life and work of architect ejaz ahed

Contemporary Architecture in Pakistan,

Selective work of Mr. Ejaz Ahed

Semester Assignment

Teacher: Munazza Akthar

Report

Wajiha Zahid

2010-March-02

30rd June , 2012

Department of Architecture

University of Engineering and Technology,

Lahore

30rd June , 2012 Course: Contemporary Architecture in Pakistan

Page: 2 Teacher: Munazza Akthar

Wajiha Zahid

2010-March-02

Program: Master‟s in Architecture


University of Engineering and Technology, Lahore Report

T a b l e o f C o n t e n t s

1. Introduction ______________________________________________________________ 1

2. Background _______________________________________________________________ 1

3. Professional Opinion _______________________________________________________ 3

3.1 Standard of Architectural Education __________________________________________________ 3

3.2 Western Influence_____________________________________________________________________ 4

3.3 Current Architectural Trends _________________________________________________________ 5

4. Ejaz ahed _________________________________________________________________ 5

5. Sanofi Aventis Karachi ______________________________________________________ 8

5.1 Introduction ______________________________________________________________________________ 8

5.2 Challenges ________________________________________________________________________________ 9

5.3 Design ___________________________________________________________________________________ 10

5.3.1 Ground Floor ________________________________________________________________________ 11

5.3.2 First Floor ___________________________________________________________________________ 16

5.3.3 Second floor _________________________________________________________________________ 17

5.3.4 THIRD floor__________________________________________________________________________ 19

5.3.5 Form and elevation __________________________________________________________________ 20

References __________________________________________________________________ 22



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L i s t o f F i g u r e s

Figure I Master Plan Of The Site- Source: www.ahedassociates.com ______________________________________8 Figure II Section Of The Building – Source: Www.Ahedassociates.com _____________________________________9 Figure III Front Elevation – Source: Www.Ahedassociates.Com ___________________________________________9 Figure IV Elevation Of Building Before Renovation- Source: Approaches In Architecture Of Pakistan (1980 To

2007) By Munazzah Akthar ________________________________________________________________________ 10 Figure V View of the Renovated Building- Source: www.ahedassociates.com ____________________________ 11 Figure VI Ground Floor Plan- Source: Company Website______________________________________________ 11 Figure VII Aluminum Clad Front Columns- Source: www.ahedassociates.com_____________________________ 12 Figure VIII Entrance Lobby- Source: Approaches In Architecture Of Pakistan (1980 To 2007) By Munazzah Akthar

_________________________________________________________________________________________________ 12 Figure IX Void in Reception Lobby Going Up To 2 Floors –Source: www.Ahedassociates.Com _______________ 13 Figure X Pool over Looking Reception Area- source: www.ahedassociates.com ___________________________ 13 Figure XI View of Lobby - source: www.ahedassociates.com ___________________________________________ 14 Figure XII Piano Key Floor Pattern Of Lobby - source: www.ahedassociates.com __________________________ 14 Figure XIII Egg Shaped Multi-Purpose Hall - source: www.ahedassociates.com ___________________________ 15 Figure XIV Curvilinear Corridor And Work Stations - source: www.ahedassociates.com ____________________ 15 Figure XV Supplementary Space Created On Upper Floors By Adding Additional Columns __________________ 16 Figure XVI Meeting Hall With Frosted Glass Wall- Source:

Www.Skyscrapercity.Com/Showthread.Php?T=871030 ________________________________________________ 17 Figure XVII Workstations And Storage Cabinets –Source: Www.Skyscrapercity.Com/Showthread.Php?T=871030

_________________________________________________________________________________________________ 17 Figure XVIII Staff Lounge- Source: Www.Skyscrapercity.Com/Showthread.Php?T=871030 _________________ 18 Figure XIX Covered Terrace- Source: Www.Urbanpk.Com ______________________________________________ 18 Figure XX Plan Of Third Floor – Source Www.Ahedassociates.Com ______________________________________ 19 Figure XXI Director’s Office- Source Www.Ahedassociates.Com_________________________________________ 19 Figure XXII Board Room – Source : Www.Ahedassociates.Com _________________________________________ 20 Figure XXIII Board Room – Source : Www.Ahedassociates.Com _________________________________________ 20 Figure Xxiv landscaping Of The Building _____________________________________________________________ 21



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1. INTRODUC TION

The present report is being submitted as a class assignment in the course of Contemporary

Architecture of Pakistan, which is part of the master‟s program in the discipline of architecture.

