Bahrain Design Valley: Fostering Creativity and Innovation

University of Bahrain Department of civil engineering and architecture
THE STORY
BAHRAIN DESIGN VALLEY
SCHOOL OF DESIGN AND ARCHITECTURE
Fay Al Khalifa 20053101
School of DESIGN And
University of bahrain Department of civil engineering and architecture Bahrain design valley Fay Al Khalifa 20053101 Supervisor : Dr. Ranjith Dayaratne
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 wouldnt have succeed one day if it wasnt 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.
ABSTRACT
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.
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TABLE OF CONTENTS :
acknowledgement Abstract Table of contents Chapter one: introduction 1.1 identifying the problem 1.2 the need for this project 1.3 users and clients profile Chapter two: design concerns 2.1 creativity: history and definition 2.2 fostering creativity 2.2.1 fostering creativity effective influence2.2.2 fostering creativity different propositions2.3 teaching and learning creativity 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 I II IV 1 2-3 4-7 8-9 10 11-12 13 14-15 16 17-18 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 :
Chapter five: functional relationships 5.1 main components relationship 5.2 sub components relationships 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 Chapter seven: technical requirements 7.1 foundations 7.2 structure 7.3 acoustics 7.4 air conditioning 7.5 lighting Chapter eight: preliminary design concepts 8.1 design concepts 8.2 design concepts preliminary sketches List of References
47 48 49-52 53 54 55 56 57 58 59 60-62 63 64 65 65 66-67 68 69 70 71 72
IV
Chapter one : introduction

We shape our buildings and thereafter they shape us
Winston Churchill (1874 1965)
1.1 IDENTIFYING THE PROBLEM WHAT IS THE DESIGN PROBLEM ?

Solving the problem is an impossible task if the problem hasnt 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.
The design problem

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.
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.
Creative brain
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 WHAT ?! WHY ?! WHO ?! 2. Design issues
FIGURE 1
David Armano
4. Program development 5. Functional relationships 6.The site 7. Technical requirements
3.Case studies
1.1 IDENTIFYING THE PROBLEM WHAT IS THE DESIGN PROBLEM ?

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. Figure 2 : illustrates a mind map of Daniels 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 ?!
FIGURE 2
THINK RIGHT !
3.Case studies 4. Program development 5. Functional relationships 6.The site 7. Technical requirements
1.Introduction
WHAT ?!
WHY ?!
WHO ?!
2. Design issues
1.2 THE NEED FOR THIS PROJECT WHY do we need this project ?
The vision
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.
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.
1.Introduction
WHAT ?!
WHY ?!
WHO ?!
2. Design issues
3.Case studies
4. Program development
5. Functional relationships
6.The site
7. Technical requirements
objectives
Architectural
To challenge the ordinary conception of studios 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 .
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.
1.Introduction
WHAT ?!
WHY ?!
WHO ?!
2. Design issues
3.Case studies
6.The site
objectives
Environmental
To create an environment that would help increase environmental sensitivity in its users. to highlight on the importance of sustainability in the designed spaces.
Social
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.
To appreciate local environmental qualities and to deal with environmental constrains in the design.
1.Introduction
WHAT ?!
WHY ?!
WHO ?!
2. Design issues
3.Case studies
6.The site
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 -
FIGURE 3
The new campus for KU

Architecture school
FIGURE 7 FIGURE 6
FIGURE 5
FIGURE 4
1.Introduction
WHAT ?!
WHY ?!
WHO ?!
2. Design issues
3.Case studies
6.The site
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 bys .
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
WHAT ?! WHY ?! WHO ?!
Flexible spaces. Up to date technological support. Up to date references and data .
1.Introduction
2. Design issues
3.Case studies
6.The site
1.3 USERS AND CLIENTS PROFILE WHO IS THIS PROJECT GOING TO SERVE ?
the process of learning
different ways of how people learn
FIGURE 11
the rates of different learning activities
FIGURE 8
different students typologies and their study patterns
FIGURE 9
FIGURE 10
1.Introduction
WHAT ?!
WHY ?!
WHO ?!
2. Design issues
3.Case studies
6.The site
Chapter two : design concerns

