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Qawafel: Cultural Center
Thesis · December 2020

DOI: 10.13140/RG.2.2.30023.52641
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Running head: QAWAFEL: CULTURAL CENTER 1
Cultural Center
Ameera Salah Alamoudi
IDSG 4401
Capstone 1: Thesis
Dar Al-Hekma University
N.Merve Goknil
16 December 2020
A thesis submitted to the
Faculty of the Interior Design Department of
Dar Al-Hekma University in partial fulfillment
of the requirements for the degree of
Bachelor of Design in Interior Design
2020
QAWAFEL: CULTURAL CENTER 2
‫ميحرلا نمحرلا هللا مسب‬
In the name of Allah, Most Gracious, the Most Merciful

© 2020
AMIRA SALAH SAEED ALAMOUDI
ALL RIGHTS RESERVED
This thesis for the course Capstone Research is by
Amira S. Alamoudi
Has been approved for the
Capstone I: Interior Design Thesis Course
By
Ms. Merve Goknil
Date: Dec. 16th, 2020

Amira S Alamoudi, Interior Design, Dar Al-Hekma University

Abstract of Bachelor Thesis, Submitted December 2020:
Qawafel: Cultural Center
Abstract
This research aims to design a cultural center in Jeddah, Saudi Arabia. The project fills
the gap of having a cultural center that exposes the rich history and culture of the kingdom of
Saudi Arabia. It also contributes to the tourism sector as part of the 2030 vision by providing a
new experience that attracts tourists and explores the important historic sites and the influence of
Islam on the culture and tradition of the country. The research highlights the importance of
exposing the heritage and culture of Saudi Arabia to visitors and its role in enhancing tourism in
Saudi Arabia. Also, the research demonstrates the importance of lighting, colors, and other
design elements in enhancing visitors’ experience besides the use of different technologies to
create an interactive learning environment. The data for this study were collected following the
qualitative research method through a survey and interviews to examine the need for the cultural
center in the country. The research reveals the need for a cultural center in enriching visitor’s
knowledge and preserving the cultural authenticity of the country. besides, it provides an
overview of what should be included in a cultural center to enhance the comfort of the visitors.
Keywords: Cultural, Tourism, Learning Experience, Saudi, Heritage
This form and content of this abstract are approved.
Approved: Ms. Merve Goknil

Table of Content
PREFACE .................................................................................................................................... 10
Limitations ............................................................................................................................... 10
Project Outline......................................................................................................................... 10
CHAPTER 1: SYNOPSIS OF FINAL STUDIO ...................................................................... 11
Project Statement .................................................................................................................... 11
Research Questions ................................................................................................................. 11
Research Objectives ................................................................................................................ 11
Rational .................................................................................................................................... 12
Target Audience ...................................................................................................................... 12
Site Analysis ............................................................................................................................. 13
Client Profile ............................................................................................................................ 13
CHAPTER 2: LITERATURE REVIEW ................................................................................. 16
Minor Studies........................................................................................................................... 16
Major Studies........................................................................................................................... 17
Conclusion ................................................................................................................................ 21
CHAPTER THREE: RESEARCH METHODOLOGY ......................................................... 22
Data Collection and Analysis ................................................................................................. 22
Conclusion ................................................................................................................................ 24
CHAPTER FOUR: PRECEDENT STUDIES.......................................................................... 25
Precedent Study #1: Etihad Museum .................................................................................... 25
Precedent Study #2: Sheikh Jaber Al Ahmad Cultural Centre .......................................... 31
Precedent Study #3: Art Museum & Library ....................................................................... 34
Local Competitor: Ithra Cultural Center ............................................................................. 39
Conclusion ................................................................................................................................ 41
CHAPTER FIVE: DETAILS FOR INTERIORS .................................................................... 42
Matrix ....................................................................................................................................... 42
Design Program ....................................................................................................................... 42
Relationship Diagram ............................................................................................................. 44
Finish Schedules ...................................................................................................................... 44
Saudi building codes ............................................................................................................... 45
Conclusion ................................................................................................................................ 48
CONCLUSION ........................................................................................................................... 49
Contribution ............................................................................................................................ 49
Observation .............................................................................................................................. 49
WORK CITED ............................................................................................................................ 50
APPENDIX .................................................................................................................................. 52
Table of Figures
Figure 1: site analysis of the project's location ........................................................................ 13

Figure 2: client logo, Ministry of Tourism................................................................................ 14
Figure 3: client logo, Ministry of Culture ................................................................................. 14
Figure 4: client logo, Ministry of Hajj and Umrah .................................................................. 14
Figure 5: site analysis of Etihad Museum ................................................................................. 26
Figure 6: Etihad Museum sectional elevation .......................................................................... 27
Figure 7: Etihad Museum ground floor plan zoning ............................................................... 27
Figure 8: Etihad Museum ground floor plan circulation ........................................................ 28
Figure 9: Etihad Museum glass and gold columns façade ...................................................... 28
Figure 10: Etihad Museum interior circular form in the center of the permanent gallery . 29
Figure 11: Etihad Museum interior exhibition ........................................................................ 30
Figure 12: Etihad Museum exterior .......................................................................................... 30
Figure 13: site analysis of Sheikh Jaber Al Ahmad Cultural Centre (JACC) ...................... 31
Figure 14: JACC floor plan zoning ........................................................................................... 32
Figure 15: JACC interior ornamented glass wall .................................................................... 33
Figure 16: JACC interior wall with golden calligraphy .......................................................... 33
Figure 17: JACC exterior........................................................................................................... 33
Figure 18: site analysis of Ota Art Museum & Library .......................................................... 35
Figure 19: Ota Art Museum & Library floor plans zoning .................................................... 36
Figure 20: Ota Art Museum & Library first floor plan circulation ...................................... 37
Figure 21: Ota Art Museum & Library interior large glass windows ................................... 37
Figure 22: Ota Art Museum & Library interior seating areas .............................................. 38
Figure 23: Ota Art Museum & Library exterior ..................................................................... 38
Figure 24: Ithra interior library reading and collaboration area .......................................... 40
Figure 25: Ithra interior gallery ................................................................................................ 40
Figure 26: Ithra interior circular void ...................................................................................... 40
Figure 27: project's criteria matrix ........................................................................................... 42
Figure 28: relationship diagram of the project ........................................................................ 44
Figure 29: site analysis of the project's locationLegend .......................................................... 44
List of Tables
Table 1: project's Preliminary interior details schedule ......................................................... 43
Table 2: rooms finish schedules of the project ......................................................................... 45
PREFACE
13 ‫ آية‬،‫ سورة الحجرات‬.)‫ارفُوا‬ ُ ‫اس ِإنَّا َخلَ ْقنَا ُكم ِمن ذَك ٍَر َوأُنثَى َو َج َع ْلنَا ُك ْم‬
َ ‫شعُوبًا َوقَبَائِ َل ِلت َ َع‬ ُ َّ‫ (يَا أَيُّ َها الن‬:‫قال تعالى‬
“O men! Behold, We have created you all out of a male and a female, and have made you into
nations and tribes, so that you might come to know one another”. Surat Al-Hujurat, verse 13.
Limitations
It would have been ideal to meet tourists currently visiting Saudi Arabia to engage them
in focus groups and discuss their expectations in visiting the country; however, the research was
done during the Covid-19 pandemic which was declared by the World Health Organization on 11
March 2020, so tourists did not have access into the country due to the closure of the borders.
Project Outline
Qawafel is a cultural center in Jeddah, Saudi Arabia designed to enrich tourists' and
residents’ knowledge about life in Saudi Arabia based on Islamic values and culture, the two
holy sites, and important historic sites in the kingdom. The center provides a learning and
enjoyable experience for visitors.
This thesis involves five chapters, the first chapter defines the idea of the project as well
as the importance of the project and the reason of selecting it. It includes the targeted audience
and the selected location. In the second chapter, design and tourism related literature review is
discussed. The third chapter discusses the methodology of data collection and the results of each
method. The fourth chapter analyses local, regional, and international precedent studies of
similar projects. Finally, the fifth chapter demonstrates a preliminary study of the project’s
programming which includes the adjacency between the functions in the space and approximate
details of the interior.

