1.3 users and clients profile

1 2-3 4-7 8-9

Chapter two: design concerns 2.1 creativity: history and definition 2.2 fostering creativity 2.2.1 fostering creativity – effective influence- 2.2.2 fostering creativity – different propositions- 2.3 teaching and learning creativity

10 11-12 13 14-15 16 17-18

Chapter three: case studies 3.1 Carnegie Mellon university 3.2 university of Cincinnati – Aronoff center 3.3 The Zollverein School of design 3.4 conclusion of case studies

19 20-22 23-25 26-28 29

Chapter four: program development 4.1 program development 4.2 main components 4.3 details of components 4.4 components detailed areas 4.5 total build up area 4.6 total area of the project

30 31-32 33 34-37 38-44 45 46

IV

TABLE OF CONTENTS :

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Chapter five: functional relationships 5.1 main components relationship 5.2 sub components relationships

47 48 49-52

Chapter six: the story of a site 6. Site selection 6.1 site selection criteria 6.2 first proposed site 6.3 second proposed site 6.4 third proposed site 6.5 site selection 6.6 selected site analysis

53 54 55 56 57 58 59 60-62

Chapter seven: technical requirements 7.1 foundations 7.2 structure 7.3 acoustics 7.4 air conditioning 7.5 lighting

63 64 65 65 66-67 68

Chapter eight: preliminary design concepts 8.1 design concepts 8.2 design concepts preliminary sketches

69 70 71

List of References 72

IV

TABLE OF CONTENTS :

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Chapter one : introduction “We shape our buildings and thereafter they shape us”

Winston Churchill (1874 – 1965)

1

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1.1 IDENTIFYING THE PROBLEM – WHAT IS THE DESIGN PROBLEM ?

Solving the problem is an impossible task if the problem hasn’t been clearly defined. In the case of school of architecture and design, the problem of fostering those creative minds studying and teaching them remains the dilemma. In this chapter an argument of what is the project ? Why do we need it and to whom it is being aimed at will be presented.

Around the world most schools of design art and architecture often occupy buildings in campuses that have not been designed with the needs of the students in mind, design and architecture, being creative fields Need to be studied in environments that evoke creativity.

The design problem

why do we need to facilitate spaces that foster creativity ? Theories of 20th century proves that we are entering a new age where creativity is becoming increasingly important Therefore it has to be implemented in our schools and universities and students should be encouraged to study more creative fields.

1.Introduction 2. Design issues 3.Case studies 4. Program

development 5. Functional relationships

6.The site 7. Technical

requirements WHAT ?! WHY ?! WHO ?!

David Armano

Creative brain Especially in Bahrain there is a need for a project that would set an example of creative environments to promote qualitative life for students in campuses since we have a Lack for those projects not only in bahrain but in the region.

FIGURE 1

2

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right brainers will rule the future ?!

According to Daniel Pink : “in In this conceptual age, we will need to foster and encourage right-directed thinking (representing creativity and emotion) over left-directed thinking (representing logical, analytical thought).” In his book ‘A whole new mind’ Daniel Pink argues that we are entering a new age beyond the information age and as a result we need to teach the students of the 21st century to how be creative and use their right brain in order for them to progress in the coming decades.

THINK RIGHT !

Figure 2 : illustrates a mind map of Daniel’s Pink book showing the key components of the conceptual age and questioning the constants of the world. •Master of fine arts MFA is the new BMA ?! •IQ or EQ ?!

1.1 IDENTIFYING THE PROBLEM – WHAT IS THE DESIGN PROBLEM ?

1.Introduction 2. Design issues 3.Case studies 4. Program

development 5. Functional relationships

6.The site 7. Technical

requirements WHAT ?! WHY ?! WHO ?!

FIGURE 2

3

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1.2 THE NEED FOR THIS PROJECT – WHY do we need this project ?

1.Introduction 2. Design issues 3.Case studies 4. Program

development 5. Functional relationships

6.The site 7. Technical

requirements WHAT ?! WHY ?! WHO ?!

The vision

The goal is what we want to be, and the objectives are the steps we need to get there

Goals

• To upgrade the level of higher education in Bahrain. Especially in the fields of design and architecture .

• To foster creativity and encourage the process of thinking and designing.

• To increase the bonds between students and their places of learning.

• To explore new ways of teaching and learning using space and architecture.

• to explore the strong crucial connection between innovation and creativity.

To encourage and hasten the new movement in educational architecture, a movement that produces

architecture to serve as a fundamental component in the process of fostering creativity in students.

4

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1.Introduction 2. Design issues 3.Case studies 4. Program

development 5. Functional relationships

6.The site 7. Technical

requirements WHAT ?! WHY ?! WHO ?!

objectives

Architectural Educational

To facilitate a new school for design, art, architecture and

planning to help in the increasing demand on those fields.

to encourage more people to

study those creative conceptual based fields.

to enlighten the public about

the importance of those conceptual fields.

To challenge the ordinary conception of studio’s and

classes.

To link the various disciplines of creativity “art, design,

architecture and planning “.

To create flexible campus that is adaptable to change ,new trends

in education and to new movements in in design , art ,

architecture and planning .

1.2 THE NEED FOR THIS PROJECT – WHY do we need this project ?

5

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1.Introduction 2. Design issues 3.Case studies 4. Program

development 5. Functional relationships

6.The site 7. Technical

requirements WHAT ?! WHY ?! WHO ?!

Environmental Social

To create an environment that would help increase

environmental sensitivity in its users.

to highlight on the importance of sustainability in the designed

spaces.

To appreciate local environmental qualities and to

deal with environmental constrains in the design.

To facilitate spaces for social interaction under the umbrella

of creative arts.

to increase the social bond between users of the space by

providing social hubs.

to explore new means of social interaction by the use of fields of

study.

objectives

1.2 THE NEED FOR THIS PROJECT – WHY do we need this project ?

6

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1.Introduction 2. Design issues 3.Case studies 4. Program

development 5. Functional relationships

6.The site 7. Technical

requirements WHAT ?! WHY ?! WHO ?!

Kingdom university KU aka. [ the corridor university ]

In Bahrain, there are very few universities that provide architecture and design programs but are not built to accommodate those fields which impacts poorly on the students educational creative process .

Figure 3 shows the KU university from the inside . It consist of a corridor with classrooms and studios from both sides. It is clear that the university does not form a creativity stimulating atmosphere. The class rooms are plain, unexciting, regular and very systematic . Which is against the concepts of creativity.

Figure 4 shows the new architecture school building in the new campus for KU. The building is an artificial representation of the traditional architecture of the region and does not reflect any means of encouraging students to explore and be creative.

Figure 5 shows a regular studio in the university of Bahrain , the classrooms are very ordinary and prototype.

Figure 6,7 shows how the students are trying to change their studios and gardens into more creative spaces reflecting their personalities – rejecting the ordinary -

The new campus for KU

FIGURE 3

FIGURE 4 FIGURE 5 FIGURE 6 FIGURE 7

Architecture school

1.2 THE NEED FOR THIS PROJECT – WHY do we need this project ?

7

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1.3 USERS AND CLIENTS PROFILE – WHO IS THIS PROJECT GOING TO SERVE ?

