me architect - march 2010
DESCRIPTION
ME Architect - March 2010 - ITP BusinessTRANSCRIPT
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An ITP Business Publication | Licensed by Dubai Media City
MARCH 2010 | VOLUME 4 | ISSUE 3NEWS, DATA, ANALYSIS AND STRATEGIC INSIGHTS FOR ARCHITECTS IN THE GCC
SHARING
A look at projects from someof the region’s most promising
young architecture students
MODERN MASHRABIYAKEO releases designs for Doha’s mixed use development at Lusail
NEW
S, DATA
, AN
ALYSIS A
ND
STRATEGIC
INSIG
HTS FO
R ARC
HITEC
TS IN TH
E GC
C
MA
RC
H 2010 | V
OL
UM
E 4 | IS
SU
E 3
An ITP Business Publication
KNOWLEDGE
N MASHRABIYAes designs for Doha’sevelopment at Lusail
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001 www.constructionweekonline.com | 03.10 | MIDDLE EAST ARCHITECT
CONTENTS MARCH
MARCH 2010 VOLUME 4 ISSUE 3
02
14
31
13
17
36
07 WHAT’S ON THE WEB MEA keeps you in touch with the latest news from the industry with a synopsis of Construction Week online
INDUSTRY HIGHLIGHTS A roundup of some of the industry’s biggest stories
GREEN PAGE: RESPONSIBLE SOCIETYA new Riyadh-based organisation offering green analysis and recommendations for the building industry
COMMENT: DR ALAA MANDOURAlaa Mandour speaks candidly about universities, students and architectural education in the GCC
COVER STORY: KNOWLEDGE SHARINGMEA offers a showcase of work from some of the GCC’s most inspired and talented student architects
CASE STUDY: LUSAIL MIXED USE PROJECT KEO unveils its exclusive designs for its new mixed use development on the Lusail site in Doha, Qatar
FEATURE: TOP OF THE GLASS MEA explores architectural glass in the Gulf to find out who, what, where, why and how much
PROJECT SHOWCASE: RIYADHBringing you the richness of Riyadh-based projects from Dewan, FXFOWLE, Woods Bagot and TYPSA
SKETCHBOOK An exclusive look at Dewan’s designs for renovating the surroundings of Baghdad’s Al Kadimiya district
LAST WORD: STEVE MASLIN Stride Treglown’s inclusive design expert explains the importance of designing for everyone, and their needs
40
40
31
44
17
07
44
47
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002 MIDDLE EAST ARCHITECT | 03.10 | www.constructionweekonline.com
ONLINE
COLUMNS & FEATURES
THE SKETCHBOOK: AL KADHIMIYA
ZAHA IN BAHRAINIraqi architect Zaha Hadid is planning to host an exhibition of her practice’s ‘exploration and research’ at the Shaikh Ebrahim bin Mohammed Al Khalifa Center for Culture and Research, in Bahrain, from March 15 to April 30.
SIX OF THE BEST: AIRPORT PROJECTSWith ongoing infrastructure projects keeping the architecture and construction industries afloat, ConstructionWeekOnline takes a look at six of the Middle East’s most important airport projects.
the online home of:
IN PICTURES
For more columns & features, go to: www.constructionweekonline.com/comments
For more galleries, check out: www.constructionweekonline.com/in_pictures/
• EXCLUSIVE: Lead consultant leaves Dubai’s City of Arabia
• KSA rail project on track
• 28 ways to achieve LEED platinum
• Back to green
• 28 ways to achieve LEED platinum
• Garbage powered street lamp developed
• Aldar sells Yas Island assets to Abu Dhabi government
• Architectural lighting part II
• Are you sitting comfortably?
• Colourful Kingfisher
66% Yes, we were forced to
16% Yes, it’s great
16% No, we dodged the bullet
0% No way, never
To vote in spot polls, go to:www.constructionweekonline.comSpot poll selected from February 18, 2010
For breaking news, go to:www.constructionweekonline.com/news/Stories selected February 18-22, 2010
MOST POPULAR
EDITOR’S CHOICE
Stories selected February 18-22, 2010
SPOT POLL:Is your organisation renegotiatingits contracts?
THE NANO MANAfter spending eight years enhancing the UAE’s built environments, Claude Berube has moved to Malaysia to concentrate on his other passion: nanotechnology. CID finds out more about this fixture on the interior design scene.
OUT OF SIGHTFacilities management mainstay, Alan Millin (MSc. CEng FIHEEM), gets up close and personal with an issue that, for most people, is up close and personal. Millin makes a pretty good point about why FMs need a voice during design.
After months of research, design and stifl ing bureaucracy, Dewan Architects & Engineers has won a competition to develop the area surrounding the holy shrines in Al Kadhimiya, Baghdad, Iraq.
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EDITOR’SLETTER
004 MIDDLE EAST ARCHITECT | 03.10 | www.constructionweekonline.com
Two and a half years ago, I arrived in Dubai fi lled with equal parts
trepidation, anticipation and ambition. My goal was simple – I even
remember telling my boss on my fi rst day – I wanted to create the best
architecture publication in the Middle East. I wanted to write the most
well read and well respected design magazine available in the region. Full stop.
I had some competition from international publications that enjoyed sporadic
distribution here, but when I arrived, there wasn’t an architecture magazine
for the Gulf, about the Gulf. At the very least, there is one now.
While I could probably write for hours about the successes, failures, trials
and tribulations I’ve faced during my tenure, this last editor’s letter isn’t
about me. Frankly, it’s not about Middle East Architect either.
I’d like to spend this last column talking about the people. The profes-
sional relationships I’ve made through my association with ITP and Middle East Architect have been fantastic. During my time with MEA, I have met the
Nouvels, Hadids, Gehrys, Peis and other ‘starchitects’, but I have no doubt
that the structural and design professionals working in this region represent
some of the most creative, intuitive and talented minds in the industry. I
have tried my best to capture their knowledge and experience in these pages.
Only they can say if I’ve done them justice.
To my readers: Your comments, emails and phone calls have been welcomed
and appreciated, and while they’ve not always been met with the most timely of
responses, I have heard what you’ve said. I owe a signifi cant portion of my de-
velopment as a journalist and an editor to your feedback and for it, I thank you. I
hope my successor will be able to experience the same level of candour.
I would be remiss not to mention the advertisers. A B2B magazine is noth-
ing without the fi nancial support of the industry it serves. While I have always
endeavoured to keep a very fi rm line between editorial and advertorial content
– much to the chagrin of some of you! – I think we have always enjoyed a mu-
tual appreciation of each other’s necessity. Whether it came during the annual
awards, the conferences or in the magazine, your support has been invaluable
and I am grateful that in MEA you saw something worth supporting.
The last group of people that deserve recognition are my colleagues and
co-workers. Whether you’re involved in design, production, sales, editorial or
photography, you have helped make this magazine what it is. I know it goes
unsaid too often but I simply could not have done this without you, all of you.
As I embark on my next journey, I bring with me a little piece of Middle East Architect. I am both humbled and privileged to have been a part of it.
So, as I sit at my desk in the fi nal hours as MEA editor, I give to all of you the
immortal words of Edward R Murrow: “Good night and good luck.”
GOOD NIGHT & GOOD LUCK
RECEIVE EVERY MONTH! TO SUBSCRIBE TO THE MAGAZINE, PLEASE VISIT: WWW.ITP.COM/SUBSCRIPTIONSWWW.ITP.COM/SUBSCRIPTIONS
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INDUSTRYHIGHLIGHTS
07 007 www.constructionweekonline.com | 03.10 | MIDDLE EAST ARCHITECT
INDUSTRYHIGHLIGHTS
BY JEFF ROBERTS
BAGHDAD, IRAQ // After months
of research, design and
stifl ing bureaucracy, Dewan
Architects & Engineers (De-
wan), has won a competition
to develop the area surround-
ing the holy shrines in Al
Kadhimiya, Baghdad, Iraq.
One of the Gulf’s leading
architectural and engi-
neering consulting fi rms,
Dewan’s winning design
was recognised by the Iraqi
Prime Minister Mr. Noori
Al-Maliki at the Baghdad
award-giving ceremony.
Al-Maliki strongly iter-
ated the importance of the
conservation of religious
tourism in Iraq and praised
the initiative taken by
Baghdad Municipality to
preserve the heritage of Al
Kadhimiya’s religious and
historical signifi cance.