Your own knowledge of how you learn is more important than someone elses theory of how you learn.
unknown
10
2.1 CREATIVITY : HISTORY AND 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.
Creativity : its history

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 Gracin (160158) would only venture to write: "Art is the completion of nature, as if it were a second Creator..."
Creativity : its definition

There are several theories about the definition of creativity, the most popular among them are the following: 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
1.Introduction 2. Design issues 3.Case studies 4. Program development 5. Functional relationships 6.The site 7. Technical requirements
8. Design concept
11
2.1 CREATIVITY : HISTORY AND DEFINITION
Creativity or Innovation : to be creative or to be innovative ?

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.
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 VS Innovation: THE CONFLICT OF CREATIVITY IN EDUCATION

AND INNOVATION IN THE REAL PRACTICE.
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.
1.Introduction
2. Design issues
3.Case studies
6.The site
8. Design concept
12
2.2 FOSTERING CREATIVITY

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
Develop self confidence
Encourage risk taking
To foster creativity
Facilitate being comfortabl e in messy/comp lex situations
Work with
complexity
FIGURE 12
1.Introduction
2. Design issues
3.Case studies
6.The site
8. Design concept
13
2.2.1 FOSTERING CREATIVITY- AFFECTIVE INFLUENCE 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 persons available repertoire of cognitions and actions, thus enhancing creativity.
Creativity and effective influence

FIGURE 15
Affective disorders and depression
Positivity
Additional cognitive materials
Defocused attention
Negative effects
Creativity
Cognitive flexibility
Complex cognitive context

FIGURE 13
creativity
Diagram illustrating the negative effect FIGURE 14 and creativity
6.The site 7. Technical requirements
8. Design concept
Diagram illustrating the positive effect on creativity

1.Introduction 2. Design issues 3.Case studies 4. Program development
14
2.2.1 FOSTERING CREATIVITY- AFFECTIVE INFLUENCE Diagram illustrating the conclusion derived from the various theories of the different effects and 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.
negativity
positivity
Personal arts (art, sculpture, poetry, music)
Social arts (architecture, design, planning )
Intensity of focused feelings
Defragmentation , defocused attention and complexity

FIGURE 16
creativity
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.
4. Program development 5. Functional relationships 7. Technical requirements
8. Design concept
1.Introduction
2. Design issues
3.Case studies
6.The site
15
2.2.2 FOSTERING CREATIVITY- different propositions -
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.
FIGURE 17
1.Introduction
2. Design issues
3.Case studies
6.The site
8. Design concept
16
2.3 TEACHING AND LEARNING CREATIVITY

TYPICAL STAGES IN THE CREATIVE PROCESS 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.
PREPARATION
from no specific knowledge to general comprehension of what needs to be known

Generation
using a variety of techniques and tools to support the generation of ideas. ( brain storming ) Incubation 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.
Evaluation
Implementation
Evaluation
FIGURE 18
Examining the whole process, and knowing that what has been done is important personal knowledge for doing it again in a different context
2. Design issues 3.Case studies 4. Program development 5. Functional relationships 6.The site 7. Technical requirements
8. Design concept
1.Introduction
17
2.3 TEACHING AND LEARNING CREATIVITY

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. Design issues 3.Case studies 4. Program development 5. Functional relationships 6.The site 7. Technical requirements
8. Design concept
1.Introduction
18
Chapter three : case studies

Music needs to be performed. Architecture needs to be executed. Peter Zumthor
19
3.1 Carnegie Mellon university

