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Entryway for visitors of the Alhambra Palace Complex in Granada, Spain. Visited Site - March 2012

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    _table of CONTENTS

    Introduction : Granada | 04

    Historical Content | 24 The Alhambra | 37

    Site Analysis | 44

    Project: Alhambra Entryway Sequence | 60

    Conceptual Framework | 88 My Design | 112

    Technical Solutions | 148

    Appendicies | 174

    Appendix A: Black and White Set Appendix B: Process Work Appendix C: Course Documentation

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    _INTRODUCTION

    Granada, Spain

    Geographic Conditions

    Urban Conditions neighborhoods

    street typologies

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    Granadas name originated from a fruit that we know today.Pomegranates take their name from pomum meaning apple and granatus meaning seeded. The fruit was brought from southern Spain to the colo-nies during the latter part of the 18th Century.

    Pomegranates:Ancient Egypt symbol of prosperity and ambition

    Ancient Greek/Rome Fruit of the dead, abundance, fertility and good luck

    Mythology explanation of the seasons

    Judaism fertility of the promise land fruitfulness

    Christianity decoration, bursting/broken = fullness of Jesus suffering and resurrection

    Islam- grow in the gardens of paradise, mentioned 3 times

    Because the name of the city is derived from this fruit, sculptural represen-tations can be found throughout the city. The images to the right are both of pomegranate sculptures found in granada. The image on the top line the streets of granada preventing vehicles from driving on the sidewalks. The bottom image can be found at a fountain on a Wall of the Alhambra.

    _granadas NAME

    INTRODUCTION

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    _projectENTRYWAY

    In the Andalucian region of Spain, there exists one of the worlds great-est architectural and historical treasures: La Alhambra. Truly valuable to the study of archaeology, history, architecture, art, literature, music, anthropology and culture, La Alhambra is a magnificent golden complex anchored to a Hill in the historic city of Granada.

    Located on Sabika hill overlooking the rest of the city, the complex has many concerns in regards to accessibilty and clarity of sequence at the en-trance to the complex. After years of restoration and conservation, and even a 20th century attempt to rectify the entrance to La Alhambra, the space still fails to direct visitors efficiently into the complex.

    The area of intervention includes the Plaza de la Alhambra, La Plata-forma del Agua, the caf, the current entrance pavilion and the adjacent green areas, an area approximately 120,000 square feet in dimension. Im-pact areas was also carefully considered throughout the design process, such as the entry sequence to La Alhambra Archives and the progression through existing parking lots and drop-off zones. These impact zones will be slightly modified to improve the overall dynamic of La Alhambra y El Generalife Complex.

    The purpose of this architectural design studio is to create a new building, the Atrio of La Alhambra, which, coupled with massive landscape develop-ment. will resolve all of the issues involved with the entrance. The design project is two fold: creating a functional entry sequence for visitors to La Alhambra, and creating a space that connects La Alhambra to the city of Granada.

    The project aims to improve the conditions of the sequence of arrival and access to the monument that the visitors have to experience.

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    _granadaSPAIN

    Geographic Conditions

    Location: 37 15 0 N, 3 15 0 W

    Population Total: 900,000 +

    Density: 70/ km

    The province of granada covers an area of 12,635 km and is loated in the eastern part of the autonomous community of Andalusia. Its population is over 900,000, 30% of which live in the capital. Its population density is roughly 70/ km

    Granada is a mid-sized city located in the Granada Province in the Anda-lucia region of Spain. Granada has been continuously inhabited by humans for at least 2500 years, making it rich in history and culture.

    ANDALUCIA PROVINCE OF GRANADA CITY OF GRANADA

    L O C A T I O N INTRODUCTION

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    _cityGRANADA

    Today, Granada is a midsized city 300,000 inhabitants and another 600,000 people in its metropolitan sprawl. Once a city that hugged the hillsides, ur-ban growth in the past century has resulted in the complete occupation of La Vega.

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    G R A N A D A

    Granada today has become a vibrant mixture of architectutural lan-guages due to its historically eventful past.

    The contrast of the various architectural styles, colors, and materi-als creates an awe inspring composition.

    _urbanCONDITIONS

    INTRODUCTION

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    The city of Granada brings in tourists from all over the world thanks to its Moorish architecture and famous Alhambra palace. The Alhambra World Heritage Site is Granadas biggest tourist attraction.

    Granada is also well-known within Spain for the prestigious University of Granada which has about 80,000 students, spread over five different campuses in the city. Each year the city also attracts over 10,000 foreign students, as well as providing employment to a large number of people, the university also boosts the local economy by creating demand for rental property. The money spent by students also helps to support shops, restau-rants, bars and other services in the city.

    Agriculture contributes less than 5% of the nations GDP. Industry contributes about 35% of Spains GDP.

    Tourism brings millions of visitors to Spain and contribute almost $50 bil-lion to their economy each year accounting for 60% of Spains GDP.

    - e c o n o m y

    _urbanCONDITIONS

    INTRODUCTION

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    The colors are vibrant in Spains architecture. From the streets and shops to the stain glass windows and mosaic tile patters in the Al-hambra, bright colors are ever present in the Granada city-scape.

    - c o l o r

    _urbanCONDITIONS

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    Rising above the modern lower town is the Alhambra.. One of the most interesting situations in the city is the juxtaposition between the old and new city fabrics. This continuous dialogue with wthe past creates intriguing urban conditions, making granada what is

    is today.

    - o l d a n d n e w

    _urbanCONDITIONS

    INTRODUCTION

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    GRANADA SPAIN Home of the Alhmabra, Granada has a characteristic architec-tural materiality rich in texture. There are many ways in which the interaction of old and new is handled. Textural quality is one way of mimicking the old in a tasteful way. From the delicate and ephemeral to the solid and massive, the architecture found within granada is very inspiring to all that experience it.

    On the bottom are floor and cieling patterns found withint the al-hambra. The Top left is a perforated brick wall of a recent project in Granada. The top right is an image of the walls os the fortress complex.

    - An inlaid tile patio at The Alhambra. - Ceiling pattern in the Alhambra- An inlaid tile patio at The Alhambra. - Ceiling pattern in the Alhambra

    - t e x t u r e

    _urbanCONDITIONS

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    Washington Irving described in his book entitlted The alhmabra the magical qualities that he discovered first hand when he visited the Alhambra in the middle of the 19th century.

    It is mostly because of Irving that The Alhambra became globally famous. That is why today most people know Granada for the Alhambra. It turrets and delicate fretwork, the mythology that surrounds it and the buildings almost pristine perfection gives it an almost supernatural quality to be remembered by all who lay their eyes upon it.

    THE MAGIC OF THE ALHAMBRA

    INTRODUCTION

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    Aerial view of Granada. Sabika Hill Extends in from the right with the Alhambra sitting at its most western point, overlooking the city.

    _cityCONTEXT

    INTRODUCTION

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    _cityCONTEXT

    INTRODUCTION

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  • Albayzin

    Upper Albayzin

    Centro

    Realejo

    The Alhambra

    Lower City

    Sacromonte

    s t r e e t m o r p h o l o g y

    Walking in Granada is definitely the best way to experience the city. There are several intermingling street typologies. Streets can be short, winding, narrow, and put you in very close proximity to automobile traffic. They can also be larger, having sidewalks sepa-rating pedestrian traffic from vehicles, while alleyways will have short iron posts along the side to serve this purpose.

    Granada is made up of Six major areas, the Albayzin, Centro, Lower City, Realejo, and the Upper Albayzin and Sacromonte. Each con-tains its own architectural styles, reflecting some of the influence of the previous occupiers.

    The Albayzin is the oldest neighborhood in Granada. From the 12th to the 15th centuries, this neighborhood was populated by the wealthiest Arabs in Granada and was the medieval version of a gat-ed community.

    The Sacromonte is a neighborhood comprised of gypsies in cave-dwellings. Excavated from the hillside, these homes look quite ordi-nary from the front, however the interior reveals the earthy nature of the caves-turned-residence.

    The Realjo was originally the Jewish District prior to the Inquisi-tions persecution. Following the expulsion of the Jews and Muslims from Granada this neighborhood became a section of Royal Gar-dens. Today this neighborhood is characterized by narrow winding streets, quaint whitewashed homes and a doorway culture.

    The Upper Albayzin and the Lower City are the result of 19th and 20th century urban sprawl. Characterized by more contemporary de-sign and urban planning, these neighboorhoods boast wide streets, tall apartment complexes and small suburban style homes.