“The fi nal design we sub-
mitted envisions the shrine
as the innermost ‘kernel’
of the city,” explained
Mohamed Al Assam, De-
wan founder, chairman and
managing director. “[The
shrine] is enveloped and
protected by different urban
layers that mediate between
the interior and the exterior
world and together form a
coherent whole.”
The main objective of the
Dewan design was to high-
light the importance of Al Ka-
dhimiya as a unique district
of Greater Baghdad, which is
distinguished by the historic
architecture of its streets
and homes and fl anked by
fl ourishing markets.
The Baghdad jury ac-
knowledged Dewan’s entry
as the most comprehensive
and aesthetically pleasing
design while recognising its
sensitivity to the district’s
historical, cultural and
social character. The mix of
historic and adapted modern
structures, combined with
proper landscaping, was
designed to provide an in-
fl ux of social and economic
robustness to Al Kadhimiya
and the surrounding area.
“The strategic concern
of our design was to fi nd
methods to adapt the area
to contemporary demands
without damaging the
spiritual legacy contained
in its surviving historic
structures. The development
needs to be manoeuvred in
such a way that the place
does not lose its ‘soul’,” con-
cluded Al Assam.
For a clearer picture of the Dewan design, check outthe Sketchbook section(p. 44-45) in this issue.
DEWAN CREATES WINNING CONCEPTDESIGN FOR BAGHDAD MUNICIPALITY
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INDUSTRYHIGHLIGHTS
09 009 www.constructionweekonline.com | 03.10 | MIDDLE EAST ARCHITECT
INDUSTRYHIGHLIGHTS
ALDAR SELLSYAS ISLAND ASSETS TO GOVERNMENTBY ED ATTWOOD
ABU DHABI, UAE // Days after
announcing a year-on-year
73% drop in earnings in
2009, developer Aldar has
sold a number of key as-
sets, including the Formula
One Yas Marina Circuit, to
the Abu Dhabi government.
“This [the assets sale]
includes roads, utilities on
the Yas Island, Yas Marina
Circuit which is home to the
Formula 1 race track, Yas Ma-
rina and the Yas Yacht Club,”
CFO Shafqat Malek told Gulf News in mid-February.
The sale was orchestrated
to ease cashfl ow concerns and
enable the developer to meet
its debt commitments. In the
developer’s annual results,
released in mid-February,
Aldar revealed a last-quarter
loss of US$ 155 million due
to a failure to make any land
sales. The news immediately
sent the fi rm’s share to a 31-
week low.
Aldar said that it was able
to increase its net asset value
by 3.9% to US$ 4.5 billion at
the end of 2009 while revenue
for the year was just under
US$ 545 million, compared
to nearly US$ 1.4 billion the
previous year, a fall of 60%.
The decrease, the company
said, was due to lower sale of
land plots during 2009.
Developments under
construction were worth $4.9
billion at year end compared
to $6.3 billion as at the end
of 2008, it added.
Aldar said it continued
to maintain its long term
view on the strength of the
Abu Dhabi real estate sec-
tor, adding that there was
“a fundamental undersup-
ply of quality commercial
and residential products in
Abu Dhabi”.
BY CONRAD EGBERT
DUBAI, UAE // P&T Architects
& Engineers (P&T), the lead
consultant working on the
US $3 billion City of Arabia
is no longer employed on the
project, confi rmed Middle East Architect in mid-
February.
A source working on the
project told Middle East
Architect that P&T had “left”
the project. “[P&T] submit-
ted their termination letter to
the City of Arabia manage-
ment on February 1,” said the
source. When contacted, P&T
declined to comment.
But a spokesperson for
Ilyas & Mustafa Galadari
(IMG) Group, the developer
behind the City of Arabia
project confi rmed that P&T
had been let go and that the
consultancy contract is being
renegotiated with two other
consultancy fi rms.
“[P&T] is no longer work-
ing for us and we’re currently
looking to award the contract
to someone else; work is still
progressing though,” said
Alex Vacha, director of proj-
ects for City of Arabia.
According to Vacha, P&T’s
contract commanded “about
2%” of the total construction
costs two year ago. With the
market having corrected
since then and construction
costs falling by about 40%,
the contract needed to be
reassessed as well.
“The market has fallen.
Contracts – whether for con-
struction or consultancy that
were signed two years ago –
do not make sense anymore,”
said Vacha. “We also feel that
it is better to look for a fresh
set of people in these situa-
tions, rather than renegotiate
with the same people. We are
currently in talks with two
other consultancy fi rms.”
Vacha also confi rmed that
the developer had already
paid P&T approximately US$
35.4 million.
LEAD CONSULTANT LEAVES CITY OF ARABIA
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INDUSTRYHIGHLIGHTS
011 www.constructionweekonline.com | 03.10 | MIDDLE EAST ARCHITECT
BY JEFF ROBERTS
MUSCAT, OMAN // Decorated
multidisciplinary Nor-
wegian practice Snøhetta
and global engineering
consultancy Buro Hap-
pold have won a competi-
tion to redevelop Oman’s
storied Mattrah quayside.
Designed by Snøhetta,
the fi sh market project will
be located in the heart of
Muscat on the site of the ex-
isting 1960s-era waterfront
landmark. The Snøhetta
design aims to rejuvenate
the retro architecture of the
site and provide modern
trading spaces that will fea-
ture landing, refrigeration,
preparation, packing and
restaurant facilities.
The new market will
provide a fresh focal point
on the Muscat quayside,
which, whilst housing the
very popular and functional
traditional market and vis-
ited annually by thousands
of Omani nationals and
tourists, has seen demand
outgrow its capacity and
“This is an opportunity
to add another exciting
and innovative project to a
growing list of successful
collaborations between
Scandinavian architects
Snøhetta and Buro Hap-
pold in the Middle East,”
explained Nick Nelson,
principal at Buro Hap-
pold’s head offi ce in UK.
BY SELINA DENMAN
ABU DHABI, UAE // Taking place
in Abu Dhabi from March
29 to 31, Interiors UAE is
promising to act as a regional
launch pad for a number of
new products.
Portuguese company, Boca
do Lobo, will use the exhibi-
tion to introduce two new
furniture designs, Crochet
and Monochrome. Crochet
is a wooden chest of drawers
featuring seven drawers and
inspired by the traditional
craft from which it gets
its name.
The process of pulling
loops of yarn through other
loops was reinterpreted by
a local jeweller who forged
60kg of classic brass pulls.
The result is a mesh that cov-
ers the silhouette of the piece.
The chest is darkened by gold
leaf, which contrasts with
purple, jewelled handles.
The Monochrome stool
bridges the frontier between
design and art. It is a fl uid
and unusual form moulded
from fi breglass and fi lled with
expandable polyurethane.
The piece is a reference to the
use of a single material, with
a uniform and high-gloss tone
of electric blue.
Italy’s Air Nova will also
bring two new products to the
show. The company, which
specialises in the production
of leather chairs for both the
contract and retail markets,
will introduce the Swarovski-
encrusted Elettra, as well as
Patchwork, which features a
mix of different leathers in
the same colours.
The company will show-
case a range of its armchairs,
including the popular Aisha,
along with consoles and
chaise longues, on its stand.
Air Nova supplied 650 of its
Elisa chairs to Burj Khalifa.
UK-based soft furnishing
and fabric designers, Soul
Living, will also be unveiling
a new product at the show,
having decided to create a
dedicated range for Interi-
ors UAE. The range will be
‘overwhelmingly luxurious’
combining traditional and
contemporary styles in an
eclectic range of colours.
Another UK-based com-
pany attending Interiors UAE
is Yarwood Leather, one of
the largest suppliers of leather
to the UK furniture industry.
The company, which is a fi rst-
timer to the show, specialises
in blending traditional skills
and modern technology to
create more comfortable,
durable products.
A number of other Euro-
pean companies have also
confi rmed their attendance,
including Germany’s Faustig
Kurt, best-known for break-
ing the world record for the
largest chandelier, created
for the Abu Dhabi Mosque.
Traditional European crafts
will be presented by Spanish
company, Virtus 1945, which
creates bronze accessories
using the antique technique
of sand-testing. Its prod-
uct offering includes table
clocks, candelabras, mirrors,
tables, vases, photo-frames
and fi gurines.
The exhibition will also
include seminar sessions on
‘Colour Trends for the Interior
Design Sector for Spring/
Summer 2011’, presented
by London-based colour
consultancy studio, Global
Color Research, which will
also be conducting interactive
workshops at its stand.