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 Foundations 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 Qatars new building features 11 state-ofthe-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.
1.Introduction
2. Design issues
3.Case studies
6.The site
8. Design concept
20
3.1 Carnegie Mellon university 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.
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, its 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 Qatars 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.
The assembly area an interior landscape ?!
Levels of interaction Sense of outdoors
Working with the local environment
Solid and void
shade
1.Introduction
2. Design issues
3.Case studies
6.The site
8. Design concept
21
3.1 Carnegie Mellon university 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 dont 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
8. Design concept
22
3.2 UNIVERSITY OF CINCINNATI

College of DAAP- Aronoff CenterOhio-united states By Peter Eisenman 1996
The thin line between irritation and motivation
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. 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 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.
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.
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
1.Introduction 2. Design issues 3.Case studies 4. Program development
an architecture capable of basing its form on the manifestations of life rather than on conventional geometric configurations.
6.The site
8. Design concept
23
3.2 UNIVERSITY OF CINCINNATI Why is it relevant ?!

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
Eisenmans "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 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 .
1.Introduction
2. Design issues
3.Case studies
6.The site
8. Design concept
24
3.2 UNIVERSITY OF CINCINNATI
What can be learnt?!

Peter Eisenmans 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.
office Class rooms studio Lecture halls rooms
Growing plans
six R-Directed aptitudes to be most critical to success in today's conceptual age :
six R-Directed aptitudes to be most critical to success in today's conceptual age :
1.Introduction
2. Design issues
3.Case studies
6.The site
8. Design concept
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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 caf, are located on the ground floor. The Design Studios on the second floor will be a production level, home to the creative workplaces.
1.Introduction
2. Design issues
3.Case studies
6.The site
8. Design concept
26
3.3 The Zollverein School of Design Why is it relevant ?!

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.
Ground Floor Plan courtesy SANAA
Section courtesy SANAA

8. Design concept
27
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.
1.Introduction
2. Design issues
3.Case studies
6.The site
8. Design concept
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3. CASE STUDIES CONCLUSION

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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2. Design issues
3.Case studies
6.The site
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Chapter four : program development

When space becomes more than a place . Mark Maves
30
4.1 Program development

Questioning facilities to provide places that foster creativity
FIGURE 19
Reflecting Rates of learning activities on the components
Typical spatial components Classes and studios administration library workshops
Questioned spatial components Places to learn creativity Places to teach and supervise creativity A place to prepare for creative acts Places to implement creativity innovation Places to evaluate creativity Places to help produce creativity
Support facilities faculty administration
FIGURE 20
Galleries Services
Reflecting students learning styles on the components FIGURE 21

Outdoor Sporty Quite isolated Crowded active Coffee Exciting Different places and themes Homey Comfortable
What Makes a campus ?!
recreational
Learning spaces FIGURE 22
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2. Design issues
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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.
Preparation
implementation
Library
studios
Technology sandbox and workshops
generation
Lounges and learning corridors
evaluation incubation
Learning corridors and faculty hub Gathering areas and exhibition halls
evaluation
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2. Design issues
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4.2 main components

LEARNING HUB FACULTY HUB LIBRARY MEETING SPACES
Bahrain Design Valley
ADMINISTRATION LEARNING CORRIDORS
GALLERIES AND EXHIBITION HALLS

LEARNING LANDSCAPE SUPPORT FACILITIES PARKING
1.Introduction
2. Design issues
3.Case studies
6.The site
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4.3 details of components