1.3.1 Clients • Ministry of education – higher education directorate- • Privet investor “ foreign university “. • Privet investor who are aware of the current need of such a project.

1.3.2 USERS • Students of architecture and design. • Teachers doctors and professors. • University staff ( administrators and workers ). • Public who are interested in art , design or architecture.

• Visual use of passers by’s .

1.3.3 UNDERSTANDING THE USERS : what students of architecture and design need ?

Students of architecture and design are the students most attached to their campuses. Therefore designing a campus that suites their needs is a very crucial matter and needs to be done with care. The first step towards designing a successful piece of architecture is to understand its users.

In those intense days architecture and design students spend around the campus, there are things they need that makes them different than any other students :

• spaces to spend long hours of work • Lots of coffee • Individual and grouped large spaces • Favorite music • Large display boards and screens

• Flexible spaces. • Up to date technological support. • Up to date references and data .

1.Introduction 2. Design issues 3.Case studies 4. Program

development 5. Functional relationships

6.The site 7. Technical

requirements WHAT ?! WHY ?! WHO ?!

8

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1.Introduction 2. Design issues 3.Case studies 4. Program

development 5. Functional relationships

6.The site 7. Technical

requirements WHAT ?! WHY ?! WHO ?!

different students typologies and their study patterns

different ways of how people learn

the process of learning

the rates of different learning activities

FIGURE 8

FIGURE 9

FIGURE 10

FIGURE 11

1.3 USERS AND CLIENTS PROFILE – WHO IS THIS PROJECT GOING TO SERVE ?

9

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Chapter two : design concerns

Your own knowledge of how you learn is more important than

someone else’s theory of how you learn. unknown

10

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1.Introduction 2. Design issues 3.Case studies 4. Program

development 5. Functional relationships

6.The site 7. Technical

requirements

2.1 CREATIVITY : HISTORY AND DEFINITION

The ways in which societies have perceived the concept of creativity have changed throughout history, as has the term itself. The ancient Greek concept of art (in Greek, "techne"—the root of "technique" and "technology"), with the exception of poetry, involved not freedom of action but subjection to rules. In Rome, this Greek concept was partly shaken, and visual artists were viewed as sharing, with poets, imagination and inspiration. Although neither the Greeks nor the Romans had a word that directly corresponded to the word "creativity," their art, architecture, music, inventions and discoveries provide numerous examples of what today would be described as creative works. The Greek scientist of Syracuse, Archimedes experienced the creative moment in his Eureka experience, finding the answer to a problem he had been wrestling with for a long time. At the time, the concept of "genius" probably came closest to describing the creative talents that brought forth such works.

A fundamental change came in the Christian period: "creatio" came to designate God's act of "creation from nothing". "Creatio" thus took on a different meaning than "facere" ("to make") and ceased to apply to human functions. The ancient view that art is not a domain of creativity persisted in this period.

A shift occurred in modern times. Renaissance men had a sense of their own independence, freedom and creativity, and sought to give voice to this sense. The first to actually apply the word "creativity" was the Polish poet Maciej Kazimierz Sarbiewski, who applied it exclusively to poetry. For over a century and a half, the idea of human creativity met with resistance, due to the fact that the term "creation" was reserved for creation "from nothing." Baltasar Gracián (1601–58) would only venture to write: "Art is the completion of nature, as if it were a second Creator..."

Creativity : its history

Theory 1 : Creativity is a mental and social process involving the generation of new ideas or concepts, or new associations of the creative mind between existing ideas or concepts.

To create something new Theory 2 : Creativity involves first imagining something (to cause to come into existence) and then doing something with this imagination (creating something that is new and useful to you).

To create and apply something new

Creativity : its definition

This chapter will introduce the issue of creativity , its importance and implementation in the educational process it will also discuss how fostering creativity is fundamental in the design of the new school of architecture and design.

There are several theories about the definition of creativity, the most popular among them are the following:

11

8. Design concept

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Creativity or Innovation : to be creative or to be innovative ?

Creativity is typically used to refer to the act of producing new ideas, approaches or actions.

Innovation is the process of both generating and applying such creative ideas in some specific context.

Creativity is difficult to define and is often not articulated as learning objective in the academic curriculum. In contrast companies train their graduate employees in creative ways of thinking in order to sustain innovation and remain competitive. This dilemma shows the importance of articulating creativity in the education process of students by setting it as a leaning objective and by creating spaces that provoke and foster creativity.

Creativity VS Innovation: THE CONFLICT OF CREATIVITY IN EDUCATION

AND INNOVATION IN THE REAL PRACTICE.

1.Introduction 2. Design issues 3.Case studies 4. Program

development 5. Functional relationships

6.The site 7. Technical

requirements

While some theories differ in the definition of creativity itself other theories differentiate between creativity and innovation. according to this the difference between the first and second definitions of creativity is that one if them goes beyond creativity to the boarders of innovation.

2.1 CREATIVITY : HISTORY AND DEFINITION

12

8. Design concept

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2.2 FOSTERING CREATIVITY

1.Introduction 2. Design issues 3.Case studies 4. Program

development 5. Functional relationships

6.The site 7. Technical

requirements

To foster creativity

Develop

self

confidence

Facilitate

being

comfortabl

e in

messy/comp

lex

situations

Work with

complexity

Encourage

risk taking

The world is rapidly changing and schools need to be leading the way into the future rather than constantly reacting in a limited way to the ever-increasing complex demands made by students, parents, business and industry leaders, community organizations, and other stakeholders. We live in unprecedented times that demand extraordinary action.

The demands of the Conceptual Age, incorporating, amplifying, and adding to those of the Information Age, require a decentralized approach to educational reform that balances creativity with a need for accountability.

the twelve creativity techniques that have been developed by both academia and industry:

1. Establishing purpose and intention 2. Building basic skills 3. Encouraging acquisitions of domain-specific knowledge 4. Stimulating and rewarding curiosity and exploration 5. Building motivation, especially internal motivation 6. Encouraging confidence and a willingness to take risks 7. Focusing on mastery and self-competition 8. Promoting supportable beliefs about creativity 9. Providing opportunities for choice and discovery 10. Developing self-management (metacognitive skills) 11. Teaching techniques and strategies for facilitating creative performance 12. Providing balance

FIGURE 12

13

8. Design concept

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2.2.1 FOSTERING CREATIVITY- AFFECTIVE INFLUENCE -

Affective disorders

and depression

Negative effects

creativity

Positivity

Additional

cognitive

materials

Defocused

attention

Complex

cognitive

context

Cognitive

flexibility Creativity

Some theories suggest that creativity may be particularly susceptible to affective influence. Some argue that creativity is caused by negative effects while others state that it is caused by positive effects. Theorists have suggested that negative affects lead to greater creativity. A cornerstone of this perspective is empirical evidence of a relationship between affective illness and creativity. A study found a slight but significant correlation between depression and level of creative achievement. In addition, several systematic studies of highly creative individuals and their relatives have uncovered a higher incidence of affective disorders (primarily bipolar illness and depression) than that found in the general population. On other hand, according to other theorists positive emotions such as joy and love broaden a person’s available repertoire of cognitions and actions, thus enhancing creativity.