The seminars and work-
shops will educate interior
designers, architects, retailers
and product designers on
colour trends for the coming
few years, and will also work
with visitors to show them
how to use colour trend
information effectively and
accurately.
“Creative minds need to
keep ahead of the game,” said
Justine Fox, colour specialist
and materials editor of Global
Color Research’s Mix maga-
zine. “Global Color Research
would like to invite profes-
sionals to create the colours of
the Middle East for 2012.
“Every visitor to our stand
at Interiors UAE will help
create a colour palette ap-
plicable to the Middle Eastern
market and the interior
design sector. Because of the
special characteristics of this
market, global trends cannot
be applied without consider-
ing socio-economic factors.
For this reason, we believe
that a region-specifi c colour
palette will be a great tool for
professionals who work in
this area.”
functionality.
Buro Happold, which
worked together most
recently with Snøhetta on
KSA’s King Abulaziz Center
for Knowledge & Culture,
was comissioned to provide
the structural and building
services as well as the geo-
technical and civil engineer-
ing for the site.
SNØHETTA & BURO HAPPOLD NET OMANI FISH MARKET JOB
UAE LAUNCH PAD FOR DESIGNS
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GREENPAGES
013 013 www.constructionweekonline.com | 03.10 | MIDDLE EAST ARCHITECT
GREENPAGES
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014 MIDDLE EAST ARCHITECT | 03.10 | www.constructionweekonline.com
COMMENTDR ALAA MANDOUR
What is the meaning of
the term “Architec-
tural Education?” It
conveys the notion
of formal, structured, paced and su-
pervised training. Training that is well
balanced in terms of subject matter,
methods, techniques and aims, which
is constantly evaluated and re-evalu-
ated, and, when completed, somehow
recognized by external authorities as
intrinsically suffi cient to allow an indi-
vidual to practice architecture.
Architecture was principally a craft
in the pre-modern period. And like
many crafts that are instantly ap-
plicable to everyday life, architecture
then depended more on apprentice-
ship than on theoretical knowledge –
and it did so across cultures. Research
shows that no medieval culture
developed a body of theoretical and
historical knowledge as a prerequisite
for its architects and builders to prac-
tice their craft. They only needed to
learn by monitoring and by reiterating
what their masters did.
Nowadays, architectural education
and practice in the GCC is facing a
heavy an emphasis on design theory and
too keen a focus on aesthetics, material
choice and physical comfort rather than
social needs and realities. Issues of cul-
ture, socio-economic needs, indigenous
techniques, technologies and materials
and even climate are rarely perceived as
valid issues for the curriculum.
We can argue that this approach
needs to surpass the discourse of form
and ornament by involving a more
responsive approach. With regard to
culture in contemporary architectural
thinking and teaching, we should be
discussing a new academic sensibility
that shapes the ways in which architec-
tural history and theory are approached;
the role culture can play in the shaping
this sensibility; and the conceptual and
ethical problems inherent in cultural
representations. In short, we need to be
consciously addressing the ‘correct’ bal-
ance of practice and theory.
A large majority of GCC educators
seem to be teaching their students how
to preserve history, how to retain the
socio-cultural aspects and what are the
considerations to be involved in their
designs. But, when we go back to the
kitchen the recipe gets tweaked and
the Western ingredients appear, mostly
because they are the only ingredients
available in the market.
In fact, all the information sources
come from the West and the curricula
for the very universities in which we
teach are set up by experts from USA
dramatic situation. There are inces-
sant endeavours to improve architec-
tural inputs to rearrange the structure
of the educational method, to test ac-
cepted ideas, and to prod prospect ap-
paritions. However many researchers
have revealed fundamental disagree-
ments over the goals and objectives,
structure and contents and tools and
techniques required for architectural
education today.
While agreement is still lacking on
what changes and developments in
education will best support the ambi-
tion of modern societies, architecture
students and educators must adhere
to international standards but also
incorporate a critical approach to the
reading of the traditional environment
as an essential part of curricula.
If we examine the core context of
architectural courses throughout the
GCC, most of it tends to lack a clear
orientation. It tends to be project-
oriented rather than be based on an
explicit goal-based pedagogical philos-
ophy – although promising initiatives
are being taken in the documenta-
tion of heritage preservation and the
philosophical aspects of planning
and building craftsmanship within
Muslim traditions and history!
Unfortunately, in GCC courses,
teaching methods and curricula still
tend to be conspicuously infl uenced by
foreign models and Western refer-
ences. In my opinion, there is too
ARCHITECTURAL EDUCATION IN THE GCC: ARE EDUCATORS MISSING THE POINT?
BY DR ALAA MANDOUR,SULTAN QABOOS UNIVERSITY, OMAN
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COMMENTDR ALAA MANDOUR
0 015 www.constructionweekonline.com | 03.10 | MIDDLE EAST ARCHITECT
and Europe. So, it’s no wonder that the
‘dish’ created is something alien; something
that simply adds a bit of cultural spice in
the form of parapets or wind towers.
What we need in the Gulf is a real com-
mitment to a post-enviro revival of the
educational core and an exploration and
genuine deconstruction of our history. If
this happens, it allows us to reconstruct our
present and create our future, not as a mere
replication, but as an evolving process to
leave for the coming generations.
In architectural education, we need
to bring together and convey different
periods of time, which requires a deeply
dimensional projection of human beliefs.
At best, it can provide an echo of a spiritual
universe which integrates humans in a
meaningful order and provide them with
the feeling that their small personal world
is in harmony with a much larger reality.
The confl ict between the traditional
culture and modern systems of thought
has to be seen in this wider context, for the
controversial issue is the interpretation
of ‘development’. For example: a) Should
development enable the balanced realisa-
tion of the totality of human capabilities, or
should it reduce reality to limited aspects
of material life at the expense of other
qualities? b) Should development promote
an increase in quantifi able production only,
or should it support a different type of cre-
ativity, which includes more fundamental
forces and experiences?
As far-fetched as these questions may
seem, they determine the cultural respons-
es which eventually generate the built envi-
ronment and its physical expressions. The
way to achieve the built environment we
seek is to explore and discover the potential
continuity between past, present and fu-
ture. To do this, we need to: a) Analyze and
interpret basic urban and architectural pat-
terns to determine how they can be adopted
or reinterpreted in a contemporary context;
b) Figure out how to deal with the problems
and incompatibilities caused by the impact
of time differences, both in philosophical
and in practical terms; c) And identify the
new alternative approaches, which could
reconcile traditional principles, contempo-
rary needs and the living future.
Furthermore, we have to develop our
educational identity by tackling what we
recognise to be our real problems. Identity
is not a self-conscious thing; we fi nd our
identity by understanding ourselves, and
our environment. Any attempt to un-
dermine or shortcut this process – or to
concoct – an identity, would be dangerous
to us all. It would be manipulation; little
more than mere gesturing.
A signal is quite distinct from a symbol,
for it implies a reaction. If an architect, af-
ter travelling around the world, were to re-
turn to his origin, and attempt to reproduce
there a glass building he saw in Boston, he
would simply be transmitting signals. But
if, on the other hand, he were to take the
principles of architecture, and apply them
to a completely different set of materials,
customs, climate and traditions, he might
put up a contemporary building which isn’t
all glass but which is very relevant to its
locale and identity.
Now that the built environment has
become subjugated by a market system,
and that commodity has become the goal
and signifi er of social life, it has become
impossible to keep architectural education
free of economic rationalisation.
Architectural education today fi nds
itself having to function within boundaries
of co-modifi cation, relativity, and practical
complexities as its defi ning precincts. This
is a shame. For it to remain credible, archi-
tecture must return to its older, semi-in-
dependent and gallant model, whereby the
architect was supposed to have a rounded
education that allows him to be a master
builder, artist and humanist.
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Scholarships available: Apply before 4th July 2010
The British University in Dubai P O Box 502216, Dubai International Academic City (Block 11), Dubai, UAETel: +971 4 391 3626, Email: [email protected]
The British University in Dubai (BUiD) calls for applications to the September 2010 intake for its specialised programmes in the field of Engineering. Gain better career prospects by enhancing your skills and knowledge.