CHAPTER 1: SYNOPSIS OF FINAL STUDIO
Project Statement
The project aims to create a cultural center in Jeddah to explore the culture and heritage
of Saudi Arabia. The Kingdom of Saudi Arabia has several important and historic places to be
explored including the holy mosques, the Grand Mosque and the Prophet’s Mosque. Besides, the
country has a rich culture and heritage that are significantly influenced by Islamic values. The
center will be a tourism attraction that provides a knowledgeable experience for visitors of
different backgrounds and religions to explore the important spaces that are related to Islamic
history, values, and heritage of Saudi Arabia. The information will be delivered using
technological tools such as VR, virtual reality, interactive screens, and wall screens to learn
through experience. This experience provided in the center will contribute to the 2030 vision in
enhancing tourism as well as the program of Hajj and Umrah.
Research Questions
• How does the cultural center expose visitors to gain more knowledge about cultural as
well as Islamic values?
• How does the center contribute to informing visitors about Saudi Arabia?
• What is the significance of the cultural center in Jeddah, Saudi Arabia?
Research Objectives
• Demonstrating the culture and heritage of Saudi Arabia to the visitors.

• Raising awareness and exploring rituals that take place in Makkah and Madinah.
• Exploring the requirements of a cultural center in Jeddah, Saudi Arabia and making
provisions in line with Vision 2030.
Rational
Saudi Arabia has a rich history and culture that is significantly influenced by Islamic
culture. The cultural center will help in exposing Saudi and Islamic cultures; thus, it will enrich
visitors’ knowledge about the history, traditions, and values of the country. Moreover, the
Kingdom of Saudi Arabia has recently started welcoming tourists, so the center will provide a
learning and enjoyable experience to visitors which will enhance tourism as part of the 2030
vision. It will also contribute to the program of Hajj and Umrah of the vision by increasing
pilgrim’s awareness.
Target Audience
This project is targeting all tourists who are classified under two main groups. First group
is pilgrims who visit the Kingdom of Saudi Arabia for performing specific Islamic rituals and to
visit the holy mosques; to increase their knowledge about rituals related to Hajj and Umrah and
the holy mosques’ heritage. Second group is tourists who are interested in exploring culture,
heritage and Islamic values, especially non-Muslims who have the curiosity in exploring about
the holy mosques, because they are not permitted entrance due to the rules of the kingdom.
Site Analysis
King Abdulaziz International Airport in Jeddah (figure 1) is the location of the cultural
center because it is one of the airports that welcomes millions of tourists yearly including
pilgrims. This location will allow pilgrims to learn and explore about the Islamic culture and
history before starting their trip to the holy mosques to enhance their experience by increasing
their awareness and stirring their feelings. Also, tourists will have the chance to visit the center
and explore the culture and heritage of the country.
Figure 1: site analysis of the project's location
Client Profile
The ministry of tourism, ministry of culture and ministry of Hajj and Umrah are the
clients of this project.
The Ministry of Tourism is the governmental sector focusing on tourism of the Kingdom.
It encourages and supports internal and external tourism by sponsoring and conducting tourism
events. The vision of the ministry is to develop a distinctive tourism
with the social, cultural, environmental, and economic benefits based
on the Islamic values, heritage of the country and its famed traditions
of hospitality. In line with the basic values and the distinctive

Figure 2: client logo, Ministry of
components of the Kingdom to develop a balanced and sustainable Tourism
tourism, the ministry’s mission is to achieve an economically and socially enrichment through
tourism, generate and increase employment opportunities for its citizens and preserve the cultural
and environmental authenticity of the country (https://mt.gov.sa/en).
The Ministry of Culture is responsible for the cultural sector
of the kingdom. Its duty is to preserve the rich history and culture of
the kingdom. The vision of the ministry is to enrich lives, celebrates
the national identity and builds understanding between people by the Figure 3: client logo, Ministry of
Culture
flourishment of arts and culture in Saudi Arabia. The mission is cherishing heritage and
unleashing new and inspiring forms of expression for all to enable a vibrant Saudi Arabian
culture that is compatible with its past and looks to the future (https://www.moc.gov.sa/en).
The Ministry of Hajj and Umrah is the client because it is
responsible for serving the guests of Allah. The ministry's vision is to
provide a peaceful and tranquil atmosphere linked with ease and
convenience during Hajj and Umrah's rituals and the visit of the
Masjid Al-Nabawi. Every pilgrim and Umrah performer act as an Figure 4: client logo, Ministry of
Hajj and Umrah
ambassador that reflects a positive image of the services offered by the
Kingdom to serve the guests of Allah. The mission of the ministry is carrying out its duties to
facilitate and organize pilgrimage and services in coordination with the government and local
authorities by the development of systems, use of technology, enhancing the effectiveness of
staff to serve pilgrims, and performance of infrastructure works and focusing on offering the
international standard of religious hospitality (https://www.haj.gov.sa/en).