This document presents the research about the contemporary architecture of Pakistan and

discusses in detail the building of Sanofi Aventis Karachi designed by architect Ejaz Ahed.

2. BACKGROUND

Architecture is not only a profession but a state of mind, the science of combining logic,

mathematics and aesthetics together to form a structure which is functional as well as pleasant

to the eye. The „dictionary of architecture and building construction‟ by Nikolas Davies and

Erkki Jokiniemi defines architecture as

‗The art and science of producing built form, the product and study of this.‘

In this age of information technology and globalization, architecture all around the globe is in

different stages along its road of development and evolving. For creating impressive

architecture, professionals with a sense of originality and knowledge of design as well as

mathematics are required, along with demanding clients, tasteful users as well as keen critics

―Architecture will not simply be the expression of accepted functional or moral standards, rather

action whether forbidden or not, will become an integral part of architecture. As a result,

conventional plans will no longer suffice and new types of architectural notations will be

devised‖- Bernard Tschumi

In 1857, when the local soldiers of the troops of the East India Company‟s government rebelled

at a massive scale, control of the territory of India was directly taken over by the British

government. East India Company took over India mainly from the Mughals and Sikhs. The

architecture which flourished under the British rule was termed as colonial and contained

features of both English tradition and local architectural style.

Their aim, however, was to house their organizations, and their people and whatever was

necessary to control an empire as big as India. Apart from self-serving military cantonments

and civil lines, they also left the basic problems well alone. It was no intention of the British to

educate Indians in the art and science of architecture. Consequently Indian minds, during the

British reign, were completely out of touch with the progressive thinking taking place in the rest

of the world.1

India and Pakistan are the two countries which gained independence from the British at the

same time in 1947. Although greatly different in their size, the two countries are comparable in

terms of economy, history, culture and traditions, etc.

The architecture that developed after independence seems to have been greatly influenced by

the British. It was rather a blind following of what was socially considered “modern” just

1 Mapping India, an insider’s guide to Indian architecture, design and fashion, commissioned by Dutch Design Fashion Architecture,

June 2010



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because it has not been seen in the sub-continent before. Since then the commonality that can

be observed between the two countries is blind faith in western architectural styles and a

struggle to fine one‟s own architectural identity. Kirtee shah, a practicing Indian architect,

criticizes this trend saying,

“Isn‘t it true that the practicing architects understand little– and care even less– for the external

environmental factors, such as climate, energy, water, etc., while designing buildings? Aren‘t

they victims of external– mostly western–influences and practitioners of unsuited, inappropriate

‗stylization‘? Isn‘t a ‗curtain wall‘ and full glass façade in a blazing sun and an over-work ing air-

conditioning system to cool it, an insult to the local climate and the energy crisis?‖ 2

At the time of independence, there were only a handful of local Architects who were trained

under the western idioms. The architects trained in the Western tradition naturally derived their

inspiration from the Modern Movement, the Bauhaus school, Le Corbusier and Frank Lloyd

Wright. Most of the architects trained before 1947 had been to the J.J.School of Art in Bombay;

several had received further education abroad, usually in England. In the early 1950's this

small band of officially recognized architects came together to form the Institute of Architects

Pakistan (IAP) in 1957. It had 11 members, including 2 foreigners working in Pakistan: M.A.

Ahed, Tajuddin Bhamani, Minoa Mistry, Pir Mohammed, R.S. Rustumjee, H.H. Khan, M.A.

Mirza, Abdul Hussain Thariani, Zahiruddin Khawaja, Bloomfield and Peter Powell. Among the

first generation of local architects, Pakistan found a very talented and capable architect in

Mehdi Ali Mirza.