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017
STUDENT DESIGNSHOWCASE
017 www.constructionweekonline.comt | 03.10 | MIDDLE EAST ARCHITECT
SHARING
ADIABDULLAH
ALFAREISultan Qaboos
University
AHMEDEFFAT
MOKHTARThe British University
in Dubai
AHMED ABDULLAH HUMAID
AL-MAQBALISultan Qaboos
University REIHANEH RAMEZANY MAHONAKYAmerican University
of Sharjah
TAHEREH RAJABI
American Universityof Sharjah
MOHAMMED ABDULLAH
SAIDAL-SALMISultan Qaboos
University
HANNAHALLAWI
American Universityof Sharjah
AHMEDAL-SHAHRI
Sultan QaboosUniversity
ALIYA A.SATTAR YAQOOB
AL-HASHIMSultan Qaboos
University
ASMAAAL SAADISultan Qaboos
University
MOMNA ARSHAD
American Universityof Sharjah
A LOOK AT SOME OF THEGCC’S BEST STUDENT
DESIGNERS
PAG
E 18
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PAG
E 24
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PAG
E 28
PAGE 23
KNOWLEDGE
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STUDENT DESIGNSHOWCASE
018
University Sultan Qaboos UniversityYear 2009Architectural inspiration inspired by Frank Ghery and Peter EisenmanCareer aspiration Continue for post graduate studiesProject Name Animal Biotechnology Research Center Architectural Style DeconstructionKey architectural elements Dynamic form inspired by the DNA moduleProject DescriptionSiteThe chosen site is located at Sultan Qaboos University, along the AlKhood Street. The site is linear, situated between the university and the new park that are being constructed.The reason of choosing this site is because although the SQU area is the center of the education in Muscat, it lacks a proper Biotechnology Center.
ConceptThe concept of this project has been extracted from the form of the DNA. The DNA is composed of two parts, the inner and the outer. The outer one will form the building, where the inner will define the boundaries.
SustainabilitySustainability was taken into consideration throughout the design phase and it can be seen in solar cells that are used in the roof, as well as the use of day light and a collection of new technologies, which lead to effective energy conserva-tion in the building.
ADIABDULLAH
ALFAREI
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019 019 www.constructionweekonline.com | 03.10 | MIDDLE EAST ARCHITECT
University The British University in DubaiYear 1st year Masters Program, Sustainable Design in Built EnvironmentArchitectural inspiration Dr. Abdelhalim Ibrahim, Michael GravesCareer aspiration Improving the built environmentProject: Sustainable educational facility in Dubai, The world IslandsStyle Green contemporary architecture Key architectural elements Natural ventilation, shad-ing, local materials, energy modelingProject Description The project aim was to conceptually move between environmental aspects and the building’s architectural elements. MEP systems allow the resolution and expression of sustainable ideas in a context with a special nature.
The design came out as a result of climatic analysis for Dubai, then sketching a concept, accompanied by environ-mental energy modeling from early sketches, to examine the proposed architectural features.
The educational facility was designed in such a way that minimised the western and eastern elevations with no open-ings; the building was raised above grade with minimum foot print to help in articulating the air all around the building, reducing its heat and acting as a buffer. Photovoltaic cells were introduced in the south side of the building. Natural ventilation was allowed through stack effect by adding vertical solar chim-ney which will also provide day lighting to the space.
AHMEDEFFAT
MOKHTAR
STUDENT DESIGN SHOWCASE
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MIDDLE EAST ARCHITECT | 03.10 | www.constructionweekonline.com020
STUDENT DESIGNSHOWCASE
University Sultan Qaboos UniversityYear 2009Architectural inspiration Inspired by Richard MierCareer aspiration A search for a new Modern Architec-ture for OmanProject Name College of Fine ArtsArchitectural Style Modern architectureKey architectural elements Composite and uniform formsProject Description The need for this type of project arises from the need in Oman for a talent-encouraging facility that can develop young Omani artists and give them a platform to display their works.
It consists of painting, sculpture, ceramic and graph-ics studios along with workshops, an exhibition hall and classes. The central concept of the project is to have a main axis that acts as a core spine of the building, over viewing most of the activities and leading to the exhibition hall that is the area of talent display.
Natural lighting is used heavily in the design and was achieved by providing inner courtyards, which are also utilised for student activities.
AHMED ABDULLAH HUMAID
AL-MAQBALI
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STUDENT DESIGN SHOWCASE
021 021 www.constructionweekonline.com | 03.10 | MIDDLE EAST ARCHITECT
University American university of SharjahYear Senior (Fall 2008)Architectural inspiration George KatodrytisCareer aspiration To become a design director in an international consultant companyProject Dubai Poly Morphic HotelStyle Contemporary architecture and designKey architectural elements Distortion, rotation, bill boarding, complexity of spaces versus simplicity of geom-etries and gridsProject description This project is a proposal for a desert hotel based on the concept of a linear and twisted structure. The project was initiated by observing and map-ping an urban billboard as perspectival distortion against the horizon. By walking around the billboard, a series of rotated views were sequentially made into a system of twisted sections. These are developed into a geometry of sections for digital fabrication. The modular structure that is generated made the building structure and hotel units. The building is generously placed in a desert landscape and created level changes in the land, which has been covered partially by the skin. The irregular geometry of the building creates optical experience and brings out the sense of being in a frame while looking at the landscape.
REIHANEH RAMEZANY MAHONAKY
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STUDENT DESIGNSHOWCASE
022 MIDDLE EAST ARCHITECT | 03.10 | www.constructionweekonline.com
University Sultan Qaboos UniversityYear 2009Architectural inspiration Santiago CalatravaCareer aspiration A search for a new modern architec-ture for OmanProject Name National Football StadiumArchitectural Style High tech architectureKey architectural elements High tech architecture, steel and tensegrityProject Description The project is a football stadium with a capacity of 10,000 seats. The location is chosen to cater to the people in Al Sharqya Region, Oman. The location is outside of the town of Ibra to avoid the traffic. The concept is to express the improvement of Omani football over recent years and compare it to the international playing level, through the clear slope which starts on the left side of the project and continues increasing until it intersects with the international side (right side). The structure of the stadium is columns and beams carrying the tiers and cantilever beams carrying the shelter, supported by the steel cables. The spaces under the tiers are used for toilets, cafeterias, services and mechanical rooms.
MOHAMMED ABDULLAH
SAIDAL-SALMI
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023
STUDENT DESIGN SHOWCASE
023 www.constructionweekonline.com | 02.10 | MIDDLE EAST ARCHITECT
STUDENT DSHO
University American University of SharjahYear Fall 2008Architectural inspiration Peter Eisenman & Rem KoolhaasCareer aspiration As an architect, I would like to be a positive contribution to the society on the path of enhancing the quality of the living spaces Project Name Bani Yas ScafuildingStyle Conceptual Key architectural elements Scaffolding/space connectivityProject Description Bani Yas Scafuilding starts as a research thesis about scaffolding structures and movement of human body in yoga gestures. The emphasis of this exploration is combination of the two systems (human body and scaffolding). After investigating these two terms a device is developed; this device is used as a space-making object and combines both scaffolding and yoga moves. After the development of the device, an urban site is analysed for its suitability and relationship with the two systems of scaffolding and yoga, in terms of both context and users. The end result is the Bani Yas Scafuilding, which is series of spaces that are designed in relation to the human body gestures and circulation. These spaces are suspended (supported) within a scaffolding structure that is installed on the site. Bani Yas Scafuilding suggests a new type of an urban public space that houses temporary activities while being a temporary structure itself.
TAHEREH RAJABI
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MIDDLE EAST ARCHITECT | 03.10 | www.constructionweekonline.com024
STUDENT DESIGNSHOWCASE
University American University of SharjahYear SeniorArchitectural Inspiration Zaha HadidCareer Aspiration To become a cutting edge architect in an international design practiceProject The Perforated SkinStyle ContemporaryKey Architectural Elements Intricate Outer Skin, Ven-tilation & Shading performance achieved through intensive undulations of the skinProject Description The project emerged from two words ie, “Urban night illumination” and “Malleable materiality”. By adapting contemporary form-making process through use of digital and physical modeling, a unique space was created. The project is an exploration of the intensity, proximity and diversity of dots, which strives to create a 3D effect on a 2D skin. The spaces are differentiated by the density of dots and undulations of the skin, in order to achieve desired sun and shading performance. The porous project proposes a combination of art and public spaces. The site, Deira Dubai, consists of a context that could foster the arts as a catalyst for social events as well as various public experiences.
