islamic cultural center

ISLAMIC CULTURAL CENTERA STUDY OF NARRATIVE SPACES

RUTH JAHJA/THESIS PROJECT/WOODBURY UNIVERSITY/SPRING 2011

One can argue that architecture has the unique quality to manipulate viewer’s emotional re-sponse through haptic and other physical experi-ences. This ability when combine with narratives have been use utilized by churches and other in-stitutions to convey their ideology and to create environments that manipulate viewers to agree with their point of view. Thus this Islamic cultural center is design as an attempt to change the bad perception Muslim community has garnered ever since 9/11.

Located at The Parish of Saint Matthew in Pa-cific Palisades, this center will provide additional cultural education for the existing elementary school and overall cultural experience for church members through programs and exhibitions that are designed not only to introduce people with these foreign cultures, enforce empathy, but also to instill guilt as a prevention method of against acts of prejudice specifically toward Muslims and other minority groups in general.

To explain the narrative of Islamic culture, it is im-portant to incorporate Christianity as the begin-ning just like how the Quran have incorporate old and new testaments. The story will then unfold in series of exhibitions that represent the linear movement of time in spiral manner which deliv-ers the narrative through the use of symbolism, forms, patterns, materials, different qualities of light, and relationship between the existing struc-tures versus the newer additions. It is hope that visitor could see despite the obvious differences between the two structures, one could not be complete without the other.

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TABLE OF CONTENTSNARRATIVE OF SPACES

ARGUMENT

The trend of today’s architectureWhat architecture could provideHistoric Precedents: Gothic Cathedrals Felix Nussbaum Haus (1998) Jewish Berlin Museum (1999)

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METHODOLOGY

Narrative/Emotional Responses/EmpathyCase Studies: Vanna Venturi House (1959-64) Cathedral of Our Lady of the Angels (2002)

OUTCOMES

Islamic Cultural Center/MuseumCase Studies: Classical Islamic Architecture Modern Islamic ArchitecturePrograms

BIBLIOGRAPHY

PROJECT

Site Analysis:Pacific Palisades Circulation Analysis Program ExhibitionsConcept: Research Conceptual Model Scheme 1 Scheme 2 Scheme 3 Light Fixture Furniture

FINAL OUTCOME

Guggenheim Museum Bilbao

Frank Gehry/ Art Museum/ Bil-bao, Spain.

Materials: Titanium curves, glass atrium, and limestone.

1997

Yokohama International Port Terminal

Foreign Office Architects/ Ter-minal and Civic Facilities/ Yoko-hama, Japan.

Structurals and surfaces folds made with steel and wood deck-ing1.

2002

Turning Torso

Santiago Calatrava/ Housing/ Malmo, Sweden.

Concrete and steel tower that slowly turning,

2005

Notes:1.Kirsten Kiser, “Foreign Office Architects, Yokohama International Port Terminal, Yokohama, Japan”, Arcspace, October 28, 2002 and December 9, 2010, http://www.arcspace.com/architects/foreign_office/yokohama/yokohama_index.html2. Kirsten Kiser, “Morphosis, Wayne L. Morse, United States Courthouse”, Arcspace, January 22, 2007 and December 9, 2010, http://www.arcspace.com/architects/morphosis/us_courthouse/us_courthouse.html3. Kirsten Kiser, “Olympic Architecture 2008, Introduction by Guoxin Ma”, Arcspace, August 11, 2008 and December 9, 2010, http://www.arcspace.com/books/ol_2008/ol_2008.html4. Zaha Hadid Architects, “MAXXI: MUSEUM OF XXI CENTURY ARTS ”, Zaha Hadid Architects, 2009 and December 9, 2010, http://www.zaha-hadid.com/built-works/maxxi

ARGUMENTTHE TREND OF TODAY’S ARCHITECTURE

Today’s technology allows architect to create aesthetically amazing spaces that incorporate organic forms and unconventional materials. However, many architects have been seduced by technological innovations, such as the advent of digital modeling software and digital fabrication techniques, and have created spaces purely to please aesthetic reason without any specific pur-pose.

MAXXI: Museum of XXI Century Arts

Zaha Hadid/ Art Museum/ Rome, Italy.

Up to 50m cast-on site conrete wall4.

2009

The Bird’s Nest National Sta-dium

Herzog and de Meuron/ Olympic Stadium/ Beijing, China.

Longest spanning steel structure in the world3.

2007

Wayne Lyman Morse United States Courthouse

Morphosis/ Courthouse/ Eu-gene, Oregon, USA.

Security Level IV facility with LEED Gold certification2.

2006

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WHAT ARCHITECTURE COULD PROVIDE

Architecture has the ability to tell stories, distort spatial perception and the ability to augment the user’s experience, both good and bad via form, tectonics, circulation and through spatial relation-ships. The purposeful and well-designed spaces can fundamentally alter a person’s perception which could make for a more memorable experi-ence.

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Notes:1. David Stephenson, Heavenly Vaults: From Romanesque to Gothic in European Architecture (New York: Princeton Architectural Press Press, 2005), 155-186.2. Robert A. Scott, “ What Is the Gothic Look?” in The Gothic Enterprise: A guide to Understand the Medieval Cathedral (London: University of California Press, 2005), 103-120.3. Radu Dragan and Augustin Ioan, “ Jesus Inside” in Symbols and Language in Sacred Christian Architecture (Lewiston : The Edwin Mellen Press, 1996), 71-79.4. Robert A. Scott, “ An Image og Heaven” in The Gothic Enterprise: A guide to Understand the Medieval Cathedral (London: University of California Press, 2005), 121-133.

Typical gothic architecture plan

One of the strongest symbol in classical church is the plan itself that is a direct reference to cross, Jesus’ transcendence over death, and His promise to return to earth at the end of the world1.

Proportions that use also refer to symbolism such as Holy Trinity (1:3) or twelve apostles (1:12). Other mythical ratios such as Phytago-rean and Golden Section also known to en-hance the harmony1.

Perfect symmetries and mirrorization in x and y axis also very common in classical church design to emphasize perfection and harmony.

Elements in Gothic architecture

HISTORIC PRECEDENTS: GOTHIC CATHEDRALS

The very obvious indications of narrative in Ca-thedrals are the beautiful stained glass windows, paintings, mosaics, and sculptures that describe chronicle of Jesus or many other stories from the bible. The windows serve more than just visual storybooks because it incorporate light into the church, one of the most important elements in Gothic cathedrals that differentiate it from pre-vious architecture movement2. These windows serve as the barrier between the divide and the ordinary peasant3. Light is arguably the essence of Gothic architecture for it become the represen-tation of God and allow the designers to render a slice of heaven in Earth4.

