INTRODUCTION

What is ART???
• ART is the history of an activity or product made by humans in a visual form of
aesthetical or communicative purposes expressing ideas, emotions or in general a
worldwide.
• An art is something that is created with imagination and skill and that expresses
important ideas and feelings

What is CENTER OF ART???

• Center of art is a functional community center with specific remit to

encourage arts practice and to provide facilities such as theatre space,
gallery space, locations for musical performance work shop areas the
educational facilities technical equipment's etc.

Brief description of the project

This project is an art center which is a center from the production of goods
to the sales of goods.

Objective

• The improvement of Arba Minch and its five surrounding people life style by
integrating cultural manufactured or produced material in local area and also
creating a good job opportunity for the community
• Create a habitable space for the community

Why we select center of art

• The center will have a significant role in preserving the right and true culture
and image of the social identity.
• The art center will make the production process simple and modern. From the
beginning to the end will be processed in one center with different
professionals.

 The importance of Center of art In Arba Minch

The art center will make the whole process simple and modern. From the
 beginning to the end product will be processed in one center with different
professionals.

 It will create more attachment to the public and it will be also be

commercially hot. Which means the goods that the users of this center
produce or make will get a chance to be on the market, that is income
generator

 It could also be an attraction to tourist

 The center of art is a center from the production of goods to the sales of
goods as well as to educate students in the branch of art.

 Art is a medium on which the peoples put their believes and identity. Since
art is the language of the people, improving the art is improving the people in
social, economic and cultural aspect

 Increase competitiveness of national art which able the city to take part in
the cultural process

 Contribution to the development of the cultural potential of the community

 Development of the applied alternative art education

 High tendency of passage of art from one generation to another

The appropriateness of the project in terms of

Social Aspect

 Keeping the culture and reflect of identity. The most important thing in here
is this kind of project help to pass over the culture from generation to
generation

 It increase social interaction depend on all the art and education reflect in
there are a lot of peoples come and gathering knowledge
 Also help to create a well skilled or skilled man power in art and help them to
reflect the passion they have inside

 Promoting every needed information in the community

 educational: to cultivate an appreciation of the art forms through the

exposure of audiences to examples; to form part of an educational program
for school children, students and those in adult education.

 Prestige: international, national, regional, city or town comparison; re-

enforcement of regional identity emphasizing dispersal from metropolitan
focus.

 Quality of life: performing arts as acceptable complementary activities to

work and domestic obligations as a positive use of leisure time which
enriches life culturally and also socially.

 Regeneration: part of a wider program to revitalize an existing city or town

center or to assist in the Introduction formation of a new community, to
attract industry, commerce, institutions, housing, and so on.

 Cultural democracy: to stimulate and foster participation in the performing

arts by all sections of a community, defined locally, as a creative activity.
Economic Aspect:
direct employment of staff and performers; benefits to secondary
businesses such as poster and program printing and material supply; a
widening of the tourist and conference market which, in turn, brings money
into the town or city; an attraction to encourage relocation, and location of
organizations, institutions, industry and commerce in an area with
subsequent employment benefits.

Cultural Aspect:
 to safeguard an aspect of cultural heritage; continuity of art forms, display
of
performing skills and sustaining national, local or ethnic traditions;
 To retain and improve an existing stock of facilities and established
companies for the performing arts, or to provide new facilities to ensure
cultural opportunities.

Problem Justification
• Arba Minch is one of the tourist destination towns in our country. As the
nature abundance is the main attraction for the tourist, art could also be
one attraction. But as a matter of fact there is no art based that attract or
invite the tourist to the town.
• HOW EXACTLY AN ART CENTER COULD BE A TOURIST
ATTRACTION?
 Art is a reflection of a society life style collecting the cultural
and modern art center in one and improving the skill will
eventually
 The production of goods and arts sell and exhibition which are
performed in this center will be visited by local visitors and
foreign tourists
 It creates more awareness for the tourists and also for the
society about the art of the society
• as we can see here in Arba Minch there is no center of art or any official
art performing center
• In the current condition of Arba Minch there are two music schools which
are found around sikela in Tengo terara building and old Dashen building.
even if they don’t fulfill the criteria (standard ) of school

Bright music school is located

around sikela in old Dashen building
at second floor.
 Keradion Begena School is found
around sikela in Tengo terara
building at the first floor. The school
has approximately 50 students and
it gives service twice a week.

• There is lack of flow of knowledge or experience sharing .for example in the

current situation most of the workers in traditional cloths or waving older people,
this shows the knowledge or skill is less transferred from one generation to the
other
• There is lack of place in which the youths can get both getting knowledge and art
at the same time recreate and develop their hobby
• Lack of comfortable spaces in which different art fields are found in one place

For whom do we need the Center of art?