MOMNA ARSHAD
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STUDENT DESIGN SHOWCASE
025 025 www.constructionweekonline.com | 03.10 | MIDDLE EAST ARCHITECT
University Sultan Qaboos UniversityYear 2009Career aspiration A search for a new modern architec-ture for OmanProject Name Physiotherapy and Rehabilitation CenterArchitectural Style Modern architectureKey architectural elements Composite and geometric transformed formsProject Description The main concept is to provide a natural environment within the project, by creating a forest by the sea, which will act as a retreat for the patients. After developing the concept it ended up with three separate masses, with different functions, connected by a green-scape and pedestrian nodes. An urban hub for all patients needed to be a special retreat within the whole space, where patients can live between landscape and view the sea. With these environmental features it will act as a natural cure and aid in healing the spirit.
ASMAAAL SAADI
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STUDENT DESIGNSHOWCASE
026 MIDDLE EAST ARCHITECT | 03.10 | www.constructionweekonline.com
University Sultan Qaboos UniversityYear 2009Architectural inspiration Frank Lloyd WrightCareer aspiration Develop a traditional architecture theme for OmanProject Name Oman Gold CenterArchitectural Style Organic architectureKey architectural elements Organic forms with geometrical order Project description The gold souqs in Oman are losing their importance; they need to be combined into one area provided with all services and facilities.
This project combines the shops, workshops and gallery in one building, so the visitors can see the process of gold making, while shopping in the building.
The building was designed to take the flow of the gold making process into consideration.
The building consists of four levels, each level serving a specific function. The shape of the cone was chosen because it serves the area requirement of all levels. The shops have been distributed in a way that takes the visitors on a journey. The feeling of an old Omani ‘hara’ was maintained in the passages and inner courts.
ALIYA A.SATTAR YAQOOB
AL-HASHIM
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027 www.constructionweekonline.com | 03.10 | MIDDLE EAST ARCHITECT
STUDENT DESIGN SHOWCASE
University: Sultan Qaboos UniversityYear: 2009Architectural inspiration: Inspired by Richard MierCareer aspiration: A search for a new language or tradition for Omani ArchitectureProject Name Oman Geology MuseumArchitectural Style Modern architectureKey architectural elements Uniform formsProject Description The mountainscape all around is the starting point of the concept of the project, though it is situated directly inside the mountain. The form of the masses is like a crack inside the mountain, which formed the three masses, which are the main art galleries of the project. The imposing presence of the solid form frames the building and shows it as if it is a part of the mountain. The building asserts itself proudly through its constructive form, expressiveness and strength.
AHMEDAL-SHAHRI
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MIDDLE EAST ARCHITECT | 03.10 | www.constructionweekonline.com028
STUDENT DESIGNSHOWCASE
University The American University of SharjahYear SeniorArchitectural inspiration The UAE’s traditional court-yard house and projects by Charles Correa for Bastakiya Cohousing Community Project.Career aspiration To inspire a new design approach to revive UAE’s architectural identity by bringing together traditional and contemporary form.Project Dubai’s Bastakiya Cohousing Community.Style A contemporary courtyard houseKey architectural elements Detached units that enable passage through the community whilst maintaining the traditional central courtyard and horizontal masses for climatic sustainability.Project Description Based on the sustainable cohousing model, the Bastakiya Cohousing Community serves its residents by providing contemporary living with shared facilities in order to enable interaction among the diverse residents who live there. The location and orientation of the entire community not only enables a social lifestyle but most importantly provides a sustainable approach within the building form in that provides protection against warm winds from the desert whilst making use of cool winds from the creek during peak temperatures through out the year.
The architecture of the community reflects that of the old courtyard houses of the Bastakiya located adjacent to the residen-tial community.
HANNAHALLAWI
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031
CASE STUDYLUSAIL DISTRICT
031 www.constructionweekonline.com | 03.10 MIDDLE EAST ARCHITECT
KEO’S LATEST PROJECT IN DOHA IS THE CORNERSTONE OF THE CITY’S NEWEST DISTRICT
MODERN MASHRABIYAT
aking full advantage of a profes-
sional relationship that goes back
decades and transcends geograph-
ic boundaries, Diyar Al Kuwait
(DAK) commissioned KEO International
in 2008 to design the pioneer project for
the Lusail District in Doha.
The programme for the project is
relatively straightforward. It is based on a
mixed use development consisting of com-
mercial, residential and retail spaces. It
encompasses 247,044m² of allowable area
– 159,989m² for commercial; 130,220m²
for offi ce space; and 29,769m² for retail.
The residential programme is com-
prised of 640 one-bedroom and two-
bedroom fl ats as well as 27 four-bedroom
duplex townhouses. The area allowable
for residential space is approximately
87,055m². Two basement parking levels
plus a partial ground for the mezzanine
level provide the 4,070 parking spaces
required for the development.
According to Dherar Al-Nisf, the project
manager from Diyar Al Kuwait, KEO’s de-
sign and build capabilities are unparalleled
and their vision for this site was spot on.
Speaking exclusively to Middle East Ar-
chitect, Al-Nisf considers its very typology
the most attractive element in the project
because a mixed-use facility is how a single
project becomes a functioning district.
“A stand-alone project was desirable for
everyone involved, including the master
developer Qatari Diar, DAK as the sub-de-
veloper and the whole city of Doha. Lusail
aims to provide a whole new district to the
city. This is our vision,” explains Al-Nisf.
Providing a turn key solution that
includes everything from architectural de-
sign to construction management, KEO is
working to ensure that the stringent time
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032 MIDDLE EAST ARCHITECT | 03.10 | www.constructionweekonline.com
CASE STUDYLUSAIL DISTRICT
The glass entrance volumes are wrapped in random lace-like patterns
of metal to mimic the quality of light found in traditional souqs.
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CASE STUDYLUSAIL DISTRICT
033 033 www.constructionweekonline.com | 03.10 | MIDDLE EAST ARCHITECT
ment in the Marina District. Lusail lies
north of Doha City and roughly 20km
north of the yet-to-be-completed Doha
International Airport and within a few ki-
lometres of the West Bay Development and
The Pearl – both of which aim to become
bustling urban centres in their own right.
The site is bounded by the creek at its
southern edge, the Gulf to the east and the
internal road network of the Lusail Devel-
opment at its northern and western edge.
“The tall towers are on the north side
because that’s where the main thor-
oughfare and the rest of the commercial
developments will be located. That posi-
tioning allowed us to put residential on the
southern and eastern points near the water
and away from the hustle and bustle,”
explains Patel.
Although ideal for residential and com-
mercial inhabitants, the site came with
some signifi cant challenges, the fi rst of
frame of the project is met. “We’re looking
to begin construction somewhere between
the third quarter of 2010 and the end of the
year,” says Al-Nisf.
KEO’s Abu Dhabi-based design director,
Raj Patel, shares his client’s optimism.
“[DAK] is hoping to be in the ground by
December. It’s aggressive but it’s doable,”
says Patel of the US$ 800 million project.
The master developer on Lusail is cur-
rently implementing the infrastructure
contracts on the entire development,
so when more projects do come on line,
they’ll be able to make full use of the
transportation, plumbing and electrical
facilities. In fact, the site for DAK’s mixed-
use development is what inspired a portion
of its design.
THE PROJECT SITEThe site for this project is located in the
southeastern corner of the Lusail Develop-
Because the brief
called for a mixed-use
typology, a key chal-
lenge the KEO team
was figuring out how
to integrate office,
retail and residential
space.
which was the sheer size of the project.
“The biggest challenge on the site was how
to accommodate the area we were allowed
– almost 250,000m² – within the guide-
lines that they were requiring in terms of
setbacks and building heights,” says Patel.
“If you look at the residential,” continues
Patel, “we have strung out the buildings
as far as we could because we couldn’t go
any higher than what they are now. We
were limited to 50 metres of height. The
residential had to be short and so the offi ce
buildings needed some height.”
Because the brief called for a mixed-use
typology, another key challenge for the
KEO team was fi guring out how to integrate
offi ce, retail and residential space – each of
which came with myriad height/aesthetic/
storey requirements under the guidelines.
Patel’s solution to the problem was a mod-
ern take on the ancient concepts of court-
yards, mashrabiya and elevated gardens.
The site for this project is located in
the southeastern corner of the Lusail
Development in the Marina District.
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MIDDLE EAST ARCHITECT | 03.10 | www.constructionweekonline.com034
CASE STUDYLUSAIL DISTRICT
KEO’S DESIGN SOLUTIONEach of the three offi ce buildings are
situated to address the main street and
provide excellent views of the social, urban
and natural space. The commercial build-
ings step from 25 storeys at the northeast-
ern portion of the site to 29 storeys at the
northwestern corner of the site.