    Lower City

    _urbanCONDITIONS

  • Albeyzan Sacramonte Realejo Centro Upper Albayzin

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    Spain is half African, and Africa is half Asian. Spain has been influ-enced by many different styles of art and architecture over the centuries.

    The alhambra is the ultimate Legacy, contributed to by several different

    cultures and powers, and left lasting for all to admire.

    Alhambra palace as one shrouded in mystery that is kept alive by the in-

    habitants of Granada.

    _historyGRANADA

    HISTORICAL CONTENT

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    A l c a z a b a

    1232-1273

    Looking down on the city, the alhambra watches with an omini-nous guard -Washington Irving

    The location was chosen by the nasrids because of its vantage point. To the right is the view that the military base wouldve had only its over the present day Granada.

    La Alcazaba was built as a military fortress to protect all of La Alhambra. Located on the western-most portion of Sabika Hill, La Alcazaba advances on the city like the bow of a ship. It is the oldest part of the Alhmabra thought to be built before Muslims 9th century.

    _historyGRANADA

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    1200_granadaEVOLUTION

    Under Ancient Roman rule Granada developed as an economic cen-ter of Roman Hispania, with the construction of aqueducts, roads, and other infrastructure. With the fall of the Roman Empire the city was ruled by the Visigoths before being reconquered by the Byzantine Empire

    New agricultural practices were introduced as the old Roman infra-structure was put to use for irrigation, leading to a major expansion of the city as it grew from the river valley up to the hills currently occupied by the Alhambra and the Albayzn

    The Moorish conquest of 711 brought Islamic rule to the Iberian Peninsula and Granada was quickly established as a center of Al-Andalus. The Arabs respected the Roman cities and roads, mak-ing them bigger by adding new constructions. In the 9th century evidence from Arab texts points to new constructions inside the Al-hambra, although it is thought that some kind of construction was built during the Roman period and even earlier.

    The successive invasions of Almorvides and Almohades in Grana-da ended with fierce and bloody battles that took place in the Alca-zaba del Albayzin

    After the Caliphate of Cordova civil war, the capital of the Granada province was moved from Elvira to Granada in the 11th century, Following the fall of Crdoba in 1236 to the Christian Reconquista, the city became the center of the Emirate of Granada

    HISTORICAL CONTENT

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    _granadaEVOLUTION

    1492 After 1340, when the battle of Ro Salado settled the question of the straits in Castiles favour, Granada adopted a policy of isolation, taking advantage of any propitious circumstance to strengthen its land frontiers. It was in this period that Yusuf I (ruled 1333-54) and Muhammad V (ruled 1354-59 and 1362-91) finished building the Alhambra.

    The city grew with the development of new suburbs and ex-tended its walls nearly until it was conquered at the end of the 15th century.

    Flushed with the success of the Reconquista, Spaniards con-quered much of the Americas and brought great wealth to the new Spanish Empire. In the case of Granada, the Chris-tians soon forced the existing Jewish and Muslim residents to convert and began making significant changes to the ap-pearance of the city in an attempt to hide its Muslim charac-ter, including replacing the citys primary mosque with the massive Cathedral and constructing a large Christian pal-ace in the heart of the Alhambra. Persecution against the Muslims and Jews took its toll, and over time the city began to suffer economically as these populations abandoned their homes in the area.

    The Kings of Spain from 1500 to 1700 ruled over Spain, Por-tugal, southern Italy, Sicily, Malta, Holland, Belgium, parts of France and Germany in Europe as well as from Argentina to Canada and some colonies both in Africa and Asia. As a matter of fact during the reign of Charles the I of Spain and V of Germany in the 16th century it was said that the sun never set over the Spanish Empire. The Spanish army was totally undefeated for 100 years

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    1796

    In the beginning of the 19th Century Granadas, and La Al-hambras, story starts to become very rocky. French forces under the control of Napoleon invade and occupy Granada for several years. They leave as quickly as they came but leave behind them a wake of destruction. Two gates of La Alhambra were leveled and the city was left in political cha-os which leads to the beginning of revolutionary activity.

    In the latter half of the 17th century Spain went into a grad-ual decline and in 1714 it surrendered its European territo-ries, however maintained and enlarged its overseas empire. Granada remained a largely medieval-style city well into the 19th century,

    The Alhambra, Coloured Engraving, 1812, by Alexandre Laborde,

    _granadaEVOLUTION

    HISTORICAL CONTENT

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    2012As the 20th Century came about Granada began to become the artistic center of Spain. One of Spains most famous writers, Frederico Garcia Lorca, lived within Granada and was killed when the Nationalists seized control in 1936 when they gained control of the city. In the late 70s the city started to see another change, this time in the educational field. More and more middle and lower class citizens began to attend universities where before the universities were made up of mostly upper class students. This once again

    the last half of the 19th century saw Granada incorporated into the national rail network and the first stirrings of tour-ism thanks to reports of sites like the Alhambra to a global audience. However, the Spanish Civil War of the 1930s sunk Granadas economy, and it persisted largely as a bureaucratic and university town until the late 20th century, when the city underwent a massive period of modernization and de-velopment

    Many different cultures have influenced granda making it was it is today.

    The environmental conditions however have been fairly con-sistent meaning throughout time that archiecture was de-signed to withstand similar environmental conditions just in deifeerent ways

    _granadaEVOLUTION

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    _environmentalCONDITIONS

    Located on the in the south of Spain, Granada is in a mediteranian climate area. It is about 70km from the coast. Being in this position means that it is possible to go skiing and sunbathe on the beach in the same day. The area is characterized by hot and dry summers with lots of solar radiation and clear skies. The area has a very dry climate. During the summer months temperatures can reach above 100 degrees fairenheit but its not too uncomfortable due to the lack of humidity. During the winter months temperatures can get below freezing espe-cially at night and then rise to warm, comfortable temperatures Granada is located just at the point where the Sierra Nevada moun-tains meet the fertile plain of the vega. at the confluence of three riv-ers, the Beiro, the Darro and the Genil. Behind it are steep mountains and in front there is flat agricultural land. It was first inhabited be-cause it was easy to defend from behind and although it is dry in the summer there is always a supply of water coming from the mountain fuelled by melting snow, the rich soil in the Vega provided an ample food source as well.

    To the right , Granada and the Sierra Nevada, seen from space. Satel-lite view of the mountains around the historic city of Granada, south-ern Spain. The white area in the centre is snow in the Sierra Nevada mountains, the highest peak of which is Cerro de Mulhacen (3482 me-tres). Granada is a reddish patch on the left and at the base of the Sierra Nevada mountains

    temperature and humidity are inversely related

    t e m p e r a t u r e + h u m i d i t y

    Climate: Mediteranean

    Humidity

    Temperature

    HISTORICAL CONTENT

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    _environmentalCONDITIONS

    Design Implications: Consistent rainfall is fairly unusual but every few years there can be long wet spells lasting two or three weeks. Occasionally, there are winter rain storms that may last a few days, and snow is rare except for in higher elevations. Most rainfall occurs during the autumn and winter months in short bursts and in between these bursts the weather is usually crisp and clear. Because of these pat-terns flash flooding is a concern so proper site drainage is crucial in this climate, particularly in the design of sidewalks, patios and courtyards. this also means that hardy, drought-resistant plants must be used or an irrigation system must be installed.

    The majority of wind in Granada comes from the south, particu-larly from the southwest and southeast and in the early spring and late summer months. The windiest times in this region are in the afternoon and evening hours.

    The month of March is the windiest time of the year. During the spring the wind comes from the east over the Sierra Nevada moun-tains bringing cool to warm relatively humid air.

    The Summer months have the steadiest increase in winds through-out the day, while the other months are fairly sporadic. During the summer months the wind generally comes from Africa bringing dry, hot air. The winds also tend be stronger than in other months. Dust storms have been associated with the summer winds and be-cause of Granadas valley location the dust tends to settle and stay in the area for awhile. Spain just happens to be the country with the worlds biggest per-capita amount of wind energy. Its home to the worlds biggest wind power operator, and is a rather significant player in the world so-

    lar market.

    r a i n f a l l + w i n d

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    As the sun ascendsat the height of noon there is a pause. The pant-ing city sinks into lassitude, and for several hours there is a general repose. The windows are closed, the curtains drawn; the inhabitants retired into the coolest receses of their mansions; the full-fed monk snores in his dormitorythe peasant and the laborer sleep beneath the trees of the Alamdea, lulled by the sultry chirping of the locust. The streets are deserted (74) -Washington Irving

    Solar Radiation Levels Granada Spain is an area with very high levels of solar radiation, especially in the sumer months. Solar radiation is distributed very evenly throughout the entire region. However, there are differences between each season of the year. The amount of solar radiation in the region means that it would be feasible to consider solar energy as a potential energy source for different domestic uses, factories and commercial buildings in the form of individual photovoltaic solar panels or systems.