Until the establishment of the PWD School of Architecture in Karachi, the only available

training in architecture within Pakistan had been at the Mayo School of Art in Lahore. It was not

until 1958, when the Mayo School of Art was upgraded to the National College of Art (NCA),

that the first regular courses in architecture became available within the country, and it was

only in the mid-1960's that the first batch of locally educated architects began to practice.

Jonathan Glancy explains,

―As Modern architecture, in the 1950‗s, was functional and moral solution to the problem of

how to build. The truth was somewhat different. Architecture like the planet it stands on, has

always been changing. When Modern architecture matured to the degree of extent it basically

exploded into a kaleidoscope of new forms and styles: Postmodernism, High-tech, Organic,

Classical revival and Deconstructivism‖.

That the local context in architecture merits specific design approach is well established.

It is instructive to read Bay and Ong, (2006), beautifully making out a case for respecting local

conditions, while attempting to adopt modern architecture.

―From its early days, modern masters like Le Corbusier and Oscar Niemeyer understood that

Modernism in architecture ought not to be transplanted globally without some recognition of its

changed context. Alvar Alto, in championing modernism in the Scandinavian countries also

emphasized the understanding the region, climate and social context. In the US, Frank Lloyd

Wright devised the term Usonian architecture to emphasise the grounding of his architecture

on locality. The arts and crafts movement in the UK too sough their grounding in local tradition

and to preserve their culture.‖

2 Architects and Architectural Practice: Some imperatives by Kirtee Shah, ADA, January 2008



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The author goes on to say that much of what is justified as International Style is “unadulterated

transplant from temperate countries, particularly the US”. The authors argue that air-

conditioning is often accepted as a panacea for most “modern” buildings and retaining naturally

ventilated vernacular style may be easier for residential architecture as contrasted to other

occupancies.

According to Bay and Ong, (2006), “the size and location of openings, windows and roof

apertures are essential technical instruments of climate response but carry equal significance

in declaring the nature of specific regional, cultural response to the physical environment.“

3. PROFESSIONAL OP INION

Following is an outline of the professional opinion obtained through published sources:

3.1 STANDARD OF ARCHITECTURAL EDUCATION

That the standard of education in architectural schools of Pakistan has eroded over the years

has been the complaint of many architects.

Rashid Raheed complains that the architectural students of today, “don't make the effort to

learn on their own.”

Pervaiz Vandal finds room for improvement in the quality of architectural education being

offered today. He particular emphasises the need for the teachers to be active practitioners.

―I feel a genuine teacher of Architecture cannot teach without actively practicing it.

The reason being, that a teacher who practices can speak with greater authenticity

than a teacher who does not.”

Shukat Nawaj Raja feels that while the architectural students are “brighter in many subjects”,

they “may still remain ill tutored in Math, Geography, English and General knowledge”.

Hafiz Habib notes the unsatisfactory academic situation of our architectural schools and

comments at length on this issue:

―Most of the professionals produced out of these institutions do not posses the in

depth understanding of the cultural heritage, socio-physical and psychological desire

of society. They do not have the accumulated design vocabulary from the historic

examples. Their architectural response therefore does not surpass the mimicry of the

past and prevailing trends of pop culture. Like the modern painters, they too lack the

comprehensive mastery of their professional sk ills.‖



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3.2 WESTERN INFLUENCE

That there is an established trend of poor mimicry of western influence in architecture of

Pakistan, has been pointed out by many professionals.

Hafiz Habib makes a very strong observation in this regard:

―Our streets are littered with senseless, thoughtless, out of the place buildings which

are mostly the outcome of the senseless copying of the western solutions, such

buildings are being produced mostly by the architects who are considered as market

leaders and so called trend setters A blind reproduction exercise is going on and you

can not spare any single architect no matter how famous he or she is. There exists no

sense of direction. No attempt is made for self recognition and identification. We are

all busy producing timeless, memory less, faceless buildings. This state of affairs has

virtually leaded to an identity crisis of vast proportion.‖

“I am looking more and more towards the simpler technology and longer lasted buildings of our

region - buildings that last for centuries; buildings that were logical and simpler, built by

craftsmen who knew their trade.”, says Rashid Rasheed, a practicing architect. He complains

of the official patronage granted to foreign architects like Louis Khan and Edward Durell Stone,

which, according to him totally confused our architects, who started using western architectural

vocabulary at the cost of our own heritage.

