Qatar National Library's state-of-the-art building, located in the heart of Education City, is a community space for Qatar’s residents and helps facilitate the effective exchange of ideas and communal learning.
The 45,000-square-meter building encourages visitors to explore the progression of knowledge from the past to the present. It achieves a delicate balance between information availability and accessibility on the one hand, and content preservation and conservation on the other.
This is a live case study of Qatar National Library. This includes concept of building, architectural style, Rem Koolhaas philosophy, Interior of building, Exterior, Plans, Elevation, Model and Study Outcome
This is a live case study of Qatar National Library. This includes concept of building, architectural style, Rem Koolhaas philosophy, Interior of building, Exterior, Plans, Elevation, Model and Study Outcome
Architecture can be traced in history since the beginning of civilization. It is an ancient discipline
and the results of its thinking and endeavor provide us with some of the most lasting examples of
our culture. Our monuments, cities, and village speak of our culture over the longest span of
time. Yet, the representation of architecture and its role in our society has not flowered. To
bridge this gap in understating between the profession and society, a National Museum of
Architecture is needed. The designed museum should provide spatial variety and inspire a sense
of visual excitement, thus contributing to the overall concept of entertainment and learning.
Library Interior Design - case study - Beant Singh Memorial Library Ar. Prerna Chouhan
Library Interior Design - case study
prepared by 3rd-year students of bachelor of architecture,
Indo Global College of Architecture affiliated with I.K. GUJRAL PUNJAB TECHNICAL UNIVERSITY
This is an Architectural case study on the Centre for Environment Planning & Technology (CEPT) building. Situated in Ahmedabad, Gujarat. This is done by an architecture student in semester 5.
It is a development in POST-MODERNISM that started in late 1980s.
It views architecture in bits and pieces.
It has no visual logic.
Buildings may appear to be made of abstract forms.
The idea was to develop buildings which show how differently from traditional architectural conventions buildings can be built without loosing their utility and still complying with the fundamental laws of physics.
The ideas were borrowed from the French philosopher, Jacques Derrida.
Architects involved –
Zaha Hadid
Bernhard Tschumi
Rem Koolhaas
The term ‘Critical Regionalism’ was first coined by Alexander Tzonis and Liane Lefaivre and later more famously and pretentiously by Kenneth Frampton in “Towards a Critical Regionalism : Six points of an architecture of resistance”
According to Frampton, critical regionalism should adopt modern architecture critically for its universal progressive qualities but at the same time should value responses particular to the context. Emphasis should be on topography, climate, light, tectonic form rather than scenography and the tactile sense rather than the visual.
According to Tzonis and Lefaivre, critical regionalism need not directly draw from the context, rather elements can be stripped of their context and used in strange rather than familiar ways.
Critical regionalism is different from Regionalism which tries to achieve a one-to-one correspondence with vernacular architecture in a conscious way without consciously partaking in the universal.
It is considered a particular form of post-modern response in developing countries, not to be confused with postmodernism as architectural style.
Architecture can be traced in history since the beginning of civilization. It is an ancient discipline
and the results of its thinking and endeavor provide us with some of the most lasting examples of
our culture. Our monuments, cities, and village speak of our culture over the longest span of
time. Yet, the representation of architecture and its role in our society has not flowered. To
bridge this gap in understating between the profession and society, a National Museum of
Architecture is needed. The designed museum should provide spatial variety and inspire a sense
of visual excitement, thus contributing to the overall concept of entertainment and learning.
Library Interior Design - case study - Beant Singh Memorial Library Ar. Prerna Chouhan
Library Interior Design - case study
prepared by 3rd-year students of bachelor of architecture,
Indo Global College of Architecture affiliated with I.K. GUJRAL PUNJAB TECHNICAL UNIVERSITY
This is an Architectural case study on the Centre for Environment Planning & Technology (CEPT) building. Situated in Ahmedabad, Gujarat. This is done by an architecture student in semester 5.
It is a development in POST-MODERNISM that started in late 1980s.
It views architecture in bits and pieces.
It has no visual logic.
Buildings may appear to be made of abstract forms.
The idea was to develop buildings which show how differently from traditional architectural conventions buildings can be built without loosing their utility and still complying with the fundamental laws of physics.
The ideas were borrowed from the French philosopher, Jacques Derrida.
Architects involved –
Zaha Hadid
Bernhard Tschumi
Rem Koolhaas
The term ‘Critical Regionalism’ was first coined by Alexander Tzonis and Liane Lefaivre and later more famously and pretentiously by Kenneth Frampton in “Towards a Critical Regionalism : Six points of an architecture of resistance”
According to Frampton, critical regionalism should adopt modern architecture critically for its universal progressive qualities but at the same time should value responses particular to the context. Emphasis should be on topography, climate, light, tectonic form rather than scenography and the tactile sense rather than the visual.