CHAPTER 2: LITERATURE REVIEW
Millions of visitors visit the Kingdom of Saudi Arabia for Hajj and Umrah every year, so
tourism in Saudi Arabia is mostly limited to Makkah and Madinah. These two cites reflect the
Kingdom due to their importance; however, the country has many other historic sites that reflect
the culture and heritage. Tourists usually prefer to explore the culture and the important places in
the visited country, so this cultural center will be a place that represent the Islamic and Saudi
cultures to visitors.
Minor Studies
Tourism usually linked to visiting new places out of the person’s usual environment and
exploring traditions, food and lifestyle of that place. Tourists like to involve themselves in the
traditions of the visited place and try different new activities during their trip. Flutur (2018)
claims that cultural tourism could be a way that allows tourists to be educated and entertained
about a culture and learn about the significance of a place. Exposing the heritage of different
areas of the country highlights the country’s identity. Important and historic landmarks usually
have interesting stories and information; exploring these stories arouses curiosity and the desire
to visit the place. Goeldner and Ritchie (2009) agree that heritage and culture are significant
attractions for tourists. Religious sites are part of the cultural tourism that attracts visitors to learn
about the rituals and gain new knowledge about the site and its history. Accordingly, this project
will explore Islamic culture, values, and important sites for visitors besides the heritage and
history of Saudi Arabia. Although the two holy cities are off-limits to non-Muslim visitors, there
are a lot of other historic sites in the kingdom that are related to the Islamic culture. This project
will be a destination for people of all faiths to explore Islamic culture and rituals.
Culture is the knowledge and characteristics of a particular community including
languages, beliefs, religion, traditions, behaviors, habits, and values (Navasaitienė &
Perkumienė, 2010). Sharing these characteristics and knowledge is the aim of cultural centers.
Cultural centers bring communities together and help in understanding each other by learning
and exploring the culture. Creating a cultural center in Saudi Arabia will contribute to exposing
the Saudi and Islamic culture and heritage to visitors and therefore, raise their knowledge about
the country.
Cultures, heritage, or history can be exposed through festivals, events, exhibitions, or
museums. Tourists usually enjoy visiting these spaces to explore the culture and history of the
visited country. Noor and Wahab (2018) highlight that museums have different ways of
expressing the values and cultures; each one has its own ways. Exhibitions usually use artifacts,
replicas and diorama, a three-dimensional scene created to illustrate a story or event in history.
However, the authors argue that Islamic values cannot be clearly visual through exhibited
elements unless the viewer is aware of these values. As a result, different methods should be
explored and studied to present the history and culture of the holy cities in a clear and
understandable way. Involving various functions and activities in the space will help in exposing
the culture and values to visitors.
Major Studies
Technology
Interactive communication between the visitors and the presented elements enhances
visitors' experience in the space because it stimulates different senses of the visitor. For instance,
some modern museums use technologies to deliver information interactively and pass on
knowledge through experience. Kortbek and Grønbæk (2008) mention that interactive
installations such as tangible user interfaces (TUI) and augmented reality (AR) in cultural
heritage museums create efficient and engaging learning experiences. Using technology in
cultural related spaces can help in transferring information easily and directly. One example of
the technological innovations used in museums highlighted by Firšt and Petljak (2020) is in the
Story of the Forest exhibition. The visitors pass through a fascinating virtual biosphere created
by blending a vibrant collection of drawings into an artificial environment. ArtLens gallery is
another example that provides an interactive digital space using different technological
innovations. The exhibition uses smart screens that sense body gestures and recognize faces to
allow visitors to interact and communicate with the artworks. Besides, visitors can enjoy
experimenting with traditional artistic techniques in creating their digital artworks using their
body movements. Including activities in the space enhances the learning experience. SoundSpot
is another tool used to communicate with artworks. The spot contains a silver circle on the floor,
and above the circle is a directional speaker with a PIR (passive infra-red) sensor (Kortbek,
2008). The user can hear the comments of the artwork only when standing on the silver circle.
The sound spot allows users to hear the recorded information clearly without being isolated from
the surrounding. Also, because it is not a closed intimate space, more than one user can listen
together. Firšt and Petljak (2020); Kortbek (2008) agree that technologies help demonstrate
information clearly to the audience and bring the visitor closer to the exhibited item. These
technological innovations will help in creating an interactive space that allows visitors to learn
through experience. Engaging the person's senses in the learning experience will make it a
remarkable and unforgettable experience.

To create an interesting experience for visitors and deliver the desired message, the
interior design of the space should be well designed. Circulation, lighting, and colors are design
elements that have a huge impact on the user experience in the space. Interior design elements
and principles determine the atmosphere of the space and evoke the desired feelings. Wulandari,
Fajarwati, and Latif (2017) state that, “What people do and how they feel in an exhibition is as
important as what they learn” (p. 220).
Circulation
According to Wulandari et al. (2017) there are different circulation types can be use in a
museum space such as radial, linear, or direct and random circulation plan. Applying varied
circulation patterns help in delivering the space message besides creating interesting movements
for the visitor. Circulation width should be appropriate for visitors’ movements and to adapt high
number of visitors. This project has a similar approach to museums which is learning through
experience, so random circulation pattern will create flexible movements between the space
functions. Besides, random circulation can help in highlighting important areas in the space.
Using single and direct circulation type in the whole space will result in boredom. Considering
proper circulation width is essential for the project to accommodate large number of visitors
especially during Hajj season.
Lighting
Lighting is an important design element in the interior space because it determines the
mood and feel of a space and plays a major role in the overall atmosphere of the interior space.
Wulandari et al. (2017) mention that adjustable spotlights and track lights are used in museums
to emphasize particular objects. Besides, lighting colors evoke certain feelings in the space. For
instance, using cool lighting colors create a calm atmosphere, while warm colors like red and
orange lighting create a dramatic environment. Moreover, ambient light is necessary for
circulation and safety (Karlen, Spangler & Benya, 2017). Since the project exposes culture and
heritage, lighting design used in museums will work well using adjustable spotlights and track
lights to emphasize important areas and utilize the ambient light to create the atmosphere of the
space and circulation. The story and messages of the space can be easily exposed to visitors by
using different lighting designs, so lighting placement, types and colors should be carefully
designed to shape the ambiance of the space.
Colors
In interior design, color selection is strongly influenced by culture. Specific colors have
different meanings across the world due to cultural differences. Islamic culture has a significant
impact on shaping Arabs’ impressions of certain colors (Al-Zamil, 2017). In the Holy Quran,
specific colors have been mentioned in different verses. For instance, in this verse, “They will be
adorned therein with bracelets of gold and will wear green garments of fine silk and brocade”
(Surat Al-Kahf, verse 31), the color green describes the clothes of believers in paradise. Also,
white and black are used in the Quran to describe faces of believers and unbelievers on the day
of judgment “On the Day [some] faces will turn white and [some] faces will turn black” (Surat
Al-Imran, verses 106). As a result, Islamic interior and architecture are influenced by the Quran,
so green and white are usually used in mosques and sacred spaces. According to Nejad,
Zarghami, and Abad (2018), color is an essential element that creates a feeling of spirituality in
mosques and sacred spaces. Al-Zamil (2017); Nejad et al. (2018) agree that the Islamic religion
influences the use of colors in Islamic interior and architecture. Hence, using the same colors
used in holy mosques will represent the Islamic culture and evokes tranquility and peacefulness
in the space.
Conclusion
Cultural centers help in exposing cultures which makes people understand each other and
therefore creates close and strong relations between the communities. Learning about other
traditions and beliefs raises respect. Moreover, having a cultural center is important because it
contributes to the enhancement of tourism. Using technologies enhances the learning experience
and arouses visitor’s enthusiasm. Most of the technological tools used in museums are suitable
for cultural centers because both share the same concept of delivering information to the
audience. Also, circulation can either guides visitors, increase their excitement, or makes them
feel bored. Lighting and colors are important design elements that shape the atmosphere of the
space, so they should be carefully implemented in the space.