Peraiz Vandal forcefully argues against indiscriminate copying of western ideas and says:

―What we need to understand here is that the knowledge generated abroad was a

natural response to their problems. Therefore, it is very logical that the solution that

works for them will not always work for us, for the simple reason that we have

different culture, climate, topography, lifestyle, economics and thus, all together

different issues from them. In order to come up with a relevant and appropriate

solution we need to understand the problem at hand and devise a solution

accordingly instead of creating shortcuts and merely copying the solutions proposed

by the developed countries. In order to improve, the whole attitude needs to change.‖

“Despite cries of globalization, cross-cultural insemination of ideas, easy transfer and access to

information, accessibility to new techniques and materials etc, a region with its singular accents

of climate, culture etc must continue to inspire local flavor and appropriate and promote a

personalized distinct aesthetics.”, argues Shaukat Nawaz Raja.

Ayesha Noorani says:

―We have been look ing to the West for guidance without evaluating what is right for

us. The colonial mentality has pervaded our psyche to such an extent that we have

stopped think ing for ourselves‖

She goes on:

―Modern architecture does not have values, it is all about ostentation, and living it up

and assertion, and materialism and consumerism. We have as a nation stopped

think ing for ourselves. We merrily ape the West, and adopt their trends regardless of

whether it is suitable for us or not.‖



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3.3 CURRENT ARCHITEC TURAL TRENDS

That the quality of contemporary urban architecture is way below expected standard, has been

argued by some of the leading figures.

Kamil Khan Mumtaz sharply criticises the current architectural trends:

―Thus the demand for modernity in architecture is serviced by purveyors of trendy

images rather than by professionals who are concerned with architecture as a

process.‖

He finds the current trends irresponsible, irrelevant, inappropriate, divisive, and corrupting:

―Irresponsible because it is frequently wasteful of scarce material and energy

resources and foreign exchange - witness the use of imported materials, the reliance

on mechanical means of cooling, and the use of large glass surface in a hot climate

etc. Irrelevant because it contributes nothing to the current discourse of architecture

in its own melieu. Inappropriate because it pays no heed to the imperatives of climate

and comfort. Divisive because it sharpens the contrasts and reinforces the schisms in

societies already plagued by acute disparities. Corrupting because it reflects identities

which are false and represents goals which are unattainable.‖

Architect Pervaiz Vandal argues against excessive concentration on terms like modernism and

proposes that “we should be concentrating on producing appropriate, genuine, honest, and

contemporary design; Architecture of the present which is not a slave to such fast moving

trends”.

Arguing against being driven by technology and industry, Zain-ul-Abedin suggests that one

should design “happy places which are flexible to adjust to the changes required by time and

technology, places which make the users comfortable and at home.” He goes on to say: “At

time of initiating any design work I look at the big picture before following the approach of whole

to parts. I also like to design with technology and not to design for technology.”

Hafiz Habib cautions against adopting change for its own sake, under soc ial pressures and

says:

―Since society puts undue emphasis on innovation and originality, we some times can

not liberate ourselves from the shack les of such demands. Get carried away and find

ourselves unintentionally indulged in creating novelty for the sake of novelty, change

for the sake of change and concentrate on the visual gymnastics of forms for the sake

of attracting attention. In such cases the user encounters the design and the "idea"

goes in obscurity.‖

Some architects identified the client-imposed decisions which force them to produce the kind of

architecture which, in their professional opinion, is poor.