1.Introduction 2. Design issues 3.Case studies 4. Program

development 5. Functional relationships

6.The site 7. Technical

requirements

FIGURE 13 Diagram illustrating the positive effect on creativity

Creativity and effective influence

Diagram illustrating the negative effect and creativity FIGURE 14

FIGURE 15

14

8. Design concept

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negativity

Personal arts

(art, sculpture,

poetry, music)

Intensity of

focused feelings

positivity

Social arts

(architecture,

design, planning )

Defragmentation ,

defocused attention

and complexity

creativity

In my interpretation to the theories studied, I have come to summaries them into one conclusion; creativity can accrue at a certain threshold whether the stimulator is a negative effect or a positive effect. it is more likely for creativity to accrue under negative effects in the fields of personal art such as art, sculpture, poetry or music since all of those personal arts require intensity of focused feelings. creativity is more likely to accrue under positive situations when it comes to social arts such as architecture, design or planning when the creative mind is dealing with a complexity of defragmentation's and defocus attention to be able to see the big picture and apply different solutions into different contexts.

Applying this conclusion to designing school of architecture and design I have come to understand that the campus atmosphere should provide positive effects for the students to help their creativity level thrive. Throughout the play with space quality, color, design and level of comfort Were all the senses of the student interact with the buildings and what is between those buildings.

1.Introduction 2. Design issues 3.Case studies 4. Program

development 5. Functional relationships

6.The site 7. Technical

requirements

FIGURE 16

Diagram illustrating the conclusion derived from the various theories of the different effects and creativity

2.2.1 FOSTERING CREATIVITY- AFFECTIVE INFLUENCE -

15

8. Design concept

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Some theorists suggest that creativity may be susceptible to affective influence. Others believe that there are different ways of thinking that could lead into a creative act. One is the convergent thinking that is based on logic and reason and the other is the divergent thinking that is based more on openness and imagination . Both convergent and divergent thinking could lead to creative results. However depending on the field were this creative result is supposed to happen the ratio between them differs. In the fields of design and architecture both convergent and divergent thinking are required to be creative as the imagination of those architects or designers must be supplemented with logic and reason most of the time. But when it comes to educational process, divergent thinking should be enforced into the students to maximize the capability of imagining, feeling and preserving things from different angels.

1.Introduction 2. Design issues 3.Case studies 4. Program

development 5. Functional relationships

6.The site 7. Technical

requirements

2.2.2 FOSTERING CREATIVITY- different propositions -

FIGURE 17

16

8. Design concept

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2.3 TEACHING AND LEARNING CREATIVITY

TYPICAL STAGES IN THE

CREATIVE PROCESS

Evaluation

Implementation

Evaluation

Incubation

Generation

PREPARATION

from no specific knowledge to general comprehension of what

needs to be known

using a variety of techniques and tools to support the

generation of ideas. ( brain storming )

creating the conditions that encourage solutions and

responses to emerge

Reviewing analysing clustering and setting criteria for

evaluating proposed ideas.

Moving from creative thinking into the domain of innovation

where ideas are turned into products, processes or

performance.

Examining the whole process, and knowing that what has

been done is important personal knowledge for doing it

again in a different context

1.Introduction 2. Design issues 3.Case studies 4. Program

development 5. Functional relationships

6.The site 7. Technical

requirements

FIGURE 18

This diagram explains the different stages of creative process according to academics. Those stages will be reflected at a later stage to the components of the project.

17

8. Design concept

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1.Introduction 2. Design issues 3.Case studies 4. Program

development 5. Functional relationships

6.The site 7. Technical

requirements

Because of the high state of mind creativity acquires, an archetypal space has been created by artists around the world long time ago with the most potentials to foster creativity in individuals. According to figure 18 the studio acts as the central hub in the creative process.

This space has been called [[the studio ]] ever since ….

A studio is an artist's or worker's workroom, or an artist and his or her employees who work within that studio.

The studio is the heat of many arts and crafts such as:

Architecture Painting Pottery (ceramics) Sculpture The making of music

Characteristics of studio :

Collaborative and cooperative learning Instructors as resources Personal intellectual development Dynamic and integrated learning environment Working in groups to learn Student centered Learning by doing Few lectures

2.3 TEACHING AND LEARNING CREATIVITY

18

8. Design concept

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Chapter three : case studies

Music needs to be performed. Architecture needs to be

executed.

Peter Zumthor

19

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3.1 Carnegie Mellon university

1.Introduction 2. Design issues 3.Case studies 4. Program

development 5. Functional relationships

6.The site 7. Technical

requirements

Carnegie Mellon university Doha- Qatar Education city Qatar foundation

By Legoretta + Legoretta Architects ( 2004 )

What is it ?! In Education City, Qatar Foundation has created an environment where students are able to learn and grow both inside and outside of the classroom, reaching their fullest potential . Qatar Foundation’s investment in state-of-the-art buildings shows its commitment to the future development and sustainability of Qatar and the Gulf Region. Located on the western edge of Doha, Education City is a campus that spreads over 1,000 hectares or 2,500 acres. The campus houses the majority of Qatar Foundation's member institutions in a set of futuristic buildings designed by some of the world's most renowned architects. Carnegie Mellon university is one of Qatar foundation institutions that has been invited by the foundation in 2004 The philosophy of the Carnegie Mellon building is connected to the social experience of the university. Carnegie Mellon wanted to be the heart of Education City,” says building architect Ricardo Legorreta. “Having two sides of the building with a green spine in the middle was the basis of the design. Similar to buildings in other cultures, this design creates space for people to pass through and circulate.” Components : In addition to the large common spaces, Carnegie Mellon Qatar’s new building features 11 state-of-the-art classrooms, 5 computer classrooms, 5 labs, 5 lecture halls, a library, 12 meeting rooms, four study rooms, two prayer rooms, 149 offices/workstations and two lounges.

20

8. Design concept

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1.Introduction 2. Design issues 3.Case studies 4. Program

development 5. Functional relationships

6.The site 7. Technical

requirements

An aerial view of the building shows something of an unusual footprint with a half circle on one side and a rectangle on the other, but the abnormal design was purposeful. By straddling the East-West Walkway, the building creates a spacious breezeway that welcomes everyone from Education City. Palm trees and water features line the outdoor path that leads into the three-story, glass ceiling walkway. Trees continue into the building, creating a space alive with greenery and flooded with natural light. Walls are made of geometric mosaics of wood and stained glass, while bridges across the walkway join the two sides of the building. The walkway opens up on the south side the into the food court. With comfortable seating, natural light and a food servery, it’s always packed with students studying, eating, hanging out or sleeping.