Elevated sky gardens are located in
strategic locations of each tower to offer
tenants a connection to nature and break
up the mass of the building.
“We wanted to resort to vernacular
principles. That’s why the courtyard
and mashrabiya are there. The elevated
gardens have come out as a new typol-
ogy,” says Patel. “In the past, when you’re
building 1- and 2-storey buildings, it’s easy
to incorporate courtyards and mashrabiya.
But as we go higher and higher, we have to
introduce spaces that connect users back
to nature. Those courtyards allow us to
present a connection to a horizontal plane
that is open to the sun, no matter how high
we go.”
The courtyard was conceived as a buffer
zone. While the north side is aimed at
attracting people to the commercial space,
the south side provides privacy for the
residential space.
THE BEVELLED FAÇADEAesthetically speaking, the buildings have
a shard-like quality. They include sharp
angles and jagged, almost harsh, lines
at every turn. This, says Patel, was done
purposely. The facades developed for the
project are inspired by a vernacular vo-
cabulary, which deals with the transforma-
tion of patterns, protection from the sun’s
rays and privacy.
To achieve the desired affect, Patel used
various sizes of solid panels and glass.
He had to continuously strive to balance
between using all the space while ensuring
the fi nal product didn’t look like a multi-
coloured box. This aesthetic aim – as well
as a Lusail initiative that said no more than
50% of the façade could be glass – com-
bined to create the unique bevelled façade
of the project.
“We accepted that challenge and decided
that instead of just doing ribbons of glass
windows, we would study woven patterns
such as Bedouin rugs and tapestries,”
explains Patel. “Tilting the panels was a
function of studying those woven patterns.
We wanted to avoid a very fl at or static im-
age. We wanted something that would look
very interesting as the sun and shadows
moved throughout the day.”
Although they might seem randomly
placed, the bevelled pieces of the façade
are the byproduct of a mathematical
formula that can address any glass/façade
requirement. “We developed a very simple
module that allowed us to put in our main
lines and infi ll the pattern,” says Patel.
“So with the module, we could determine
where we wanted glass and where we
wanted solid. By doing this, we could go
anywhere from 5% to 90% glass.”
THE FINAL WORDThe resulting composition of the building
masses, which are unifi ed with gardens,
have the opportunity to create a land-
mark development for this site. The glass
entrance volumes are wrapped in random
lace-like patterns of metal to mimic the
quality of light found in traditional souqs.
The residential buildings play with an
array of stone, metal and glass to provide
maximum views of the water from the
units within. The facades create a dynamic
image for the project and respond to the
environmental conditions of the site by re-
specting traditional architectural concepts
but delivering them in a modern, contem-
porary way.
WE WANTED TO RESORT TO VERNACULAR PRINCIPLES. THAT’S
WHY THE COURTYARD AND MASHRABIYA ARE THERE. THE
ELEVATED GARDENS HAVE COME OUT AS A NEW TYPOLOGY.
RAJ PATEL
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FEATUREGLASS
036 MIDDLE EAST ARCHITECT | 03.10 | www.constructionweekonline.com
ARCHITECTURALGLASS: BEAUTYOR ECO-BEAST?FROM AN AESTHETIC POINT OF VIEW, ARCHITECTS AND CLIENTS SPECIFY THE INTERIOR AND EXTERNAL GLASS FOR A NEW BUILDING. WHEN IT COMES TO STRUCTURAL INTEGRITY, PERFORMANCE AND APPLICATION, ENGINEERS RULE. IF THE PROJECT REQUIRES AN INORDINATE AMOUNT OF GLASS, PERHAPS CONTRACTORS OR VALUE ENGINEERS WILL WEIGH IN WITH COST-EFFECTIVE ALTERNATIVES. THIS IS THE REALITY OF BUILDING IN THE MIDDLE EAST, BUT AT THE END OF THE DAY, WHO TRUMPS WHOM?
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FEATUREGLASS
037 037 www.constructionweekonline.com | 03.10 | MIDDLE EAST ARCHITECT
engineers are consulted only in the most
complex scenarios and architects are left
voiceless in the great debate about money.
IS THE ‘RIGHT’ GLASS IMPORTANT?Matching the glass system with the style
of the building and the context in which it
sits is extremely important. The quality of
the glass, in terms of structural, physical
and thermal properties, is paramount to
achieving a building that looks and func-
tions properly.
“Especially in hot regions like the Gulf,
the energy performance and comfort
levels of a building clothed in glass are
totally dominated by the choice of glass,”
explains James Law, chairman and
founder of Hong Kong-based James Law
Cybertecture International (JLCI).
Having designed several projects for
the Middle East and India using glass that
does what it promises is crucial for JLCI.
Because glass can range from fully
transparent to fully opaque or refl ective,
and can be specifi ed in virtually any tint
or colour, aesthetics is less of an initial
concern than function. As Kareem Negm,
LEED AP and architect at Dar Al-Han-
dasah (Shair and Partners), points out,
‘function’ in the Middle East means more
than just energy-effi ciency.
Of course, double glazed, low-U glass
should be specifi ed externally to reduce
solar gain but because of cultural privacy
issues, residential projects will almost
always opt for fully refl ective or dark
tints, regardless of effi ciency levels of the
glass. Internally, however, aesthetics take
priority.
IS GLASS A LIABILITY? In the more moderate climates of Europe,
North America and parts of Asia, glass
can be an extremely versatile material
that can simultaneously address effi ciency
and design challenges. But, climates in
the Gulf are harsher; they require materi-
als that function at higher levels and,
therefore, require careful consideration
during design and specifi cation.
WE’RE CREATING GLASS BOXES THAT ARE HEAT MAGNETS. THEY LOOK NICE BUT OFTEN TRAP THE HEAT INSIDE AND THUS COST A LOT OF MONEY TO COOL. THIS COOLING PROCESS HARMS THE ENVIRONMENT IN A TREMENDOUS WAY.
I n the Middle East, does the architect’s
opinion reign supreme? Or, are the
value engineers the behind-the-scenes
budgetary saviours when it comes to
making decision on glass? Do building
owners or developers really even care what
goes where, as long as the building sells?
All of these questions beg one last, fun-
damental question: Is architectural glass
a decision of functionality or aesthetics?
This much we know: architecture is
about creating space. Architects design
structures to be experienced. To remove
the experiential element from a structure
is to render it a sculpture rather than a
piece of architecture.
Few materials are as directly respon-
sible for infl uencing the way in which
users experience a structure than glass.
Whether its intent is form or function, the
versatility of glass is unparalleled.
Middle East Architect caught up with
building professionals around the world
to talk about the importance of using the
‘right’ glass for the right project.
WHO’S MAKING THE DECISION? Richard Wagner, architect at dxb lab
describes an ideal scenario. “In an ideal
nutshell, the architect specifi es the type of
glass, the engineer verifi es that choice, the
contractor builds it, and the developer sells
a quality project as desired by the clients.”
It doesn’t take an astrophysicist to
know that in Gulf architecture, things
don’t often work that way. In a region
where quality can quickly be supplanted
by quantity, architects often struggle with
contractors and value engineers convinc-
ing clients that using a less advanced
product will have little infl uence on how
the building looks or performs.
Thom Bohlen, chief technical offi cer at
the Middle East Centre for Sustainable
Development, understands the impor-
tance of consulting with qualifi ed profes-
sionals when considering glass.
“Architects normally specify glazing for
their buildings, but typically they get input
from structural engineers, glazing contrac-
tors, glazing suppliers and, of course,
from the green building consultant,” says
Bohlen. “The appropriateness of the U-
values of the system, transmittance factors
and shading coeffi cients can all greatly
affect energy consumption in buildings.”
All too often, however, developers or
contractors in the Gulf decide on a type
of glass or facade system depending on
budget or preference of origin. Specialty
Chad Oppenheim, founder and principal
of Miami-based Oppenheim Architec-
ture + Design, often says: “Building glass
refrigerators in the desert doesn’t make a lot
of sense.” Oppenheim’s logic is doubly poi-
gnant given his experience and the context
in which he works. So, the obvious question
remains, is glass a liability in the Gulf?
“I think any material can be a ‘liability’
if used improperly or unwisely, or where
all considerations in the use of that mate-
rial are not considered,” says Bohlen.
“Well if you look at it from an environ-
mental point of view then yes. We’re cre-
ating glass boxes that are heat magnets.