• We need the center of art for all parts of the society in age group, mostly for
the students who are passionate and talented in art
• for visitors who came here to visit the work of students and wonders of the zone.
• For Foreign tourists and local visitors.

By Whom
• this center controlled and managed by the government. Because the end user of
this school of art and design center is the society so they can get the service by
low cost
Site
selection
criteria
1. Location
.
● Location: the position within the urban or rural area of the proposed building, its
linkage to other activities and possible wider development policy.
The location of the site is a critical issue and requires to be:
● In an appropriate position to attract the anticipated visitors (audiences and
others).
● Safely and easily accessible – by foot, bicycle, car, taxi, coach and public
transport – from all parts of the catchment area it is to serve. Public transport
needs to
be available after evening performances. As buildings for the performing arts are
open late in the evening then the location should be safe.
• By its location should be considered including opportunities for external signs and
posters, and other visual displays.

2. Neighborhood Context
a. Existing and projected building uses in the neighborhood.
b. Present and future uses of exterior spaces in the neighborhood.
c. Existing and projected vehicular movement patterns.

3. Size and Zoning

4. Legal
Covenants and restrictions (site area usage allowed, height restrictions,.
5. Circulation
a. on site or adjacent vehicular movement patterns including type of traffic, origins
and destinations.

6. Utilities
a. Location, capacity and conveyance form (type of pipe, etc.) of power, telephone
and water utilities
LITRATURE
REVIEW
 INTRODUCTION

History of art

Ancient art begins for the older literature cultures. The very earliest human art
crafts showing evidence of workmanship with an artistic purpose are the subject
of some debate it is clear that such work mansnhip existed by 40,000 years ago in
upper Paleolithic era.

The history of art dated as human being history. There was art in every era

Historical back ground of center of art

In Britain modern art centers began after World War II and gradually changed
from mainly middle class places to 1960 & 70s

Trendy, alternative centers and eventually in the 1980s to serving the whole
community with a program of enabling access to wheel chair users and disabled
individuals and groups.

In the rest of Europe it is common among most art centers that they are partly
government funded. Since, they are considered to have positive influence on
society and economics according to the hire land philosophy. A lot of those
organizations originally started in the 1970s, 1980 and 1990s as squading spaces
and were later legalized.

 Now days there are lots of art centers around the world. In USA there are
15 art center in different states, in Europe 20 art centers in 5 countries,
in middle east there is 1 art center which is found in Israel, in Asia there
are 8 art centers in 5 countries also in Africa there is no art center.

About Ethiopian Art

The advent of Christianity in the fourth century begging of traditional

religious painting Christian art mostly in church ,it was founded in the form
of painting ,cross, icons and illustrated manuscript At the height of its
stylistic perfection. Ethiopian art renounced the illusion of volumes depth
and perspective. The paintings were conceptual and composed of a serious of
 image signs according to spiritual consideration. By the 20th century
Ethiopian artists began to deal with other topics and themes .the
establishment of Addis Ababa university Alle school of fine arts and design
in 1958 was a milestone in the development of not only Ethiopian
contemporary art but provided flexibility for the exploration of and study
of Ethiopian art history and reflecting art education by creating critical plat
forms for local as well as international creative thought.

KEY WORDS

- ART?
- ART CENTER?
- Fine art

DEFINATIONS

What is ART???
• ART is the history of an activity or product made by humans in a visual form of
aesthetical or communicative purposes expressing ideas, emotions or in general a
worldwide.
• An art is something that is created with imagination and skill and that expresses
important ideas and feelings

What is ART CENTER???

• An art center is a functional community center with specific remit to

encourage arts practice and to provide facilities such as theatre space,
gallery space, locations for musical performance work shop areas the
educational facilities technical equipment's etc.

Fine art

Is art developed primarily for aesthetics or beauty, distinguishing it from

applied art that also has to serve some practical function
Historically, the five main fine arts were painting, sculpture, music and poetry.
Today, the fine arts commonly include additional forms, such as film, photography,
video production/editing, design, sequential art, conceptual art and print making.

Painting

Is the practice of applying paint, pigment, color or other medium to a solid surface
(support base). The medium is commonly applied to the base with a brush but other
implements, such as knives, sponges, and airbrushes can be used. Painting is a
mode of creative expression, and the forms are numerous
 Sketching

Is a rapidly executed freehand drawing that is not usually intended as a finished

work. A sketch may serve a number of purposes. It might record something that
the artist sees, it might record or develop an idea for later use or it might be used
as a quick way of graphically demonstrating an image, idea or
principle.