Beyond the food court is a large assembly area that can hold in excess of 400 people. Carnegie Mellon is the only building in Education City designed with a space that can accommodate such a large number of people for an event. The assembly area features colorful tiered Majlis-style seating, a water feature and a plinth with etched quotes from Andrew Carnegie and The Emir of Qatar. The north side of the building is home to the tranquil VIP courtyard. Open to two floors of offices and classrooms, the focal point of the space is a large water feature designed for easy drainage so the space can be used for events. The open ceiling, blue walls and rippling water reflect light during the day and cast inspiring shadows as night falls. In addition to the large common spaces, Carnegie Mellon Qatar’s new building features 11 state-of-the-art classrooms, 5 computer classrooms, 5 labs, 5 lecture halls, a library, 12 meeting rooms, four study rooms, two prayer rooms, 149 offices/workstations and two lounges.

Why is it relevant ?! “From the very beginning, the plan has centered on the idea of making a place for learning and development of the highest order; a place for teaching and research; and a community of teachers and students. The building has been designed to meet the requirements of new learning spaces with the aim of stimulating creativity.

Levels of interaction

shade

Working with the

local environment

Solid and

void

The assembly

area … an

interior

landscape ?!

Sense of

outdoors

3.1 Carnegie Mellon university

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6.The site 7. Technical

requirements

What can be learnt?! Known for the ability to conceive of spaces that suit needs, appetites and emotions, Legorreta and Legorreta combines pure and timeless forms that instill clarity into complicated projects. Using light, water and dramatic colors, spaces are designed to intensify the personal experience of the people in the buildings. Even in large complexes like the Chiron Laboratories or the Egade Graduate School, privacy and simplicity is preserved. The application of color is a most important priority, especially in projects set in their native Mexico. All of these ingredients integrate architecture, landscaping and interior decoration into a single discipline that respects the place and the traditions. The application of colors, play with solids and voids, shade and shadow and different textures of building materials has made the space more interesting , more complex and more exciting . The existence of students around the campus when they have no lectures is a strong evidence to the success of the design that attracts them to the learning atmosphere even when they don’t have to be present.

Facts 6,400 metric tons of steel 11 cranes, 7 excavators 33 “tipper” trucks to haul soil and rock away 87, 173 cubic meters of excavated soil and rock 1,590 kilometers of data & electrical cables 38,283 cubic meters of concrete 25,000 square meters of duct work 9,050 lighting fixtures 734 interior doors 875 square meters of whiteboard 2,516 square meters of exterior glass 40,309 square meters of exterior/interior stone facade

3.1 Carnegie Mellon university

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requirements

College of DAAP- Aronoff Center- Ohio-united states By Peter Eisenman 1996

What is it ?! the Aronoff Center for Design and Art is a 164,000-square-foot addition, which opened in 1996 and linked together the previously existing Alms, DAAP and Wolfson buildings. Designed by renowned architect Peter Eisenman, the Aronoff Center has generated much national and international critical attention. The expanded facility has enabled all the programs of DAAP to be housed together under one roof.

Components : In addition to studios, workshops, laboratories, lecture and seminar rooms, the college has a number of specialized facilities which support its programs. Among these are: • DAAP College Library • DAAP Computer Graphics Center • The Center for Design Research Innovation • Rapid prototyping center

People often complain of the "disorienting" sensation of his tilted planes, to which Eisenman responds: “The body has to send messages to the brain saying ‘wait a minute, something that I need to adjust to, something that I need to understand is happening to me.”

The thin line between irritation

and motivation…

“ The vocabulary derives from the curves of the land forms and the chevron forms of the existing building” the dynamic relationship between these two forms organize the space between them.

an architecture capable of basing its form on the manifestations of life rather than on conventional geometric configurations.

The Aronoff Center not only reproduces the form of the adjacent building and multiplies its broken profile, but is a curvaceous structure contrasting with the linearity of its neighbor.

3.2 UNIVERSITY OF CINCINNATI

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3.2 UNIVERSITY OF CINCINNATI

Why is it relevant ?!

Eisenman’s "displacement" is particularly acute in the Aronoff center. Someone would have no organizational understanding of the building, and would be wandering around like a confused freshman, looking for any orienting or central area.

The College of Design, Architecture, Art, and Planning at the University of Cincinnati is charged with undergraduate and graduate education in the design, environmental and art disciplines. It is committed to: responsible change and development in those disciplines; excellence in teaching and learning, research and creative works; and sharing the benefits of these activities with the university, the allied professions and the general community. The college shares the universal concerns of higher education: the discovery, identification, preservation and dissemination of knowledge; the education of people in search of a rich and meaningful existence; and the creation, study, integration and interpretation of design and art. These concerns are implemented through works and studies which are academically rigorous, aesthetically superior, technically sound and socially responsible.

Movement and

inertia

Complexity provokes

creativity

The design of the arnoff center encourages divergent thinking with its level of complexity . Students find it questionable , exciting and different furthermore the passers by find it eye catching and interactive .

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requirements

What can be learnt?! Peter Eisenman’s design for the Aronoff Center was very complex and a huge undertaking. He had many initial design issues by having to build off of an existing building. He also created his own issues by having many concepts to his building, many of them involving structure. Having the new technology merge with the limitations of building construction was another problem. Dealing with all of these issues make certain aspects of the building and its structure a little under par. He could not stay true to all of his concepts at once, so the building has much compromise. It is also deteriorating at an alarming rate. At the same time, the Aronoff Building would not be nearly as unique and interesting if it had not been for all of the risks that Eisenman took on. We should be glad for what Eisenman strived to do, but learn from his mistakes in hopes that we can build form and function with perfection.

six R-Directed aptitudes to be most critical to success in today's conceptual age :

office

Class rooms

studio

Lecture halls

rooms

six R-Directed aptitudes to be most critical to success in today's conceptual age :

Growing

plans

3.2 UNIVERSITY OF CINCINNATI

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requirements

3.3 The Zollverein School of Design Under construction SANAA Kazuyo Sejima + Ryue Nishizawa The Zollverein School Essen, Germany

What is it ?! The Zollverein School of Management & Design will be the first new building on the historical coal-mining Zollverein site; declared a World Heritage Site by UNESCO in 2001.

“The design is like a burst of jazz in the middle of a classical composition.”

Glenn D. Lowry Director, MoMA

The design, a cuboid structural shell, picks up the basic functional and effective idea used by the original Zollverein architects Schupp and Kremmer. The oversized cube, which measures 35 meters by 35 meters and is 35 meters high, reflects the dimensions of the Zollverein mine. The seemingly coincidental organization of the openings, windows in three different sizes, create an unusual interaction with the surroundings and the interior.

The building has four floors with ceilings of varying height as well as a roof garden. The idea of stacking open floor plans was developed in compliance with the demands made by the various functions. A multi-level presentation hall, exhibition and foyer areas for public use, and a café, are located on the ground floor.

The Design Studios on the second floor will be a production level, home to the creative workplaces.

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3.3 The Zollverein School of Design

Why is it relevant ?!