CHAPTER THREE: RESEARCH METHODOLOGY
The qualitative method is used in this research to help obtaining thoughts and opinions
about the cultural center and exploring the tourists’ experiences in exploring the culture and
heritage of Saudi Arabia. The data used to support this research was collected through a survey
and interviews.
Data Collection and Analysis
Survey
The survey is a widely used method for collecting information. The aim of using the
survey method is to collect a large number of responses from all people toward the idea of
creating the cultural center from different points of view. It was conducted online to allow
participants to freely give subjective answers that reflect their point of view. The form of the
survey questions was simple and general to be understood by a wide range of people. The survey
combined open-ended questions besides multiple-choice questions to dive deeply into
participants’ thoughts and offer valuable, detailed, and descriptive information (see appendix A).
All respondents in the survey stated that they are aware of the holy lands in Saudi Arabia;
however, almost 99% of them support the idea of having a cultural center to expose the
important and historic places of the country. The responses show that most of the people are
interested in exploring the heritage and culture. The majority are wondering about the traditional
food, clothing, old lifestyle, and crafts of the Islamic culture in Saudi Arabia. Also, they are
interested in exploring Islamic values and stories of important historic places and practices
related to Islamic culture such as hijra. The results of the survey show that most people want to
learn more about the important spaces and the culture of Saudi Arabia, so the atmosphere of the
cultural center should reflect the history and identity of the country. Moreover, stories,
simulating and interactive screens are preferable methods to be used in the cultural center to
create an interesting learning experience for the visitors in the space. The center will contribute
to the enhancement of tourism in Saudi Arabia.
interview
The interview was the second tool used to collect the data. Three interviews were
conducted with people working in a tourism office, a Hajj and Umrah office and a museum of
local culture and history in Jeddah (see appendix B). This method was used to explore what
attracts tourists in Saudi Arabia. Interviews were done through phone calls which was the most
suitable way in conducting the interviews due to the Covid-19 international situation. The
interviews were semi-structured that provide open-ended questions to collect the details of the
needed information from interviewees. The time limitation and the situation of Covid-19 were
the main constraints to conduct more interviews.
The responses in the three interviews were significantly similar to one another giving a
more comprehensive contribution to the cultural center and what may attract tourists. All
respondents agreed that tourists enjoy visiting places to explore the culture and history of the
country where they have a fun and educational experience. The person working in the tourism
office indicated that Saudi heritage and history attract tourists. He also stated that most of the
tourists in Saudi Arabia are coming for Hajj and Umrah purposes. In contrast, the person in the
office of Hajj and Umrah claimed that most visitors need to explore the holy lands and Islamic
history. As a result, the center should include a section that reflects the Islamic rituals related to
the holy spaces in Saudi Arabia and exposes the Islamic culture and history to visitors to help
raising visitors’ knowledge about the Islamic culture and heritage. Also, it is important to add
different facilities in the space to enhance the experience of the visitors as the person in charge of
the museum mentioned that the lack of seating areas and a coffee area, where they can rest,
disturb visitors during their tour.
Conclusion
The survey and interviews show that the cultural center has a high potential in attracting
tourists and exposing Saudi culture and Islamic history in the country. Moreover, using multiple
methods in exposing the information and taking into consideration the smooth and convenience
of visitors in the space were the points recommended through the survey and interviews that will
help enhancing the design of the cultural center.

CHAPTER FOUR: PRECEDENT STUDIES
Three precedent studies of similar projects have been selected to be studied and analyzed.
Since the middle east countries have similar environmental features, two of the three projects are
from the middle east which are Etihad Museum located in Dubai and Sheikh Jaber Al Ahmad
Cultural Centre located in Kuwait. The third precedent study is the Art Museum & Library in
Ota, Japan which has been selected as an international precedent study. Moreover, King Abdul
Aziz Cultural Center in Dhahran, Saudi Arabia has been selected and analyzes as a local
competitor project.
Precedent Study #1: Etihad Museum
Architects: Moriyama & Teshima
Address: Dubai
Year built: 2016
Area: 25000 m²
Client: Government of Dubai
Audience: UAE citizens, residents, and visitors
The museum aims to educate visitors about the history of the country. It provides an
educational experience by using different methods in presenting the information, and it reflects
the culture and history of the country. This museum is used as a case study for this project to
explore the selection of colors and design elements that reflect the culture and history in the
space and how to provide enjoyable learning experience to visitors using various methods and
technologies. Also, it provides some additional facilities that can be added in similar centers to
attract visitors.
Site Analysis
Etihad museum is located on the same historic site of the Union House, where the
constitution was signed in 1971. It is located on Jumeirah Street, and its entrance is on the
southwest side (figure 5).
Location
North sign
Sun path
Main street
Figure 5: site analysis of Etihad Museum
Programming
The building consists of three floors: a ground floor where the main entrance is located,
an upper-level mezzanine and an under-ground level where that main exhibition hall is located
(figure 6).
Figure 6: Etihad Museum sectional elevation
Zoning
Public spaces occupy a large area of the space including the exhibition halls and other
facilities such as the restaurant, café, and the gift shop. Semipublic spaces include classrooms
and the library (figure 7).
Public Semipublic Private

Figure 7: Etihad Museum ground floor plan zoning
Circulation
The museum takes its visitors through a smooth journey in the main exhibition starting
from the ramp that leads them to the below grade. In the main exhibition, the circulation directs
visitors to go through the timeline of the countries’ history (figure 8).

1. Permanent exhibition
2. Gallery lobby
3. Temporary gallery
4. Exhibition hall
18. Classroom
19. Library
22. Auditorium
23. Information desk
27. Café
Figure 8: Etihad Museum ground floor plan circulation
Functions and Activities
The museum provides different facilities that enhance the visitors experience and allow
for holding seasonal events to keep the museum active during the year. It is consisting of a
permanent exhibition, temporary exhibition, auditorium, library, classrooms, gift shop, coffee
shop, multipurpose hall, and a restaurant.
Design Approach
Interior
The museum has a
welcoming entrance with two slopes
on both sides. The slope on the right
is an amphitheater steps designed for
informal gathering for school groups
and seminars, and the one on the left

Figure 9: Etihad Museum glass and gold columns façade
is an Arabic script. White marble is
used for flooring which creates contrast with the textured black marble stone that covered the
core of the building and connects visitors visually to the upper-level mezzanine that has a café
and a flexible exhibition space. The glass panels and the golden columns of the façade are in line
with the rise of the two slopes which creates visual connection. Also, an interesting pattern on
the floor is created by the reflection of the glass panels (figure 9). The design of the staircase and
ramp leading to the main exhibition represent the brilliant and flowing calligraphic lines of
Arabic script which create flow movement to visitors. The circular form in the center of the
building represents the form of the Union House, and it works as a reference point for the visitors
to navigate the massive open permanent gallery (figure 10). The wall of the central circle is
cladded in dune-like carved stone. The white ceiling that takes the shape of prevailing wind
patterns rippling on the desert sands highlights the flow movement in the space and creates
contrast with the wood columns that highlight the curved ceiling and create warmth. There are
three types of lighting in this area of the museum which are wall washers, coved light and
spotlights. Wall washers ighting is used to emphasize the curves on the wall. Coved light to
highlight the beauty of the ceiling design and as ambient lighting to illuminate the space. The
spotlights highlight the exhibited elements in the space. The museum uses various ways in
presenting the information to maximize the visitor’s experience and provide a better learning
Wood
Stone
Figure 10: Etihad Museum interior circular form in the center of the permanent gallery
environment. Information about the seven founders are presented through majestic images,
collections of their belongings and an interactive screen communicating historical information
about them. Interactive screens equipped with audio headphones give general information or
historical flashes about UAE. Also, the museum
uses the latest technological advances (3D
Hologram screen) to allow visitors enjoy an
impressive visual show that take them on a
journey back in time. In one of the sections of the
exhibition, Pictures are displayed in a winging