    Design ImplicationsThe optimum orientation of our site is direct south as the high mountains are to the north/northwest of the site and the site is el-evated above the Granada. During the winter months the high ceil-ing heights of many of the buildings allow for light to penetrate deep into the buildings. During the summer months the altitude of the sun is so high that the interior of the buildings are generally pro-tected, only really allowing the diffuse/reflected lights from pools into the buildings to light up the interiors.

    s o l a r r a d i a t i o n

    _environmentalCONDITIONS

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    During the extremes of the winter months passive solar gain and thermal mass effects can be utilized to increase the comfort levels of living. Shutter doors and the jalousie windows are used to re-tain heat inside Nasrid buildings

    During the extremes of the summer months thermal mass effects and natural ventilation can be utilized to increase the comfort levels of living.

    The high ceilings and open windows of the Nasrid buildings allow for heat to escape while the ceramic/marble floors as well as the glazed tile dadoes give a sensation of coolness

    Pools of water are used to humidfy the dry air in the summer months making the sur rounding area more inhabitable for plants and people

    s o l a r r a d i a t i o n

    _buildingSTRATEGIES

    HISTORICAL CONTENT

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    _architecturalINFLUENCES

    Visigothic Architecture

    Church of San Juan de Banos de Cerratos_ Palencia Mid 7th century

    Many differnet architectural styles have contributed to what the alhambra is today. Throughout centuries of expansion, wealth, and turmoil, several different powers with very different ideals and religions, constructed possibly the most rich architectural wonder in the world.

    Because of the environmental conditions present in Spain many different building strategies have evolved over time in this re-gion. The Visogothic and Mozarabic are a more solid and heavy architecture with few openings, creating a cool dark recess from the harsh sun. The Mudejar is a much lighter airy architecture created with the use of slender collumns, and larger openings for natural ventilation using the breeze.. The renaissance onward you can see the use of very tall cielings to allow the hot air to rise away from those at ground level and for the natural lighting advantages.

    h i s t o r i c a l

    Mozarabic Architecture

    Sant Quirze de Pedrel, Catalonia, Barcelona 800-900

    court of the cuarto dorado: illustrates the visagoth influence in la alhambra

    Church of San Juan de Banos de Cerratos_ Details and horseshoe

    HISTORICAL CONTENT

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    Mudajar Style

    Torre del Salvador, Aragon, 13th

    The Renaissance

    El Greco Alterpiece

    La Sagrada Familia Antonio Gaudi

    Contemporary

    The Hall of the Lions, Alhmabra

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    Alhambra is an arabic term that literally means red castle. Some believe this refers to the color of the building material, how-ever the stone is not really red, but rather a tan color that by star-light is silver but by sunlight is transformed into gold.

    The Alhambra consists of four clearly distinguishable zones that are clustered together on top of the hill: Charles Vs Palace (Chris-tian Renaissance), the military zone or Alcazaba, the exquisite Moorish- Palacios Nazaries, and Generalife. All of them sur-rounded by woods, trees, gardens, parks and vegetable gardens.

    These different zones, give La Alhambra a unique character. It is a complex construction, charged with multiple levels of relation-ships and that could be read from different perspectives. In addi-tion, there are a variety of scales, from the domestic to the urban. All in dialogue with landscape.

    The Alhambra represents the qualities to which contemporary ar-chitecture aspires and that is what sets it apart from other monu-ments of the past. It has the presence of a palace and the somber-ness of a religious and military place.

    The Alhambra was never a place of wealth like that of Cordoba. It was a more humble architecture. Juan Domingo Santos

    The interior of the Alhambra is a veritable fairyland, with evanescent vistas of sky and water, soaring arches fantastically embellished, and halls-whether vast or intimate whose rampant dcor ranges from floral to abstract and includes a running ru-

    bric of stately Arabic epigraphy (Stewart 1974, 11)

    _componentsLA ALHAMBRA

    HISTORICAL CONTENT

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    Moorish Rule

    With Arab leaders holding the major cities of the Iberian Pennisula, Is-lamic influence began to appear in the art, architecture, and social aspects of society. One major influence on the Iberian Pennisula can be seen in the mass conversion of its non-Arab population to Islam. The Moorish leaders of Northern Africa began building larger fortresses to repel the invaders of the Reconquista. The beginnings of the Alcazaba can be seen at this time in Granada, along with the introduction of defensive walls and boundries. Granadas location in southern Iberia allowed for some vestages of peace even during the Reconquista. This meant more lavish lifestyles for some of the cities residents.

    The Moors were way ahead of their time in some senses . The architecture of the moors is modern in its simplicity and forms, where as the Chris-tian architecture although created later is more historical. The Moors did a lot of work exploring the idea of skin which is a big element in contem-porary architecture today.

    _fortressALCAZABA

    HISTORICAL CONTENT

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    history of alhambra and its legacy

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    After slowly rising to power among the Moorish monarchs, the Nasrid dynasty marked a high point of Islamic rule in the Iberian Pennisula. Beginning in 1232, their reign included a succession of 23 emirs and en-compasses the most significant Islamic alterations to Alhambra. In this period the system of walls and gates were spread out from the Alcazaba to encompass the entire hill leaving room for the lavish palaces and gardens for the Sultans and their royal courts. Their rule would only be contested when the Reconquista had conquered every other region of the Iberian Pennisula.

    La Alhambra was both influenced by literature and influenced literature in equal measures. In Islamic culture, art, architecture, literature and music are so completely integrated that the lines between the liberal arts often blur completely. Patterns and design motifs often integrate Kufic Script and other forms of Caligraphy.

    The most exquisite and striking of its buildings is the Palacios Nazaries. It is beautiful and light and full of symmetry, and while I was admiring the ornate patterns on the walls, my guide, an erudite American academic, explained to me that these were not just fancy scrawls but poems eulogising the sultans.

    The Nasrid artists embellished the Alhambra in three basic ways: the carving of stylized foliage; the use of tiles to form elaborate geometric fig-ures in primary colors; and the repetitive use of Arabic calligraphy (Stew-art 1974, 29).

    The Nasrid Palace, is a labyrinthine and anything but monumental. It conveys an impression of lightness, weightlessness and intimacy and, com-pared to Charless Palace, has a lyrical quality.

    The muqarnas vault is another elaborate decoration of detail of the Nas-rids, deriving complex stellation compositions to crown significant spaces within the Alhambra

    _palaceNASRID DYNASTY

    HISTORICAL CONTENT

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    Palacio de Carlos V

    Christians did not conquer in the sense that they won a battle and drove the moors out, -this was arranged. The Moors left and took everything valuable to them with them. This meant that the Christians had to reinterpret what they thought the moors had done resulting in a replica/imitation experience. Said differently this is a synthesis or purity of an experience.

    With Ferdinand and Isabellas defeat of the Nasrid rulers at Al-hambra in 1492, Granada fell under Christian rule. The Spanish Inquisition then began to purge the region of Muslims and Jews, causing a large portion of the population to convert to chrisianity. Alhambra fell under the rule of Carlos V, grandson of Ferdinand and Isabella. His influence can be seen in his own palace in the center of the complex, as well as the creation of a large church and monastery. Christian rule would damage and strip many of the Islamic influences on the complex, only beginning to restore the palaces in the 19th century.

    Charless Palace is a majestic granite monument, befitting his im-perial title of Holy Roman Emperor. The palace is massive, or-dered and symmetrical, and gives a sense of epic grandeur.

    _palaceCHRISTIAN ERA

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    The name Generalife means garden of the architect.

    Your visit to the Alhambra is complete, and youve earned your re-ward. Surely Allah will make those who believe and do good deeds enter gardens beneath which rivers flow; they shall be adorned therein with bracelets of gold and pearls, and their garments therein shall be of silk (Quran 22.23).