They look nice, but often trap the heat
inside and cost a lot of money to cool. This
cooling process harms the environment in
a tremendous way,” agrees Negm.
Wagner takes the argument a step fur-
ther to suggest that the ‘liability’ aspect of
glass doesn’t rest wholly with the material
itself. “There is always an element of li-
ability in glass, no matter where you are
located,” he explains.
“The reason that there appears to be
a lack of versatility in this market can be
largely attributed to the fact that the local
manufacturing industry has not developed
a diverse and feasible enough repertoire,
which in return has hampered construc-
tion of avant-garde designs... At the same
time we have to consider the environmen-
tal aspect of shipping tonnes of products
halfway around the globe,” adds Wagner.
THE FINAL WORDIt seems clear that the key to using glass
correctly and responsibly lies in the abil-
ity of architects, contractors, developers
and engineers to be collectively mindful
of its climatic challenges and specify the
product in conscientious ways.
The challenges include high heat and
humidity, blowing sand particulates and
plenty of solar gain. Anytime you can
avoid the sun’s rays from directly strik-
ing the glass you have gone a long way
towards making the facade and interior
more effi cient.
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MIDDLE EAST ARCHITECT | 03.10 | www.constructionweekonline.com038
FEATUREGLASS
SOMFYSomfy’s internal blinds allow users to alter the look and feel of any setting. The blinds help control heat transfer, reduce glare and help protect your furniture and floor coverings from fading – all at the touch of a button. Somfy’s internal blinds come in several styles including: aluminium/wood-en venetian blinds, pleated blind, roller blind, fabric Roman blind, nets or curtains. For the full range of products/ser-vices, check out www.somfy.com.
SCHÜCOSchüco’s fully integrated PV systems turn sunlight into electricity, delivering free electricity to your home. It’s third-generation, highly integrated thermal systems captures heat from the sun, uses it to heat water and then stores the water in a high-efficiency tank for use in the home. For the full range of products/services, check out www.schueco.com.
SCHEUTENBy applying advanced coating technology, Scheuten can now combine ample light penetration, with effective solar control. Scheuten Glass offers a combination of solar and efficient heat reflecting properties with Isolide Brilliant glazing. It affords architects almost unlimited possibili-ties for designing transparent facades without making concessions to interior climate control. For the full range of products and services, check out www.scheuten.com.
SAINT GOBAINNowadays the diverse range of glass types, functions and performance allow architects the freedom to be creative and original with glass design. Be it thermal insulation, acoustics, safety/security, self-cleaning or solar control, Saint-Gobain Glass has an extensive range of high per-formance solutions for the construction market. Products directly related to solar control include: Planitherm Total, Planitherm 45, Cool-Lite, Bioclean Cool-Lite and Priva-Lite. For a complete list of products and services, check out www.saint-gobain-glass.com.
ENERGYGLASSSpecialists in building integrated photovoltaics (BiPV), EnergyGlass uses poly vinyl butyral (PVB) for its PV modules, which was specially developed for use with solar energy. PVB is the material typically used for layering the safety glass in curtain walls, glazing for roofs, parapets/balconies, shading windows, greenhouses/gazebos and anti-noise barriers. EnergyGlass products have been researched, developed and supported by the Universities of Milan and Turin. For a complete list of products and services, check out www.energyglass.eu.
ROMAGRomag is a UK-based manufacturer of specialist transpar-ent composites to the security, renewable energy, architec-tural and specialist transportation markets. The Company produces a range of laminates, including laminated photovoltaic solar panels generating renewable energy. Key areas of activity are the supply of photovoltaic (PV) solar panels and glass and glazing products to the renewable energy, architectural, safety/security and transportation markets. For a complete list of products and services, check out www.romag.co.uk.
IN SOLAR GLASS
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039www.constructionweekonline.com | 03.10 | MIDDLE EAST ARCHITECT
23FEBRUARY 13–19, 2010 CONSTRUCTION WEEK
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040 MIDDLE EAST ARCHITECT | 03.10 | www.constructionweekonline.com
SAUDI PROJECTSHOWCASE
DEWAN’S COURTYARDCONCEPT IN AL SHEGERY
Al Shegery’s dimensions are
700m x 800m with an area of
535,000m² and a total BUA
of 1,337,500m². The project,
which is currently in concept design
phase, will contain residential buildings,
a 150-room hotel, a preliminary school, a
healthcare facility, retail space, a mosque
and a health club. The entire complex will
be comprised of buildings that range from
G+4 to G+8 which increase toward the
centre of the project and reduce toward
its periphery.
The urban design strategy of the project
depends on situating the buildings as
vehicle-free clusters to create an atmo-
sphere of the traditional Arabian neigh-
bourhood, which allow for safe and secure
interaction between residents.
The public realm is strongly identifi ed
by a large mixed use retail area, which
includes a massive plaza and ample open
space for social interaction. The plaza
forms the focal element of the design and
distinguishes its role as a district centre.
Its identity is supported by public parks,
which fl ank either side of the plaza and
give the project a visual balance.
Visual corridors focus on the central
plaza and form the basis of the infra-
structure network as well. All of the
project’s principle roads lead to the open
public space. This section is supported by
pedestrian walkways linking the primary
interaction spaces.
Screening or allowing solar radiation
according to season and/or microclimate
is an important function of the Arabian
courtyard, and Al Shegery’s large scale
urban courtyard plays a similar role in
this project.
The climate modifying action and
airfl ow pattern of a courtyard allows
warmer air to be drawn downward into
the courtyard, which is then cooled by
tree shade, proper orientation and evapo-
rative cooling from the myriad water
features. Cool air then moves horizon-
tally through the courtyard to cool the
surrounding residences.
RICHES OF
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SAUDI PROJECT SHOWCASE
041 041 www.constructionweekonline.com | 03.10 | MIDDLE EAST ARCHITECT
WOODS BAGOT’SBUTTERFLIES AND BIOMIMICRY
Woods Bagot recently
released designs for
a single building in
Riyadh’s King Abdullah
Financial District that is being touted as
“an exemplar of the modern workplace”.
The design of the building is borne of
a deep understanding of the principles
of mathematics and pays homage to
the geometric ideals that underpin the
Islamic structures of the region.
The shape of the building is derived
from a nested and repeated fractal form,
which has been designed with Islamic
patterns in mind. By following math-
ematical rigour to create an interlocking
and infi nite geometric pattern, the de-
sign creates a balanced and harmonious
building form.
“In developing this iconic form, our
inspiration has also been to learn from
the immediate context to ensure regional
relevance and to address brief require-
ments,” said a statement from Woods
Bagot. “Bio-mimicry of the structure of
The shape of the
building is derived
from a nested and
repeated fractal
form, which has been
designed with Islamic
patterns in mind.
the desert butterfl ies’ wing has been used
to inform the skin of the façades which
are interpreted to provide solar shading
while optimising the view out and incor-
porating photovoltaics.”
The building was created as a response
to what the client felt was a disconnect
between its four separate buildings of
operation. Woods Bagot addressed the
concern by developing an optimum fl oor
plate which creatively reconsidered
the central.
In the KSA building, the central core
has been replaced with an internal verti-
cal courtyard that visually and physi-
cally connects the entire building. The
functional requirements of the central
core have been split and located in two
smaller cores at the east and west ends of
the building.
These cores not only provide protec-
tion from high heat and solar loads, they
are also more structurally effi cient. To
avoid glare, a light funnel at the top of
the atrium harvests sun- light and he-
liostats bounce light deep into the heart
of the building.
A broad range of sustainable initia-
tives that address energy, water, indoor
environmental quality and mate-
rial use all combine to amass enough
sustainability credits to achieve a LEED
Platinum rating.
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SAUDI PROJECTSHOWCASE
042 MIDDLE EAST ARCHITECT | 03.10 | www.constructionweekonline.com
FXFOWLE’SKAFD PARCELS
Riyadh’s King Abdullah Financial
District (KAFD) aims to provide
a new fi nancial district that inte-
grates business and recreational
activities, while creating a new identity
for the Saudi urban centre. Programmatic
components required space for offi ce,
residential, educational, sports, retail
and cultural facilities. Although four sites
comprise FXFOWLE’s portion of the
development, they were considered and
designed as a single mixed-use project.
The design of FXFOWLE’s KAFD
Parcels proposes a separation between
pedestrian walkways, vehicular traf-
fi c, and public spaces within each site.