4. EJAZ AHED

Architect Ejaz Ahed studied architecture at Illinois Institute of Technology in Chicago. His father

Mr. Ahed was a renowned architect himself and was among the few early practicing architects

of Pakistan. Ejaz Ahed, left his practice in Chicago with Skidmore Owings and Merrill and



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returned to Pakistan to work with his father. At 27, he started to manage the company started

by his father and to the present day Ahed Associates has accomplished many projects all over

the country. Talking about how his education and training effected his perception of design he

says,

―I had a very German training as an architect, from people right after the war. The whole

philosophy of thinking in such a period is different building shelter becomes the first priority;

decorating it is a second priority.‖3

Speaking about the styles of architecture he

―Never believe in developing a style of architecture. Architecture is an ever changing

phenomenon and reflects the state of civilization at the time‖4

Ahed explains his views about the field of architecture in the following words,

―Architecture is a very self-satisfying field — it`s like creating, isn t̀ it? You create something.

And, really, there`s no bigger joy than to have something come from the mind, translate into

pictures, and then become reality. It s̀ almost a godlike quality. The thrill never goes away.‖

When asked about his design philosophy he elaborated his ideas as,

―My design philosophy is functional architecture. Whatever design evolves as a result of it

makes its way in the city and nature by itself. I do not work on any symbolism. Every solution

comes from what the elements of the need of the project are. I use all the available means and

techniques to look for solutions of design problems‖

He has worked on many important projects; a few are listed below,

CDA headquarter building, Islamabad

Pakistan

UBL head-office building, Karachi Pakistan

PIC Towers Karachi Pakistan

3 http://archives.dawn.com/archives/44984

4 ARCHI TIMES November 2008



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Sanofi Aventis Headquarter building Karachi Pakistan

Getz pharma (Pvt) Limited Karachi

Pakistan

Brookes Pharmaceutical Laboratories

Limited Karachi Pakistan

Habib Bank limited Islamabad Pakistan

AKES Professional Development Center

Gilgit Pakistan

NWFP Agriculture university Peshawar Pakistan

Agha Khan Sports and Rehabilitaion Center , Karachi Pakistan

Russian consulate Karachi Pakistan

This document will discuss Mr. Ejaz Ahed‟s work on Sanofi Aventis Building Karachi.



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5. SANOFI A VENTIS KARACHI

5.1 INTRODUCTI ON

Ahed associates had their first mega up gradation project when the firm took over the

renovation of Parke Davis-Pfizer Office building in Karachi. Later Ahed associates did a

similar rehabilitation project of Brookes Pharmaceutical Administration building, again in

Karachi. The results were so impressive that both the companies named Ahed

Associates as a modern creative architectural firm. Owing to this experience the firm

landed the renovation project of Sanofi Aventis Head office building in Karachi.

Sanofi Aventis Pakistan, a multinational pharmaceutical company approached architect

Ejaz Ahed with the idea of redoing the interiors of their administrative building. They had

a very limited budget and the goal was to do a face li ft of the original building, which had

been constructed in the 80s. But the architect found the elevation of the existing building

rather distasteful and suggested redoing the elevation also. In his own words, “I told them

that the exterior is lousy so it should also be done…. as it was a straight long building like

barracks, with straight long corridors”5. Thus the architect was asked to present a

proposal for up gradation of elevation. The development of whole project form elevation

to master plan was in reverse order- i.e. 3d visualizations were developed first and then

worked backwards to the working plans of the building.

The site was documented through hundreds of photographs from every possible angle.

The architect developed a complete master plan of the 1.75 acre site that included the

building elevation and external developments as well as construction of a training hall,

and a garden. This project was completed in two phases, as the company staff remained

operational during most of the reconstruction period.

Fi gur e I Mas ter Plan O f Th e Si te- So u rc e: w w w. ah ed as s oc i ates. c o m

5 Approaches in Architecture of Pakistan (1980 to 2007) by Munazzah Akthar



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F i gu r e I I Sec ti o n O f Th e Bu i ldi ng – So ur c e: Ww w .A h ed as so ci ates . co m

F i gu r e I I I F ro nt Elev at io n – So ur c e: Ww w .A h ed as so ci ates . Co m

5.2 CHALLENGES

The existing structure was found inadequate both functionally and aesthetically. The

building had a straight lined, unattractive structure painted in blue, cream and grey color

scheme with curtained windows.