    At a short distance to the east of the Alhambra, the enchantment is extended to the gardens of the Generalife, rural residence of the Emirs. The relationship between the architectural and the natural has been reversed here, where gardens and water predominate over the pavilions, summerhouses and living quarters. Five-hundred-year-old paintings show it looking essentially as it does today. The flowers, herbs, aromas, and water are exquisite...even for a sultan. The most beautiful and striking features in the Generalife gardens are the plants, the water with its continuous interplay with light, and its sounds. The massive boxwood trees, rose, carnation and gil-lyflower bushes, shrubs ranging from willow to cypress, comprise an absolute masterpiece of the art of horticulture within the General-ife.

    HISTORICAL CONTENT

    _gardenGENERALIFE

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    SITE ANALYSIS

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    Experiences

    Approaches

    Site Zones

    _analysisALHAMBRA + SITE

    = Alhambra

    = Site

    SITE ANALYSIS

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    _scaleALHAMBRABoston CommonBoston, Massachusetts

    The AlhambraGranada, Spain

    Vatican CityRome, Italy

    The terrace or plateau where the Alhambra sits measures about 740 metres (2,430 ft) in length by 205 metres (670 ft) at its great-est width. It extends from west-northwest to east-southeast and covers an area of about 142,000 square metres (1,530,000 sq ft). (en.wikipedia.org/wiki/Alhambra)

    To the left is a comparison of scale to two other famous places; The Boston Common of Boston Massachusets, and Vatican City in Rome. These two sites offer as a frame of reference for how big the Alhambra really is.

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    Cobblestone Paving: Located throughout Granada

    The many materials and styles used in the architecture of the Al-hambra were determined by religious influence and influenced the design and style of the surrounding city of Granada. Within the city we see many of the same materials used in the Alhambra such as concrete limestone and plaster.

    Most structures within the Alhambra were constructed using a packed earth method. This method of construction was passed down by earlier ancient Roman building traditions. The bricks which make up most of the Alhambra were raised by packing a mixture into a framework consisting of two parallel planks joined together by a crossbeam. The three most prominent in the Alhambra include:

    1. Grey Concretes- These are very hard and entirely lacking in clay.

    2. Calistrado Walls- These contain a higher lime content in the outer part of the material and have a clay-like center. This results in a reddish interior due to the source of clay that was used. This was the original material used by the Islamic rulers to build Alcazaba.

    3. Reddish Walls- These walls are rich in clay with a very low lime content. They have a similar composition in both the inner and outer parts of the wall. The red brick was the material primarily used by the Christians to repair damages to the older Moorish tow-ers.

    Limestone: Located throughout ComplexGrey lime concrete: Wall of La Alhambra

    Calicosirado Wall : The Arms GateRed Brick Wall: The Homage Tower Nasrid Rammed Earth Wall: Alcazaba

    Red (Alhambra) clay

    _materialsEXTERIOR

    SITE ANALYSIS

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    Carved Plaster: Alhambra

    Glazed tiles: Located throughout ComplexWood Carved Ceiling: The Salon del Trono (Comares) Tile Flooring: Located throughout Complex

    Brick Paving: Located throughout ComplexStone Flooring: Located throughout Complex

    The majority of the decoration and ornamentation in La Alham-bra is made of plaster. It is used in all typologies from the great-est palaces to the lowliest houses and include techniques ranging from basic wall stucco to mocarabes ornamentation

    La Alhambra exhibits the widest variety of delicately crafted plas-ter ornamentation in the world.

    As a structural material, stone more than just a functional means of constructuion, but also acts a symbol of the power of La Al-hambra. Because of this symbolic significance, most og the portals through the city walls consist of structural stone that is highly designed and ornamented.

    _materialsINTERIOR

  • 50 JUD

    The vegetation found around the alhambra severs many different purpos-es. It can: provide shade, serve as windbreaks, define spaces, screen views, block or direct sound, improve air quality, use its root structures to in-crease permeability of the soil to water and air, prevent erosion, can reduce air temperature by absorbing solar radiation and encouraging cooling by evaporation

    This quote From the Alhabra by Washington Irving describes some of the beautiful experiences created by the vegetaion.

    The Guadaira winds its stream round the hill, at the foot of these ruins, whimpering among reeds, rushes, and pond-lilies, and overhung with rho-dodendron, eglantine, yellow myrtle, and a profusion of wild flowers and aromatic shrubs; while along its banks are groves of oranges, citron, and pomegranates, among which we head the early not of the nightingale. (11)

    _site morphologyVEGETATION

    SITE ANALYSIS

  • 51

    Accent planting: alcazaba entry formal garden: generalife

    Circulation: jardin de Los adarves courtyard: court of the lions

    Forest: the alhambra woods parking

  • 52 JUD

    Because of its proximity to the sierra nevada mountains, the site is characterized by steep inclines and distinctive plateaus. Because of this topography, the buildings in Granada are built into the land or step up to correspond to elevation changes. The intensity of the incline is evident in all scales: pedestrian paths, vehicular roads, La Alhambra, and the entire urban complex.

    Granada has several hilly areas (most notably the Albayzin and the entrances to the Alhambra) with many stairways and steep streets, and climbing them can be strenuous

    Due to this, in the medieval Moorish past they traversed the land-scape by having narrow winding streets

    _site morphologyTOPOGRAPHY

    SITE ANALYSIS

  • 53

    The ancient kingdom of Granada, into which we were about to penetrate, is one of the most mountainous regions of Spain. Vast Sierras, or chains of mountains, destitute of shrub or tree, and mottled with variegated marbles and gran-ites, elevate their sunburnt summits against a deep-blue sky; yet in their rugged bosoms lie ingulfed verdant and fertile valleys, where the desert and the garden strive mastery, and the very rock is, as it were, compelled to yield the fig, the orange, and the citron, and to blossom with the myrtle and the rose. (Irving 8)

    hillside architecture

    _site morphologyTOPOGRAPHY

  • 54 JUD

    In 1870 la alhambra was declared a national monument under the new spanish government and funds from the annual budget were al-located for the conservation of the site. since then a variety of orga-nizations have had roles in continued maintenance of la alhambra in its role as a museum complex. in 1984 la alhambra was designated as a world heritage site making it the only complex with this title under the management of the andalucion department of culture. la alhambra is currently managed by the department of culture in conglomeration with the council of the alhambra and generalife. in addition to general maintenance and management, the council su-pervises a variety of research projects (archaeological, anthropologi-cal, etc) and recently published an intensive guide book with current historical information and photography.

    Today, La Alhambra functions as a monument/museum complex that recieves more than two million visitors each year. La Alhambra is currently managed by the Department of Culture in conglomeration with the Council of the Alhambra and Generalife. The Council is protected legally under the Spanish historical Heri-tage Acr of 1985 and the Laws on the Historic Heritage of Adalucia of 1991 and 2007. This legislation has allowd the Council to develop and extensice Master Plan to use as a tool for the future use and development of La Alhambra and the Generalife.

    _alhambraTODAY

    SITE ANALYSIS

  • 55

    The City of Granada has a radial public transport system of busses provided by a private company through a municipal-ity administrative concession. It operates in coordination with a metropolitan consortium by public transport, which depends from Regional Government, to connect the city centre with metropolitan area. Currently, a light rail trans-port system is being built to connect the main metropolitan municipalities with the city centre

    The local policy to improve the accessibility and mobility in its urban space is focused on the selective and progressive restriction of private transport traffic in the historical town centre through roads hierarchization and the establishment of located automated barriers, promoting the establish-ment of new pedestrian areas and consolidating the already existent.

    p u b l i c t r a n s p o r t a t i o n

    _alhambraTODAY

  • 56 JUD

    The alhambra offers breathtaking views of the city. To fully appreciate the unique architecture of the Alhambra set within the surrounding landscape, it is advisable to see the Alhambra for afar as well as up close: several loca-tions in the Albaizn

    _alhambraVIEWS

    SITE ANALYSIS

  • 57

  • 58 JUD

    The Alhambra: Part fortress (the Alcazaba), part palace (Pa-lacios Nazaries), part garden (the Generalife) and part govern-ment city (the Medina), this medieval complex overlooking Granada is one of the top attractions in Spain,

    _alhambraZONES

    SITE ANALYSIS

  • 59

  • 60 JUD

    The sites main chanllenge is the changes in topography. The Site is sloping down hill as you move through it towards the alhambra, passing a series of parking lots on your left as you approach.