Sculpture

Is the branch of the visual arts that operates in three dimensions? It is one of
the plastic arts. Durable sculptural processes originally used carving and modeling
in stone, metal, ceramics, wood and other materials.
 Photography

Are the science, art, application and practice of creating durable images by
recording light or other electromagnetic radiation, either electronically by means
of an image sensor or chemically by means of light sensitive material such as
photographic film.

Videography

Refers to the process of capturing moving images on electronic media and even
streaming media. The term includes methods of video production and post-
production it was initially equivalent of cinematography (moving images recorded on
film stock)
 Fashion design

The art of application of designed and aesthetics or natural beauty to clothing and
accessories

Is influenced by cultural and social attitude, and has varied over time and place.
Fashion designers work in a number of ways in designing clothing and accessories
such as bracelets and necklace.

Pottery

Refers to the art or craft of a potter

Or the manufacturer of pottery.

Fired ceramic wares that contain clay.

BASKETRY

Is the process of weaving or sewing pliable

(flexible) material.
General Consideration for center of art

A. Accessibility

 Safely and easily accessible – by foot, bicycle, car, taxi, and public transport

 It should be well planned with the entire necessary infrastructure. It should

be well lit and ventilated with as much use of natural light and ventilation as
possible. Entrance should be well-lit and ventilated

 The doorway leading to the entrance should also have a ramp facilitating
easy access for disabled

 Location should be considered including opportunities for external signs and

posters, and other visual displays

B Natural and artificial lighting

- Sunlight enhances color and shape, and helps to make a room bright and cheerful.
Wherever possible, spaces to be occupied by students, visitors or staff should
have natural daylight with an outside view.

The harmful effects of solar glare and heat gain can be dealt with by architectural
detailing of window shape and depth of reveals, as well as by installing external and
internal blinds and curtains. Treatment to the glass such as coatings may also
reduce the effects of overheating and glare.

Artificial lighting, as well as providing levels of illumination to suit particular

activities, can make an important contribution to interior design. Designers should
develop a lighting scheme
The art center will incorporate different spaces:
• studios
• Performing area (gallery)
• Training centers
• Public gathering units
• Cafeterias
• Parking
• Administration
• Exhibition space
• Library (reading room) etc.

ROOM AND AREA REQUIREMENTS

center of art can be divided into two general classifications depending upon their
function: those used for instructional activities end those serving in an auxiliary
capacity such as storage areas, workrooms, and offices. Additional Facilities
/Washroom and Toilet Facilities. Because the music suite is frequently used at
night when the remainder of the building is locked, washroom, toilet facilities, and
custodial work areas must be provided within the music unit.

• In many instances they may be necessary for the changing of uniforms and
must be convenient to the rest of the department. These facilities require
about 15 percent of the total floor space if adequate room is to be provided.
If recitals to which the
public is invited are given within the music unit, additional rest room space
may be needed.

Lounge

Collegiate music departments may need to consider the desirability of a lounge

in which students can relax. If other study areas on the campus are at some
distance from the music facilities, one portion of the lounge might provide desk or
table space.
Elevator

Because of the heavy instruments and equipment which it is frequently

necessary to move in a music department, an elevator is a most desirable feature in
a building of two or more floors. Also recommended is a loading dock adjacent to
the parking area

Multipurpose Hall
should be designed so that the activities can be maintained and operated with a
minimum of time and labor consumed in the preparation of an event. In schools, this
area is being designed for education, not commercial purposes

• Stage
The stage is considered first because it is the part of the hall most
frequently abused by the designers. The proscenium ;( the wall that
separate the stage from the audition in a modern theater ) dependent upon
several factors-

• the size of the hall,

• the playing area of the stage,

• the height of the stage loft or grid,

• the size of the community using the hall, and the seating capacity of the
hall For general purposes

• The proscenium (the wall that separate the stage from the audition in a
modern theater) should not exceed 65 or 70 ft. in width and the height of
the auditorium should be in practical or artistic proportion to the width. This
height is an important factor that will determine the location of the grid.
The grid will be the subject of a separate discussion. All of these items are
interrelated, and the architect must consider all of them and their
interrelationships

Doors
all doors entering on a stage must be of sufficient height and width to provide
 ready access to the stage. This is especially true of the scenery doors. They
must be high enough to accommodate wide stage wagons, large instruments, and
permit (if necessary) entrance of motor vehicles The door for scenery should
be at least 8 ft. wide and 14 ft. tell, and all other
doors leading to and from the stage should be unusually wide double doors

Photography Room
A special room can be provided and equipped as a darkroom. Ventilation
should be provided through the use of lightproof ventilators Hot and cold
running water, special light plugs both wall and base-and photographic sinks
for developing and washing prints should also be provided A mixer is
desirable to accurately control the water temperature. A filter should also
be provided if the water quality is not good. Doors should be lightproof.

