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|Title:||BDES1020 'Continuous City' <Adriana Lions>|
Architecture & Allied Arts
|Abstract:||The key focus for the final cladding of the Jerusalem Centre for Women was to create privacy. It is designed to correspond with the existing architecture, allowing it to blend with its surroundings. This creates reassurance for the members of the Centre, as it is does not draw attention to itself. Through various forms of manipulation, traditional Jerusalem stone has been used to create an enclosed and secure getaway for all women. There are three types of windows used in the Centre: open windows, windows with half-shutters and windows with full shutters. Each of these openings indicates the level of privacy required internally. Windows with full shutters are used on the facade of very private spaces, including the baths, lap pool, gym and day spa. Privacy in these spaces is crucial, due to the possibility of Muslim women removing their hijabs and other layers of clothing. Windows with half-shutters are used on the facade of most other spaces, allowing greater light-penetration whilst still inhibiting the gaze of the public. These shutters are oriented towards both the East and West, to maximise the amount of sunlight absorbed into the building throughout the day. Open windows are used on the facade of the rooftop cafe, as this is designed as a more public space. Stone screens are used to clad the baths and the circulation tower. This use of stone was inspired by traditional Islamic architecture, as well as Jean Nouvel’s design for his Louvre in Abu Dhabi. He has used a perforated dome to allow light to filter in, creating magical patterns on the interior. The screens will also help to make the building look lighter, breaking up the heavy stone walls of the rest of the facade. In addition, the main entrance of the Jerusalem Centre for Women is private. The shape of the circulation tower creates a small courtyard, hiding the entrance from the public on the main street.|
|Department/Unit/Centre:||Architecture & Allied Arts|
|Rights and Permissions:||The author retains copyright of this work.|
|Appears in Collections:||BDES1020 (Architecture Studio 102) - 2010|
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