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Design Culture

Ziba Esmaeilian

Sci-arc 2010 - 11

Architecture & Culture 66

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Visual Studies

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Applied Studies

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Rational and functional architecture of 20th century changed our social structure and caused concentrated population and living in urban area which increased the air pollution and create drastic change in temperature and threatened our water resources. Entering 21st century lack of sustainability and adaptability caused more crises in global environment and economic development. It is clear that these events are inextricably interwoven and challenge every single built structure. It is the time to extend our consciousness and take a step toward smart structure and intelligent space in order to create a responsive and dynamic built environ-ment. Buildings cannot be static and dead anymore; each one is part of an urban environment and interacts with the other units like a natural organism.

I believe architects have always been inspired by looking to nature and have defined a proper design by intellectual deliberation in order to create har-mony between environment, site, culture and technology. Synthesizing the relationship between these components creates a responsive and dynami-cally constructed environment. Natural organism within an ecosystem is based on mathematics and algorithmic design analysis. So, Parametricism is my interest field in Architecture.

Design Culture

Ur Farm

Library for Graphic Novel

Design Studio:

UR Farm

Experimenting the phisibility of farm in a continuous form. Continuity maximizes the visual access and make a connection to different parts of the program. This continuous form, as well the panelizing technique of modules clearly portrays the program as well as the structure. Differential folded surfaces maximize the view and natural light which are critical based on the site location and program. Due to the differing heights in this structure and design, the presence of light is maximized. The various differential forms that are created, all serve a pur-pose. Because of the shifting relationship in the structure, both circulation and light are continuous and based upon the actual form of the building. The overall form of the building includes access from several parts, and leads you to different spaces. The design of the building allows for an individual to easily navigate from one entrance, to another, as well as from the roof garden to the bridge. Farm land contain the agriculture, fungiculture, apiculture and restaurant in it. All of these programs are con-nected together in a way to produce the primary needs of the restaurant.

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Section B - Long section through fungiculture/agriculture looking at the bridge

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Library for a Graphic Novel

Design Studio:

Library for Graphic Novel

Definition of a library has been changed in the last decades. It is place for interaction, communication, and transferring informa-tion. With all the technology and networking system, making another classic library has no meaning. So, I wanted to bring the technology and networking system in the library and create urban parks and interaction areas as much as possible. I wanted to have a 360 degree view of the city close up, in this high tech library. The building is raised up to create an open urban park in the city and make the city part of the project. This small tower in New York City is representing as a part of Manhattan. Urban Park is repeating in different floors. All the books are archive in a storage and its a robotic accessible. All the apertures are operating mechanically based on changes in weather. These apertures are getting bigger as it goes higher, to have the view of the city. Columns are following the overall form and holding computers or reading area. Its about frame and content.

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1 First floor- urban park2 Second floor-lobby, park3 Third floor- reading area, park 4 Forth floor- study room 5 Fifth floor- stacks 6 Sixth floor- reading area

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Visual Studies :

Hybrid Tool

Cookie/Whale

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Hybrid Tool

Perhaps the ideal way in which an architect can approach the act of drawing is to be unaware that he is actually doing it at all.

Peter Coock, Drawing: The Motive Force of architecture, John Wiley & Sons, Ltd., West Sussex,20008.

Hybrid tool project throughout the semester was an in-depth investigation into the fundamental of visual communication through the development of both conventional architectural techniques visual and interpretive skills using a variety of analytical and representational methods. This drawing consisted of 2-D and 3-D components. These components focused on the execution of drawings techniques necessary for the application of those ideas.Drawing wasnt simply a tool for representation; it was a critical part of the design process. One focus was to blur the line between the design process that generates ideas and the skills necessary to communicate an idea. The multi tool object should not be seen as passive objects, but are to be understood as active systems embedded with potential dynamic mechanisms. In drawing the object, temporal qualities, relationship to the body, morphology, modes of assembly and aesthetic qualities through various draw-ing methods.