DISPLAY AREA Thematic and changing displays of selected objects and

documents from the collections arranged to tell a story

RESTURANT
SPACE REQUIRMENT
 calculate the area requirements in terms of;
 volume & type of service
 amount & size of equipment to be used
 number of workers required
 space for needed supplies
 suitable traffic are

 DESIGN CRAITERIA
Interior design has to satisfy a number of requirements both functional &
aesthetic.
 FUNCTION:-operation ,efficiency ,well arranged, healthy,
Durability, maintenance.
 AMBIENCE:-luxurious ,romantic, lively

RESTURANT TYPE & SPACE ALLOWANCE

TRADITIONAL RESTURANT
 1.3-1.9m²/person
 The table should be arranged with generous spacing & seating.

CARVERY RESTURANT
 1,6m²/person
 including space for carving table
 all activities is done in the main kitchen. Like preparation, cooking & wash up.

SPECIAL RESTURANT
 2.0m²/person
 Special decoration effect & furnishing are required to reflect dinning theme.
 There may be display cooking, grill, dance floor & bar.

PLANNING FACTOR
 Public access must look inviting & be separate from service access & west
disposal.
 The exterior appearance should communicate clearly, with signs, lighting &
menu displays.
 from the outside people should be able to view the interior seating, style
& furniture
 The interior should create a good impression & a suitable atmosphere. this
should be related to;
 Seating
 Furnishing
 Decoration
 Lighting
 Noise level & toilet facilities.

SPACE IN RESTURANT
DINNING AREA:-
 A room in w/h meals are served & eaten.
 Space for dining area is usually based on the nº of sq ft /person seated × nº of
person seated at one time.

SPACE REQUIRMENT:-
 The client size, the type & quality of service should be considered.
 The space required differs for adults & children.
 For child 0.7m²
 For adult 1.1m²
 Width & length of the room, table & chair size & seating arrangement affect
the capacity of dining room.
 Small tables such as 1.5m²-1.9m²are economical for seating.
 Table’s w/h has common width & height should be fated together. This will
give flexibility in sitting arrangement.
 Tables w/h are longer 1.2m are difficult for waiters to serve.
 A lunch counter will have a minimum width of 0.4m & a maximum width of
0.6m-0.7m /seat.
 U shaped counter make a maximum use of space & reduce travel.
 for linear counters we will need a depth of 2.5m-3.3m this will provide 0.9m-
1.2m public aisle.
 A minimum passage area is 0.4m .between chairs & including chair area table
should be spaced 1.2m-1.5m apart.
 NUMBER OF PERSON ALLOWANCE
.
 The nº of person to be seated at one time is the 2nd point of information
needed for calculation of the dining room size.
 Entrance to these rooms should not require passage through the main dining
room.

KITCHEN
 A space within dwelling or establishment where food is prepared & cooked.
 Should be well located internally with respect to the store, dining room&
utility room.
 Kitchen equipment is usually planned for 7 years of usage.
 Kitchen & preparation area will equal about 50℅ of the dinning space.

FACTOR AFFECTING IN SPACE REQUIRMENT

 type of preparation & service
 amount of total production done in the unit
 number meals served
 variety of food in menu
 elaborateness of preparation & service
 amount of individual serving area
 seating & serving plan
 The location of entrance & exits for a good flow of traffic.
 the minimum width for alone between equipment where one person works
alone is 0.9m-1m.but mobile equipment is used 1.2m-1.3m are recommended.
 about 30℅ of kitchen floor is occupied by equipment,
 10-20℅ by table & chairs & 50℅ for circulation.

PREPARATION
 Using fresh ingredient partially or fully prepared food.
 STORAGE
 A room or space in a building in w/h objects, implements, goods, etc. .are
stored not in use.
 When we design store we should consider the volume & types of items store.
 Shelves should allow about 50mm b/n & above packages for easy access.
 The shelf should not be higher than 1.8m & the lowest should be at least 0.2m
above floor.
 Shelves for heavy & frequently used items are best b/n 0.7-1.5m high.
 Fixed shelving will be best.
 Space separate for vegetables’ /fruit, dry goods, chilled & frozen food.
 the area of storage can be calculated by the nº of people served
 e.g. if 1000 are served then we need 500 sq. ft.
 a store room aisle may be as narrow as 0.9m but 1m or 1.2m preferable

REFRIGERATED & LOW TEMPRATURE STORE

 We can get the area of store by the quantity stored at one time. Store also
varies by type of items stored. From the store area :-
 20 to 35 % for meat.
 30 to 35 % for vegetables.
 20 to 25 % for dairy produces.
 10 to 25 % for frozen food.
 5 to 10 % for carryover food

DISH WASHING AREA:-

 The space requirement depends on the method & type of equipment used.
There must be adequate room to receive solid dishes.
 The dimension may be 0.7-0.9m for single tank machine 1.5-1.8m for sink or
2.1to over 9.1m.
 The free work aisle b/n the sink & other equipment should be 1.2m wide.

