The program is organized into different zones according to their function: exhibition, performance, research, education, administration and storage. Each of these zones will be located facing a courtyard. The courtyards will concentrate the users flows and at the same time will conect the zones. They also will have the function of viewpoints as their location will be devoted to contemplation of Bamiyan Valley. By organizing the relationship between program elements, The zonification is made by a defragmented mode to create open spaces between areas. The open spaces are defined by the context and the current landscape. Confined spaces are proposed as spacious, well ventilated and well lighted. A mistycism character is provided by the local history to create a contrast between old and new.
The main function of the courtyards, in addition to connect the different areas that compose the cultural centre, is also to offer users the possibility to interact between researchers, students, staff and visitors. The exteriors are presented as wide open spaces overlooking the Bamiyan valley and the complex itself to recreate that same interaction between people as well as between the environment and the building. The design of the cultural centre adopts an easy form to be identified at the distance as the giant Buddhas do. It is expected that the people of Bamiyan recognize it in the collective unconscious as a capable place to generate a change in the direction of valley culture as well as reinforcing the identity of local inhabitants.
Reinforced concrete will conform the main structure. White ziarat marble will coat all building walls to generate color contrast in addition to reflect light in all directions. Catalan vaults are proposed for its technical factibility when ridding wide spaces, constructive simplicity and its wide range of geometric patterns that can be formed. The ground will be covered with unbaked bricks. The use of materials from the region or those whose transportation or elaboration is not not required processes which could harm the natural environment are proposed. The orientation of the volumes repond to the maximum solar uptake for lighting and window openings to optimize the flow of ventilation, electricity will be obtained through photovoltaic cells as well as the treatment of wastewater will be done through an aerobic septic tank. The existing scenario, (The Bamiyan valley sights) represent by themselves a majestic panorama that makes us think about the site's history, the cultural centre will only serve as a vehicle to immerse users in reflection by the exacerbation of their senses to make them more perceptive, creating the perfect atmosphere to invite them to think while watching the majesty of the valley. The construction of Catalan vaults is intended to exploit a technique that can be performed easily with ceramic tiles, material that can be achieved directly on the region and also can be implemented with local labor. The rise of the cultural centre as a set of local elements and by serving as a vanishing point for diffusion of culture from the valley seeks to strengthen the sense of identity among the local inhabitants and invite them to be part of the mission of spreading their customs, culture and their history.
Bamiyan has a fascinating history mainly for being located in the middle of ancient Silk Road and for being chosen as the location for erecting the now extinct giant Buddhas. The history of the region is worthy of being perpetuated and Bamiyan cultural centre will be responsible for fulfilling that mission by integrating the views of the valley with views that are generated by walking around the complex.