Figure 11: Etihad Museum interior exhibition
path to represent the difficulties that the rulers faced. This section is fully equipped with sound-
effects, including headphones for the visually impaired (figure 11).
Exterior
The external form of the museum takes a
folded manuscript form which represent the
unification agreement written document. The seven
golden columns of the façade represent the seven
pens that the document was signed with. The
structure rests slightly on a reflective pool. Four
panel types are used on the exterior curved structure
(figure 12). Figure 12: Etihad Museum exterior
To sum up, Etihad Museum provides a great experience to visitors. To achieve this goal
in similar projects different facilities such as an auditorium, library, gift shop and a restaurant
should be includeed to maximize visitor's experience. In addition, allocating a space for
temporary exhibitions and seasonal events help keeping the space renewed and active. Design
elements such as smooth lines and curves in the interior walls and ceiling can help in guiding
visitors in a smooth path from one space to another. Technology such as interactive screens,
sound spots and 3d Hologram screens are powerful tools used to deliver information and
knowledge and make visitors interactive and stir their feelings.
Precedent Study #2: Sheikh Jaber Al Ahmad Cultural Centre
Architects: SSH
Location: Kuwait
Year: 2016
Area: 52000 m²
Client: State of Kuwait
Audience: Citizens and visitors
Sheikh Jaber Al Ahmad Cultural Centre (JACC) was choosen as a precedent study due to
its unique design inspired by the Islamic geometry representing the Arabic and Islamic culture,
and it has various facilities such as the theater center, the music center and the library that might
be used in similar centers to represent a specific culture.
Location
Arabian Gulf
North sign
Sun path
Main street
Figure 13: site analysis of Sheikh Jaber Al Ahmad Cultural Centre (JACC)
Site analysis
JACC is located in Kuwait. It occupies a large area located between the Arabian Gulf and
Jamal Abdul Nasser main strees near the Arabian Gulf sea (figure 13).
Programming
The cultural center has four separate buildings. Each one of these building provide
different activities (figure 14). The four buildings are places in a large park and can be accessed
from spacious entrance courtyards.
Theater center
Music center
Conference
center
Figure 14: JACC floor plan zoning Library
The first building of the complex is the theater center and opera house which contains
three main theaters. The second building is the music center which has a concert hall, recital hall,
rehearsal room, musical library and a children musical centre. Third, the historical document and
library centre. This center has a library, archive/exhibition and offices. The fourth and last center
is the conference center which consists of a cinema, symposium, lecture rooms and VIP area.
Design Approach
Interior
The interior space of the four buildings of JACC
have a dramatic and unique reflection effect created by the
patterns on the outer skin of the buildings. The center
Reflect the Islamic culture in the space by using Arabic
typography on the walls besides the Islamic geometric
patterns. Marble, glass, and wood are the main materials

Figure 15: JACC interior ornamented glass wall
used in the interior. The glass wall with the marble
flooring make the space look luxurious (figure 15).
Using black marble creates a strong contrast and
highlights the golden calligraphy on the wall. Wall
washer lighting to emphasize the beauty of the
Arabic calligraphy and creates a shadow effect

Figure 16: JACC interior wall with golden calligraphy
(figure 16). The center is carefully designed and furnished to embrace different events. For
example, Retractable Seating System is used in multipurpose Spaces to provide a maximum
multi-use of the space. Placing seating around the stage in the upper floors of the hall to increase
the capacity.
Exterior
The exterior design of the building combines
the modern and Islamic architecture. The geometric
forms of the exterior resemble a set of jewels on a

Figure 17: JACC exterior
large park reflecting rays of sunlight. The exterior skin is made of titanium and reinforced
concrete (figure 17).
In brief, JACC has a unique and attractive design that show a strong representation of the
Arabic and Islamic culture. Light and shadow effect maximize the aesthetic of the Islamic
patterns. Arabic calligraphy can be used as a decorative element to enrich the beaty of the
interior and reflects the Arabic and Islamic culture in the space. Using wall washer lighting
emphasizes the beauty of the ornaments on the wall. Black marble with the golden calligraphy on
the wall create a strong representation to Al Kaaba. Also, Flexibility in the seating arrangements
is vital in cultural centers to adapt various events. Retractable seating system is a perfect solution
in multipurpose spaces.
Precedent Study #3: Art Museum & Library
Architects: Akihisa Hirata
Location: Ota, Japan
Year: 2016
Area: 3152 m²
Client: Masayoshi Shimizu (mayor)
Audience: Citizens and visitors
The reason of choosing Ota Art Museum & Library as a precedent study is because it
provides a continuous and enjoyable experience through the space created by the fluent
circulation. Also, the facilities inside the building are visually connected which enhance the
visitors’ experiences and encourage them to explore more.
Site Analysis
Art Museum & Library in Ota located in front of Ota station in Gunma prefecture in
Japan. Specifically, it is located against the Tobu Kiryn main line (figure 18).
Location
North sign
Sun path
Main street
Figure 18: site analysis of Ota Art Museum & Library
Programming
The center has three entrances to the east, south and west. Free walkways connect the
five buildings and make facilities accessible from several points. The structure consists of three
floors and a terrace.
Zoning
Most of the functions in the building are opened to the public apart from the storage areas
and the offices which are restricted to the workers in the building (figure 19).
0. Information
1. Storage Room
2. Goods handing
3. Gallery 1
4. Event Space
5. Café & Shop
6. Terrace
7. Browsing Area
8. Office
9. Workspace
Public
Private
Semi public
Semi private
Figure 19: Ota Art Museum & Library floor plans zoning
Circulation
The Art Museum & Library
cultural center have free walkways
that connect the functions and create
fluent circulation between the spaces.
each facility can be reached from
several points (figure 19).
The center aims to attract Figure 20: Ota Art Museum & Library first floor plan circulation
people to pass through, so it contains functions that attract people living near the center. The Art
Museum & Library center has a gallery, library, café, and shop.
Design Approach
Interior
The gentle slopes around the five structures creates flow movement that makes people
walk around on each floor as if they are walking in the city. In addition, the three entrances allow
users to easily enter and pass from different directions. Large windows create visual continuity
between the functions and the outside
environment, make the space look wider and
allow sunlight to illuminate the space during
daytime. Using white walls to reflect sun light and
make the space look spacious (figure 21). The use
of carpet flooring in reading areas to reduce noise Figure 21: Ota Art Museum & Library interior large glass
windows
and provide quiet zones. Using wood texture to be
connected to nature and create warmth. Various
seating areas to provide different options to the
users and make them feel comfortable (figure 22).
Neutral colors and wooden shelves are used in the
space which reflect the simple Japanese style. Figure 22: Ota Art Museum & Library interior seating areas
Exterior
The building has five boxes made
of reinforced concrete and steel framed
slopes around them. Greenery on the
boxes create a hill-like landscape that
combines building and greenery, man-
made and nature (figure 23). Both white
walls and glass walls make the building