EMPLOYEE FACILITES

 Include locker & lounge area, toilet, shower, hand basins, dining room.
 Entrance should be located clearly.
 LOCKER & LOUNGE AREA

 Is space here employees properties will be put or placed? There are individual
lockers or common cupboard.
 The depth from front to back should be minimum of 0.5m.

TOILET & SHOWER

 Should be separated from food area by hall way or double entrance. Provide 1
wash bowl for 8-10 workers.
 one toilet stool for 12-15 women
 one urinal & toilet every 15 men

SHOWER
 The type of employee, type of climate & condition of work will influence the
need of shower.

CHASHIER
 Should be located the right hand of the door. This will help to avoid cross -
traffic.

FURNITURE
 LIGHT
 A good level of natural light is preferred.
 Where the mechanical ventilation is provided, windows are to be non - open
able. Except for cleaning.
 Artificial lighting should be uniformly distributed 400-500 lux in kitchen .200
lux in store & corridor.
VENTILATION
 Need sufficient ventilation to remove steam, heat, oil & other fumes.
 Condensation must be avoided.

SOUND REDUCTION
 Walling between kitchen & eating areas should be insulated .a lobby may be
needed
 Sound absorbing surface can be use full to reduce back ground noise.
Rest room
Activities include
 washing of hands, face, and hair, bathing, elimination, and grooming,
And also such activities as hand laundering often it are also used as a
dressing room.
Major problems in bathroom design include
 Adequate provision for storage of supplies and equipment, and ease of
cleaning.
 Lack of consideration for disabled (physically disabled, handicapped, blind)
old peoples and children’s accessibility.

Facilities required are:

 washbasin (a bowl that is fixed to the wall in a bathroom or near a toilet, in
which you wash your hands, face, etc. and which has pipes to supply and carry
away water )
 bidet (a small low bath in which a person washes their bottom and sex organs )
 flush ( the handle or button which you push to make a toilet empty and fill
with water)
 towel rail (a horizontal bar on the wall, or a frame with a horizontal bar, used
to hang towels on )
 water closet suites, urinals

Possible additional requirements:

 The entry to any public toilet must be screened to ensure privacy. in some
areas, the law requires a couch or lounge in public rest rooms for ladies.
Normally occur simultaneously.
 Separate toilets will be needed for men, women and disabled people. there
may also be a need for smaller toilets for little children.
Public toilet rooms for the handicapped

Toilet stalls (a small area of a room which is separated from the main part of the
room by walls or curtains.)

A1.5 x 1.5m stall is usable by most people and has the following requirements.
1. Stall must be 1. 5 x 1.5 m2
2. WC center line is 0.45m in from side wall
3. 0.8 m doors diagonally opposite WC
4. Handrail extends 0.45m in front of WC
3.5cm, 3.5cm from wall 0.35m above seat
5. Standard partition to clearance
furniture overall lay out + circulation

standards related to disables accessibility

the principal disabilities of concern to the architect are those that mean the
person has to use a wheelchair
for most or all of the time. that person is handicapped by this in two significant
ways: first, the eyes and arms are permanently at sitting rather than standing
level, and second, the wheelchair itself takes up to five times the space needed by
an ambulant person.
 Parking
All parking facilities should seek to meet the following basic criteria:

Functional requirements

 the size, height, and turning radius of current automobiles as well as past
and future trends of automobile size and statistical quantity must be taken
into account these are called parking geometries.
 The entrances and exits are very important to the smooth functioning of the
facility, with the type of use again determining the length from the opening
and placement of the entry booths, as well as the quantity of entrances and
exits.
  The type of equipment and the necessity of a booth and office are also
determined by the facility use.
 Zoning issues require the number of spaces for parked automobiles. The
designer must work within local codes to meet these requirements.
 Provide an area or room for the storage and maintenance issues. This area
should be heated/air-conditioned and contain a mop sink.