    The site serves as the main entryway for the Alhambra, anf has to logically acco-modate all of the monuments visitors in a clear and consise way.

    P R O J E C T

    _siteCHALLENGES

    SITE ANALYSIS

  • 61

  • 62 JUD

  • 63

    VIEW OVER THE ARCHIVES TO SITE FROM THE HILL TOP TO THE NORTH

  • 64 JUD

    During the visit to the site, there were many things that were noticed that later affected the design process. The biggest being the sloping topography, and the second being achieving a clear and logi-cal visitor flow to direct tourists into the monument.

    During this site visit, our class was able to meet one of Spains famous Architects, Juan Domingo Santos. He is the architect that has the actual project in real life, of the hypothetical project our class was doing. Juan Domingo had already researched all the information we were looking for, and was able to shed light on many aspects of the site and project that we wouldnt have known had we not had this oppurtunity.

    _siteVISIT

  • 65

  • 66 JUD

  • 67

    Gillette StadiumFoxboro, Masachusetts

    The Atrio Granada, Spain

    Battery ParkNew York, New York

    The Site is composed of several different gradients, all sloping down hill towards the Alhambra. The site measures roughly over 500 ft long and 200 ft wide.

    To the left is a comparison of scale to two other common places; A football stadium, and Battery Park in NYC. These two sites offer as a frame of reference for the size of the entryway site.

    _siteSCALE

    SITE ANALYSIS

  • 68 JUD

    Site Sections

    The biggest chalenge of the site is its sloping topology. Being in this mountainous region, there are not any areas on the site that are flat. This poses some challenges for the design process, but by using the terracing techniques, similar to how the alhambra handled the terrain, interesting spaces can be achieved.

    _siteMORPHOLOGY

    SITE ANALYSIS

  • 692602'

    2607'

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  • 70 JUD

    The site is surrounded by several important impact areas. These edge conditions will affect the project and will be affected by it.

    The Parking steps down with the ladscape as you approach the site

    The Hotel is to the south of the site slightliy uphil.

    Archive Surprisingly has the largest footprint of any building within Granada

    _siteEDGE CONDITIONS

    SITE ANALYSIS

  • 71

    El Hotel AlixaresLa Alhambra Archives Parking

    Site

  • 72 JUD

    design implications:as seen in the season wind direction diagrams (bottom), dominant winter winds are from the northeast bringing cooler temperatures from the mountains. building orientation and/or the use of wind breaks should be used to ensure the comfort of visitors. as illus-trated in the diagram below, a wind break of a particular height (x) is effective up to a distance five times greater than that height. in summer months winds from the south west bring dry air from the north african coast. these winds can be easily captured for ven-tilation and temperature control through the careful placement of building fenestration. furthermore, trees or other structures blocking these winds should be avoided so that air may cool visi-tors during the warmest weather.

    x

    wind channeling

    _siteWIND

    SITE ANALYSIS

  • 73

    Andalusia has one of the highest levels of sunshine in the whole Iberian Peninsula. The Gulf of Cadiz and the coast of Almeria get over 3000 hours of sunshine per year and given low latitudes in the region, the sun rays hit almost perpendicular to the surface.

    The optimum orientation of our site is direct south as the high mountains are north/northwest of the site and the site is elevated above the Granada

    During the winter months the high ceiling heights of many of the buildings allow for light to penetrate deep into the buildings. Dur-ing the summer months the altitude of the sun is so high that the interior of the buildings are generally protected, only really allow-ing the diffuse/reflected lights from pools into the buildings to light up the interiors

    Solar orientation plays the most significant role in the buildings passive strategy. As the sun rises, the process begins and the build-ings main walls catch the light and filter it down into the court-yards. The custom brick wall that wraps the buildings exterior ptotects the southern side of the atrio from excess heat gain dimin-ishing the need for intensive active mechanical inside.

    _siteSUN

  • 74 JUD

    From central Granada, the 30 and 32 minibuses offer a direct connection to the Alhambra

    There are also several different routes that can be taken by foot. The two brown dots and the blue dot represent possible locations visitors may be coming from. The or-ange dot represents project site, green is where tickets are purchased and yellow is a primary entrance into the Alhambra.

    _siteAPPROACHES

    SITE ANALYSIS

  • 75

  • 76 JUD

    Cuesto Del Chico Rey

    Walking up the Cuesto del Chico Rey is also an option. Bringin visitors up a steep slope along the northern wall of the Alhambra from the lower city, this route offers great views but requires the most energy to climb.

    SITE ANALYSIS

    _generalAPPROACHES

  • 77

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  • 78 JUD

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  • 79

    Cuesta De Gomerez

    On foot, you can walk up to the Alhambra from Plaza Nueva (about a 30 minute hike) by taking Cuesta de Gomerez. Although uphill, this route offers abundant greenery, views to the alhambra, and sounds of flowing water.

    SITE ANALYSIS

    _generalAPPROACHES

  • 80 JUD

  • 81

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    _generalAPPROACHES

    SITE ANALYSIS

  • 82 JUD

    Approach views:

    The approach to the site is downa hill with a slope of roughly 1:20

    _siteCONDITION

    SITE ANALYSIS

  • 83

  • 84 JUD

    SITE ANALYSIS

  • 85

    Site Views

    The approach to the site is downa hill with a slope of roughly 1:20

    Moving through the site, the visitor will first pass the upper parking lots, and back parking lots. The visitor then moves through the noisy bus turnaround with shops to the left and down a slope of garden space towards the

    _siteCONDITION

  • 86 JUD

    The project site is located southeast of La Alhambra and the Generalife, roughly on access with the entrance pavilion of the complex, It is the portion in yellow. The site is bordered by parking to the east in gray. The Alhambra archives to the North and Hotel to the South in black. To the south east there is additional parking in three large lots that step across the topography, also colored gray.

    The intent of this design excersise is to resolve the entry sequence to the Alhambra.

    _siteIMPACT ZONES

    SITE ANALYSIS

  • 87

  • 88 JUD

    Handled in Three ways:

    Water

    Garden

    Light

    The experiences are recreations of what existed because a lot of the Al-hambra was restored during the 20th century.1870 onward this area became a place where the artistic came to imagine how it was in the past. For Hundreds of Years it has functioned as a connection between ideas from the east and the west.

    ExperienceThe Alhambra/Generalife appeal to all 5 senses! This is what allows the Alhambra to be connected with nature. The alhambra complex relates to nature in such strong ways that if it didnt, it would be the Alhambra Does this in three different ways: Abstract Figurative Allegorical

    CONCEPTUAL FRAMEWORK

    _experiencialDESIGN

  • 89

    Venice, Italy is built with water in the same was that the Alhambra was built on the utopian ideals of nature -Juan Domingo Santos

    Not only is Venice built on the water physically, but is also built on the water metaphorically. This same idea applies to the Alhambra and its relationship with nature

  • 90 JUD

    Colage

    Water takes a very active roll in the experience of the space within the Alhambra. Chemically- water is water (h20), but within the complex it is very different experientially from space to space.

    Water flows throughout the palace, unseen to the eyes, only heard as spirits of prisoners, of which gives life to gardens whose aro-matic qualities are circulated through the romantic hall of the twin sisters and further into the palace. Just in the way water can direct pedestrian flow all around the Alhambra complex, this can be used through our site/ building and into the Alhambra.

    Flowing water and create reflections of light on surfaces and fall-ing water can create dynamic shadows that are constantly in mo-tion.

    bubbling currents and tinkling falls of water conducted under the pavement through pipes and channels to supply the foun-tains (32)

    A cupola or latern admits a tempered light from above and a free circulation of air; while on one side is heard the refreshing sound of waters from the fountain of the lions, and on the other side the soft plash from the basin in the garden or LindaraxaWhile the city below pants with the noontide heat, and the parched Vega termbles to the eye, the delicate airs fron the Sierra Nevada play through these lofty halls, bringing with them the sweetness of the surrounding gardens. (33)

    CONCEPTUAL FRAMEWORK

    _colageWATER

  • 91

    Water is a central feature in Islamic gardens. It represents: - the soul - Gods mercy - the illusion of the corporeal world as a reflection of the heavenly world

    Fountains of water are designed on the idea of the interplay between the changing corporeal world and the constant heavenly world.

    describes the beauty and the attraction of the jets of water: Behold this mass of glistening pearl, falling within a ring of frothing silver, to flow amidst translucent gems than marbles whiter, than alabaster more translucent.