Learning hub Undergraduate studios 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.As offices Technicians offices Demonstrators offices Coffee bar Meeting spaces Visualization room Copy/print area Workrooms Scholars work station Lounge
Shared destination for faculty to meet and collaborate
Cluster of experimental learning spaces with academic technology support
1.Introduction
2. Design issues
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library administration E caf 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.. 3ds display gallery. Design display halls. Graduation projects hall.
Who knows what a library means anymore ?! while the functions and appearance of libraries will likely change, nobodys about to tear them down just because they have fewer books and more social spaces.
Richard E. Luce
1.Introduction
2. Design issues
3.Case studies
6.The site
8. Design concept
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ADMINISTRATION deans office Deans privet meeting room/fax/photocopy College meeting room Dean secretary Typist Storage room Archive Messengers room/mail/ kitchenette
Support facilities
Meeting spaces auditorium Lecture halls Multipurpose hall Jury halls Support facilities
Faculty lounge and cafeteria Student food court Prayers room quite rooms Security rooms Maintenance rooms Faculty toilets Students toilets
This diagram shows the different types of meeting spaces and their applications
1.Introduction
2. Design issues
3.Case studies
6.The site
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Learning corridors study nooks. Linear caf. Open theaters. Study booths. Learning landscape Ceremony plaza. Outdoor setting areas. natural studios.
Learning landscape
parking
Faculty parking Students parking Visitors parking
Informal learning spaces

Corridors , lobbies , adjacencies
Those diagrams illustrate different means of informal learning that could take place in a campus
Talk and display
Advantage of corner
stair public
In the window well

1.Introduction 2. Design issues 3.Case studies
outdoors
4. Program development 5. Functional relationships
On slabs
6.The site 7. Technical requirements
8. Design concept
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4.4 components detailed areas
Bahrain design valley

Functional unit capacit y No. required Min. area Max. area reference Rec. area total circulation reference Sub-total m2
ADMINISTRATION
Deans office Deans meeting/fax/photocopy College meeting room Deans secuirtuiry typists Storage room archive Messengers room/ mail/ kitchenette TOTAL 1 3 25 3 3 1 1 1 1 1 1 1 1 1 1 1 25 20 80 30 30 15 16 15 36 25 80 40 40 20 20 20 N.307 N 346 N319 N319 N319 N250 N350 N251 36 25 80 40 40 20 20 20 36 25 80 40 40 20 20 20 included included included included included included included included RD N 346 N319 N319 N319 N250 N350 N251 36 25 80 40 40 20 20 20
281 N : NUEFURT RD: LOOKED OUT FROM REDEMENTRY DATA
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Functional unit capacity No. required Min. area Max. area Reference Rec. area total circulation reference Sub-total m2
SUPPORT FACILITIES
Faculty lounge and cafeteria Student food court Faculty toilets Students toilets Prayer rooms 40 300 20 500 80 1 1 4 6 2 120 650 20 65 96 200 800 25 70 120 N455 N455 N 308 N 308 N585 200 800 20 65 120 200 800 80 390 240 30% 30% included included 10% N456 N456 N 308 N308 N585 260 1040 80 390 264
Quite rooms
Security personals Maintenance TOTAL
20
2 3
2
3 3
20
20 30
40
25 40
RD
N319 N307
40
20 35
80
60 105
30%
included included
RD
N319 N307
104
60 105 2303

Functional unit capacity No. required Min. area Max. area reference Rec. area total circulation reference Subtotal m2
MEETING SPACES
Lecture hall Auditorium with lobby Multi purpose halls Jury halls Support facilities TOTAL 1200 500 150 200 1 1 1 2 4 1 1500 1000 200 400 150 1800 1500 250 600 200 N318 N317 N319 N333 N319 1800 1250 225 500 150 1800 1250 225 2000 150 included included included included included N318 N317 N319 N333 N319 1800 1250 450 2000 150 5650
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Functional unit capacity No. required Min area Max area reference Req. area total circulation reference Subtotal m2
Faculty hub
Faculty offices T.As offices Technician's offices Demonstrators' offices Coffee bar Meeting spaces Visualization room Copy/print area Work rooms Scholars workstation lounge TOTAL 1 4 2 3 40 2 4 4 15 35 15 15 20 40 20 20 N 319 N 319 N 319 N 319 18 40 20 20 720 80 80 80 included included included included N 319 N 319 N 319 N 319 720 160 80 80
25
35 10 1 3 2 50
1
2 2 1 10 35 1
45
80 40 20 15 5 100
50
85 45 25 20 10 150
N 456
N 307 N 319 N 319 N 319 N 319 N 456
45
85 40 25 15 5 150
45
85 80 25 150 175 150
included
included included included included included included
N 456
N 307 N 319 N 319 N 319 N 319 N 456
45
85 80 25 150 175 150 1750
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4.4 components detailed areas Bahrain design valley