 Locate accessible parking as close as possible to the shortest accessible

path of travel to buildings. see current codes for quantities.
 Avoid creating irregular shaped parking areas. good internal circulation is
more important than squeezing in a few extra parking spaces.
 Run pedestrian circulation parallel to the parking bays to decrease
pedestrian traffic across vehicle lanes.
 Eliminate or minimize pedestrian and vehicle cross traffic. avoid crossing
driveways.
 for safe and efficient movement, separate each different type of circulation

Safety and security

.
 Handicap accessibility with vehicles close to stair and elevator cores having
a direct path to key movement patterns of the facility.
 to avoid carbon monoxide build-up, air flow is adequately designed for
through mechanical or natural ventilation
 non-slip floor surface
 cleanliness
 design for the points of intersection between man and the automobile for
adequate safety of movement

 aesthetics

Aesthetics of facility design has become very important to communities across the
country:

 Recently facility design has become part of an architectural style of the

surrounding architecture, respecting the language of design and using the
design process.
 Most costly solution is to "hide" the facility by placing below ground.
  pedestrian access

Although safety for the pedestrian has been a recent concern in parking
facility design with adequate lighting and open stairwell and elevator design, the
actual movement of the pedestrian through the facility has rarely been designed
for. Several facilities are being designed to create a more pleasing environment
with separate paths for the pedestrian from their cars to other circulation paths
to specific points of destination. Vertical openings piercing the facility and
landscape plantings within the structure are also creating a more open, safe, and
inviting place to walk.

On-site parking

Outside surface parking refers to large paved areas used for

extensive vehicle parking—beyond the incidental parking provided for
individuals, Staff parking, and short-term drop off—located adjacent to a
building.

 Must provide for the safe and efficient passage of automobiles as well
as visitors to and from their vehicles. Typical features of outside
surface parking space types include.
 aesthetics
The surface parking lot should not dominate the building site.
Through a combination of planning, architectural, and landscaping elements,
the visual impact on the surrounding streets and developments can be
minimized. textures, patterns, and colors are encouraged in the design of
surface parking in order to provide breaks in large monolithic areas of
pavement and distinguish between pedestrian and vehicular movement within
the parking area.
 secure / safe
Exterior security protection: surface parking is located such that unsecured
parking areas are visible from adjacent buildings and safely illuminated.
 Lighting: lighting is used to provide security and access within the parking
area at night. The lighting design should prevent off-site lighting and night
sky pollution.
 sustainable
site improvements: typical site improvements directly related to the surface
parking include ground cover and planting, storm water handling systems,
vehicle parking surfaces and roadways, sidewalks directly abutting parking
areas, signage, and buffer zones between parking and public areas.

figure 1.1 dimensions of mini cars, bicycles & motorcycles

 Figure 1.2 standards for store van’s, trash silo vehicles
 By the above standard/figures we must design parking deck maximum for
vehicles up to 4m height, 2.5m width & 8m length.
 The turning circle for the largest vehicles permitted under the road traffic
regulations is an outer turning circle radius of 12m.

Cycle parking

This should be located as close to destinations as possible without

interfering with pedestrian traffic; and where visual supervision, lighting and
shelter from inclement weather can be achieved. it is essential to provide facilities
for securely locking the bicycle frame and the front wheel to something
immoveable.

space requirement standards `

figure-an arrangement in an angle

 between two walls figure-basic Sheffield

parking stand.

Figure.it is important that arrays of Sheffield stands make best use of space.
Attempts at closer spacing than shown will not succeed due to blocking of some
positions by carelessly parked cycles.

Fig... Circular array with capacity for 32 cycles.

Fig... Circular array with capacity for 24 cycles.

Parking lots
Figure 2.1 ramp slopes. (Transitions are required only if ramp slope exceeds 10
percent)

 Ramp slopes; the maximum ramp slope should be 20 percent. for slopes over
10 percent, a transition at least 8 ft. long should be provided at each end of
the ramp at one-half the slope of the ramp itself.
 In addition, a ramped driveway exit rising up to a public sidewalk must have a
transition section that is almost level (maximum slope: 5 percent) before
intersecting the sidewalk to prevent the hood of the car from obscuring the
driver's view of pedestrians on the walk. This transition should be 16 ft.
long.
Display area Thematic and changing displays of selected objects and documents
from the collections arranged to tell a story.
GENERAL Planning:- the relationships between functions are common to all art
galleries. Collection item movements in the operation of collection services, but
note that not every operation necessarily requires a separate space, and some
services may be provided by outside agencies.

Layouts for an art gallery which interpretive exhibitions and educational programs
are performed are central to its operation.