Stainless glass in Canterbury Cathedral, England

Interior of Salisabury Cathedral, England

Despite of the solid materials and the height of the walls, the interiors of Gothic churches are very well lit This is because every architecture elements were designs to flood the interior with as much light as possible.

The quality of light trans-form every materials, structures, surfaces, orna-ments, and geometries into something more devide; a piece of heaven.

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Vertical elements with overwhelming amount of details

HISTORIC PRECEDENTS: GOTHIC CATHEDRALS

But one could argue that the most important mes-sage a church want to deliver is the existence of greater being or God. This is achieved not just with the quality of light and extensive symbology, but also the haptic experience that could manipulate one’s perceptions. The extreme verticality of the architectures draws viewer’s eyes upward toward the amazingly detailed vaulted and stained-glass windows, the representation of heaven. The size of the church makes one’s feel smaller whereas the massive details overwhelmed one’s senses, both humbled and for a moment force one to be-lieve that there are greater being out there. The accoustic qualities where every sounds are am-plified force one to be quite and even more self cautious about his/her behavior in the space.

Vault designs in various Gothic Chruches.

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Notes:1. Daniel Libeskind, Daniel Libeskind: The Space of Encounter (New York: Universe Publishing, 2000), 92-962. Daniel Libeskind, Breaking Ground (New York: Riverhead Books, 2004), 55-60.

HISTORIC PRECEDENTS: FELIX NUSSBAUM HAUS (1998)

Felix Nussbaum is one of many examples of talented people whose life cut short because of Nazi regime. Libeskind name this The Museum without Exit to describe Nussbaum unfortunate fate. Libeskind creates three different areas in the museum and assigns different materials and spatial quality that distinctive to each com-partment2. He does this to represent three dif-ferent stages of Nussbaum career: Artwork that he made before Holocaust, around hiding from the regime, and recently found after peace1.

The Nussbaum HausNussbaum works prior to Nazi regime are ex-

hibited in this area. The paintings represent the happy and tranquil moments.

The Nussbaum GangThis inhumane and uncomfortable area are

made to exhibit Nussbaum’s works during his exile, where one could feel his frustration

through his paintings.

The Nussbaum BruckeThe bridge building where recently found

painting by Nussbaum’s are display. This area bring the past to the future, the intent to preserve his legacy and provide

a secure place where his works.

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Notes:1. Daniel Libeskind, Daniel Libeskind: The Space of Encounter (New York: Universe Publishing, 2000), 23-29.2. Daniel Libeskind, Breaking Ground (New York: Riverhead Books, 2004), 55-60.3. Peter Eisenman, “The Deconstruction of the Axis. Daniel Libeskind, Jewish Museum, 1989-1999”, Ten Canonical Buildings 1950-2000 (New York: Universe Publishing, 2000), 230-254.

Entrance

Located at the existing muse-um because Libeskind argue that German Jewish history is inseperable and intermingle with German history1.

E.T.A. Hoffmann Garden

Outdoor garden that repre-sent the exile and immigra-tion of Jews from Germany1. It is made out of 49 tall pillars with oddly tilted foundation to make visitors feel disorien-tated; thus remind them how the Jews feel when they ar-rive at this strange new exo-dus2.

Axonometric view that include roof plan and underground level

HISTORIC PRECEDENTS: JEWISH BERLIN MUSEUM (1999)

Jewish Berlin Museum by Daniel Libeskind is made to house two thousand years of German Jewish history which disrupted abruptly with the Holocaust. The narrative of the Holocaust is not only visible in the content of the museum but also through the sequence of spaces, void and hallow spaces that inaccessible, narrow hall-way, forms, tectonics of the spaces, symbogy, carving on the exterior, and most importantly the use of lighting. Visitors could to certain de-gree understand, emphatize with who the mu-seum represent, and leave with more memo-rable experience.

The Holocaust void

A dark dead end that represent the gas chamber. It is unheat-ed in winter with no air condi-tioning during summer2. The only source of light is a little slit at the very top1.

The axis

Which are 3 circulation that lead to gallery, exile garden, and the Holocaust void. It consist of narrow hallways that abruptly penetrated with violent forms and slits. One could argue that this arbitrary relate to the random execu-tion of Jews by Hitler3.

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Notes:1. Daniel Libeskind, Breaking Ground (New York: Riverhead Books, 2004), 55-60.

guidance

divine

In Jewish Berlin Museum, Libeskind makes light penetrate through the solid walls and even reach to the basement. Light ability to overpower the solid steel and concrete sug-gest its divine quality.

In this chaotic geometric of the museum that might confuse most of the visitors, light is the most simple element that be-come the ordering principle by providing a sense of direction and guidance for visitor throughout the space.


Among all of the symbolisms use in this project, one could argue that light is the most significant one. At first, Libeskind’s idea of the museum is a pitch-black space to illustrate the hopeless-ness and the condition of gas chamber. But he decided to incorporate light as the representa-tion of hope after he read Yaffa Eliach’s Hasidic Tales of the Holocaust, where she described a trail of white light she saw on the way to con-centration camp was the reason she believe the miracle could happen1.

HOPE

In dark and depressing spaces that spread out in this muse-um, light become the embodiment of hope for people. With the use of narrow and compressed spaces, Libeskind force one to move toward the light.

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guidance

Notes:1. Daniel Libeskind, Daniel Libeskind: The Space of Encounter (New York: Universe Publishing, 2000), 23-29.2. Peter Eisenman, “The Deconstruction of the Axis. Daniel Libeskind, Jewish Museum, 1989-1999”, Ten Canonical Buildings 1950-2000 (New York: Universe Publishing, 2000), 230-254.

Diagram of two type of lines in second foor plan Diagram of two type of lines in third foor plan


Another very important symbolism in this mu-seum lies in the forms itself. Libeskind’s name for this museum, “Between the Lines” clearly describe the parti and the forms of the museum. Just like Gothic churches use cross as the ba-sic form for the floorplan because its significant, Libeskind use two types of lines to describe the narrative of German Jewish; one straight line that broken into many fragments and one tortur-ous continuous line1. The continuous line later manifest as the solid, the museum itself, while the straight line translate as the void that cut through the Jewish Museum as the representa-tion of Holocaust2.