Functional unit capacity No. required 50 6 4 7 2 3 Min. area Max. area Reference Rec. area total circulation reference Sub-total m2 4000 720 320 770 700 90
Learning hub
Undergraduate Studios Graduate studios Technology sandbox Standard labs Large labs Server/ technicians room 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 room Supply storages stationary TOTAL 20 5 20 30 100 6 80 112 80 110 350 30 100 150 100 120 400 35 N320 N 320 N 351 N 351 N 351 N 351 80 120 80 110 350 30 4000 720 320 770 700 90 Included included included included included included N320 N320 N351 N351 N351 N351
35 20 20 20 30
30 1 1 1 1
60 80 20 20 40
80 80 40 40 50
N 346 N 321 assumed Assumed N 333
60 80 40 40 50
1800 80 40 40 50
included included included included included
N 346 N 321 assumed assumed N 333
1800 80 40 40 50
50 10 50
1 1 1
100 20 100
150 25 150
N 309 Assumed N 309
150 20 150
150 20 150
included included included
N 309 assumed N 309
150 20 150
10 10 1 10
3 3 4 1
30 15 15 60
35 20 20 80
N 309 N 309 N 250 assumed
30 20 20 80
90 60 80 80
included included included included
N309 N 309 N 250 assumed
90 60 80 80 9240
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Exhibition halls and gallerys

Architecture , and interior projects hall 3ds display gallery Design display hall Graduation projects hall TOTAL 300 1 400 450 N 333 450 450 Included N 333 450
100 230 300
1 1 1
100 300 400
150 350 450
N 333 N 333 N 333
150 350 450
150 350 450
Included Included included
N 333 N333 N333
150 350 450 1400
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2. Design issues
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library
lobby reception administration Librarian's room E caf Clever bookstore Books display area Nerdy corner Study boxes Students active rooms Journals jungle Loud lounge storage TOTAL 2 2 1 2 100 5 1 1 2 3 1 1 15 15 20 20 175 50 20 20 25 25 200 70 N 346 N 346 N 319 N 319 N 455 N 327 15 20 25 25 200 70 15 20 50 75 200 70 Included included included Included Included included N 346 N 346 N 319 N 319 N 455 N 327 15 20 50 75 200 70
50
15 2 4 50 30 3
1
1 15 10 1 1 1
150
180 4.5 12 150 420 48
200
210 5 15 200 450 50
N 327
N 329 N 329 N 329 N327 N 329 N 327
150
210 5 15 150 420 50
150
210 75 150 150 420 50
included
included included included included included included
N 327
N 329 N 329 N 329 N 327 N 329 N 327
150
210 75 150 150 420 50 1635
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4.4 components detailed areas Bahrain design valley

Functional unit capacity No. required Min. area Max. area reference Rec. area total circulation reference Sub-total m2
Learning corridors
Study nooks Linear cafe Open theaters 4 20 35 10 1 4 10 45 60 15 50 70 N 346 N 455 N 319 15 45 60 150 45 240 included included included N 346 N 455 N 319 150 45 240
Study booths
TOTAL
10
10
15
N319
15
150
included
N319
150
585
Learning landscape
Ceremony plaza Outdoor setting areas Natural studios TOTAL 2000 10 35 1 20 10 1000 15 120 1500 20 150 N 478 N 319 N 319 1500 15 120 1500 300 1200 40% included included N 478 N 319 N 319 2100 300 1200 3600