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Visual Studies :

Cookie/Whale

Whale/Cookie

Making a whale and cookie in 3-D. Then, merging these to objects and making a encyclopedia for it. Each entry in the encyclopedia shows a model in elevation, sections. Group of each set of draw-ing and text show one entry. Then, represent information visually like as a diagram. Extracting points in all the objects show visually the numbers of control points and surfaces.

Next assignment was to select one cookie and rendering it in exterior and interior. My concept was ambiguity for this ambigu-ous object. Unclear material, and ghost atmosphere was selected to show the ambiguous concept.

Selecting a whale/cookie and using CNC machine to make it. Then, with a custom pattern that was created for the object spay paint on it.

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1 Exterior view2 Interior view

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Metal

Tempering the Environment

Applied Studies:

Metal Project

It was a group project in assembly process of the selected design model. My Model was selected a first part of competition and rest of the term we were working on the assembly. The assembly process posed difficult design chal-lenges due to the flexible nature of the sheet metal as well as gravity. The sheet metal flexed in areas of surface to surface connections that had not been accounted for during initial calculations of the scaled model. The assembly of the modules occured in groups and attached from the bottom up. Additional pieces were customized to connect the voids in between the groupings.The overall structure fused well together as each module provided counter balancing forces as a whole. While one module torqued outward the directly connected pieces torqued inward thus balancing the weight distribution.Upon completion of our inital design that erected the framework to 66 we wanted to further test the material strength again itself by adding an additional row along the bottom of the structure. This yielded a failure of the material against its own weight at the points of rest. The overall configu-ration crushed and deformed the newly added members thus providing us with a conclusion of miscalculated weight distribution that our modules were unable to sustain at certain moments of rest.

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Tempering the Environment

Applied Studies:

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1 Sun study at 9AM, 12PM, 3PM, and 6PM2 Water system3 Green roof design4 Shading system5 Wind in winter6 Winf in summer

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Sheikh Lutfullah Mosque

Cultural Studies:

Sheikh Lutfullah Mosque

Shah Abbas I was the first Safavid king to make Isfahan his capital. Moving the capital from Qazvin to Isfahan in 1590 may have been motivated by the citys economic potential, security, central location and safe distance from troubled board land. Shah Abbas recreate the Isfahan. Now a day Isfahan is the third largest city in Iran and well known for its natural and architectural splendor. Isfahan has a history of more than 2500 years and it is known as Isfahan nisf-i-jahan means Isfahan is half of the world. Naghshi Jahan square (Design of the World) or fa-mous meidan is 512 x 159 meters which covered eight hect-ares might be the largest piazzas in the world. The meidan represents an early example of a multi-functional space. It was the most impressive feature of the new city for foreign travelers, who admired it for its huge size and architectural homogeneity. There is a stone channel ran around the perimeter of the square at a short distance from the arcade and separated the space for walking from the central area, which was originally unpaved and covered with gravel. The covered walkway and outer arcades served as a bazaar. The great central space housed the stall of merchants, craftsmen, barbered, and entertainers, but could be cleared for military parades. The meidan is also described as a great square and it is one of the UNESCO world heritage. The plan is presenting the view toward the entrance to the Royal Bazzar on the north side. On the west side is the Governmental palace of Ali Qapu, and across the square on the east is the Mosque of Sheikh Lutfullah. Occupying most of the south side is the huge complex of the Royal Mosque. Due to the strict north-south orientation of square, each of the two mosques fronting on it had be tilted on its axis so that its quibla would face toward Mecca.