Libeskind’s diagram of the project

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METHODOLOGY NARRATIVES/ EMOTIONAL RESPONSES/ EMPHATY/

Through the incorporation of form, light, material-ity, symbology, and ornamentation to express the design narrative and through the manipulation of spatial relationships, this project will attempt to il-licit an emotional reaction from the user. Classi-cally, symbology has been utilized mostly for the expression of religious typologies and propagan-da. Ornamentation and symbology have been replicated extensively and have not fully been incorporated or mined as a design imperative. These techniques became propaganda methods used to recruit as many followers as possible while displaying ideas of power or dominance, simultaneously. Now, it is use to represent sensi-tive topics where both the buildings and programs go hand in hand to change awareness in a posi-tive way. Libeskind incorporate people’s stories and his personal experience into haptic space through the use of materials, light, solid versus void, and symbolism.

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CASE STUDY : VANNA VENTURI HOUSE(1959-64)

Notes:1. Marvin Trachtenberg & Isabelle Hyman, Architecture from Prehistory to Postmodernity (New York: Harry N. Abrams, Incorporated, 2002), 505.2. William J.R. Curtis, Modern Architecture Since 1900 (New York: Phaidon Press, Inc, 2009), 560.

CASE STUDY : VANNA VENTURI HOUSE(1959-64)

During this period of time, modern architecture had rejected any type of symbolism and orna-mentations in their building. Architects proposed what known to be international style that strips any sign of uniqueness or individuality of the building with minimalist design. It was not un-til Robert Venturi rebelled from this mainstream design with his famous quote, “less is bore” that perfectly captured the condition of American ar-chitecture in his time1. Robert Venturi expressed his boredom toward minimalist architecture theo-retically through Complexity and Contradiction in Architecture and physically with Vanna Venturi House2.

From a minimalist standpoint, the house would be the ulti-mate bizarre building; one could argue that his design is a mockery of ‘orthodox modern architecture’

A triangulated roof and a faux chimney allowed American people to visualize the eccentric building as a house due to its resemblance with traditional homes

Venturi used minimalist trademarks such as ribbon window and glass-to-wall window. In essence, during the pro-cess of eliminating cultural references from their building, minimalists actually create their own culture.

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CASE STUDY 2: CATHEDRAL OF OUR LADY OF ANGELS(2002)

Notes:1. Alborg White, Jose Rafael Moneo: Cathedral of Our Lady of the Angels (arcspace.com, 2002). Web. 16 Nov. 2010.2. True Confession. Building Design (ProQuest, 2003). 14. Web. 16 Nov. 2010.3. Jack Milles. Our Lady of the Freeways: Is Los Angeles’ New Cathedral Worth the Price? Commonweal (ProQuest, 2003) 13-18, Web. 16 Nov. 2010

materials

Based on the name, Cathedral of Our Lady of the Angels should be dedicated to the women of Los Angeles. Unfortu-nately, cathedral’s architectures do not exude feminine feel-ings. the cathedral proudly characterizes masculinity with the thick concrete walls, clean geometry, and harsh edges.

Cathedral of Our Lady of Angels seems to support society’s view of female as mere accessories, because a building that is dedicated to women only uses the feminine elements as mere decoration.

solid vs. void

CASE STUDY 2: CATHEDRAL OF OUR LADY OF ANGELS(2002)

In this hostile city, the existence of a community gathering such as church is essential to ease the tension. Ironically, Angelinos had more than they asked for when the nation’s largest and grand-est cathedral—Cathedral of Our Lady of the An-gels—was build at the heart of the city. Designed by award winning architect, Jose Rafel Moneo1, this post-modern cathedral represents spiritual-ity through journey of solitude and ritual with the help of light to guide2. Located a block away from the Disney Concert Hall, this exuberant cathedral occupies 3.3 million cubic foot of space that con-sists a of worship place, a bell tower, a mausole-um, a cloister garden, a rectory, an underground parking, a plaza, a café, and a gift shop. Despite the beautiful architecture qualities, this house of worship becomes a monument of people’s igno-rance of class and gender issues.

symbolism

ornamentation

Virgin Mary sculpture by Robert Graham welcomes every-one at the entrance. Unique from the other Virgin Mary stat-ues, the one in Our Lady of the Angels is made with the hybrid of multiple racial origins which truthfully represents the Catholic women that are not only made out of Caucasian women3

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OUTCOMES ISLAMIC CULTURAL CENTER/MUSEUM

This project will attempt to repair the bad public image Islam has garnered post 9-11 through the modernization and the incorporation of symbol-ogy. The museum will help educate the public about Islam, while providing textural and haptic feedback, as well as provide a space for the in-corporation of cultural differences.

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The base of belief on why there are no visual representation in Islamic architecture:

“You shall not make for yourself an idol, whether in the form of anything that is in heaven above, or that is on the earth beneath, or that is in the water under the

earth.”Exodus 20:4, Deuteronomy 5:8

CASE STUDY: CLASSIC ISLAMIC ARCHITECTURES

Despite current society portrayal of Islam as mortal enemy for Christianity, these two religions actually resembled each other. These similari-ties not only apparent in both religions set of be-lief but also manifest in their architecture. One could easily see the likeness between late Ro-manesque Church, The Hagia Sophia, and The Great Mosque in Cordoba. As a matter of fact, both houses of prayers have been used both as Cathedral and Mosque during the change of re-gimes. Both buildings used same elements such as columns, arches, and even same obsession with heaven that visible in extensive and beauti-ful representation of heaven at their domes. Re-gardless of all the similarities with Hagia Sophia, Great Mosque of Cordoba marked the maturity of mosque architecture with its elements and spe-cific programs.

Hagia Sophia, Istambul, Turkey; a Byzantine Chruch turn into Ottoman Mosque.

The Great Mosque of Cordoba, Spain; repurpose as Cathedral in 1236

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The Museum of Islamic Art, Quatar, Doha. I.M. Pei. 2008)

CASE STUDY 2: MODERN ISLAMIC ARCHITECTURES

Intricate geometric patterns is one of the inherit characteristic from this architecture which can be applied in different scale, from the form of the building to the intricate calligraphy and wall/shade patterns. In I.M. Pei’s project, he also in-cluded a courtyard (sahn) with fountain as part of the building while Assyafaah Mosque still has domes despite of the boxy exterior. But the most important qualities from all the modern Islamic architecture is the quality of light, which seems to be the common symbolism that transcend dif-ferent cultures and religions.