    Colage

    _experiencialWATER

  • 92 JUD

    Reflecting pools reflect a abstracted reality, almost like a mirage in its subtle dream-like qualities

    _experiencialWATER

    CONCEPTUAL FRAMEWORK

  • 93

  • 94 JUD

    l a n d s c a p e

    From early on the landscape and the garden acted as form defining factors, helping to make easy design decisions. In the collage on the right, several ideas or being explored. First , the idea of seeing many different types of garden spaces from one location. Narrow pathways intimately interacting with water forces the visitors become more aware of their surroundings. Another idea is changes in elevation that to some may seem pointless, but to others will make the ex-perience more memorable. Trees will shade pathways, and flowes will line the direction of travel

    CONCEPTUAL FRAMEWORK

    _collageNATURE

  • 95

    JDS Any intervention has to be from the standpoint of the garden

    Back then the concept of the garden didnt exist but now, it takes the protagonist roll in the architecture. Garden space was viewed as a generator of spaces throughout the entire des-gin process

    The Generalife- notes on courtyard space within garden. Avg. size of intimate hedge courtyard within the Alhambra is ap-proximately 8m x 8m with seating for 12 around the perimeter 6 entry/exits

    Field trips/ tour groups wait on south side of site investigate possiblilties of intimate space that allow for people to hear each other during crowded days and keep track of children.

    courtyards defining space

    _experiencialNATURE

  • 96 JUD

    s h a d i n g t r e l l i s

    Vines used to link the natural landscape with the facades of the architecture ex. Existing ticket booths

    NATURE

    _experiencialNATURE

    CONCEPTUAL FRAMEWORK

  • 97

    By incorporating Greenery into the retaining wall conditions you can accomplish many other things while still holding back the earth. You can do it:

    To control impact on the natural environment (avoiding excessive cut-ting and/or filling.). To control the visual presence of the buildings in the landscape.

    To allow different levels of privacy within the building or groups of buildings To maximize the views combined with landscape and building massing strategies, it contributes to better control the climate (both temperature and relative humidity) inside the building

    retaining wall conditionincorporating greenery : ivy

    NATURE

    _experiencialNATURE

  • 98 JUD

    Light is used in many different ways in Spain, specifically within the Alhambra complex. When designing a project, light is a power-ful tool and if used correctly, can create experiences that will never be forgotten.

    To the left is a shading device by ____ architects located in Meri-da Spain, that provides a shelter for pedestrians as well as a visually dynamic pattern that changes throughout the day

    The Project was inspired by the Alhambra in its treatment of sur-faces, textures, sequences of rooms, and the interplay of light and shadow.

    The absence of light creates shadows, cooling spaces and acting as a place of retreat from the harsh sun. Light itself provides heat natu-rally in the colder months

    _experiencialLIGHT

    CONCEPTUAL FRAMEWORK

  • 99

    _lightSYMBOLISM

    Always two different stories going on, the scientific and the legend there is a tasteful overlap of these two ideas. Exam-ple. Sky lights, represent stars but allow light in , or perfora-tion that creates heavenly lights, but allows heat to escape cooling the interior.

    Symbolicaly light is the purest form of life, and to some rea-presents heaven (proverbial light/ divinity). In here is a cu-pola which by its height becomes lost from sight, beauty in it appears both concealed and visible... The bright stars would like to establish themselves firmly in it, rather than continue wandering about in the vault of the sky... (Dodds 250)

    Here not only do the star shaped skylights in the dome ciel-ing of the alhambra let in enough natural daylight to il-luminate the space, but they also attract the attention of the viewer and provide references to the heavens

  • 100 JUD

    Light runs deep and affects everything it touches.

    The window is the floor and vice Versa. Smooth-polished floors in cer-tain areas can be used to reflect light in and around the space

    Direct sunlight on white wall will function as a window even though its on an inner wall.

    Within the palaces there are layers of bouncing light, You never have light directly into a main interior space. Also its never about a window (layers diffused light)

    CONCEPTUAL FRAMEWORK

    _lightLAYERING

  • 101

    Light- Though not an ornament itself, light implies on the deco-rative elements in a special way. Decorative elements within the palaces change through light and shadow resulting in different colors and shapes being revealed at different times of the day.

    _lightCOLOR

  • 102 JUD

    Light: Revealing

    Without light we would not be able to see.

    Light reveals textures and can create patterns that are dy-namic throughout the day and from season to season.

    Light builds textures, perception is not objective.

    The directional light produces a magical almost divine feel-ing.

    _colageLIGHT

    CONCEPTUAL FRAMEWORK

  • 103

    A high contrast of bright light in a dark place can be used to direct attention

    Light is not so much something that reveals, as it is itself revela-tion. - James Turrell

    Light can direct movement acting as a destination.

    The reference to the proverbial light at the end of the tunnel can be a very strong gesture. Bright light flooding into such a dark space with only reveal parts of the texture on the wall, creating a new visual texture.

    a wall covering with various degrees of perforations that create a textured surface - replicating the traditional Moorish patterns, the historical background of the structure.

    Light allows you to define materiality

    Without light we would not visualy experience the architecture

    It is used to highlight moments and direct attention with the help of high contrast light and dark. The viewer gets glimpses of the intricate textures on the walls

    _lightCONTRAST

  • 104 JUD

    CONCEPTUAL FRAMEWORK

    Mashrabiya is the Arabic term given to a type of projecting win-dow enclosed with carved wood latticework located on the second storey of a building or higher, often lined with stained glass. The mashrabiy is an element of traditional Arabic architecture used since the middle ages

    One of the major features of the Mashrabiya is for privacy, an es-sential aspect of Arabic culture. A good view of the street can be obtained by the occupants without being seen, preserving the private interior without depriving the occupants from a vista of the public outside.

    Environmental: The wooden screen with openable windows gives shade and protection from the hot summer sun while allowing the cool air from the street to flow through. The designs of the lattice-work are usually with smaller opening in the bottom part and larger openings in the higher parts, hence causing the draft to be fast above the head and slow in lower parts. This provides a significant amount of air moving in the room without causing it be uncomfortable. The wood itself absorbs the humidity from the air.

    The facade marks the separation between the public and private ar-eas with exceptional attention to detail in the overall decoration, epigraphy, and wood work.

    _perforationMASHRIBIYA

  • 105

  • 106 JUD

    Red Brick Wall -The Homage Tower (horizontal banding & assembly of

    pieces)

    + = =

    Wooden Mashribiya (Alhambra )(perforated qualities& assembly of

    pieces)

    Abstracted Horizontal pattern Final Brick Wall System(Horizontal/perforation/assembled)

    =

    Construction method:

    Most structures within the Alhambra were constructed using a packed earth method. This method of construction was passed down by earlier ancient Roman building traditions. The bricks which make up most of the Alhambra were raised by packing a mixture into a framework consisting of two parallel planks joined together by a crossbeam. An image of a simi-lar tool to what the islams used when constructing the alcazaba fortress. The idea of using brickes for the enclosure stemmed from this.Reddish Walls of the Alhambra:

    These walls are rich in clay with a very low lime content. They have a similar composition in both the inner and outer parts of the wall. The red brick was the material primarily used by the Christians to repair damages to the older Moorish towers. Significance:The many materials and styles used in the architecture of the Alhambra were determined by religious influence and influenced the design and style of the surrounding city of Granada. Within the city we see many of the same materials used in the Alhambra such as concrete limestone and plas-ter.

    Alhambra is an arabic term that literally means red castle. Some believe this refers to the color of the building material, however the stone is not really red, but rather a tan color that by starlight is silver but by sunlight is transformed into gold. This idea was applied to the materiality of the Entryway in the form of this custom clay brick.

    Daylight is the cheapest material . In the sustainable world that we are pushing for today, this is very important for energy consumption because it can reduce electricity usage. Light is an extremely abundant resource. Even on a cloudy day the natural lights level of ilumination is 30 times greater than what is required indoors. South-ern light is Warm, abundant, and easily controlled, So this perforated brick wall wraps every southern facing surface of the building.

    At the Atrio, light is used as the primary texture to enhance the visitors experience because it is cheap and always available. In terms of interior comfort, all daylight transforms into heat, but artificial light generates more heat. In the winter months the sunlight puncutring into the building will naturally heat the interior space. The perforated brick system was designed to block a large portion of this sunlight entering so the interior will stay cool.