The rectangular plan was cut off from its surroundings. It had a central entrance and the

two wings were separated by the vertical circulation. There was no reception area at the

ground floor and both the interior and exterior were dull and boring. The entrance to the

building was inconspicuous, and the 3 floors above had the same double-loaded

corridors.



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F i gu r e I V Elev ati o n Of B ui ld i ng B efo r e R enov ati o n - So u rc e: A ppr o ach es In A r c hi tec tu r e O f

Pak i s tan (1 9 8 0 To 2 0 0 7 ) By Mu nazzah A k th ar

There was a concrete screen wall on the south side of the building intended to reduce the

intensity of the sun but also blocking view to the garden. Most of the site was being used

as a junkyard. It had to be redesigned from scratch.6

5.3 DESIGN

The architect changed the whole monotonous and boring environment of the building into a

user friendly, welcoming and happening one. Mr Ejaz Ahed worked towards creating a layered

plan, incorporating both the exterior as well as interior at the same time.

The front wall along with all the interior walls blocking the daylight from the north side was

torn down and has been converted into a glass wall to take in maximum daylight of north.

The new front elevation of the building was initially thought out to be in straight lines but

later it was changed to a curvilinear design incorporating the original conflicting column

grid on the first, second and third floor levels. A new layer of column grid was added to

increase floor space and to break up the monotonous façade.

The entire landscape was transformed into a lush green site with many interesting

elements. This works in two ways: first, the landscape visually reinforces the building in

this context and second, this creates visual interest from inside of the building. The

concept of water as a tranquil and calming element is used quite extensively in the

scheme.7

6Metamorphosing Green by sumera bilgrami , ARCHI TIMES - ISSN No. 2073-9001

7 Metamorphosing Green by sumera bilgrami , ARCHI TIMES - ISSN No. 2073-9001



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F i gu r e V Vi ew o f th e R eno v ated B ui ldi ng- So ur c e: w w w. ah ed as s oc i ates. c o m

5.3.1 GROUND FLOOR

The ground floor has been entirely transformed from inside out, main features being as

flows.

Figure VI Ground Floor Plan- So urce: Co mpany Website

An arcade of circular columns has been added at the front to increase the floor area as well as to provide support to the curved portion on upper levels. These columns now form the new entrance to the building and are clad in composite

panels of aluminum.



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F i gu r e VII A lu mi nu m Clad Fr o nt Co lu mns - So u rc e: w w w . ah ed ass o ci ates .c o m

Through the entrance door one emerges in a lobby housing stairwell and

elevator shaft. The previous staircase was narrow but the new one has been

given more generous propositions. The floor has been done in a piano key

fashion.

F i gu r e VII I Entr anc e L ob b y- So ur c e: A ppr o ach es I n Ar c hi tec tur e Of Paki s tan (1 9 8 0 To 2 0 0 7 ) By Mu nazzah A k th ar

A void of irregular shape has been punctured in the roof of lobby through two

stories. It gives the space a feeling of grandeur. The pool in front gives a fresh

feel.



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F i gu r e I X Voi d i n R ec epti o n L o bb y Go i ng U p To 2 F lo o rs – So u rc e: w w w .A h ed as so ci ates . Co m

Fi gu r e X Po o l ov er L oo ki ng R ec eptio n A r ea - s o ur c e: w w w . ah ed ass o ci ates .c o m

The wall behind the reception desk is dressed with block-printing blocks set in an

eye-catching pattern and painted a dramatic shade of black.8

8 Metamorphosing Green by sumera bilgrami , A+I 19th issue



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F i gu r e XI Vi ew of Lo b by - s o ur c e: w w w. ah ed as s o ci ates. c o m

The block on the right side of the lobby has a meeting room, Medical division,

coffee room, HVAC room and a fax / Xerox room.

The security of the building has been given prime importance and each division

is accessible only by swiping company I.D cards.