L’Institut du Monde Arabe, Paris, France. Jean Nouvel. 1987Assyafaah Mosque. Singapore. Tan Kok Hiang and Forum Architects. 2004

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ENTRY

EDUCATION

ENTERTAINMENT

LobbyReceptions

Exhibition SpacesMulti-use ClassroomsAuditoriums for speaking engagements

Outdoor CourtyardStageCafe

SUPPORT OfficesStorages

PROGRAMS

This Islamic cultural center/museum will at-tempt to change viewers’ bad perception of Muslim’s culture by familiarize public with this vast culture through education and entertain-ment. Programs that will fall into education cat-egory are exhibition, multi-use classrooms, and auditorium. As for entertainment category, there will be open courtyard with fountain and café where different Islamic cultures will be exhibited during different period of time. It is also neces-sary for this museum to have their supporting elements such as offices and storages.

For the entry sequence, I want to create a welcoming and what appear to be familiar spaces for general public to ease the transition from outside to the unfamiliar journey later on. To achieve this, I use the similarity of history, set of belief, and even architecture elements between Islam and Christianity. In spite of general American believe that Islam is a totally differ-ent religion, one might be surprise to find out that both religion actually share a same old testament and monotheism belief. What extremely different are their interpretation and the cul-tures that practice this religion.

As for exhibition spaces, it is important to express the history of Islamic culture and how it people perception affect their cul-ture before and after 9/11 using exhibitions, symbolism, light qualities, materials, and quality of spaces. As communities with mentality that American has been attacked by particular Islamic extremists that only represent few percent of Muslims, an educated journey that basically show how wrong one’s prejudice might be uncomfortable and even insulting just like Jewish Berlin Museum.

Outdoor courtyard is an important element in Islamic archi-tecture because the preciousness of oasis in the middle of dessert. This courtyard will also be an oasis that helps ease visitors’ tensions after their journey in exhibition area. Other than serene landscape and water fountain, this courtyard will also include much less familiarization of vast Islamic cultures that spread throughout the world by entertaining viewers with shows of cultures (dance, fashion, etc.) and foods at the café.

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ISLAMIC CULTURAL CENTER PARISH OF SAINT MATTHEW/PACIFIC PALISADES

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Photographs of the site

FORE

IGN

BORN

BLAC

K

LATI

NO

OTHE

R

WHI

TE

ASIA

N

AMER

ICAN

BOR

N

WHITE88.6%

OTHER2.3%

BLACK0.4%

LATINO3.2%

ASIAN5.5%

ENGLISHANCESTRY

11.4%

GERMANANCESTRY

10.1%

AMERICAN BORN84.5%

FOREIGN BORN15.5%

BORN IN CANADA

BORN IN IRAN

Majority of the population in Pacific Palisades are white, have English or German ancestry, and mostly born in America. This is quite an anomaly for Los Angeles area which famously known for its diversity. In fact, Pacific Palisades have higher percentage of White ethnicity and American born citizen when compared to Los Angeles County in general (74% of white popu-lation and 36.2% of foreign born people).

Based on 2008 Los Angeles Department of City Planning, Pacific Palisades 25,507 population with 1,048 people per square miles. Thus, put-ting Palisades population density lower than Los Angeles County in general. When com-pared with the other neighboring beach city such as Santa Monica, Manhattan Beach, and Redondo Beach; Pacific Palisades have signifi-cantly lower density, Once could easily under-stand this statistic as soon as they witness the spreading of houses throughout the hills, thus signifies the affluent nature of this community.

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SITE ANALYSIS:PACIFIC PALISADES POPULATION

1K/MILE ---

10K/MILE ---

5K/MILE ---

2

2

2PACIFIC PALISADES1,048/MILE

LOS ANGELES(CITY)

7,876.9/MILE

MANHATTANBEACH

8,613.7/MILE

REDONDOBEACH

10,073/MILE

LOS ANGELES COUNTY2,344.1/MILE

2

2

2

2

2

2SANTA MONICA10,179.7/MILE

Population density graph

Income diagram

INCO

ME

EDUC

ATIO

N

500 --- 970

2,603HOUSEHOLDS

4,920HOUSEHOLDS

834576

1000 ---

2500 ---

5000 ---

|20K

|40K

|60K

|125K

|168K

500 --- 413

1000 ---

2500 ---

5000 ---

|LESS THAN

HIGHSCHOOL

|HIGHSCHOOL

|SOME

COLLEGE

|BACHELOR’S

DEGREE

|MASTER’S DEGREE

OR HIGHER

1,132

3,603

6,258 6,246

EDUCATIONLEVEL

HOUSEHOLDSINCOME

Education diagram

This community have a considerably old me-dian age at 46 years old when compared to Los Angeles city and Los Angeles County in general. With this old median age, there is a strong sense of traditional values which would be visible based on the marriage and house-hold statiistics. Based on those data, Palisades have a low percentage of single family house-hold where family in this area usually consist of 2.4 family members with very high income me-dian. Palisades also have very high percentage of people who are/had been married. Another tradional values that visible from statistics is the importance of college education.

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SITE ANALYSIS:PACIFIC PALISADES SOCIO ECONOMIC

1,000 ---

6,000 ---

3,000 ---

AGE 19-342,451

AGE 35-496,340

AGE 50-645,274

AGE 11-182,117

AGE 0-103,586

AGE >654,173

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MEN

WOM

EN

MARRIED30.8%

MARRIED34.4%

DIVORCED6%

NEVER MARRY10.3%

NEVER MARRY8.3%

DIVORCED10.3%

WIDOWED4.85%

WIDOWED1.3%

2.4 PEOPLEPER HOUSEHOLDAVERAGE FOR L.A. CITY,LOW FOR L.A. COUNTY

MEDIAN HOUSEHOLDINCOME$168,000HIGH FOR L.A. CITY,HIGH FOR L.A. COUNTY

Age statistic Average household statistics

Families statistics

The Parish of Saint Matthew is part of Episco-pal Diocese of Los Angeles, thus making this an Anglican Church. What unique about this branch of Christianity is that they are the mix-ture of Roman Catholic and Protestant. Angli-can Churches believe in same core values as Roman Catholic but practice church autonomy by State instead of by Pope and Vatican.

