The Dance of Soma and Psyche This thesis is submitted to the AUT ...

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Fig.73 Material Testing Fig.74 54
In an earlier experiment, the basket structure protruded from the corner balcony, and created a sense of rhythm, flow and repetition for people looking at the building from the outside; hence connecting the outside with the inside. However, in my final design I decided not to continue the basket structure to the exterior, as that would have needed a change to the façade of the building. As the Dilworth building is a heritage building, I decided to stop the basket by the balcony door and keep the original exterior layout. Fig.75 55
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The Dance of Soma and Psyche This t
Page 3 and 4:
“I hereby declare that this submi
Page 5 and 6:
DEDICATION I dedicate this thesis t
Page 7 and 8: ABSTRACT “How colourless and form
Page 9 and 10: The second section, Islamic Calligr
Page 11 and 12: This exegesis also represents the p
Page 13 and 14: Architecture has the potential to b
Page 15 and 16: Through one of my experiments of ta
Page 17 and 18: Fig.13 Spiritual scripts, names of
Page 19 and 20: Fig.15 Dynamic Form 15
Page 21 and 22: Islamic calligraphy has its figurat
Page 23 and 24: UNFOLDING SEMA DANCE INTO AN ARCHIT
Page 25 and 26: Fig.20-23: In these photographs, I
Page 27 and 28: Fig.24 There are strong links betwe
Page 29 and 30: Fig.26-27 Whirling Letters 25
Page 31 and 32: Fig.30 Spinning causes objects arou
Page 33 and 34: Fig.37-42 Folding and Unfolding- He
Page 35 and 36: HASSAN MASSOUDY: MAKING WORDS DANCE
Page 37 and 38: In 1972, Massoudy produced the show
Page 39 and 40: In 2005, Massoudy together with the
Page 41: THE SITE The site I have chosen is
Page 44 and 45: Fig.53 Fig.54 Red dots indicate the
Page 46 and 47: THE INTERIOR The design process was
Page 48 and 49: Fig.59 The structure blends with th
Page 51 and 52: Rhythm has been very important in m
Page 53 and 54: The other thing for me was to creat
Page 55 and 56: Fig.68 Although I wanted to use the
Page 57: I have paid special attention to th
Page 61 and 62: COLOURS Colours in calligraphy go b
Page 63 and 64: Fig.79-80 These sections cut throug
Page 65: Fig.82 Final Model of the Apartment
Page 68: FINAL EXHIBITION Fig.87
Page 76 and 77: CONCLUSION The influence of Rumi’
Page 78 and 79: Marks, L. U. (2006). Taking a line
Page 80 and 81: Fig 17. Islamic calligraphy in anim
Page 82 and 83: Fig 58. Shaghayegh Ganjali, (July,
Page 84: Fig 83. Shaghayegh Ganjali, (Septem
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The Dance of Soma and Psyche This thesis is submitted to the AUT ...

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