The left wing has been provided with views of the garden, fountain and pond

through a glazed passage. This side of the building comprises of a medical

lounge, a fitness center for employees, and a glass booth behind a sleek marble

wall to provide tickets to the frequently flying staff members.

On the other side of this glossy wall, are wooden benches set along the glazed

wall overlooking the water pond and garden. The floor here is in porcelain

arranged in a piano key fashion. The passage leads to a communal lobby

adjoining the training center [part of the new addition], which doubles as a multi -

purpose hall.9

F i gu r e XI I Pi ano K ey F loo r Patter n Of L o b by - so u r c e: ww w . ah ed as so ci ates . co m

An elliptical structure on the left side of the building which seems to be emerging

from the water body,10

is a multi-purpose hall added mainly because of the need

9 http://sbilgrami.tumblr.com/

10Approaches in Architecture of Pakistan (1980 to 2007) by Munazzah Akthar



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of space for frequent training sessions held for company staff. It has an open

plan with centre stage being the focal point. There are columns present along the

periphery of the hall. All the hi-tech mechanical systems are incorporated within.

The interior is sophisticated with light furniture and intelligently placed energy

efficient lamps for lighting.

F i gu r e XI I I Egg Sh aped Mu lt i - Pur pos e Hall - so u r c e: ww w . ah ed as so ci ates . co m

Through open planning and low height curvilinear partition, the straight long and

boring corridors have been completely transformed. They now incorporate old

straight lined columns forming a passage between workstations.

F i gu r e XI V Cu rvi linear Cor ri d or A nd Wor k Stat io ns - s ou r c e: w ww . ah ed as so ci ates . co m

The flooring materials used are marble and porcelain tiles.



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5.3.2 FIRST FLOOR

The area remains the same on the first floor as on ground floor.

A central service core divides the building into two halves.

Left half of the first floor has Respiratory and Classic division, Anti-effective

division and a coffee corner.

Human Resource division, Commercial Effective division, Staff Lounge and a

double height multi-purpose hall are housed in the right wing of the floor.

The additional floor area created by introducing a row of columns on the ground

floor accommodates staff replaced from the ground floor.

F i gu r e XV Su pplementar y Spac e Cr eated O n U pper F lo o rs B y A d di ng A d di ti o nal Co lu mns

The visitor comes up from the elevator into an inviting lobby looking down into

the reception area through the irregular-shaped void. Here the Lobby treatment

was upgraded from dull painted surface to glossy porcelain tiles, which reflect

light and make the lobby appear more spacious.

Two meeting halls with frosted glass walls are placed across the lobby , looking

down to reception through the void, approached by the elevator. The glass walls

ensures privacy as well as are well lit by abundant daylight,



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F i gu r e XVI Meeti ng Hall Wi th Fr o s ted G las s Wall - So u r c e:

Ww w . Sk y sc r aperc i ty .Co m/Sh o w th r ead. Ph p? T= 87 1 0 3 0

The twisting corridor with low height partitions takes the visitor towards a staff

lounge, created where the curvature of the supplementary floor space merges

into the building. This space over- looks a beautiful garden on the east side of

the building. This enjoyable lounge space theme is recurrent on all floors.

Space between the existing columns has been utilized as storage facility by

creating low height storage cabinets. Work stations have been separated by low

height partition cabinets

F i gu r e XVII Wor k stat io ns A nd Sto r age Cabi nets – So ur c e: Ww w . Sk y sc r aperc i ty .Co m/Sh o w th r ead. Ph p? T= 87 1 0 3 0

5.3.3 SECOND FLOOR

The footprint of second floor is the same as of the first floor.

The departments of Finance, Accounts and Distribution are located on the

second floor.

The irregular shaped void is terminated at this level and gives a view of the

reception area on the ground floor.



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Across the void are two meeting halls as on the floor below.

Curvilinear corridor with low height partition walls and false ceiling concludes at a

staff lounge on the right decorated with triangular shaped orange colored tables,

creating a welcoming environment.

F i gu r e XVII I Staf f L o u nge- Sou r c e: Ww w. Sk ys c r aperc ity. Co m/Sh o w thr ead . Ph p? T=8 7 1 0 3 0

The lounge is provided with a view of the covered terrace with round columns.