The open-mindness of this Episcopal Church can be seen in their belief of full civil equality for same-sex couples and allow them to be mar-ried in their churces at the states where this marriage is legally approve.

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SITE ANALYSIS: ST. MATTHEW’S PARISH CHURCH

Photographs of Saint Matthew Church

Gensler and Lake|Flato create a masterplan for Saint Matthew’s Parish School that taylor specificly for Californian weather and accentu-ate the organic nature of the surrounding site. This desire not only visible on their architecture, but also from the use of California-native plants for the landscaping. This concept is very similiar with the ideology of Islamic architecture where it will differ from one area to another due to the fact that it will adapt itself and merge with exist-ing architecture, surrounding materials, and to carter for site-specific climate.

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SITE ANALYSIS: ST. MATTHEW’S PARISH SCHOOL

Photographs of Saint Matthew School

VISITOR and CHURCH PARKING LOT

LEGEND Students Parents

Church attendee

SITE ANALYSIS: CIRCULATION

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Site circulation diagram

OTHER SCHOOL

BUILDINGS

STREET FROM

CHURCH

Notes:1. Todd D. Nelson, Handbook of Prejudice, Stereptyping, and Discrimination (New York: Psychology Press, 2009), 23-38

Positive connotations of Islam

Similarities between Islam with themselves

Example of inequalities

Active learning

PROGRAMS

Museum exhibition

Cultural Experience

Multi-media classroom

Museum exhibition

Art exhibition

History of Islam.Islam’s contribution to world’s culture, art, and science.Positive Islamic values.

Temporary exhibits from different Islamic cultures.Ability to enjoy food, general customs, ward-robes, music, and art from diffrent cultures at relaxing environment.

Similarities between Islam and Christianity in both ideology and history.

To increase emphaty and instill guilt.Exhibition of photo jurnalism with strong em-phasize at Muslim children.Exhibition of conceptual arts regarding Islam.

To increase emphaty and instill guilt.Less about lecture, more from speaking en-gagements and testimonial of American-born Muslim, etc,

TARGET AUDIENCE

Everyone

Adults

Church members

Students

Students

PROGRAMS DEFINITION

SITE ANALYSIS: PROGRAMS

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The programs for this cultural center is de-rived from Todd D. Nelson book, Handbook of Prejudice, Stereptyping, and Discrimination to provide scientic way one could prevent preju-dice and discrimination against Muslim. All the programs are aimed to intoduce viewer to this foreign culture, give positive connotations, en-force similiarities, increase emphaty, and instill guilt. This book stated that kids as young as the age of six are prone to acts of prejudice that they learn from media, which raise the credibil-ity of this type of facility in elementary school. The fact that the visitors of this site is not limited to students give the opportunity to spread the message even further.

As far as the sequences goes, visitors will start their experience by exhibitions that aim to show similiarities, then introduce positive as-sociations, before finally view exhibitions that aim to instill guilt and increase emphaty. This sequence will correspone with timeline diagram of Islam.

For the students, it is best for them to expe-rience this guilt in control environment with teacher who could further explains what they have seen.

LEGEND Students Parents

Church attendee

Artexhibition

Multi--media classroom

Culturalexperience

Students

Museum exhibition

Museum exhibition

Visitors

Instill guilt Positive connotations

Program sequences for visitors and students

Enforce similarities

Positiveconnotations

Instill guilt

Museum exhibition

Artexhibition

Culturalexperience

Experience in guided environment

Positive connotations

(daily)

Notes:1.Phil Coomes, “Steve McCurry: Retrospective”, BBC, July 8, 2010 and May 12, 2011,http://www.bbc.co.uk/blogs/photoblog/2010/07/steve_mccurry_retrospective.html2.Alice B. Miller, “Steve McCurry”, Hasselblad USA, 2009 and May 12, 2011, http://www.hasselbladusa.com/user-showcase/steve-mccurry.aspx3.Steve McCurry, “About Steve”, Steve McCurry, 2010 and May 12, 2011, http://www.stevemccurry.com/main.php

ART WORKS FOR EXHIBITION:PHOTOJOURNALISM

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Steve McCurry. 1982-2002

Steve McCurry is a famous photojournalist who best known for the photograph of then anony-mous Afgan girl that published as a cover of Na-tional Geographic1 where it is regarded as the ‘The Most Recognize Photograph’ in the history of the magazine. Through his lenses, McCurry able to capture the human emotion that deliver to the viewer with beautifully color-soaked por-traits and/or photojournalism scenes2. Although his work is not limited to war photographs3, some of his series that will be exhibited in this cultural center deals with war in Middle East. McCurry able not only to report what occur in those areas but also provoke one’s emotions, emphaty, and tremendous amount of guilts in the most beautiful, striking, and shocking way possible.

Notes:1.Joanna Pitman, “Unveiled: New Art from the Middle East at Saatchi Gallery”, The Times, January 27, 2009 and March 28, 2011, http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/visual_arts/article5592197.ece2.Anna Altman, “Never Quite Filling the Void: Kader Attia”, Art in America, September 24, 2009 and March 28, 2011, http://www.artinamericamagazine.com/news-opinion/conversations/2009-09-24/kader-attia/

ART WORKS FOR EXHIBITION:GHOST

48

Kader Attia. Ghost. 2008

Ghost by Kader Attia in Aluminium Foil sculp-tures of Muslim women in prayer as part of Saa-tchi’s Gallery exhibition Unveiled: New Art from the Middle East. The installation consist of 240 figures where one could hear the murmur of their prayer1. The artist himself the overarching theme of hiswork as the exploration of tension between Le Plein (The complete) and Le Vide (The void)2. This concept definately apparent in Ghost, where the empty shell of these figures allow visitor to look pass their different heritage but directly to the suffering from these group of people. Through the use of the void, Attia have successfully deliver the complete story that rep-resent Muslim women from various race and origins.

Notes:1.Lalla Essaydi, “Lalla Essaydi Harem”, Edwynn Houk Gallery, November 4, 2010 and March 28, 2011,http://www.houkgallery.com/exhibitions/2010-11-04_lalla-essaydi/2.Acelya Yonac, “Lalla Essaydi’s Haunting Photography Flaring Morocco”, Swide, March 25, 2011 and March 28, 2011, http://www.swide.com/luxury-magazine/Faces/Artists/lalla-essaydi/2011/3/25

ART WORKS FOR EXHIBITION:HAREM

50

Lalla Essaydi. Harem. 2009.

