A design fora contemporary art center based in Edinburgh city, the project was done as a part of design lab 2 The main concept was Inspired by the contour lines of the site and the city itself. The recorded textures of the old heritage city combined Innth a reflection of the changing levels of Its contours build up the form of the building. The interior spaces amts to reflect the nature side of the site and bring the vegetation inside at the entrance and the reception area.
For the exhibition spaces, the main idea was changing levels through the stairs, shifting from one exhibition area to the next.
The project Pan application fora facade structure on an office, govern building. The building has two glazed facades. the 34m north facade and the 2Orn west facade. The designed structure claims to protect the glazing from sudden projectiles or any kind of external threats that might lead to the failure of the glazing. The designed structure odynamic in order to respond to external changes and to let air and natural light enter the spaces of the building. In this senario only the north facade requires protection as there was no th rear from the west side
As both a designer and a musician, I was always fascinated by this idea that music and architecture could be related, and I decided to tackle this subject in my Master’s thesis. My research starting by ana- lyzing what various authors have discussed about this relationship between both arts, especially when it comes to aspects of proportion, rhythm, acoustics, synesthesia, and musical deconstruction. However, most scholars have used western music theory as a foundation on which they started their research, so I wanted to see how different the results would be if traditional Arabic music theory was used instead. Before tackling an architectural project, I visually analyzed (put form to music) both baroque musi- cal pieces and Arabic musical pieces, abstracted el Moez street into basic visual forms that speak to the rhythm of walking the path, as well as identifying a number of different sensory zones on el Moez street - each zone with the intent of designing an interven- tion at some point in my career.
For the thesis, I picked the rst zone to undergo my manifesto and decided to use the different propor- tions of Arabic maqams as my design tool. Since each of these maqams have unique musical person- alities, I wanted to see if such different personali- ties can be felt when translated visually. I conducted a study on many minarets on el Moez street, and found that each of them does infact correspond to one of the main maqams in Arabic music, and if these maqams would change, the character of the facade would change as well.
My design intervention was laid out in front of Al Hakim mosque, attached to Bab el Futuh (similar to how el Muayyad mosque is attached to Baby Zu- waila), and would house ve different spaces, each corresponding to one of the following maqams: Rast, Bayati, Hijaz, Sikah, and Saba. Each space is designed using only the maqam as a reference (pro- portions, musical timbre, associated moods...etc). The intervention would be called “Al Masmaa’ “ or a “Place for Listening” to encourage the sense of listening which Arabs have evolved through and have forgotten in the past century. Note that there are studies that show that mosques in Historic Cai- ro were laid out so that the entire city was in sonic reach of the call to prayer (see the last slide in this presentation).