Ground Floor Plan courtesy SANAA

Section courtesy SANAA

The Zollverein School of Management and Design is a Business School for the creative disciplines. It confronts, links and integrates corporate management and creativity - in teaching, research, further education and consultation. In this way, the further education institution founded in 2003 is establishing itself as a globally leading platform for creative economics.

The design process is the conceptual foundation on which the Zollverein School of Management and Design is built. It is a complex development process that starts with the initial thought in the concept phase, includes numerous ideas and sketches, and ends in the third dimension, takes shape, and becomes an experience: a design object for all the senses. This process is reflected in the new Zollverein School building. As the first new building on the grounds of the Zollverein World Heritage site, the Zollverein School provide ground-breaking impetus for the future transformation of the former industrial complex into a design location with international reach. The building also enhance the urban planning value of the surrounding districts in the northern part of Essen and the Ruhr.

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requirements

3.3 The Zollverein School of Design

What can be learnt?!

From the outside, there is no way of divining the building's interior layout. The Zollverein School of Management and Design is an outstanding construction that offers a high degree of flexibility and variability. Its openness invite different forms of communication and cooperation. The 4,000 sq. meters of available space is used for offices and conference rooms, project and computer rooms, studios and workshops, and communal areas such as a cafeteria, media library, foyer, and a large lecture theatre. This allow the Zollverein School to act as a bridge between teaching, research, and practical implementation in relation to the planned design city as the Zollverein grows and prospers as a design location.

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3. CASE STUDIES CONCLUSION

1.Introduction 2. Design issues 3.Case studies 4. Program

development 5. Functional relationships

6.The site 7. Technical

requirements

From the case studies and the discussions those are the conclusions I derived :

Provide a mix of open space for congregating, and closed space for concentration.

Promote visual stimulation through color and other elements.

Emphasize individuality with unique objects

Post work in progress.

Display artwork and rotate it.

Provide boxes of toys to encourage playfulness.

Create a community lounge area.

Give as many people access to natural light as possible.

Remove walls to increase contact between groups.

Match your creative philosophy with your work environment.

Those are the main guild lines for designing a creativity fostering environment

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Chapter four : program development

When space becomes more than a place .

Mark Maves

30

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4.1 Program development

1.Introduction 2. Design issues 3.Case studies 4. Program

development 5. Functional relationships

6.The site 7. Technical

requirements

administration

faculty

Learning spaces

recreational

Support facilities

What Makes a campus ?!

Questioning facilities to provide places that foster

creativity

Typical spatial

components

Questioned spatial

components

Classes and studios Places to learn

“ creativity “

administration Places to teach and

supervise creativity

library A place to prepare for

creative acts

workshops Places to implement

creativity

“ innovation”

Galleries Places to evaluate

creativity

Services Places to help produce

creativity

Crowded active

Quite isolated

Outdoor Sporty

Coffee Exciting

Different places and themes

Homey Comfortable

Reflecting students learning styles on the components

FIGURE 19

FIGURE 20

FIGURE 21

FIGURE 22

Reflecting Rates of learning activities on the components

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Library

Lounges and

learning corridors

studios

Learning corridors

and faculty

hub

Technology sandbox

and workshops

Gathering area’s and exhibition

halls

Preparation

generation incubation

evaluation

implementation

evaluation

1.Introduction 2. Design issues 3.Case studies 4. Program

development 5. Functional relationships

6.The site 7. Technical

requirements

4.1 Program development

This diagram is an implementation of figure 18 , the figure showed the process of creative process however, in my opinion the systematic order of organizing the process is not creative by it self so in order to implement this process into the components we need to loosen it up a bit because in architecture and design the creative process happen in many locations back and forth.

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Bahrain Design Valley

1.Introduction 2. Design issues 3.Case studies 4. Program

development 5. Functional relationships

6.The site 7. Technical

requirements

LEARNING HUB

MEETING SPACES

FACULTY HUB

LIBRARY

ADMINISTRATION

LEARNING CORRIDORS

GALLERIES AND EXHIBITION HALLS

LEARNING LANDSCAPE

SUPPORT FACILITIES

PARKING

4.2 main components

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requirements

Learning hub

•Undergraduate studio’s

•Graduate studios

•Technology sandbox

•Standard labs

•Large labs

•Server/ technicians

•Flexible classrooms

•Building science lab

•Plotting room

•3d plotting room

•Construction materials and

components exhibit

•Carpentry

•Spray room

•Ceramic and plastic workshop

•Photography shooting room

•Dark rooms

•Supply storages

•stationary

Faculty hub

•Faculty offices

•T.A’s offices

•Technicians offices

•Demonstrators offices

•Coffee bar

•Meeting spaces

•Visualization room

•Copy/print area

•Workrooms

•Scholar’s work station

•Lounge

Cluster of

experimental

learning spaces

with academic

technology

support

Shared

destination for

faculty to meet

and collaborate

4.3 details of components

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requirements

library

•administration

•E café

•Clever book store

•Book display area

•Nerdy corner

•Study boxes

•Students active rooms

•Journals jungle

•Loud hall

•Storage

Galleries and exhibition

halls

•Architecture projects

hall..

•3d’s display gallery.

•Design display halls.

•Graduation projects

hall.

while the functions and appearance of libraries will

likely change, nobody’s about to tear them down just

because they have fewer books and more social spaces.

Richard E. Luce

Who knows what a library means anymore ?!

4.3 details of components

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ADMINISTRATION

•deans office

•Deans privet

meeting

room/fax/photocopy

•College meeting

room

•Dean secretary

•Typist

•Storage room

•Archive

•Messenger’s

room/mail/

kitchenette

Support facilities

•Faculty lounge

and cafeteria

•Student food

court

•Prayers room

•quite rooms

•Security rooms

•Maintenance

rooms

•Faculty toilets

•Students toilets

Meeting

spaces

•auditorium

•Lecture

halls

•Multipurpose

hall

•Jury halls

•Support

facilities

4.3 details of components

This diagram shows the different types of meeting spaces and their applications

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Learning

corridors

• study nooks.

•Linear café.

•Open

theaters.

•Study booths.

Learning

landscape

•Ceremony

plaza.

•Outdoor

setting areas.

•natural

studio’s.