GALLERY DESIGN

QUANTITATIVE

* The average visitor, if a man, is about 5 ft. 91/4 in tall, and his eye level is 5 ft.
43/4 in; the average woman is about 5 ft. 31/4 in tall, and her eye level is 4 ft. 11
3/4 in. Thus, the mean adult eye-level height is about 5 ft. 21/4 in. With little eye
movement, people usually see and recognize with ease things that are within an
approximately elliptical cone of vision, with the apex of the cone at the eye-level
height.

*adult visitor observes an area only a little over 1 ft. above his own eye level to 3
ft.

QUALITATIVE

Arranging objects and labels above and below these limits places a strain on
seldom-used muscles and produces aching backs, tired feet, burning eyes, and stiff
necks.

Some quite large objects, will inevitably soar above these viewing limits, and, in this
event, the visitor must be permitted space to back far enough away from the
object
 Fig. 2: Directional lighting for the
wall, diffuse lighting for the room

Fig. 3: Supplementary directional

lighting for objects in the room
2

Fig. 4: Indirect and direct

components produce diffuse and
directional lighting respectively

Fig. 5: Solely directional light

3
CASE
STUDIES
 Yale Center of Art
Location = New Haven, united state
Architect = Paul Rudolph
Paul Rudolph

In June of 1957, it was announced that he had accepted the chairmanship of the
department of architecture at Yale.

Architectural style and design approach

one of the earliest known examples of brutalist architecture in America is Paul

Rudolph Yale art and architecture building in new haven, Connecticut, an imposing
fortress-like building that juxtaposes masses of textured concrete with layers of
steel framed glazing.

Brutalism historically frequently used to build educational building high rise housing
and shopping malls. Completed in 1963 the building is formed of intersecting
volumes of bush-hammered concrete. Smooth concrete and glass horizontal
elements are supported by sequence by sequence of towers that protrude above
the roof in a series of turrets.

LOCATION

180 York street, New Haven, CT 06511,united states

CLIMATE-humid continental climate with cold winter and hot summers

SUMMERS-HIGH-82F TO 77F, 66F TO 60F

WINTER-HIGH 42F TO 37F, LOW-28F TO 23F

PRECIPTATION-the annual average precipitation at new haven is 52.73 inches. Rain falls in fairly evenly
distributed throughout the year. The wettest month of the year is May with an average rain fall of 4.70
inches.
 TOPOGRAPHY AND LANDSCPE

New Haven Surrounded by two rivers, the shoreline and the rock edges. The city’s
early growth established a powerful relationship between town and natural setting.
The two prominent land mark-east rock and west rock-led to northeast to
southwest orientation of the city grid. The historic post roads, which follow
topography and natural stream crossing, radiate outward from the town center and

shape the surrounding neghbourhoods.this natural features helped shape the city
of new haven and the layout of the campus withen the city.

Context

Neighborhood-the neighborhood of new haven were shaped by the development of residential

areas, and accompanying commerce and manufacturing. This grew in roughly concentric rings moving
out ward from the nine-square core.

Park and open space another diagram telling that the park system of the city a prominent ring of
open spaces at the perimeter converging on the new haven green at its center. While the new Haven
green Is the symbolic center of park network, Yale’s many courtyards, quadrangles and walkways
provide an intricate open space resource.

FOUR DOWNTOWN Street-help define both Yale and the city

1-Chapel Street-considered by many to be the main street of New Haven is shared by the university and
the city

2-Elm Street- a majority of the campus facilities lie within a block of this north-south corridor
3-college street-substantial barher between old campus and cross campus

4-church street-New Haven most civic street with its concentration of public,
government and office building

The four downtown streets

A network of parks and open spaces

Yale center of art building

Yale center of art building
STRUCTURAL SYSTEM
• Internally the building is organized around a central core space defined by four large
concrete slab columns that, similar to the external towers are hollow to accommodate
mechanical service
• Cast in place concrete(RCC)
• Bush hammered finish to the face of the exposed concrete
BUILDING CONSTRUCTION

• The strong vertical striation of corduroy-textured surfaces are obtained by

pouring concrete into vertically-ribbed wood forms, that are then stripped
away, and concrete edges hand-hammered to expose the aggregate . it
control staining and minimize the effect of discoloration inherent in
concrete
• To reproduce the original surface texture,2+1/4-inch-wide tongue-and-
groove red oak flooring planks, unfinished and un sanded, were used for
formwork.