    CONCEPTUAL FRAMEWORK

    _ideas behindFACADE SYSTEM

  • 107

    _major inspiration

    _design translation

  • 108 JUD

    The Idea of the wall plays a major roll inthe architecture at the alham-bra, so that greatly influenced the design of the Atrio itself. The alham-bra is a walled fortress. It has a continuous tall wall only interupted by towers surrounding the entire complex. There is somewhat of a mystery behind these walls when you walk around the alhmabra. The blankness on these massive solid walls make the visitor curious, asking what could be behind it that could need a wall this big?

    Moorish- essentially a walled city. Christian move in make it into a pal-ace. Delineated perimeter is formed by walls, vegetation, drops.

    CONCEPTUAL FRAMEWORK

    _inspirationTHE WALL

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    THE WALLCONCEPTUAL FRAMEWORK

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    The spaces within are defined by their relation with the space outside

    Preliminary sketches investigating form and space

    In the diagram to the right, The folding orange wall that you see is composed entirely of the perforated system of custom bricks.

    Because of the desired lighting qualities created by the perforated brick wall, the goal was to maximize exposure on the southern facade by hav-ing a saw tooth shape as opposed to one singular and flat southern wall.

    Program interacting with perforated wall:

    1 Bus Drop-off2 Offices3 Lobby Patio4 Lecture Hall 5 Reception/ Garden Patio6 Entry Volume 7 Exhibition8 Daycare/ Garden Patio9 Future Attractions/ Nursery

    CONCEPTUAL FRAMEWORK

    _foldingWALL

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    Building in the Site: Aerial Render

    View from South East

    When entering the the site, the visitor can approach from two ways. Either the city which is from the lower left on the image, or they can approach from the higher on the mountain by their own car or by bus, which is from the top right of the image on the left.

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    preliminary sketch

    The entry sequence was very important in the design of the Atrio of the Alhambra. When visitors arrive the first things they in-teract with can make or break their experience, so a clear entry sequence is crucial. The Alhambra is a world famous attraction, so many visitors will likely have a language barrier causing con-fusion as to how to get to the entrance. Several techniques were used to pull visitors in the right direction, and make them aware of some of the wonders that await inside the Alhambra.

    Water in the form of reflecting pools, flowing streams, and cas-cading stepped pools are used as a way to make the visitor aware of their surroundings as they make their way to the entrance. Sev-eral changes in elevation mark different areas of green space, all of which are aligned with different parts of the building.

    Stairs and ramps make breaks in the retaining walls, allowing the crowds to make their way down the slope to where they can purchase a ticket.

    _entrySEQUENCE

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    Entry Sequence

    The Atrios linear water elements were inspired by the generalife.

    Preliminary SketchPreliminary Sketch of water element

    Site Model

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    Another spacial seperation technique used to emphasize the tran-sitions between garden levels is the white stone threshholds as is seen at many doormays within the Alhambra. The stone tile floor-ing patterns are interupted by a line of bright white stone in cer-tian places where more emphasis is wanted on on that space.

    The series of entry gardens main challenge was finding a way to traverse the 30 change in grade moving from the bus drop off at the top of the site main entry of the building at the bottom only 300 away. This was done using a series of ramps and stairs allow-ing the visitor to choose which route to take while getting their first taste of the nature gardens to come once inside the Alhambra.

    Breaking down a 300 long garden space into more manageable size pieces for the flow of visitors was not an easy task but was done by using a series of transitions. As the visitor gets off the bus they move from hardscape (concrete gardens), through a transi-tion (which is highlighted using water in close proximity to path-ways, ramps, and white stone thresholds), and landscape (nature gardens).

    _entryGARDENS

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    ENTRY GARDENS

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    NURSERY GARDEN

    AREACAFE

    RESTROOMS KITCHEN

    EXTERIOR GARDEN

    SPACE

    DAYCARE

    BOOKSTORE

    EXTERIOR GARDEN

    SPACE

    SECURITY/BAG DROP/

    OFFICES

    LOBBY MAIN ELEVATOR

    CORE

    EXHIBITION SPACES

    Notice the repetition of interior program and exterior garden space. this is a references to the sequence of spaces encountered while moving through through the alhambra and its courtyards/gardens

    LONGITUDINAL BUILDING SECTION

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    MAIN ELEVATOR

    CORE

    EXTERIOR GARDEN

    SPACE

    RECEPTION

    LECTURE HALL

    LOBBY EXTERIOR GARDEN SPACE

    OFFICESBUD DROP-OFF /

    PARKING ACCESS

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    1. BUS DROP-OFF

    The bus drop-off is the first thing that many visitors will experi-ence. It is a noisy and polluted place due to the busy bus traffic so a noise buffer was essential between the bus drop off and the first pedestrian zone. Upon stepping off the bus, you immedeately see the custom perforated brick walls framing the bus turn around. It is accentuated with lushed greenery which helps block some noise. Above the paved pedestrian pathes that wrap the bus turn around is a shading system composed of cables and rectangular panels, mak-ing very interesting patterns as well as a cool place to walk or wait. Beyond to the north are orange trees rising just above the walls, to the east is parking and to the west is the atrio which is the only way out of this space making it an easy chaoice as to which way to go to enter.

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    2. OFFICES

    The office of cultural events is related to special programs organized by the patronato. it requires has a reception area for visitors as well as a storage space. The office for student visitors is a suite for visiting students. While it is primarily an administrative area, it is comprised of three zones: marketing 50%, student center area 30% and a storage area 20%.

    Programatically this is one of the most private spaces. Meant for em-ployees and not visitors, this section of the building is only accesable in the back where the employee parking is located. The solid introverted facade is meant to make visitors focus more on the entry garden experi-ence than what is happening inside the section of the building

    Below is a Rendering of the tunnel-like entry, somewhat hidden from the flow of visitors

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    placeholder

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    The Lobby Patio Is a unique space loacted at the end of the lobby. After purchasing a ticket, visitors move towards this area because their is abundant natural light flooding into the lobby here. This area is over 16 feet below the exterior ground level, meaning it is a sheltere/sunken garden. I has several species of trees and shrubs and flowers, bringing all types of singing birds and offering an aromatic and relxing interaction with nature. Once in this space there is a ramp wraping the courtyard allowing people to exit if they are on their way back through the building to leave. A cen-tral reflecting pool with splashing fountains offers cool breezes bouncing off it and the peacful noise of running water. There is office space at one end and stairs up to the other floors at the other.

    3. LOBBY PATIO GARDEN

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    4. LECTURE HALL

    Programmatically, the lecture hall is a space that is flexible in terms of function and could be used in a variety of ways. left to the discretion of the Patronato. It can function as an auditorium, a concert hall, or a theater. It works in relation with the exhibition space and the student offices. The lecture hall has enough sup-port space to provide the latest audiovisual technology, including 3d projections and is able to accommodate up to 450 people with stepped rows as well as balcony seating. Filling the space under the seating area are mechanical spaces, area storage, and dress-ing rooms. The Lecture hall also has direct press support access. This is an area designated for use by media personel and has the necessary support in terms of audiovisual systems. In the front is a raised stage and in the back are exits, restrooms, and access to exterior garden spaces as well as the student offices.

    Architecturally the Lecture Hall really is an iteresting space. It is the second biggest space in the whole building next to the exhibi-tion area. The westward and southward facing wall are composed of the perforated brick wall system allowing it to naturally light the entire room if desired as well as provide an interesting back-drop for what ever is taking place on the stage. Different types of curtains are able to be lowered from the ceiling on cables to either difues the sunlight or block it completely. The 60 lateral span is acheived with very deep prestressed/post-tensioned concrete beams which attatched to which is a steel wire mesh supporting the necc-esary audio and lighting equipment.

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    PRELIMINARY SKETCH OF LECTURE HALL

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    The reception area is a 2500 sf intermediary space that is located be-tween the main exhibition space and the lecture hall. The main visitor flow is along the southern wall which has the lighting patterns formed by the perforated brick wall piercing through leaving lines of light in the direction of visitor flow. This space can function in multiple ways. The reception area can be set up as spill-out area for the large crowds that can be formed by a lecture hall of this size. This room can also be used to serve food at special events in the form of either buffet style food tables set up along one of the longer walls or full table and chair set ups for rare occasions. There are restrooms on the rear of this room that can accomodate a large portion of the the possible 300-400 visitors in the lecture hall. From here there is also multiple ways of direct ac-cess to outside.There is an outdoor interaction with perforated brick wall as you enter or leave the lecture hall either inside or outside. Outside allong this wall there is an ivy covered trallis element in the same pattern as the perforated wall.