Lalla Essaydi is Moroccan born American pho-tographer with work dedicated toward women, especially Muslim women1. In this particular body of work, instead of using Islamic callig-raphy that written in henna all over the model, Essaydi render the model to their background using fabric and tattoo that mimic the pattern of Moroccan palace Dar al Basha1, the setting for Harem. In her latest visually enticing works, she successfully create dialogue about the emerg-ing Islamic feminism in very delicate yet obvi-ous way. As for the title itself,Essaydi explained that Harem, which came from ‘Haram’ (Arabic word of sin)2, is not a romanticize place of lust as European might envision. Instead it is a place of secrecy, fully controlled by men, where women live in golden cage.

Notes:1.Deborah Sontag, “The Intersection of Islam, America and Identity ”, New York Times, June 4, 2009 and March 28, 2011,http://www.nytimes.com/2009/06/07/arts/design/07sont.html?_r=1&th&emc=th2.Asma Ahmed Shikoh, “Home (2003-2005)”, Asma Shikoh, 2006 and March 28, 2011, http://www.asmashikoh.com/gallery2.htm

ART WORKS FOR EXHIBITION:HOME

52

Asma Ahmed Shikoh. Home. 2003-2005.

Asma Ahmed Shikoh is Pakistani painter who migrated to Queens in 2002 after marrying her fiance, a business consultant in New York1. Home represent Shikoh’s personal journey as an immigrant, trying to derive ‘home’ from this foreign country especially after 9/111. In Van-wyck Boulevard, she paint New York subway map in Urdu style while at Self-portraits, she dressed Liberty Statue as herself: a Pakistani bride, an expecting mother, and finally a mother in this new country2. It is interesting to under-stand 9/11 through a muslim perspective who not only have to struggle adjusting to new en-vironment and new dynamic in relationship, but also prejudice from the natives.

Arab Expansion

After the dead of the Prophet, several caliphs lead Arabic Mus-lim community. The second ca-liph initiated Islamic expansion throughout the ancient world which resulted in the fall of Pal-estine, Syria, and most impor-tantly the captured of Jerusalem in 638.

Muhammad the Prophet

In the next 12 years Muham-mad would spread his preach-ing in Mecca until he moved to Medina due to the threat from traders from his native city. In the rest of his lifetime, Muham-mad would establish separation between Islam with Judaism and Christianity, conquer Mecca, and completed his preaching.

A Man’s Journey

Muhammad was born around 570 A.D. in Mecca. When he was approximately 40 years old, he received revelations that be-come the basis of Islam.

570-610

611-632

632-660

Notes:1. Henri Stierlin, Islam Volume 1: Early Architecture from Baghdad to Cordoba (Italy: Taschen Verlag GmbH, 1996), 15-18

1

1

1

CONCEPT: NARRATIVE OF ISLAMIC CULTURE

54

American Muslim Post 9/11

Islam becomes synonymous with terrorism and spread of violence. As a result, Muslim American becomes the subject of prejudice and discrimination.

9/11/2001

The Decline of Islam

The end of Islamic Golden Age start from the crusade, follow by Mongol Expansion, and the rise of Ottoman Empire.

1260 onward

The Golden Age

Islam achieve the highest pe-riod under Abbasids Empire where Islamic expansion spread throughout the world and pros-perity that allow advance culture, arts, science, architecture, etc.

650-1260

Notes:1. Issam El-Said and Ayse Parman, Geometric Concepts in Islamic Art (Palo Alto: Dale Seymour Publication1976), 1142. Keith Critchlow, Islamic Patterns: An Analytical and Cosmological Approach (Vermount: Inner Tradition, 1999), 24-32

CONCEPT: GEOMETRY ANALYSIS

One of very dominant elements of Islamic cul-ture is the use of geometric patterns for their writings, arts, and most evidently in architec-ture. Through basic geometry forms, proportion systems, various ordering system, and creativ-ity from the master’s; Islamic culture left us with infinite numbers of these intricate patterns1. Ar-guably, there are three basic geometry shapes that always in constant use because it symbol-izes heaven, earth, and human2. Those shapes are: circle/hexagon, square, and equilateral tri-angle. These primary shapes have unique abil-ity to fill a surface without leaving any gap2.

56

HEAVEN EARTHmateriality

HUMANconsciousness

First conceptural model

CONCEPT: CONCEPTUAL MODEL 1&2

These conceptual models attempt to represent Islamic culture journey through time that start with humble one man journey (Prophet Mu-hammad) followed by the golden age and their decline. In term of geometry, the white element could be perceived as continuous and loop back as loose representation of circle. It create through series of triangles to represent human-ity journey while square is represent by the ex-isting site. Two-sided material is use to achieve different interior vs. exterior perspective as a reference on how different Islamic images are betweem those who understand vs. outsider.

Second conceptual model

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CONCEPT: CONCEPTUAL MODEL 3

The third conceptual model is attempting to con-vey the ideas that imbedded in the first concep-tual model while working with the site, existing building, and understanding of the circulation. The circulation itself can be divided into three categories based on it users; students, parents, and church-goers. This model also attempt to make the spiraling circulation more visible.

Thrid conceptural model Third model sketches

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CONCEPT: MATERIALS

62

Fourth model sketches

EXTERIOR FACADE

This model attempt to solve the difference ex-isting and new architecture language mainly on the exterior facede. To maintain the idea of breaking through, the new addition will have the geometric language that will gradually become less extreme and toward the end become a line in elevation to mimic the existing architecture. It also incorporate the existing rigid geometry to be the structure although the structure become less rigid as it moving further from the building..

Fourth conceptual model

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Roof Floorplan

SCHEME 1: DRAWINGS

First Floorplan

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Basement Floorplan

SCHEME 1: PHOTOGRAPHS

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Scheme 1 model

SCHEME 2: RENDERINGS

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Scheme 2 model

RenderingSketch

CUSTOM LIGHT FIXTURE

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Axonometric drawing

Unroll pattern

Stainless steel structure, bended

Frosted clear glass

Yellow glass with green screen and etched lines

Empty

Rendering

FINAL OUTCOME 04.30.2011.