The fi rm’s intent is to create dynamic,
visually porous structures, while also
drawing attention to three distinct levels
of public space.
A wadi bed connects the four build-
ings, one of which is a Mosque. Enclosed
pedestrian skywalks encourage circula-
tion while a monorail system promotes
the use of public transportation.
Musheireb aims to
improve quality of
life for all Doha
residents
Set within the most updated
master plan for the Al
Imam Muhammad Ibn Saud
University, TYPSA’s Centre
of Islamic Studies & Dialogue of
Civilizations aims to be an integral part
of the university’s spirit and a champion
of the Riyadh identity.
Approximately 65,000m², the Centre
needed to serve as a landmark because
of its distinct location as well as a
symbol of architectural and design ex-
cellence because of its unique concept.
While the concept has only recently
been approved, the process came with
two specifi c requirements from the cli-
ent: a) The Saudi Arabian fl ag must be
the primary reference in developing the
building; b) The building and master
plan must explicitly represent the fi ve
pillars of Islam.
In response to these challenges and
in an effort to achieve the client’s vision
of the project, TYPSA worked with the
design of the KSA fl ag to reconfi gure
its geometric rules without changing
the meanings and power of its graphic
confi guration. Hence, the conceptual
site was reconstituted by raising the
fl ag scripts facing Mecca and also by
subdividing the base that supports this
meaning in four different pieces oriented
to each local cardinal point.
After the implementation of that key
design component, the development of
the complex became smoother; introduc-
ing the preconceived functional program
of 65,000m² (approximately) all around
the four lower areas and the tower.
An internal podium-level patio gath-
ers together the users of the 500-seat
auditorium and museum as well as visi-
tors to the restaurants and low-rise hotel
development at the north. From this
point, the tower grows and is activated
by the sensation of embracing the social
gatherings and cultural activities—which
is a main objective of the Centre.
TYPSA’S CENTER OF ISLAMIC STUDIES& DIALOGUE OF CIVILISATIONS
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043www.constructionweekonline.com | 03.10 | MIDDLE EAST ARCHITECT
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THE SKETCHBOOKAL KADIMIYA
044 MIDDLE EAST ARCHITECT | 03.10 | www.constructionweekonline.com
Location: Al Kadimiya District (Baghdad), IraqArchitect: Dewan Architects & EngineersWebsite: www.dewan-architects.com
DIMIYA
MIDDLE EAST ARCHITECT | 03 10 | www constr ctionweekonline com
tion: Al Kadimiya District (Bagghdad), Iraqitect: Dewan Architects & Engineerssite: www.dewan-architects.com
RENOVATIONOF AL KADIMIYA
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THE SKETCHBOOKAL KADIMIYA
045 045 www.constructionweekonline.com | 03.10 | MIDDLE EAST ARCHITECT
THE STRATEGIC CONCERN OF OUR DESIGN WAS TO FIND METHODS TO ADAPT THE AREA TO CONTEMPORARY DEMANDS WITHOUT DAMAGING THE SPIRITUAL LEGACY CONTAINED IN ITS SURVIVING HISTORIC STRUCTURES. THE AREA NEEDS TO BE REVIVED IN SUCH A WAY THAT THE PLACE DOES NOT LOSE ITS ‘SOUL’, AND THIS WAS ONE OF OUR MOST IMPORTANT CONSIDERATIONS THROUGHOUT THE DESIGN PROCESS.
The Dewan team
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047
THE LAST WORD
47www.constructionweekonline.com | 03.10 | MIDDLE EAST ARCHITECT
Can you highlight a project that you have worked on that is particu-larly inclusive?SM: We have recently been working on an
interior design concept for a competition-
winning entry for a drug rehabilitation
centre at Bosence Farm, Cornwall, in the
UK. Because the psychological wellbeing of
people fi ghting drug addiction is especially
important, the focus has been on the interior
use of colour.
Whilst maintaining a relatively neutral
but warm background, the aim is, with the
input of local artists, photographers and
then residents, to introduce photographic
images of local scenery at selected locations
within the building, with colour extracted
from these images.
When it comes to making de-signs inclusive, what advice would you give to interior designers work-ing in this part of the world?SM: Go beyond just wheelchair user access
to sensory and psychological aspects of in-
clusive design. Understand the relevance of
inclusive design to the sustainability agenda,
the relevance of the cultural context and the
relationship between capital investments
made by your clients, the productivity of
their staff and the willingness of their clients
do business.
Ibecame interested in design that includes
disabled people during my studies 20+
years ago, which led me to receiving an
Access Prize for one of my designs. After I
qualifi ed as an architect I also worked with
disabled people for Social Services.
Several years ago, I was approached
by Stride Treglown and was then able to
become a Consultant Member of National
Register of Access Consultants, through the
relatively unusual combination of experi-
ences that I had gained.
As an access consultant, my role is about
providing advice to both the client and
design teams regarding the relationship
between costs and risk, between investment
and value, and between design decisions and
how one might manage buildings inclusively,
once completed.
How do you defi ne ‘inclusive’ design? SM: Simply put, it is designing for everyone
– including disabled people. We also call this
‘universal design’. It is not just about wheel-
chair users, but people who have diffi culty
with movement, vision, hearing, learning
and/or language. It includes children/par-
ents, pregnant mothers and elderly people.
I compare it with a pair of spectacles;
although I have diffi culty seeing without
spectacles, I am not considered disabled.
Likewise, rather than the focus being on
someone’s disability, the aim is to design
environments that can be managed in a way
that ‘enables’ rather than ‘disables’.
Is this still a relatively new concept? How much awareness do you see in this part of the world?SM: The concept of inclusive design has
only gained momentum in countries such
as the US, UK and Australia within the last
20 years – due to legal requirements. Even
so, the relationship between design and the
psychological wellbeing of occupants is still
little understood, even though it impacts
employees and customers, and can affect
clients’ productivity and revenue earning
activity. This is a subject in which I have
particular interest.
Inclusive design is still a much newer
concept in many parts of the Middle East,
where there is a need for design guidance.
Many buildings and external places lack the
application of inclusive design.
Inclusive design considerations very
much depend on the nationality of the
design teams involved. However, as with
sustainability, there are signs that this is
about to change.
Where countries are embracing not only
environmental sustainability, but social
and economic sustainability, there is the
potential to take inclusive design forward at
a faster pace than elsewhere.
How do you put the case for inclusive design?SM: Where designs are inclusive, people
function better, and the environments cre-
ated can be considered to be more valuable.
Inclusive design is about investment in our
most precious resource, people, and is there-
fore about sustainability.
INCLUSIVEDESIGNBY STEVE MASLIN, STRIDE TREGLOWN
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ARCHITECTURE COMPARE & CONTRAST
048 MIDDLE EAST ARCHITECT | 03.10 | www.constructionweekonline.com
HORSE RACETRACKSBATTLE OF...
Location Louisville, Kentucky, USAFounded 1875Owner/operator Churchill Downs Inc.Renovation (2004) Sullivan & CozartCost of renovation US $121 millionFacilities Museum, cinema, training facilities, clubhouseDirt track 1.6kmTurf track 1.4kmSpectator capacity 50,000 (stands); 150,000 (including paddock)Renovation start 2001Renovation finish 2005
Facts• The twin spires atop the grandstands are the most recognizable archi-
tectural feature of Churchill Downs. They were designed by architect Joseph Dominic Baldez and built in 1895.
• In 2006, it became the first horse track to host a Rolling Stones concert. • Phase II saw 4,500 tonnes of structural steel used for the clubhouse.• On June 5, 1907, African-American jockey James Lee set a record that has
never been beaten when he won the entire six-race card at Churchill Downs.
CHURCHILL DOWNSLocation Dubai, UAEFounded 2010Master planner TAK (Malaysia)Construction CSCEC & Mammut Building SystemsTotal area 18.6 million m²Facilities Museum, marina, IMAX, golf course, 8,622-vehicle car parkDirt track 1.7kmTurf track 2.4kmSpectator capacity 60,000Project start June 2007Grandstand finish January 2010
Facts• The upper side of the roof contains 4,840 PV panels which generate
750kw of electricity.• The underside of the roof is made of titanium and took 9,000 tonnes of
steel to create. • Features the world’s largest LED screen with a screen area of 1,213m².• The cantilevered crescent runs 426m in length and spans 56m across.• The grandstand is 1.6km long, or the length of 22 Boeing 747s.
MEYDAN RACECOURSE
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