In the window well

Corridors , lobbies ,

adjacencies

outdoors On slabs

stair

Informal learning spaces

public

Talk and display

Advantage of corner

Learning landscape

Those diagrams illustrate

different means of informal

learning that could take place

in a campus

parking

•Faculty parking

•Students

parking

•Visitors

parking

4.3 details of components

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4.4 components detailed areas

1.Introduction 2. Design issues 3.Case studies 4. Program

development 5. Functional relationships

6.The site 7. Technical

requirements

Bahrain design valley Sub-total

m2

reference circulation total Rec. area reference Max. area Min. area No.

required

capacit

y

Functional unit

ADMINISTRATION

36 RD included 36 36 N.307 36 25 1 1 Dean’s office

25 N 346 included 25 25 N 346 25 20 1 3 Deans meeting/fax/photocopy

80 N319 included 80 80 N319 80 80 1 25 College meeting room

40 N319 included 40 40 N319 40 30 1 3 Deans secuirtuiry

40 N319 included 40 40 N319 40 30 1 3 typists

20 N250 included 20 20 N250 20 15 1 1 Storage room

20 N350 included 20 20 N350 20 16 1 1 archive

20 N251 included 20 20 N251 20 15 1 1 Messengers room/ mail/

kitchenette

281 TOTAL

N : NUEFURT RD: LOOKED OUT FROM REDEMENTRY DATA

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requirements

Bahrain design valley Sub-total

m2

reference circulation total Rec. area Reference Max. area Min. area No.

required

capacity Functional unit

SUPPORT FACILITIES

260 N456 30% 200 200 N455 200 120 1 40 Faculty lounge

and cafeteria

1040 N456 30% 800 800 N455 800 650 1 300 Student food

court

80 N 308 included 80 20 N 308 25 20 4 20 Faculty toilets

390 N308 included 390 65 N 308 70 65 6 500 Students toilets

264 N585 10% 240 120 N585 120 96 2 80 Prayer rooms

104 RD 30% 80 40 RD 40 20 2 20 Quite rooms

60 N319 included 60 20 N319 25 20 3 2 Security

personals

105 N307 included 105 35 N307 40 30 3 3 Maintenance

2303 TOTAL

Bahrain design valley Subtotal

m2

reference circulation total Rec. area reference Max. area Min. area No.

required

capacity Functional unit

MEETING SPACES

1800 N318 included 1800 1800 N318 1800 1500 1 1200 Lecture hall

1250 N317 included 1250 1250 N317 1500 1000 1 500 Auditorium with lobby

450 N319 included 225 225 N319 250 200 2 150 Multi purpose halls

2000 N333 included 2000 500 N333 600 400 4 200 Jury halls

150 N319 included 150 150 N319 200 150 1 1 Support facilities

5650 TOTAL

4.4 components detailed areas

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requirements

Bahrain design valley Subtotal

m2

reference circulation total Req. area reference Max area Min area No.

required

capacity Functional unit

Faculty hub

720 N 319 included 720 18 N 319 20 15 40 1 Faculty offices

160 N 319 included 80 40 N 319 40 35 2 4 T.A’s offices

80 N 319 included 80 20 N 319 20 15 4 2 Technician's

offices

80 N 319 included 80 20 N 319 20 15 4 3 Demonstrators'

offices

45 N 456 included 45 45 N 456 50 45 1 25 Coffee bar

85 N 307 included 85 85 N 307 85 80 2 35 Meeting spaces

80 N 319 included 80 40 N 319 45 40 2 10 Visualization

room

25 N 319 included 25 25 N 319 25 20 1 1 Copy/print area

150 N 319 included 150 15 N 319 20 15 10 3 Work rooms

175 N 319 included 175 5 N 319 10 5 35 2 Scholars

workstation

150 N 456 included 150 150 N 456 150 100 1 50 lounge

1750 TOTAL

4.4 components detailed areas

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1.Introduction 2. Design issues 3.Case studies 4. Program

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6.The site 7. Technical

requirements

Bahrain design valley Sub-total

m2

reference circulation total Rec. area Reference Max. area Min. area No.

required

capacity Functional unit

Learning hub

4000 N320 Included 4000 80 N320 100 80 50 20 Undergraduate

Studio’s

720 N320 included 720 120 N 320 150 112 6 5 Graduate

studio’s

320 N351 included 320 80 N 351 100 80 4 20 Technology

sandbox

770 N351 included 770 110 N 351 120 110 7 30 Standard labs

700 N351 included 700 350 N 351 400 350 2 100 Large labs

90 N351 included 90 30 N 351 35 30 3 6 Server/

technicians

room

1800 N 346 included 1800 60 N 346 80 60 30 35 Flexible

classrooms

80 N 321 included 80 80 N 321 80 80 1 20 Building science

lab

40 assumed included 40 40 assumed 40 20 1 20 Plotting room

40 assumed included 40 40 Assumed 40 20 1 20 3d plotting room

50 N 333 included 50 50 N 333 50 40 1 30 Construction

materials and

components

exhibit

150 N 309 included 150 150 N 309 150 100 1 50 Carpentry

20 assumed included 20 20 Assumed 25 20 1 10 Spray room

150 N 309 included 150 150 N 309 150 100 1 50 Ceramic and

plastic workshop

90 N309 included 90 30 N 309 35 30 3 10 Photography

shooting room

60 N 309 included 60 20 N 309 20 15 3 10 Dark room

80 N 250 included 80 20 N 250 20 15 4 1 Supply storages

80 assumed included 80 80 assumed 80 60 1 10 stationary

9240 TOTAL

4.4 components detailed areas

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requirements

Bahrain design valley Sub-total

m2

reference circulation total Rec. area Reference Max. area Min. area No.

required

capacity Functional unit

Exhibition halls and gallery’s

450 N 333 Included 450 450 N 333 450 400 1 300 Architecture , and interior projects hall

150 N 333 Included 150 150 N 333 150 100 1 100 3d’s display

gallery

350 N333 Included 350 350 N 333 350 300 1 230 Design display

hall

450 N333 included 450 450 N 333 450 400 1 300 Graduation

projects hall

1400 TOTAL

4.4 components detailed areas

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requirements

Bahrain design valley Sub-total

m2

reference circulation total Rec. area Reference Max. area Min. area No.

required

capacity Functional unit

library

15 N 346 Included 15 15 N 346 20 15 1 2 lobby

20 N 346 included 20 20 N 346 20 15 1 2 reception

50 N 319 included 50 25 N 319 25 20 2 1 administration

75 N 319 Included 75 25 N 319 25 20 3 2 Librarian's room

200 N 455 Included 200 200 N 455 200 175 1 100 E café

70 N 327 included 70 70 N 327 70 50 1 5 Clever

bookstore

150 N 327 included 150 150 N 327 200 150 1 50 Books display

area

210 N 329 included 210 210 N 329 210 180 1 15 Nerdy corner

75 N 329 included 75 5 N 329 5 4.5 15 2 Study boxes

150 N 329 included 150 15 N 329 15 12 10 4 Students active

rooms

150 N 327 included 150 150 N327 200 150 1 50 Journals jungle

420 N 329 included 420 420 N 329 450 420 1 30 Loud lounge

50 N 327 included 50 50 N 327 50 48 1 3 storage

1635 TOTAL

4.4 components detailed areas

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requirements

Bahrain design valley Sub-total

m2

reference circulation total Rec. area reference Max. area Min. area No.