Figure 23: Ota Art Museum & Library exterior
very welcoming. Making the bookshelves and artworks partly visible from outside through the
windows makes people want to go inside. The structure took a kind of a vortex shape drawing
the movements of its users with no real spatial boundaries. The terrace with the greenery on tops
creates a relaxing atmosphere. The external walkways on the floors guide the wind flow to the
inside to create a comfortable airy environment which contributes to energy saving.
In brief, having different activities in the space such as a library, galleries, café and shop
attract visitors of all ages and backgrounds. Moreover, using different seating units in different
areas to provide various options and maximize visitors’ comfort. Flexible circulation creates an
easy access to all functions from several points. Glass walls allow sun light to illuminate the
space, create visual connection to the outside and attract people to go inside. Using large
windows in the interior walls create visual continuity between the functions and make the space
look wider.
Local Competitor: Ithra Cultural Center
King Abdulaziz Center for World Culture also known as Ithra is an initiative provided by
the Saudi Aramco oil company that offers a high value to the society by focusing on releasing
high potentials through stimulating arts, science, literature, and innovation. The center aims to
promote creativity, inspiring minds, and empowering talent of visitors through an inspiring new
experience to reinforce creativity and a passion for learning and enhance the cultural
development within the kingdom. The cultural center, Ithra, aims to develop the economy in
Saudi Arabia. In line with the vision 2030, the center seeks to be a tourism attraction and
contributes to the enrichment in the fields of arts, sciences and innovation among the society. It
was completed in 2017 By the Saudi Aramco company with an $ 800 million coast estimation.
Visiors of Ithra encounters several issues which are concidered marketing issues. These issues
include the lack of clear sign boards to guide visitors to the events places. Poor organization and
guidance inside the center especially when having a large number of visitors. Lack of diversity of
facilities compared to the huge size of the center. Making events and activities look more
exciting in the advertisements than how they actually are. Each activity requires a paid ticket
which is very coasty especially for families. The diversity of the targeted groups and not
focusing on a specific group. The center has various inspiring and attractive facilities that can
provide new and unique experiences to visitors. The facilities include a library, ithra theater,
cinema, ithra museum, children’s museum, idea lab, energy exhibit, archives, the great hall and
the knowledge tower.
Interior Analysis
The interior design of Ithra Center is
simple and modern. Clean lines and simple
shapes are used besides the white walls that
represent clarity and simplicity and makes the Figure 25: Ithra interior library reading and collaboration area
space looks spacious. In the library, different seating
areas are provided for reading and collaboration
(figure25). Hidden light in the bookshelves applied to
highlight the books. Using carpet flooring in the library
to absorb noise and provide a quaiet zone. The circular

Figure 24: Ithra interior circular void
void create visual connections between the floors of the library (figure 24). The three seaing
levels in the theater designed in a circular shape to Ensure a good view of the stage. Moreover, A
movable bore that can be below the stage level to have a space for musicians. Walls and floor of
the cenima hall is covered with fabric to absorb noise. Colorful seating creates a youthful
environment and make the space looks fresh. Colors and floor pattern on the floor of the gallery
represent the terrain and the
desert which reflect the nature of
the country (figure 26). The wall
screens create a great simulation
to the exhibited items. Track
light is used to emphasize the Figure 26: Ithra interior gallery

exhibited items. The glass covered the items have irregular shapes to harmonize the earth terrain
and allow for viewing from different angles.
Conclusion
After analyzing the precedent studies, each one is followed by the findings of the points
that have been learned from it regarding the circulation, lighting, colors, materials and design
elements. The two projects located in the middle east show clear cultural representation in the
interior space through the use of patterns, colors and materials. The international precedent study
presents the use of different materials that suit the different areas in the space. Various facilities
are provided in similar projects such as a library and a coffee shop to fulfill the user’s needs.
CHAPTER FIVE: DETAILS FOR INTERIORS
The space functions have been studied in terms of the approximate size of the space,
adjacency, and interior details including furniture and equipment needed, lighting, color, and
materials. The matrix and relationship diagram are used to have a visual representation of the
relationships in the space.
Matrix
Figure 27: project's criteria matrix
Design Program
Adjace Equipment/Furni Acousti Lightin Materia

Space Size Color
ncy ture cs g l
General, Cozy,
1 Entrance 76m2 2,12,16 Seats, tables Low decorati welcomi Durable
ve ng
Task,
welcomi Durable,
2 Reception desk 10m2 1,18 Reception desk Low decorati
ng luxury
ve
Screens, speakers,
Historic 215m
3 4,5 podiums, Medium
places 2
projectors
Light
Culture General,
Exhibiti 215m Screens, speakers, colors,
4 and 3,5,7 Medium task, Durable
on halls 2 podiums earth
heritage accent
tones
Hajj and 215m

5 3,4,10 Screens, speakers Medium
Umrah 2
Durable,
fire/wate
10,13,1 Machines, tables, General, Light r
6 Studios 36m2 High
4 seats, crafts tools task colors resistant
, easy to
clean
Durable,
215m Machinery, tables, General, Earth fire/wate
7 Live show area 4,14 Medium
2 arts tools task tones r
resistant
Sound
270m Stage, seats, General, Dark absorbe
8 Auditorium 9 High
2 screens, speakers task colors nt, matt,
durable
Light
Temporary 325m Podiums, General, Durable,
9 1,13 Low neutral
exhibition 2 projectors accent hard
colors
Sound
450m Seats, tables, General, Light absorbe
10 Library 5,6,11 High
2 shelves task colors nt,
durable
Kitchen General, Elegant, Easy to
11 Café 90m2 9,10 equipment, seats, Low decorati relaxing clean,
tables ve colors durable
Shelves, display Light
12 Gift shop 74m2 1,4,5 Low General Durable
units colors
Neutral Durable,
13 Storage 22m2 6,7,10 Shelves, cabinets Low General
color hard
Hard,
water
Toilet seats, Light
14 Restrooms 40m2 6,7 Medium General resistant
lavatory, mirrors colors
, non-
slippery
Sound
Desks, chairs,
130m cool absorbe
15 Offices 13 shelves and High Task
2 colors nt,
storage units
durable
16 Light Hard,
Luggage storage 22m2 1 Shelves/lockers Low General
colors durable
Table 1: project's Preliminary interior details schedule

Relationship Diagram
Legend
Major path
Minor path
Public
Semi public
private
Figure 28: relationship diagram of the project
Finish Schedules
Room Walls
Room name Level Flooring Ceiling Notes
No. N S E W
Ground Marble, Dropped

1 Entrance Marble Glass paint paint NA
floor wood ceiling
Ground Marble, Dropped

2 Reception Marble - - - NA
floor wood ceiling
Exhibition Ground Dropped
3 Wood Wood Paint Glass Paint NA
halls floor ceiling
Ground Dropped
4 Studios Vinyl Paint Paint Glass Paint NA
floor ceiling
Live show Ground Dropped
5 Vinyl Glass Glass Paint Wood NA
area floor ceiling
Ground Dropped
6 Auditorium Carpet Carpet Carpet Carpet Carpet NA
floor ceiling
Temporary Ground Dropped

7 Marble Paint Paint Paint Paint NA
exhibition floor ceiling
Ground Dropped
8 Library Carpet Wood Paint Paint Paint NA
floor ceiling
Ground Porcelain Dropped
9 Café Paint Stone Wood Paint NA
floor tiles ceiling

10 Gift shop Paint Paint Paint Paint NA
floor tiles ceiling
11 Storage Paint Paint Paint Paint NA
floor tiles ceiling
Ground Ceramic Ceramic Ceramic Dropped
12 Restrooms Paint Paint NA
floor tiles tiles tiles ceiling
Ground Dropped
13 Offices Carpet Paint Paint Paint Paint NA
floor ceiling
Luggage Ground Porcelain Dropped