SITE PLAN

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Renderings of exterior and exhibition space

Roof plan

B-7

B-8

B-9

B-10

MEZZANINE FLOOR PLAN1/8" = 1' - 0"

OFFICE

OPENTO

BELOW

OPENTO

BELOWOPEN

TOBELOW

BASEMENT PLAN1/8" = 1' - 0"

CLASSROOM

RESTROOM

CLASSROOM

TEACHEROFFICE

RESTROOM

TEACHEROFFICE

SEATINGAREA

SEATINGAREA

EXHIBITION OFHAREM SERIES

BY LALLA ESSAYDI

EXHIBITION OFGHOSTS

BY KADER ATTIA

EXHIBITION OFPAINTING

BY ASMA AHMED SHIKOH

GROUND FLOOR PLAN1/8" = 1' - 0"

A-1

A-2

A-3

A-4

A-5

A-6

A-7

A-8

LOBBY

RECEPTIONIST/OFFICE

OFFICE

CONFERENCE

STORAGE

SEATING

BEGININNIG OF ISLAMEXHIBITION EARLY ISLAMIC

EXHIBITION

GOLDEN AGEOF ISLAM

EXHIBITION

THE DAWN OF ISLAMIC CULTURE

EXHIBITION

OPEN �TO BELOW

OPEN �TO BELOW


OFFICE

OPENTO

BELOW

OPENTO

BELOWOPEN

TOBELOW

ROOF PLAN1/8" = 1' - 0"

A-8

B-1

B-2

B-2

B-3

B-3

B-4

B-2

B-5

B-6

B-7

B-8

B-9

B-10

PLANS

Mezzanine planMEZZANINE FLOOR PLAN1/8" = 1' - 0"

OFFICE

OPENTO

BELOW

OPENTO

BELOWOPEN

TOBELOW


OFFICE

OPENTO

BELOW

OPENTO

BELOWOPEN

TOBELOW

B-3

B-4

B-2

B-5

B-6

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Material selections

Furniture selections

Ground plan


A-1

A-2

A-3

A-4

A-5

A-6

A-7

A-8

LOBBY

RECEPTIONIST/OFFICE

OFFICE

CONFERENCE

STORAGE

SEATING


EXHIBITION

GOLDEN AGEOF ISLAM

EXHIBITION


EXHIBITION

OPEN �TO BELOW

OPEN �TO BELOW

B-2

B-3

Basement plan

CLASSROOM

RESTROOM

CLASSROOM

TEACHEROFFICE

RESTROOM

TEACHEROFFICE

SEATINGAREA

SEATINGAREA


BY LALLA ESSAYDI

EXHIBITION OFGHOSTS

BY KADER ATTIA



A-8

B-1

B-2


OFFICE

OPENTO

BELOW

OPENTO

BELOWOPEN

TOBELOW

BASEMENT PLAN1/8" = 1' - 0"

CLASSROOM

RESTROOM

CLASSROOM

TEACHEROFFICE

RESTROOM

TEACHEROFFICE

SEATINGAREA

SEATINGAREA


BY LALLA ESSAYDI

EXHIBITION OFGHOSTS

BY KADER ATTIA




A-1

A-2

A-3

A-4

A-5

A-6

A-7

A-8

LOBBY

RECEPTIONIST/OFFICE

OFFICE

CONFERENCE

STORAGE

SEATING


EXHIBITION

GOLDEN AGEOF ISLAM

EXHIBITION


EXHIBITION

OPEN �TO BELOW

OPEN �TO BELOW


OFFICE

OPENTO

BELOW

OPENTO

BELOWOPEN

TOBELOW

ROOF PLAN1/8" = 1' - 0"

A-8

B-1

B-2

B-2

B-3

B-3

B-4

B-2

B-5

B-6

B-7

B-8

B-9

B-10

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Material selections

Furniture selections

Unfold wall of third exhibition space

SECTION A-11/8" = 1' - 0"

SECTION A-11/8" = 1' - 0"

SECTION A-21/8" = 1' - 0"

SECTION A-31/8" = 1' - 0"

SECTION A-41/8" = 1' - 0"

SECTION A-51/8" = 1' - 0"

SECTION A-61/8" = 1' - 0"

SECTION A-71/8" = 1' - 0"

SECTION A-81/8" = 1' - 0"

the narrative begin withone Man’s humble journey

followed by a story of rejection,betrayal, and successful conquest

Unfold wall of first exhibition space

Unfold wall of second exhibition space

SECTIONS

82

Series of sections for exhibition ramps

Unfold wall of third exhibition space

Unfold wall of fourth exhibition spacePerspective of fifth gallery space

SECTION A-11/8" = 1' - 0"

SECTION A-11/8" = 1' - 0"

SECTION A-21/8" = 1' - 0"

SECTION A-31/8" = 1' - 0"

SECTION A-41/8" = 1' - 0"

SECTION A-51/8" = 1' - 0"

SECTION A-61/8" = 1' - 0"

SECTION A-71/8" = 1' - 0"

SECTION A-81/8" = 1' - 0"

SECTION B-11/8" = 1' - 0"

SECTION B-21/8" = 1' - 0"

SECTION B-31/8" = 1' - 0"

SECTION B-41/8" = 1' - 0"

SECTION B-51/8" = 1' - 0"

SECTION B-61/8" = 1' - 0"

SECTION B-61/8" = 1' - 0"

SECTION B-71/8" = 1' - 0"

SECTION B-81/8" = 1' - 0"

SECTION B-91/8" = 1' - 0"

SECTION B-1/8" = 1' - 0"

SECTION B-101/8" = 1' - 0"

SECTION B-11/8" = 1' - 0"

SECTION B-21/8" = 1' - 0"

SECTION B-31/8" = 1' - 0"

SECTION B-41/8" = 1' - 0"

SECTION B-51/8" = 1' - 0"

SECTION B-61/8" = 1' - 0"

SECTION B-61/8" = 1' - 0"

SECTION B-71/8" = 1' - 0"

SECTION B-81/8" = 1' - 0"

SECTION B-91/8" = 1' - 0"

SECTION B-1/8" = 1' - 0"

SECTION B-101/8" = 1' - 0"

SECTION B-11/8" = 1' - 0"

SECTION B-21/8" = 1' - 0"

SECTION B-31/8" = 1' - 0"

SECTION B-41/8" = 1' - 0"

SECTION B-51/8" = 1' - 0"

SECTION B-61/8" = 1' - 0"

SECTION B-61/8" = 1' - 0"

SECTION B-71/8" = 1' - 0"

SECTION B-81/8" = 1' - 0"