required

capacity Functional unit

Learning corridors

150 N 346 included 150 15 N 346 15 10 10 4 Study nooks

45 N 455 included 45 45 N 455 50 45 1 20 Linear cafe

240 N 319 included 240 60 N 319 70 60 4 35 Open theaters

150 N319 included 150 15 N319 15 10 10 4 Study booths

585 TOTAL

Learning landscape

2100 N 478 40% 1500 1500 N 478 1500 1000 1 2000 Ceremony plaza

300 N 319 included 300 15 N 319 20 15 20 10 Outdoor setting

area’s

1200 N 319 included 1200 120 N 319 150 120 10 35 Natural studio’s

3600 TOTAL

Bahrain design valley Sub-total

m2

reference circulation total Rec. area reference Max. area Min. area No.

required

capacity Functional unit

parking

28800 N 440 60% 18000 18 N 440 18 12.5 1000 1 Students

parking

3600 N 440 60%

2250 18 N 440 18 12.5 125 1 Faculty parking

1440 N 440 60%

900 18 N 440 18 12.5 50 1 Visitors parking

33840 TOTAL

4.4 components detailed areas

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requirements

zone Area m2

DAAP Administration 281

Meeting spaces 5650

Faculty hub 1750

Studio’s , labs and workshops 9240

Support facilities 1833

library 1635

Exhibition halls and gallery’s 1400

Learning corridors 585

build up area 22374

Circulation 20% 4475

Total build up area 26849

4.5 total build up area

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requirements

zone Area m2

parking 33840

Learning landscape 3600

Total out door area’s 37440

area of project 101729

Services 1% 1017

Total area of project 102746

4.6 total area of the project

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Chapter five : functional relationships

Architecture, of all the arts, is the one which acts the most slowly, but the

most surely, on the soul.

Ernest Dimnet

47

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5. MAIN COMPONENTS RELATIONSHIPS

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5.1 SUB COMPONENTS RELATIONSHIPS

LEARNING HUB

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FACULTY HUB

MEETING SPACES

5.1 SUB COMPONENTS RELATIONSHIPS

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LIBRARY

SUPPORT FACILITIES

5.1 SUB COMPONENTS RELATIONSHIPS

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EXHIBITIONS AND GALLERYS

ADMINISTRATION

5.1 SUB COMPONENTS RELATIONSHIPS

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Chapter SIX : THE STORY OF A SITE

Architecture doesn’t come from theory. You don’t think your way

through a building

Arthur Erickson

53

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development 5. Functional relationships

6.The site 7. Technical

requirements

6. SITE SELECTION

Bahrain is a small island with a very dense urban fabric. The island consists of multiple of crowded cities surrounding urban voids that have been left empty for various reasons. the Educational faculties in Bahrain are focused in some area’s such as Manama, Isa town, skheer and Riffa . There are two approaches in deciding where to locate the new school of architecture and design . 1. to locate the school in an area that it highly

congested for the students to be as close as possible to the architectonic features of the city and the hectic contemporary life in Bahrain.

2. to locate the project in one of the urban voids. To give complete freedom in the design and to maintain the purity of visual characteristics of the context in order to open the horizon for students imagination.

Therefore three area’s in Bahrain has been proposed to accommodate this project. 1. Manama : the dense capital 2. Isa town : the educational city 3. Skheer : the free land

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6.1 SITE SELECTION CRITERIA

Option 1: Al fateh

highway

Option 2 : Isa

town

Option 3

: Skheer

The basis of selecting the site is derived from the comprehensive theoretical background, the requirement of the components in addition to the two approaches illustrated earlier. Therefore all selected sites have the potentials to serve as creativity simulating arena’s for the users .

Site selection criteria Weight

1. Located within rich educational and cultural context. 15

2. Availability of large open land. 25

3. Ease of access. 10

4. Good visual approach. 10

5.Land potentials for good landscape opportunities. 25

6. Surrounding environment ( calm / extensive ). 10

7. Adjacent facilities and services . 5

Total 100

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6.2 FIRST PROPOSED SITE

Approximate area 212000 m2

Area Manama

Surroundings • sh. Isa library •Jufair multistory residential area. •New parliament. •Albahri sea front •Alfateh high way

Use of the site Not used

Accessibility Secondary roads from two directions

typography None

Natural features Open to the sea

A view from the site showing the skyline of Manama A view from the site showing the skyline of Juffair A view from the site looking towards sh.Isa center

The site is located in a very beautiful spot on the island overlooking two of the most developed centers in bahrain and right in the middle of a very rich cultural context. However the existence of the new parliament building and the political restricted function of some of sh.isa cultural center halls may have its drawback to the location of the site.

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requirements

The site is located in an educational context, the playfulness of the natural features of this site makes its stand out from any other site. It is a valley consisting of number of hills and ponds, situated underneath a layer of residential houses from one side and a highway from the other side of the land.

Approximate area 245000 m2

Area Isa town

Surroundings • residential area •Commercial cluster •Gulf university and al hekma school

Use of the site Not used

Accessibility Main road from one direction Secondary roads from three directions

typography Valley with number of hills and ponds

Natural features Natural water ponds and grass

Natural ponds Natural

hills

View showing residential area overlooking the site View showing location of natural features of the site View showing location of natural features of the site

6.3 SECOND PROPOSED SITE

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requirements

The site is located close to university of bahrain campus in skheer, its isolated location has its advantages and disadvantages. It is far from all residential area’s in bahrain however it is composed of a very nicely shaped hill and a valley underneath it which embrace good landscaping potentials and serves as a very good design tool.

Approximate area 245000 m2

Area Skheer

Surroundings • residential area •Bahrain university at a distance •National memorial

Use of the site Petrol pipes connections

Accessibility Main road from one direction

typography Number of hills cutting through a valley

Natural features Rocky topography and number of desert trees

View showing location of natural features of the site

slob

View showing location of natural features of the site View showing adjacent monument

6.4 THIRD PROPOSED SITE

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6.The site 7. Technical

requirements

Site selection criteria Weight Site 1

Al

fateh

Site 2

Isa

town

Site 3

skheer

1. Located within rich educational and cultural context

15 15 15 5

2. Availability of large open land. 25 20 20 25

3. Ease of access. 10 5 10 10

4. Good visual approach. 10 10 10 10

5.Land potentials for good landscape opportunities.

25 10 25 15

6. Surrounding environment ( calm / extensive ). 10 10 5 5

7. Adjacent facilities and services 5 5 5 0

Total 100 75 90 70

The following table compares between the three proposed sites according to the criteria put down earlier. The table shows that after the assessment of the three proposed sites, site number two scored the highest. Therefore site number two is selected.

6.5 SITE SELECTION

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requirements

The site is located in the central governorate of bahrain , surrounded by a highway, residential area’s and commercial facilities . On the other side of the highway there are number of utilities, schools and gulf college . moreover the educational core is located on the same highway further to the north of the selected site. The site has an intermediate location between two major intersections and according to the new urban plan of bahrain ( bahrain 2030 ) those intersections are considered to be potential major stops for a subway. Through the highway the site is connected to the southern governorate of bahrain and Riffa town. Today it is being developed into a number of flyovers and tunnels passing into different directions to accommodate the accelerating traffic that passes through that highway everyday. This area in particular includes the largest number of educational facilities such as schools, universities, institutions and libraries in bahrain. Therefore locating the new school of architecture and design in this site will add to the educational richness of the context and will help the project thrive through its surroundings. despite the fact that the site is currently used as a dumper for construction materials, According to SOM it is a possible agricultural land therefore the school will have the potentials for better landscaping to increase the bond between students and nature while assessing in the movement of a green Bahrain to help decrease the carbon foot print in the world.