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Shah Abbas I was the first Safavid king to make Isfahan his capital. Moving the capital from Qazvin to Isfahan in 1590 may have been motivated by the citys economic potential, security, central location and safe distance from troubled board land. Shah Abbas recreate the Isfahan. Now a day Isfahan is the third largest city in Iran and well known for its natural and architectural splendor. Isfahan has a history of more than 2500 years and it is known as Isfahan nisf-i-jahan means Isfahan is half of the world. Naghshi Jahan square (Design of the World) or fa-mous meidan is 512 x 159 meters which covered eight hectares might be the largest piazzas in the world. The meidan represents an early example of a multi-function-al space. It was the most impressive feature of the new city for foreign travelers, who admired it for its huge size and architectural homogeneity. There is a stone channel ran around the perimeter of the square at a short distance from the arcade and separated the space for walking from the central area, which was originally unpaved and covered with gravel. The covered walk-way and outer arcades served as a bazaar. The great central space housed the stall of merchants, craftsmen, barbered, and entertainers, but could be cleared for military parades. The meidan is also described as a great square and it is one of the UNESCO world heritage. The first of the two structures to be built on the main square was the Mosque of Sheikh Lutfullah, which was reserved as a court sanctuary and thus lacked a central courtyard and minarets, and it only has a low dome. However, it does not have a courtyard, but its unified internal space, with a dense atmosphere of meditative tranquility. Entering to the square was slightly off axis though the main pishtaq which made the quibla issue. So, the

architect overcomes this issue by corridors and oblique walls. The pishtaq was separated from the prayer hall by an oblique wall, thus forcing visitors to turn ninety degrees down as L-shaped corridor leading to a gateway in front of a domed mihrab. The mosque building is rested on a square frame which is turning to octagonal in the upper part and become a circular dome at the top Sheikh Lutfullah Mosque comprised a single domed room 19 meters on a side surrounded by service area and resting on another room of almost the same dimensions, covered with low vaults resting on four octagonal piers. The dome, which has a modest pointed-arch profile, is covered with an unusual design of ocher-colored arabesques and its center is displaced 6.5 meters to the right of the entrance axis. To reach the prayer hall, one must pass through the portal iwan; with impressive tile. Through there is a dark corridor around the two sides of the sanctuary, entry is opposite the mihrab. The visual and psychological impact on entering the vast, glowing room is stunning. It has a perfect balanced interior. The dome is decorated with a sunburst at the apex; from it descend tier of logical deco-ration, which get larger with the curve of the dome.The decoration is filled with flower motifs which play against the monochrome ground. The drum has sixteen arched panels broken with windows. They are fitted with double ceramic grilled in arabesque pattern. The drum is supported by sixteen kite-shaped shields resting on four great squinches alternating with arched panels. They are all springing from the floor, outlined by light blue cable moldings, and framed by wonderful inscription bands in white on a dark blue ground. The structure system is a tripartite arrangement of square base which has an octagonal zone of transition. The thickness of the wall where the windows are located is one meter and sev-enty centimeter. In the main parts this thickness change to two meters. The entire mosque is a centrally planned domed space, which is typical of commemorative mausoleums, not mosques, but this building does not house a tomb. Inscriptions call it a mosque, but it lacks the typical court-yard, iwans, and minarets. However, it does have the essential mihrab niche and is oriented toward Mecca. At the entrance to the building, decorated in extraordinary mosaic inlay, is domained by eight pointed arches accentuated by spiral half-column in brilliant turquoise. Lower panel contain green arabesques, white medallions on a deep blue background, and yellow motifs. Perfectly rendered white calligraphy in the thuluth style is also set against a deep blue background. The dome is a triumph of balance, and if the design seems familiar, this is due to inspiration that this decoration gave to carpet patterns, which the multitude