Functional unit capacity No. required Min. area Max. area reference Rec. area total circulation reference Sub-total m2
parking
Students parking Faculty parking Visitors parking TOTAL 1 1 1 1000 125 50 12.5 12.5 12.5 18 18 18 N 440 N 440 N 440 18 18 18 18000 2250 900 60% 60% 60% N 440 N 440 N 440 28800 3600 1440 33840
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4.5 total build up area
zone
DAAP Administration Meeting spaces Faculty hub Studios , labs and workshops Support facilities library Exhibition halls and gallerys Learning corridors build up area Circulation 20% 281 5650 1750 9240 1833 1635 1400 585 22374 4475
Area m2
Total build up area
26849
1.Introduction
2. Design issues
3.Case studies
6.The site
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4.6 total area of the project
zone parking Learning landscape Total out door areas area of project Services 1% Total area of project
Area m2 33840 3600 37440 101729 1017 102746
1.Introduction
2. Design issues
3.Case studies
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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
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5. MAIN COMPONENTS RELATIONSHIPS
1.Introduction
2. Design issues
3.Case studies
6.The site
8. Design concept
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5.1 SUB COMPONENTS RELATIONSHIPS
LEARNING HUB
8. Design concept
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5.1 SUB COMPONENTS RELATIONSHIPS FACULTY HUB
MEETING SPACES
1.Introduction
2. Design issues
3.Case studies
6.The site
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5.1 SUB COMPONENTS RELATIONSHIPS LIBRARY
SUPPORT FACILITIES
1.Introduction
2. Design issues
3.Case studies
6.The site
8. Design concept
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5.1 SUB COMPONENTS RELATIONSHIPS ADMINISTRATION
EXHIBITIONS AND GALLERYS
1.Introduction
2. Design issues
3.Case studies
6.The site
8. Design concept
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Chapter SIX : THE STORY OF A SITE

Architecture doesnt come from theory. You dont think your way through a building Arthur Erickson
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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 areas 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 areas in Bahrain has been proposed to accommodate this project. 1. 2. 3. Manama : the dense capital Isa town : the educational city Skheer : the free land
Laba studio 2009
8. Design concept
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6.1 SITE SELECTION CRITERIA

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 arenas for Option 2 : Isa the users .
town
Option 1: Al fateh highway
Site selection criteria

1. Located within rich educational and cultural context. 2. Availability of large open land. 3. Ease of access. 4. Good visual approach. 5.Land potentials for good landscape opportunities. 6. Surrounding environment ( calm / extensive ). 7. Adjacent facilities and services . Total
Weight
15 25 10 10 25 10 5 100
Option 3 : Skheer
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6.2 FIRST PROPOSED SITE

Approximate area
Area Surroundings
212000 m2
Manama sh. Isa library Jufair multistory residential area. New parliament. Albahri sea front Alfateh high way Not used Secondary roads from two directions None Open to the sea
Use of the site Accessibility typography Natural features
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.
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
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6.3 SECOND PROPOSED SITE

Approximate area Area Surroundings 245000 m2 Isa town residential area Commercial cluster Gulf university and al hekma school Not used Main road from one direction Secondary roads from three directions Valley with number of hills and ponds Natural water ponds and grass
Use of the site Accessibility
typography Natural features
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.
View showing residential area overlooking the site View showing location of natural features of the site
Natural ponds
View showing location of natural features of the site

Natural hills
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6.4 THIRD PROPOSED SITE

Approximate area
Area Surroundings
245000 m2
Skheer residential area Bahrain university at a distance National memorial
Use of the site

Accessibility typography Natural features
Petrol pipes connections

Main road from one direction Number of hills cutting through a valley Rocky topography and number of desert trees
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 areas 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.
View showing location of natural features of the site View showing location of natural features of the site View showing adjacent monument
slob
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6.5 SITE SELECTION