6.6 SELECTED SITE ANALYSIS

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requirements

Selected site

Houses overlooking the valley

Point of visual access

Point of visual access The location of the residential units on the upper edge of the site gives the site a social value and a public agenda . Locating a school of architecture and design in this site would indicate that the people are on a higher level than designers which means even the site is contributing in the process of educating the students to be more socially sensitive towards the public. The site has also a strong potential for more public involvement in the project because of its visual accessibility through the highway and its physical accessibility from all directions in a very interesting attracting sloped manner.

Greenery

pond

Hills

Site edge sloped

6.7 SELECTED SITE ANALYSIS

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6.7 SELECTED SITE ANALYSIS

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Chapter seven : TECHNICHAL REQUIREMENTS

We make a living by what we get; we make a life by what we give

Winston Churchill

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7. TECHNICHAL ISSUES

7.1 foundation

Types of foundations

• Concrete strip foundation

• Deep strip foundation

• Raft foundation

• Piled foundation

• Pad foundation

• Stepped foundation

Piled foundation

The site is a valley with high underwater level and as a result the I would use the piled foundation. Trial holes will usually indicated the depth of suitable load-bearing soil. This maybe as deep as 2 or 3 meters. Often this will be by

drilling a number of auger-bored piles into the ground and then building a concrete raft on top of these.

Auger bored piles construction method

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7. TECHNICHAL ISSUES

7.2 STRUCTURE

The project has few spaces that have long spans. Steel trusses can be used for long span in the exhibition and gallery halls as well as in the large lecture halls. Reinforced concrete will be used for the rest of the project components

7.3 ACOUSTIC

The check list for acoustic design in buildings 1. The level of the background noise must be sufficiently low to avoid interfering with the intended

activity 2. Sound energy must be evenly distributed throughout the space 3. Avoid echoes and any focusing effects 4. The desired sounds must be sufficiently loud 5. Provide the proper reverberation time characteristics 6. Provide short enough initial time delay gaps for early sound reflections in concert halls and similar

spaces

Considering that the building is an educational facility the sound level should be carefully studied and controlled to provide the maximum efficiency in acoustic design of the building.

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requirements

7.4 AIR CONDITIONING SYSTEM

The air conditioning system should be well planned in the design stage and the ducts should be well distributed in the building. Consideration should be taken about the HVAC components future expansions as well as the electrical emergency protection system in case of power loss.

The size of air-conditioning depends on:

• The size of a space and number of opening.

• How much shade is on windows, walls and roof.

• Insulation used for the ceiling and roof.

• Air leakage.

• Heat generated in the space.

• An air conditioning efficiency, performance,

• durability and initial cost depend on matching

• its size to the above factors.

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.

Central air conditioning performs like a regular air conditioner but has several added benefits:

When the air handling unit turns on, room air is drawn in from various parts of the building through return-air ducts. This air is pulled through a filter where airborne particles such as dust and lint are removed. Sophisticated filters may remove microscopic pollutants as well. The filtered air is routed to air supply ductwork that carries it back to rooms. Whenever the air conditioner is running, this cycle repeats continually.

Because the central air conditioning unit is located outside the building, it offers a lower level of noise indoors than a free-standing air conditioning unit

7. TECHNICHAL ISSUES

Central air conditioning

Central air conditioning, is an air conditioning system which uses ducts to distribute cooled and/or dehumidified air to more than one room, or uses pipes to distribute chilled water to heat exchangers in more than one room, and which is not plugged into a standard electrical outlet. With a typical split system, the condenser and compressor are located in an outdoor unit; the evaporator is mounted in the air handling unit (which is often

a forced air furnace). With a package system, all components are located in a single outdoor unit that may be located on the ground or roof.

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requirements

7.5 LIGHTING

Natural lighting

Although artificial lighting is being developed day by day, we can never neglect the special effect of daylight in our designs.

Designing with daylight is based on the sun light reflected from the sky or the ground. It is important to use sunshades to control the admission of direct sun light. Over heating can also be controlled by the use of heat-absorbing or reflecting glass and general heat loss can be reduced by the use of double or triple glazing.

Artificial lighting

The lighting designer must consider these point while designing:

• Integration of the artificial lighting with natural lighting.

• Effect of lighting on interior space arrangement.

• Visual needs of specific tasks.

• Effects of brightness pattern on visual acuity.

New technology in lighting

White Noise/White Light" is an interactive sound and light field that responds to the movement of people as they walk through it. As pedestrians enter into the fiber optic field their presence and movement are traced by each stalk unit, transmitting white light from LEDs and white noise from speakers below.

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Chapter eight : PRELIMINARY DESIGN CONCEPT

The right space does not guarantee success but the wrong space can make success

unlikely.

Design makes a difference- Lindle Grigsby

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8.1 Design concepts

During the five years I have spent studying architecture I have become to understand that architecture only matters when its communicating with the public and its users, therefore in this project I would want to explore the potentials of a well designed social piece of architecture to the maximum. I believe that the public play a very big role in the success of any project therefore, considering their cultures and believes is a very important issue. By respecting who they are, where they come from and what we can do as architects to serve them we achieve better projects. On the other hand, education of architecture and design is a very sensitive area to be dealing with, the design should be led out with care to represent an example for those students studying In it. Educational Buildings today not only shelter the students in the educational facilities but they also play a big role in teaching the students. The design should set an example for those students on many levels, environmentally, socially, technically and in the level of its complex simplicity.

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8.2 Design concept preliminary sketches

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list of references

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Success in the Conceptual Age: Another Paradigm Shift William G. Huitt

Aligning Learning Space Design and Student Work: Research Implications for Design Processes and Elements By Andrea Lisa Nixon

A Case Study in Master Planning the Learning Landscape: Hub Concepts for the University at Buffalo By Shirley Dugdale, Roger Torino, and Elliot Felix

Learning Environments: Where Space, Technology, and Culture Converge By Tom Warger, EduServe, and Gregory Dobbin

When space becomes more than a place . By sr. vicepresident, SmithGroup Designing for experience: the design space as search problem By mark david The Changing Place of Space By Carole F Meyers Importance of Informal Spaces for Learning, Collaboration, and Socialization By Terry Hajduk and Lori Gee Creating New Spaces for Learning in Community Deborah Bickford The Architecture of an Idea: Encouraging the Unplanned By Dan Gjelten

Informal Learning Spaces in Support of the Institutional Mission By Nancy Chism

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Creativity and Innovation: How Organizations Can Really Make Innovation Happen By Barbara Kivowitz Questions for Learning Space Planners By Phil Long and Chris Johnson Rethinking Campus and Classroom Design By William J. Mitchell www.educase.come www.wikipedia.com www.qatarfoundation.com