14 Paint Paint Paint Paint NA
storage floor tiles ceiling
Table 2: rooms finish schedules of the project
Saudi building codes
507.4 Sprinklered, one-story buildings.
507.4.1 Mixed occupancy buildings with Groups A-1 and A-2. Group A-1 and A-2 occupancies
of other than Type V construction shall be permitted within mixed occupancy buildings of
unlimited area complying with Section 507.4, provided all of the following criteria are met:
1. Group A-1 and A-2 occupancies are separated from other occupancies as required for
separated occupancies in Section 508.4.4 with no reduction allowed in the fireresistance rating of
the separation based upon the installation of an automatic sprinkler system.
2. Each area of the portions of the building used for Group A-1 or A-2 occupancies shall not
exceed the maximum allowable area permitted for such occupancies in Section 503.1.
3. Exit doors from Group A-1 and A-2 occupancies shall discharge directly to the exterior of the
building.
507.7 Group A-3 buildings of Type III and IV construction. The area of a Group A-3
building of Type III or IV construction, with no more than one story above grade plane and used
as a place of community hall, dance hall, exhibition hall, gymnasium, lecture hall, indoor
swimming pool or tennis court, shall not be limited provided all of the following criteria are met:
1. The building shall not have a stage other than a platform.
2. The building shall be equipped throughout with an automatic sprinkler system in accordance
with Section 903.3.1.1.
3. The assembly floor shall be located at or within 525 mm of street or grade level and all exits
are provided with ramps complying with Section 1012 to the street or grade level. 4. The
building shall be surrounded and adjoined by public ways or yards not less than 18 m in width.
806.3 Combustible decorative materials. In other than Group I-3, curtains, draperies, fabric
hangings and similar combustible decorative materials suspended from walls or ceilings shall
comply with Section 806.4 and shall not exceed 10 percent of the specific wall or ceiling area to
which such materials are attached.
Fixed or movable walls and partitions, paneling, wall pads and crash pads applied structurally or
for decoration, acoustical correction, surface insulation or other purposes shall be considered
interior finish shall comply with Section 803 and shall not be considered decorative materials or
furnishings.
Exceptions:
1. In auditoriums in Group A, the permissible amount of curtains, draperies, fabric hangings and
similar combustible decorative materials suspended from walls or ceilings shall not exceed 75
percent of the aggregate wall area where the building is equipped throughout with an approved
automatic sprinkler system in accordance with Section 903.3.1.1, and where the material is
installed in accordance with Section 803.13 of this code.
806.6 Pyroxylin plastic. Imitation leather or other material consisting of or coated with a
pyroxylin or similarly hazardous base shall not be used in Group A occupancies.
903.2.1.3 Group A-3. An automatic sprinkler system shall be provided for fire areas containing
Group A-3 occupancies and intervening floors of the building where one of the following
conditions exists:
1. The fire area exceeds 1115m2.
2. The fire area has an occupant load of 300 or more.
3. The fire area is located on a floor other than a level of exit discharge serving such
occupancies.
Section 1025 Luminous Egress Path Markings
1025.1 General. Approved luminous egress path markings delineating the exit path shall be
provided in high-rise buildings of Group A, B, E, I, M, and R-1 occupancies in accordance with
Sections 1025.1 through 1025.5.
Exception: Luminous egress path markings shall not be required on the level of exit discharge in
lobbies that serve as part of the exit path in accordance with Section 1028.1, Exception 1.
1029.2 Assembly main exit. A building, room or space used for assembly purposes that has an
occupant load of greater than 300 and is provided with a main exit, that main exit shall be of
sufficient capacity to accommodate not less than onehalf of the occupant load, but such capacity
shall be not less than the total required capacity of all means of egress leading to the exit. Where
the building is classified as a Group A occupancy, the main exit shall front on not less than one
street or an unoccupied space of not less than 3000 mm in width that adjoins a street or public
way. In a building, room or space used for assembly purposes where there is not a well-defined
main exit or where multiple main exits are provided, exits shall be permitted to be distributed
around the perimeter of the building provided that the total capacity of egress is not less than 100
percent of the required capacity.
Conclusion
The programming study of the functions in the space helps in representing the
relationships between the functions visually. Also, it helps in getting approximate ideas of the
design implementation (Appendix C) including furniture, color, lighting, and materials that are
suitable for each function to have a clear insight before starting the design and space planning.
CONCLUSION
Contribution
The project will help in developing the social, cultural, and economic aspects of tourism
in Saudi Arabia. It will raise visitors’ knowledge and build respect and understanding between
people of different backgrounds and beliefs. It will also help in preserving traditional arts and
crafts for future generations.
Observation
Creating a cultural center contributes to the development of the country. It helps in
preserving the heritage and representing the country’s identity. Saudi Arabia has a rich history
and a lot of important historic locations that are related to Islamic history; therefore, the
Kingdom of Saudi Arabia attracts tourists to discover its rich culture and history and learn about
the important landmarks. Accordingly, having a cultural center that exposes the culture and
history of Saudi Arabia help in improving tourism and increasing visitors’ knowledge. Cultural
centers should include several facilities such as a coffee area, library, and shops to enhance the
experience of visitors in the space. Besides the effect of colors and lighting used on reflecting the
culture and identity of the country, the circulation path should be carefully planned to create an
easy and comfortable journey in the space and to increase visitor’s enthusiasm to discover more.
The project will be a tourism attraction where visitors can explore the country and learn
about its rich history through an enjoyable and interactive experience. It will also provide a
chance for visitors to enrich their knowledge about Hajj and Umrah, so it will increase pilgrims’
awareness. The center will help in preserving traditional handcrafts by providing workshops for
visitors who are interested in art and crafts.

WORK CITED
About the Ministry. (n.d.). Retrieved from https://www.haj.gov.sa/en
Al-Zamil, F. A. (2017). The Impact of Islamic Culture on the Use of Color in Arabic D
Interiors. Journal of the Gulf & Arabian Peninsula Studies, 43(167), 17–46.
Bleachers and Retractable Stands for Multi-purpose Spaces. (n.d.). Retrieved from
https://www.figueras.com/us/seats/movable-seating-systems/201_retractable-seating-
system.html
Discover. (n.d.). Retrieved from
https://etihadmuseum.dubaiculture.gov.ae/en/Discover/Pages/default.aspx
Firšt, D., & Petljak, N. (2020, September 24). Interactive Museum Exhibitions - Examples and
Technologies. Retrieved from https://www.ditdot.hr/en/interactive-museum-exhibitions-
examples-and-technologies
Flutur, L. M., & NEDELEA, A. M. (2018). Cultural Tourism. Revista de Turism - Studii Si
Cercetari in Turism, 25, 1–6.
Goeldner, C. R., & Ritchie, J. R. (2009). Tourism: Principles, practices, philosophies. Hoboken,
NJ: John Wiley & Sons.
HOME. (n.d.). Retrieved from https://www.artmuseumlibraryota.jp/facilities/#id01
Jaber Al Ahmad Cultural Centre - World Architecture Festival Shortlist. (n.d.). Retrieved from
http://archilife2094.blogspot.com/2014/10/jaber-al-ahmad-cultural-centre-world.html
Karlen, M., Spangler, C., & Benya, J. R. (2017). Lighting design basics. Hoboken, NJ: Wiley.
Kortbek, K. J. (2008). Interaction design for public spaces. Proceeding of the 16th ACM
International Conference on Multimedia - MM 08. doi:10.1145/1459359.1459566