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.
Site selection criteria

1. Located within rich educational and cultural context
2. Availability of large open land. 3. Ease of access. 4. Good visual approach. 5.Land potentials for good landscape opportunities. 6. Surrounding environment ( calm / extensive ). 7. Adjacent facilities and services Total
Weight
Site 1 Al fateh
Site 2 Isa town
Site 3 skheer
15
25 10 10 25 10 5 100
15
20 5 10 10 10 5 75
15
20 10 10 25 5 5 90
5
25 10 10 15 5 0 70
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6.6 SELECTED SITE ANALYSIS

The site is located in the central governorate of bahrain , surrounded by a highway, residential areas 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.
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Selected site
Greenery
Hills pond
Houses overlooking the valley
Point of visual access
Site edge sloped
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.
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1.Introduction
2. Design issues
3.Case studies
6.The site
8. Design concept
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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
63
7. TECHNICHAL ISSUES
7.1 foundation Types of foundations

Concrete strip foundation Deep strip foundation Raft foundation Piled foundation Pad foundation Stepped foundation
Auger bored piles construction method
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.
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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
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.
The check list for acoustic design in buildings

1. 2. 3. 4. 5. 6. The level of the background noise must be sufficiently low to avoid interfering with the intended activity Sound energy must be evenly distributed throughout the space Avoid echoes and any focusing effects The desired sounds must be sufficiently loud Provide the proper reverberation time characteristics Provide short enough initial time delay gaps for early sound reflections in concert halls and similar spaces
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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 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.
.
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
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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
69
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
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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list of references
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
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Bahrain Design Valley: Fostering Creativity and Innovation

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Bahrain Design Valley: Fostering Creativity and Innovation

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University of Bahrain Department of civil engineering and architecture

Fay Al Khalifa 20053101

School of DESIGN And

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

47 48 49-52 53 54 55 56 57 58 59 60-62 63 64 65 65 66-67 68 69 70 71 72

Chapter one : introduction

1.1 IDENTIFYING THE PROBLEM WHAT IS THE DESIGN PROBLEM ?

The design problem

why do we need to facilitate spaces that foster creativity ?

1.1 IDENTIFYING THE PROBLEM WHAT IS THE DESIGN PROBLEM ?

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

The new campus for KU

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

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

the rates of different learning activities

different students typologies and their study patterns

Chapter two : design concerns

2.1 CREATIVITY : HISTORY AND DEFINITION

Creativity : its history

Creativity : its definition

2.1 CREATIVITY : HISTORY AND DEFINITION

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

Creativity VS Innovation: THE CONFLICT OF CREATIVITY IN EDUCATION

2.2 FOSTERING CREATIVITY

Develop self confidence

Encourage risk taking

Facilitate being comfortabl e in messy/comp lex situations

Creativity and effective influence

Affective disorders and depression

Additional cognitive materials

Complex cognitive context

Diagram illustrating the positive effect on creativity

Personal arts (art, sculpture, poetry, music)

Social arts (architecture, design, planning )

Intensity of focused feelings

Defragmentation , defocused attention and complexity

2.2.2 FOSTERING CREATIVITY- different propositions -

2.3 TEACHING AND LEARNING CREATIVITY

from no specific knowledge to general comprehension of what needs to be known

2.3 TEACHING AND LEARNING CREATIVITY

Chapter three : case studies

3.1 Carnegie Mellon university

3.1 Carnegie Mellon university Why is it relevant ?!

Levels of interaction Sense of outdoors

Working with the local environment

Solid and void

3.1 Carnegie Mellon university What can be learnt?!

3.2 UNIVERSITY OF CINCINNATI

The thin line between irritation and motivation

3.2 UNIVERSITY OF CINCINNATI Why is it relevant ?!

Movement and inertia

Complexity provokes creativity

3.2 UNIVERSITY OF CINCINNATI

What can be learnt?!

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

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

3.3 The Zollverein School of Design

3.3 The Zollverein School of Design Why is it relevant ?!

Ground Floor Plan courtesy SANAA

Section courtesy SANAA

3.3 The Zollverein School of Design

What can be learnt?!