of medallion motifs. There are eight pointed arches on the shallow dome which is forming squinches. The dome is decorated with bands of almond shapes that spiral in towards the middle diminishing in size.Between the squinches holding up the dome are eight large kufic squares containing each an entire Surah from the Quran.Calligraphy is the most highly regarded and most fundamental element of Islamic art. It is significant that the Quran, the book of Gods revelations to the Prophet Muhammad, was transmitted in Arabic, and that inherent within the Arabic script is the potential for developing a variety of ornamental forms. However most of the calligraphy works have legible inscrip-tions, not all the Muslims are able to read them. Each alphabetic is legible by itself but the overall is getting to complex and hard to read. Inscriptions outline the chronology of building and name the participants: the major foundation inscription on the portal dates the beginning of construction to 1012and names the cal-ligrapher: Alireza Abbasi: who later worked on the Shah Mosque, a second inscription at the base of the interior of the dome gives a date for the decoration 1025-1616; and a third inscription on the mihrab names the archi-tect, Mohammadreza son of the master Husayn, the builder from Isfahan, and gives the date of completion 1028-1618. At various points in Persian mosque, one is struck by the presence of monumental inscriptions. These may be in kufic, thuluth or naskhi script, and they served different functions. They included quotations from the Quran: significant passages from the suras appear on borders and in friezes, notably on iwans and inside the sanctuary, so that the mosque becomes an open book. Other inscriptions are more lapidary, using graphic Corridor to the prayer hall

Mohammedreza HusaynHattstein, Markus. Islam Art and Architecture. France: Peter 2000. (Page, 65)

Calligraphy and the windowsAlireza AbbasiAnsari, Ali. Isfahan, art and architecture. Tehran, Alborz press. 2001. (page114)

Moaraq on the entry Mohammedreza HusaynPhoto taken with author

Calligraphy and the windowsAlireza AbbasiAnsari, Ali. Isfahan, art and architecture. Tehran, Alborz press. 2001. (page112)

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blue in color; behind that wonderful creation, the position of the dome over the prayer hall makes a deliberate statement in favor of asymmetry. As for Lutfullah mosque, the structural complexity of earlier domed squares has been toned down dramatically, leaving a vast and minimally articulated inner space which is organized mainly by its orna-ment. Sheikh Lutfullah mosque has been studied as a great example of the parametric design these days. Parametric design implies the use of parameters to define a form. Use of Relation has an important role in it. Some places like the entrance or the dome is showing the use of parameters clearly. Dome of Sheikh Lutfullah has some similarities with Londons Gherkin Tower by Norman Foster which is an example of parametric design. Both buildings have diamond patterns which get bigger gradually. In other word, they both follow a system and parameters to get the pattern. Both have a reactor point which is on the highest point of building. The diamond shape used in the Gherkin tower is structurally supported as well as pattern or exterior look however in Sheikh Lutfullah Mosque it is only a pattern on the dome. But both are valuable because of use of mathematical logic. In addition to the great architecture of this build-ing, the conscious use of color, mosaic, and other decorative elements makes this mosque unique among the others in that time period. Unlike other mosque, colors were used to show a spiritual goal. For example, the mosque has a dome with grounds color and walls have a skys color. It shows the massiveness of these two elements and spiritual

drum runs a band with an inscription in thuluth characters on a blue ground. The drum is sliced with sixteen grille win-dows that diffuse a soft, quiet light that encourages medita-tion. The dome itself is covered in a delicate pattern of lozenges. In the decoration, throughout, buff natural brick (seen also outside, on the dome, where arabesque floral trails run across it) is used to set off turquoise and ultrama-rine blue, alternating with white inscriptions. The mihrab, in a rectangular frame, has sharp, refined muqarnas covered with flowers on a deep blue ground. Sheikh Lutfullah Mosque and the Shah Mosque each repeat a familiar scheme in design and architecture. The domed square hall and the four iwan plan are correspond-ingly. Their only main different is size and splendid decora-tion which make it easy to overlooking their essential conservatism. In the Shah Mosque, the huge scale allows the incorporation of dome chambers behind the subsidiary iwan, a rectangular pool which serves as the focal point of the courtyard and ablution for prayers, a winter prayer hall and madrasas flanking the main prayer chamber.The exterior and interior are similar accord a major role to plain unglazed brick, which serves as a background to sparingly applied glazed tile work in floral and geometry pattern; the interplay between these two accents seems illusionistically to confer a glazed sheen on the plain brick. The faade of both mosques open on to the great maidan, which was the center of the new city. Both have bent entrances, so that the mosques themselves are correctly oriented but do not compromise the regularity of the facades defining the square those facades are kept low so that the major buildings which punctuate them stand proud of their surroundings. Both mosques have a blue dome which has a surface in effect dematerialized. It is an insubstantial as a soap bubble and as changeable as the surface of the sea.Sheikh Lutfullah mosque has a single domed room but the Shah Mosque has two separated dome with ten meters void. Shah Mosque follows the typical Iranian plan of a central court, surrounded by arcades, with an iwan in the middle of each of the four sides, and minarets however Sheikh Lutfullah is missing them. One of the very obvious properties is the grand scale which is common in the Safavid architecture. Shah Abbass buildings often are large in scale but suffer from the severe structural weaknesses. the Mosque of Sheikh Lutfullah rests on a shaky foundation. . However this is a small mosque but it is not excluded from the Abbass building trait. Also, the entrance portal and the dome offset beyond it to the right announce what was to characterize Shah Abbass religious architecture in Isfahan: the rejection of symmetry and the absence of ostentatious monumentality. The pishtaq that opens on to the maiden is covered with tile-mosaic and with kasha that are predominantly