    5. RECEPTION

    In an effort to get natural light deep into the long reception area a large skylight was used. It puctures up into the outdoor garden space above, adding to the interaction between interior and exterior spaces. Visitors that are entering from the back parking lots, or just visitors that ended up in that grassy court-yard exploring the building have the ability to see down into the reception hall.

    PRELIMINARY SKETCH OF RECEPTION SECTION

    PRELIMINARY SKETCH OF RECEPTION AREA

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    ReceptionLecture Hall Exhibition Space

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    6. EXHIBITION SPACE

    The exhibition space is meant to be a celebration of la alhambra, with the goal of creating a means to visit la alhambra without accessing the monument (and without paying for a ticket). This area independent access from the lobby and has all the information means necessary to prepare the visitor for the full experience of la alhambra. This space is a multi functional and is split between two floors, occupying the entire atrium. It can be used to exhibit artwork or historical artifacts from the alhambras vibrant history, or can also be used for events.

    From the exhibition space there is direct connection to many areas of the building including, the daycare, lecture hall, multiple out-door gardens, restrooms, stairs, and elevators.

    Structurally speaking the huge space is made possible with the use of 16 square reinforced concrete collumns and 40 deep prestressed post tensioned concrete beams . Hanging from the roof structure are tall pieces of art actings as daylight chandeliers that catch and reflect light coming in from the southern side around the space.

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    entry volume

    7. EXTERIOR ENTRY SPACE Hovering just a few feet above your head as you approach the main doors of the Atrio is a massive floating continuation of the perforated brick facade. This screen not only casts dynamic patterns of light and shadow on the tile patio as is found within the Alhambra, but it also creates an amazing outdoor space in this contemporary in-terpretation of a sheltered courtyard space. The lighting qualities acheived with this screen are meant to open the visitors senses so they will be able to truly appreciate lights beautiful qualities. It prepares visitors for what is to come once they buy their ticket and go inside the Alhambra, but it also was designed to be so large so that it will easily attract all visitors that may be confused that are trying to get inside simply because it is the tallest structure that can be seen while on the site.

    Structurally speaking, this space is accomplished with the use of three post tensioned-prestress concrete beams that are part of the frame structure supporting the rest of the builing. Although It appears as if it is cantilevering, the brick walls are supported with thin steel posts at midspan shortening the span from 80 to 40.

    DIAGRAMATIC SKETCH OF ENTRY

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    prelimary sketch of entry

    North South section through exterior entry space and exhibition space

    Entry Space

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    South Elevation

    8. DAYCARE

    With so many people visiting the Alhambra daily, obviously their will be a large amount of young children with parents that want to view the monument without being bothered by their crying kids. A space that will keep children happy and occupied for the day was designed for this reason.

    The day care area is a multipurpose room for child care , with an accompanying waiting area for parents picking up their children, and a nursery for infants. Another nice feature of the daycare is the private outdoor play areas that allows the kids to enjoy the fresh air outdoors in a safe and prodected environment.

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    Keeping how this building will function in the future a high prioirity, this section of the atrio is where visitors will be able to bypass the build-ing, the alhambra, and the generalife altogether, traveling straight to where there will posssibly be new attractions in the future. Up this way is also the nursery for the alhambra and generalife. This green sancuary is a dense forest emenating sounds of singing birds and running water. There is a functionality to this part of the Alhambra in that If there is a tree or shrub that needs to be replaced within the Alhambra or the Gener-alife, one can be transplanted from here. The perforated wall wraps the entire building and continues up the hill this whay catsing shadows all the way until the top returs to the red earth where it emerged at the other end of the building

    9. FUTURE ATRACTIONS/ NURSERY

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    2589

    egress stair

    Area=2600sfReception

    Stagearea= 900sf

    Storage

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    mechanical area-400sf

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    service

    mechanical area-400sf

    area=1250 sfBathrooms

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    = 2500 sfStorage

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    SECOND FLOOR

    Mostly public Zones

    Program:

    Exhibitions Space Reception Lecture Hall Garden Patio Daycare Restooms Storage Mechanical Rooms

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    Semi public/Pivate Zones

    Program:

    Exhibition Space Garden Patios Lecture Hall Student offices Cultural offices Offices

    THIRD FLOOR

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    PROGRAM WITHIN BASE WALL

    Mostly public Zones

    1. Lobby 25,000 sf 2. Ticket Booths 3. Information Center 4. Offices5. Garden Patios Restooms Storage Space Mechanical Rooms Book Store6. Security/ Bag drop off7. Audio Guides 8. Tourist Guides 9. Cafe

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    mech

    Storage

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    area=780sf

    area=1250 sf

    service

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    tourism guides

    offices

    security/bagcheck Area=800sf

    audio guides

    ticket counter

    offices

    bookstore

    mechanical area-400sf

    kitchen

    Lobbyarea=20,000 Int. 10,000 Ext.

    egress stair

    bathrooms for cafeArea 1000 SF

    mechanical area-150sf

    Storage

    service

    mechanical area-400sf

    Bathrooms

    Bathrooms

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    Info Offices

    Garden Patio

    Medical Infirmary

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    One of the advatages for all of these program components within the base wall shown on the left is the thermal cooling effect caused by the alhambra red earth that it is nestled in.

    GROUND FLOOR

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    LOBBY

    Once inside the 25,000 sf lobby space imeadeately visitors no-tice the expansive atrium vertically linking the lobby with the two floors of exhibition space. Flooding in from the South side of the building are bright contrasts of light and shadow speckling the polished concrete the lobby floor. The light reflects from the polished floor up onto collumns and interior walls resulting in anothe texture decorating the interior.

    Attatched are several exterior garden spaces offering a retreat to nature like is done all over the alhambra and generalife. From here there is access several other areas of the building. The lobby, which is the primary function space for the building, was de-signed to be able to accomodate the possible 5000-8000 visitors per day with gathering and organization space for large groups with-out interfering with the circulation of the building or the lines at the ticket office.

    The ticket area is on the right after coming in the main entrance. It is a space where all tickets to enter the complex are sold There is both an area for automated machines, and several tellers so the process is smooth and a quick as possible. The Information center is adjecent to the ticket area and is the place where visitors can go for any required service. Since many visitors will be from other countires and not speak the native spanish language there are au-dio guides which allow visitors to rent audio equipment that they can experience a tour of la alhambra without an actual tourguide. If a tour guide is desired, the tourism office provides general in-formation on la alhambra and the city of granada.

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    LOBBY

    There are several other programatic components that have direct access to the large lobby space. The security control/bag storage is an open space with bag scanners any visitor that wante to enter the Alhambra wil have to pass through here. It also has an area of lockers for bags. and a coatcheck area.

    The bookstore is a retail space offering books, sou-venirs and other memorabilia associated with la alhambra. This area is in close proximity to the lobby, but from here you can not access the entrance to the Alhambra since this is open to the public before purchasing a ticket. The lobby is also in direct contact with the offices for technical services, which is designated as adminis-trative space to be used by employees.

    Being such a large space at 25,000 sf, there is also an abundant amount of storage space. there is a designated fire department stor-age room with adequate storage for fire fighter support including all fire suppression systems. There are storage spaces for cleaning supplies and equipment associated with the maintenance of the facilities maintenance needs for different zones of the building.

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    CAFE

    preliminary idea sketch

    The catefteria is one of the spaces that visitors will interacted with the most. Designed purposly for this reason, it is located right where anyone going into the alhambra or leaving it will have to pass making it a frequent stop for visitors. The perforated brick wall really works its magic in this location forming a tunnel with lighting paterns that pull visitors through the exterior seating area and possibly inside for a snack. Because of its location and the fact that it is inside the alhambra complex, a ticket must already be purchased to eat here.

    Aside from the natural light coming through the perforated brick wall on the south and west sides of the cafe, there is a large light-well up into the garden space above that is lighting the exterior seating, and small natural light wells piercing up through the cieling and into the planter boxes in the garden space on the floor

    above.

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    preliminary idea sketch

    preliminary process render

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    TECHNICAL SOLUTIONS

    Program Reconciliation

    Passive Strategies

    Active Strategies

    Structural System

    Building Envelope

    The technical solutions reflect a search for ways to incorporate all systems into the ex