According to Tzonis and Lefaivre, critical regionalism need not directly draw from the context, rather elements can be stripped of their context and used in strange rather than familiar ways.
Critical regionalism is different from Regionalism which tries to achieve a one-to-one correspondence with vernacular architecture in a conscious way without consciously partaking in the universal.
It is considered a particular form of post-modern response in developing countries, not to be confused with postmodernism as architectural style.
This presentation includes case study on various libraries across the globe. It describe the design in an elaborative manner, along with pictorial representations
This presentation explains Sir Louis Kahn's design philosophy and some of his famous projects like The Kimbell Art Museum, IIM Ahmedabad and The Salt Institute
Completed in 1978 the Sainsbury Centre for Visual Arts was the first cultural building designed by married couple Norman and Wendy Foster at their studio, which at the time was called Foster Associates and is now Foster + Partners.
Built to house the art collection of Robert and Lisa Sainsbury at the University of East Anglia in Norfolk, UK, the building is a 135-metre-long, simple lattice steel structure that is glazed at both ends.
Case study for Guggenheim Bilbao museum and Kalmar Museum of Art
- Introduction
- Details
-Concept
- Materials and structure
- Floor plans
- Facilities
- Reference
Ar. Richard Rogers, his projects, case study of Richard rogers, case study of Lloyd's building, London, UK, case study of Millennium Dome, London, case study of Centre Pompidou Paris, case study of Inmos Microprocessor Factory, Newport, UK
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Qatar National Library: Case study
1. Qatar National Library
PHAROS UNIVERSITY IN ALEXANDRIA
ARCHITECTURAL ENGINEERING DEPARTMENT
THEORIES OF ARCHITECTURE 2 EA331
DR. NOURHANE EL HARIDI
2. Qatar National Library
Architect: OMA, Rem Koolhaas
Founder: Fundación Qatar
Project Time: 2008 - 2017
Location: Education City, Doha, Qatar
3. Qatar National Library
Instead of simply extruding it
upwards to give it volume like
many other buildings do the
design team decided to only lift
one edge and the opposite two
corners of the square.
4. Qatar National Library
This design decision gives the
building its «diamond» shape
which can be perceived from the
outside, however there is still one
more layer of organization,
history.
5. Spaces
The library has two main entrances
located underneath the two lifter
corners. Both take you straight to the
center of the building, with the only
difference that one leads to the street
level and the other to the underground
level were the heritage books are found.
6. Spaces
Once inside the library provides 31,000
square meters of usable space divided in
the following categories:
• Library – 25,900m²
• Office – 3,000m²
• Exhibition – 1,500m²
• Restaurant/Bar – 600m²
• Total – 31,000m²
7. Spaces
From the center of the library
you really feel like you can
actually see it all. And although
that is not entirely true since you
cannot see the offices and
service spaces, that was
certainly the intention of the
design team.
The open space is flooded by
natural light that comes in
through the corrugated glass
facades on three of the sides.
9. The Heritage Library
Located in the underground floor the Heritage
library is dedicated to preserve and display some
of the most important cultural and historical
items in the building:
• Climate-controlled display cases in the
Heritage Library and throughout the building
to showcase the collection.
• The dedicated Conservation and Preservation
Laboratory that actively works to restore and
protect items in the Heritage Library.
• The Digitization Laboratory, which digitizes
items from the Library and other collections
and makes them available to scholars
worldwide.
10. The 21st Century Library
The contemporary library which takes up most of the
space and is meant to serve the students from campus
is equipped with the latest technology which is meant
to integrate seamleslly with the user experience ,
enhading accessibility and efficiency.
• Automated self-checkout and return stations, and a
radio frequency identification book sorter system,
allow for convenient access to the Library’s
materials.
• A people mover system transports library users
around the perimeter of the building and
throughout the shelving tiers, making the collection
easily accessible for all visitors.
• A wide range of computer systems, tablets,
interactive screens and audiovisual equipment
throughout the building.
11. Materials
Concrete, glass, marble and aluminum are the
four main materials that the visitor perceives
when visiting the library.
From the outside, the parts of the buildings that
aren’t glass have been covered with
prefabricated concrete panels that make it seem
as if the whole building was made of that
material, when in reality it isn’t. The concrete has
been left exposed in its natural color and an
almost reflective surface.
Once inside you find yourself surrounded by
three materials, a white marble floor that extends
everywhere you look, a matching white
aluminum ceiling and the magnificent corrugated
glass walls.
12. Stracture
The structure of the building is made entirely of
steel. Two steel frames make up the top and
bottom slabs with 34 columns supporting them.
Using a steel structure in a building this “flat”
and exposed to the sun of the Emirates was an
important challenge since the high temperatures
would have an impact on it and the corrugated
glass. In that sense special constructive details
had to be developed to accommodate the
unusually high tolerances.
The steel frame was then covered by
prefabricated concrete panels which give the
library’s exterior it’s final look.