Kortbek, K. J., & Grønbæk, K. (2008). Communicating art through interactive
technology. Proceedings of the 5th Nordic Conference on Human-computer Interaction
Building Bridges - NordiCHI 08. doi:10.1145/1463160.1463185
Navasaitienė, Stasė, & Perkumienė, Dalia. (2010). Importance of cultural centres and community
organizations cooperation in the development of the ethnic culture in rural
areas. Ekonomika Ir Vadyba: Aktualijos Ir Perspektyvos, 3(19), 103–109.
Nejad, J. M., Zarghami, E., & Abad, A. S. (2018). A study on the concepts and themes of color
and light in the exquisite islamic architecture. Journal of Fundamental and Applied
Sciences, 8(3), 1077. doi:10.4314/jfas.v8i3.23
Noor, A. Y., & Wahab, N. A. (2018). Disclosing Islamic Values and Cultures via Museums in
Tourism Industry. International Journal of Islamic Thought, 13, 23-32.
doi:10.24035/ijit.06.2018.003
Rojas, C. (2017, December 28). Etihad Museum / Moriyama & Teshima. Retrieved from
https://www.archdaily.com/886191/etihad-museum-moriyama-and-
teshima?ad_medium=gallery
Sheikh Jaber Al Ahmad Cultural Centre: SSH. (n.d.). Retrieved from
https://archinect.com/sshic/project/sheikh-jaber-al-ahmad-cultural-centre
TenTwenty | Webdesign, W. &. (n.d.). About Ithra. Retrieved from
https://www.ithra.com/en/about-us/about-ithra/
Wulandari, A. A., Fajarwati, A. A., & Latif, F. (2017). The Relationship of Exhibition Space
Design and the Success of Delivering Messages to Museum Visitors in
Jakarta. Humaniora, 8(3), 219. doi:10.21512/humaniora.v8i3.3634

APPENDIX
Appendix A
Survey questions and responses

Appendix B
Interview questions and responses
1- Tourism office
a. What attracts tourists the most in the kingdom of Saudi Arabia?
i. Makkah and Madinah attract a lot of visitors and other cities like Jeddah and
Taif.
b. Describe the tourists’ interests toward historic spaces in Saudi Arabia.
i. Most tourists are interested in exploring and learning about historic places in
the kingdom.
c. Do you think visitors will be interested and enjoy visiting a cultural center that
explores the Islamic culture and history and the Saudi traditions?
i. Yes
d. What is the best way to expose culture and history to visitors?
i. They like visiting different places and exploring the heritage and history.
2- Hajj and Umrah office
a. Do you think visitors of Saudi Arabia are aware of Hajj and Umrah?
i. No, most visitors are not aware.
b. Do you think they need to be informed about the holy mosques?
i. Yes
c. What are the important things that they need to know in your opinion?
i. They need to be aware of the rituals and religion affairs to reduce ignorance.
d. Is it a good idea to have a center where pilgrims can be informed about Hajj and
Umrah before they go to Makkah?

i. Yes
e. What is the best way to expose the holy mosques and the rituals?
i. Through different activities and workshops.
3- Museum of local culture and history
a. How many visitors coming to the museum?
i. Seasonal, it increased as the country starts offering tourism visas.
b. What attracts them in the museum?
i. Visitors are interested in exploring the Saudi heritage and history.
c. How do you see visitors’ interaction during their tour in the museum?
i. They enjoy learning about the heritage and history of the country and the
personal collectibles displayed in the museum.
d. What values that the museum add to visitors?
i. Visitors have a fun, cultural and educational experience and increase their
knowledge about the development and history of the country. They also
explore different areas of the kingdom.
e. Do you think exposing heritage and culture to visitors may change their point of view
towards the country?
i. Yes, and there is a need for cultural centers in Saudi Arabia.
f. What are your suggestions to enhance the museum and visitors experience?
i. The layout of the museum is not convenient, visitors get tired. The museum is
missing a seating area or coffee area where visitors can rest.

Appendix C
Concept board
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Qawafel: Cultural Center

Thesis · December 2020

N.Merve Goknil Ameera Alamoudi

SEE PROFILE SEE PROFILE

Innovation Center View project

ONSEN KEIKEN : HOT SPRING RESORT View project

The user has requested enhancement of the downloaded file.

Ameera Salah Alamoudi

Dar Al-Hekma University

A thesis submitted to the

Faculty of the Interior Design Department of

Dar Al-Hekma University in partial fulfillment

of the requirements for the degree of

Bachelor of Design in Interior Design

‫ميحرلا نمحرلا هللا مسب‬

In the name of Allah, Most Gracious, the Most Merciful

This thesis for the course Capstone Research is by

Has been approved for the

Capstone I: Interior Design Thesis Course

Ms. Merve Goknil

Date: Dec. 16th, 2020

Amira S Alamoudi, Interior Design, Dar Al-Hekma University

Keywords: Cultural, Tourism, Learning Experience, Saudi, Heritage

This form and content of this abstract are approved.

Approved: Ms. Merve Goknil

CHAPTER 1: SYNOPSIS OF FINAL STUDIO ...................................................................... 11

Project Statement .................................................................................................................... 11

Research Questions ................................................................................................................. 11

Research Objectives ................................................................................................................ 11

Target Audience ...................................................................................................................... 12

Site Analysis ............................................................................................................................. 13

Client Profile ............................................................................................................................ 13

CHAPTER 2: LITERATURE REVIEW ................................................................................. 16

CHAPTER THREE: RESEARCH METHODOLOGY ......................................................... 22

Data Collection and Analysis ................................................................................................. 22

CHAPTER FOUR: PRECEDENT STUDIES.......................................................................... 25

Precedent Study #1: Etihad Museum .................................................................................... 25

Precedent Study #2: Sheikh Jaber Al Ahmad Cultural Centre .......................................... 31

Precedent Study #3: Art Museum & Library ....................................................................... 34

Local Competitor: Ithra Cultural Center ............................................................................. 39

CHAPTER FIVE: DETAILS FOR INTERIORS .................................................................... 42

Design Program ....................................................................................................................... 42

Relationship Diagram ............................................................................................................. 44

Finish Schedules ...................................................................................................................... 44

Saudi building codes ............................................................................................................... 45

WORK CITED ............................................................................................................................ 50

Figure 1: site analysis of the project's location ........................................................................ 13

enjoyable experience for visitors.

details of the interior.

CHAPTER 1: SYNOPSIS OF FINAL STUDIO

enhancing tourism as well as the program of Hajj and Umrah.

well as Islamic values?

• What is the significance of the cultural center in Jeddah, Saudi Arabia?

• Demonstrating the culture and heritage of Saudi Arabia to the visitors.

provisions in line with Vision 2030.

and explore the culture and heritage of the country.

Figure 1: site analysis of the project's location

clients of this project.

events. The vision of the ministry is to develop a distinctive tourism

with the social, cultural, environmental, and economic benefits based

of hospitality. In line with the basic values and the distinctive

and environmental authenticity of the country (https://mt.gov.sa/en).