BUILDING CONSTRUCTION SYSTEM

Completed in 1963, the building is formed of

intersecting volumes of bush-hammered concrete.
Smooth concrete and glass horizontal elements are
supported by a sequence of towers that produce above
the roof in a series of turrets

The 114,000square feet brutalist

building, which is constructed of Slabs of ribbed concrete run in vertical
cast-in-place concrete ,has a total section on the interior and exterior of
of 37 different levels on nine floors, 11,000 square meter building
two below grade, and is a
cornerstone of Yale’s vibrant art
campus.
 Massive piers of concrete rise. Projections are
over emphasized throughout. Heavy slabs are
crossed by thin slabs. Spaces inside cross too and
offer sequences of most dramatic effect by
unexpected vistas inside the building and even
out of it.

Inside the complex floor plan is made up of

37 terraced levels spaced across seven main
stories and two basement floors. Each level
The main entrance is set back from the
overlooks a central atrium that features a
street, accessed through a chute and
depressed pit and is topped by a series of
stairwell between two concrete columns.
skylights, while narrow concrete walkways
concrete the spaces on either side of the
wall.
Façade system
The project team selected a glazing product that provided
suitable insulating properties, low-emissivity and glare
reduction, while reproducing as closely as possible, the look
of the original windows, fabricated by viracon, the 8-by-12
foot panels were some of the largest single sheets of insulating
glass ever made in the united states.
Entry between two massive
Aluminum + glass reinforced hollow columns
integration and articulation
of structure

Exposed concrete

The building achieves balance by using large fenestration covered

with glass. Façade is divided further more by vertical columns
supplemented with the vertical hammered textured concrete and
beams in the horizontal direction. The same principle develops
inside as interlocking vertical and horizontal planes.
Building Service

 Air handling unit in the lecture hall and class rooms are equipped with enthalpy heat exchangers
which salvage energy from returned building air and transfer to incoming fresh air.to respond
dynamically to building usage, aircuity an air quality system, monitors carbon di oxide levels and
reduces ventilation rates when rooms are occupied.
 Water-saving fixtures, old stair case modified to be storage room.
 To support local economy, the project team utilized local labor and material wherever possible.
 The original building did not employ any sprinkler.in 2008 new sprinkler systems which employed
wall sprinkler to create fire separation between spaces. It was added with care-fully selected,
discreet location for the piping. The system brought the building in to full compatibility with
current fire codes.
Alle School of fine arts and design

The Addis Ababa university Alle school of fine arts and design was founded in 1958
under the former ministry of education and fine arts. The school was founded by
Alle Felegeselam one of Ethiopian prominent marks the artists

• The school upgrade its entrance requirement by admitting only students who
completed 10th grade above ,and also passed the art aptitude test of the
school

• In 1998 new curriculum program was designed & the degree program started
in 2000 E.C and it consists of five departments

Namely;

 painting department
 sculpture department
 printmaking department
 industrial design department and
 art education department

• There are two new graduate program

1. Masters of art in fine arts

2. Master of art in film production

Facilities

• The school has more than 24 studio spaces, two lecture rooms, a well-
furnished and well equipped auditorium space that can accommodate up to
120 people.

• It also has good lighting and sound system and major presentation
materials. There is a wood and metal work shop equipped with major work
shop material
 • The school has also managed to develop a digital Fabrication Laboratory(
Fab Lab). The fab lab studio and workshop has fully been equipped with
high tech materials and has already started to function mainly for three
major institution under the Addis Ababa university ,Alle school of fine art
and design, institute of technology and architecture campus

• The center is intended to support the film program activates as un input to

serve each department and center under the school, especially for students
graduation year project, research and documentation activities, provision of
short training for six months or one year under a certificate program in
multimedia and digital effects for students in the university and interested
professional individuals from outside the institution.

Seminaries and conferences

The school has continuously been organizing various workshops, presentation,

discussions and a serious of lectures, in collaboration with interested foreign and
local creative professionals, scholars , institutions and organization.

in the last academic year alone , the school organized 23 local and three
international workshops ,eight short training , more than 30 discussion forums ,
weekly lectures and film screening , six local and two international exhibition three
exchange programs and five staff capacity building program.
REFERENCE

1. Wikipedia, free encyclopedia

2. https://www.archdaily.com
3. https://www.archmarathon.com
4. https://www.slideshare.com
5. Time savor
6. Nuefert
7. Metric hand book
GROUP MEMBERS ID
NO

1. Deborah Hailu
RAMIT/0301/05
2. Firezer Nigusie
RAMIT/0433/05
3. Getayawkal Belay RAMIT/
/05
4. Simret Temesgen
RAMIT/0987/05
5. Tsiyon Asefa
RAMIT/1154/05
6. Zayda G/Krstos
RAMIT/1254/05
7. Habiba Mohammed
RET/1334/03
8. Biniam Bulbula
RET/352/04