symbols for the sacred names of the Shiite trinity. You can find the inscription in exterior as well. There are inscriptions in large white kufic lettering framed in black on a turquoise background between the windows in the drum. Inscriptions in geometric characters are also skillfully combined into seemingly decorative star-shaped medallions that in fact bring together the names of Allah, Muhammad and Ali. The grilles of the sixteen windows in the drum are formed of twisting stems and flowers in a seemingly infinite variety of patterns. Multicolored tile veneer sheathes the exterior in a pattern which resembles prayer rugs applied to a vertical surface. Muqarnas faced with intricate mosaic work are suspend-ed over the entrance arch. The interior is often recom-mended as the most perfectly balanced space in Persian architecture. Filtered light entering through windows in the drum of the dome flickers across the mosaic-lined walls and dome. Eight pointed arches on the walls, out-lined in turquoise, bring just enough geometric discipline to this numinous, coloristic space to keep worshipers from entirely losing their earthly bearings. Painted tiles were too fragile for the exterior of the domes and so never used for this purpose. Instead of that, narrow enameled bricks 5-8 centimeters thick were combined with molded and glazed terracotta elements to form vast arabesques. There is a Peacock pattern under the dome which the tail of the peacock get enhances with sun light in cer-tain time during a day. The peacock has been design in a way that it gives you time wise information only from the sunlight. At noon the tail of the peacock get disappear to tell you know it is time for noon pray.The square prayer hall is entirely faced with tile mosaic and roofed by an elegant dome. In the corners, where one might expect muqarnas, there are smooth surfaces with triangular motifs. Above them at the base of the

Bibliography

Ansari, Ali. Isfahan, art and architecture. Tehran, Alborz press. 2001. (page112)

Ackroyd, Peter, 2000 London: The Biography. Anchor Books. Porter, Roy, 1994 London: A Social History.

Domed. Azaduni. 2003. Jelsoft Enterprises Ltd. 28 Sep 2010..

Hattstein, Markus. Islam Art and Architecture. France: Peter Feierabend 2000. (Page, 87)

Hillenbrand, Robert. Islamic Art and Architecture. New York: Thames & Hudson INC. Page 232.

Liskamm, Alex. Caligraphy in Islamic Art. New York Press, 2002. (page-127)

Petersen, Andrew. Dictionary of Islamic Architecture. London; Routledge, 1996.

Sheikhlotfollah mosque. rasekhoon.com. 2009. mashhadizade 28 Sep.

Stierlin, Henri. Islamic art and architecture from Isfahan to Taj Mahal. New York;Thomas & Hudson Press. Page, 145. Welch, Anthony. Shah Abbas & the Art of Isfahan. New York: Schocken Books, 1977.(page 21) Zafarian, Tara. Safavid. Tehran: Behesht Press, 2002. Page15.

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