This terrace is connected to the roof of the egg shaped training hall, and has

been declared as a smoking area.

F i gu r e XI X Co v er ed Ter r ac e- Sou r c e: Ww w. U rb anpk .Co m

According to the architect the intentionally recurrent concept of coffee corners

and open breathing spaces encourages staff interactions and creates a healthy

working environment.11




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5.3.4 THIRD FLOOR

Third floor is the executive floor housing offices for directors of the company and has a

different arrangement than the floors below.

F i gu r e XX Plan O f Th ir d F lo or – So ur c e Ww w .A h ed as so ci ates . Co m

Apart from the directors' offices, this floor is equipped with a large boardroom, a

teleconference room and the IT division..

A waiting lounge is placed across the lobby and adjacent to the reception for the

Managing Director‟s office. The office for the MD is luxurious space

accommodating a meeting table and a small sitting area. The flooring is of

polished timber giving the space a lush look. All the furniture has been imported

and the walls are covered with panels of fabric in earthy tones.

F i gu r e XXI Di r ecto r’ s O ff ic e- So ur c e Ww w .A h ed as so ci ates . Co m

The rooms other directors' have a similar layout with full height glazed walls.

The winding passage leads to an open foyer which is an inviting space for group

discussions.



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Next to the terrace is a circular boardroom, the form of which sticks out of the

building facade like a spaceship.12

The triangular conference table composed of

wood, stainless steel and granite has individual sofas placed along the periphery.

Figure XXII Bo ard Room – Source : Www.Ah edassociates.Com

F i gu r e XXI I I Bo ar d R oo m – Sou r c e : Ww w . Ah ed as s oc i ates. Co m

5.3.5 FORM AND ELEVATION

Overall design of the building shows the extent of work and research put into it. From the

dull straight lined building it has been transformed into a contemporary structure which

has an interesting form and intelligent use of modern materials as metal and glass. The

building has been designed keeping in mind the budget restraint, the local weather and

the modern era at the same time. Full advantage of the orientation of the building has




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been taken by making the north wall glazed to take in daylight. Also the glazing has been

kept in accordance to the thermal comfort to cut down cooling cost.

The south side is transformed with deep-set windows to (a) facilitate the view to the

garden and (b) reduce the impact of the sun. The west elevation also presents an

interesting play of shapes, materials and textures.13

Landscape of the building has also been giving adequate importance and the surrounding

has been transformed into lush green gardens with fountains, wooden benches, ponds

and rockery.

F i gu r e XXI V land s c api ng Of Th e B u i ldi ng

13 Metamorphosing Green by sumera bilgrami , A+I 19th issue



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6. REFERENCES

1. Metamorphosing Green by Sumera Bilgrami ,Architecture + Interior magazine 19th

issue

2. Architects on Architecture, Interview with Rashid Rasheed, Archi Times, February 2010

3. Architects on Architecture, Interview with Shaukat Nawaz Raja, Archi Times, March 2008

4. Architects on Architecture, Interview with Ayesha Noorani, Archi Times, February 2008

5. Architects on Architecture, Interview with Pervaiz Vandal, Archi Times, December 2009

6. Architects on Architecture, Interview with Hafiz Habib, Archi Times, October 2008

7. Architects on Architecture, Interview with Zain-ul-Abedin, Archi Times, November 2008

8. Bay, Joo-Hwa and Boon-Lay Ong, “Tropical Sustainable Architecture: Social and

Environmental Dimensions”, Bay, Elsevier, Amsterdam, 2006

9. Davies, Nikolas and Jokiniemi, Erkki, “Dictionary Of Architecture And Building

Construction”

10. http://archives.dawn.com/archives/44984

11. http://sbilgrami.tumblr.com/

12. www.ahedassociates.com

13. http://www.facebook.com/pages/Ahed-Associates

14. http://www.saglobalaffairs.com/back-issues/757-interview-with-ejaz-ahed.html

15. www.youtube.com

life and work of architect ejaz ahed

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