SECTION B-91/8" = 1' - 0"

SECTION B-1/8" = 1' - 0"

SECTION B-101/8" = 1' - 0"

SECTIONS

Series of sections for the second ramps that goes to the roof

82

SECTION B-11/8" = 1' - 0"

SECTION B-21/8" = 1' - 0"

SECTION B-31/8" = 1' - 0"

SECTION B-41/8" = 1' - 0"

SECTION B-51/8" = 1' - 0"

SECTION B-61/8" = 1' - 0"

SECTION B-61/8" = 1' - 0"

SECTION B-71/8" = 1' - 0"

SECTION B-81/8" = 1' - 0"

SECTION B-91/8" = 1' - 0"

SECTION B-1/8" = 1' - 0"

SECTION B-101/8" = 1' - 0"

Ground floor reflected ceiling plan

WALL SCONE

LED RECESSED RECESSED FLUORESCENT STRIP

TRACK LIGHTING

REFLECTED CEILING PLANS

BASEMENT REFLECTED CEILING PLAN1/8" = 1' - 0"

84

Lobby rendering with the custom light fixture

Basement reflected ceiling plan

DETAIL MODEL

Photographs of 1/2” scale detail model of the entry

86

Altman, Anna. “Never Quite Filling the Void: Kader Attia.” Art in America. September 24, 2009 and March 28, 2011, http://www.artinamericamagazine.com/news- opinion/conversations/2009-09-24/kader-attia/Critchlow, Keith, Islamic Patterns: An Analytical and Cosmological Approach (Vermount: Inner Tradition,1999), 24-32Coomes, Phil. “Steve McCurry: Retrospective.” BBC. July 8, 2010 and May 12, 2011, http://www.bbc.co.uk/blogs/photoblog/2010/07/steve_mccurry_retrospec tive.htmlCurtis, William J.R., Modern Architecture Since 1900 (New York: Phaidon Press, Inc, 2009), 560.Dragan, Radu and Augustin Ioan, “ Jesus Inside” in Symbols and Language in Sacred Christian Architecture (Lewiston : The Edwin Mellen Press, 1996), 71-79.Eisenman, Peter, “The Deconstruction of the Axis. Daniel Libeskind, Jewish Museum, 1989-1999”, Ten Canonical Buildings 1950-2000 (New York: Universe Publishing, 2000), 230-254.El-Said, Issam and Ayse Parman, Geometric Concepts in Islamic Art (Palo Alto: Dale Seymour Publication1976), 114Essaydi, Lalla. “Lalla Essaydi Harem.” Edwynn Houk Gallery. November 4, 2010 and March 28, 2011,http://www.houkgallery.com/exhibitions/2010-11-04_lalla- essaydi/Kiser, Kirsten, “Foreign Office Architects, Yokohama International Port Terminal, Yokohama, Japan”, Arcspace, October 28, 2002 and December 9, 2010, http:// www.arcspace.com/architects/foreign_office/yokohama/yokohama_index.htmlKiser, Kirsten, “Morphosis, Wayne L. Morse, United States Courthouse”, Arcspace, January 22, 2007 and December 9, 2010, http://www.arcspace.com/archi tects/morphosis/us_courthouse/us_courthouse.htmlKiser, Kirsten, “Olympic Architecture 2008, Introduction by Guoxin Ma”, Arcspace, August 11, 2008 and December 9, 2010, http://www.arcspace.com/books/ ol_2008/ol_2008.htmlLibeskind, Daniel, Breaking Ground (New York: Riverhead Books, 2004), 55-60.Libeskind, Daniel, Daniel Libeskind: The Space of Encounter (New York: Universe Publishing, 2000), 92-96McCurry, Steve. “About Steve.” Steve McCurry. 2010 and May 12, 2011, http://www.stevemccurry.com/main.phpMiller, Alice B. “Steve McCurry.” Hasselbald USA. 2009 and May 12, 2011, http://www.hasselbladusa.com/user-showcase/steve-mccurry.aspxMilles, Jack. Our Lady of the Freeways: Is Los Angeles’ New Cathedral Worth the Price? Commonweal (ProQuest, 2003) 13-18, Web. 16 Nov. 2009Pitman, Joanna. “Unveiled: New Art from the Middle East at Saatchi Gallery” The Times. January 27, 2009 and March 28, 2011, http://entertainment.timesonline. co.uk/tol/arts_and_entertainment/visual_arts/article5592197.eceScoot, Robert A., “ What Is the Gothic Look?” in The Gothic Enterprise: A guide to Understand the Medieval Cathedral (London: University of California Press, 2005), 103-120.Scoot, Robert A., “ An Image og Heaven” in The Gothic Enterprise: A guide to Understand the Medieval Cathedral (London: University of California Press, 2005), 121-133.

BIBLIOGRAPHY NARRATIVE OF SPACES

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Shikoh, Asma Ahmed, “Home (2003-2005)”, Asma Shikoh, 2006 and March 28, 2011, http://www.asmashikoh.com/gallery2.htmSontag, Deborah, “The Intersection of Islam, America and Identity ”, New York Times, June 4, 2009 and March 28, 2011,http://www.nytimes.com/2009/06/07/ arts/design/07sont.html?_r=1&th&emc=thStephenson, David, Heavenly Vaults: From Romanesque to Gothic in European Architecture (New York: Princeton Architectural Press Press, 2005), 155-186. Zaha Hadid Architects, “MAXXI: MUSEUM OF XXI CENTURY ARTS ”, Zaha Hadid Architects, 2009 and December 9, 2010, http://www.zaha-hadid. com/built-works/maxxiStierlin, Henri, Islam Volume 1: Early Architecture from Baghdad to Cordoba (Italy: Taschen Verlag GmbH, 1996), 15-18Trachtenberg, Marvin and Isabelle Hyman, Architecture from Prehistory to Postmodernity (New York: Harry N. Abrams, Incorporated, 2002), 505.True Confession. Building Design (ProQuest, 2003). 14. Web. 16 Nov. 2009.White, Alborg, Jose Rafael Moneo: Cathedral of Our Lady of the Angels (arcspace.com, 2002). Web. 16 Nov. 2009.Yonal, Acelya. “Lalla Essaydi’s Haunting Photography Flaring Morocco.” Swide, March 25, 2011 and March 28, 2011, http://www.swide.com/luxury-magazine/ Faces/Artists/lalla-essaydi/2011/3/25

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