ME Architect - March 2010

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

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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

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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

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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.

EDITOR’SLETTER


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

INDUSTRYHIGHLIGHTS


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.

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INDUSTRYHIGHLIGHTS


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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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

COMMENTDR ALAA MANDOUR


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.

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.

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


AHMEDAL-SHAHRI

Sultan QaboosUniversity

ALIYA A.SATTAR YAQOOB

AL-HASHIMSultan Qaboos

University

ASMAAAL SAADISultan Qaboos

University

MOMNA ARSHAD


A LOOK AT SOME OF THEGCC’S BEST STUDENT

DESIGNERS

PAG

E 18

PAGE 19

PAGE 20

PAGE 21

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PAG

E 24

PAGE 25

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PAG

E 28

PAGE 23

KNOWLEDGE


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

MIDDLE EAST ARCHITECT | 03.10 | www.constructionweekonline.com


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

MIDDLE EAST ARCHITECT | 03.10 | www.constructionweekonline.com020


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



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



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

023



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



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



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



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



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



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

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



The glass entrance volumes are wrapped in random lace-like patterns

of metal to mimic the quality of light found in traditional souqs.



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.



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

FEATUREGLASS


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?

FEATUREGLASS


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.


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

039www.constructionweekonline.com | 03.10 | MIDDLE EAST ARCHITECT

23FEBRUARY 13–19, 2010 CONSTRUCTION WEEK


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

SAUDI PROJECT SHOWCASE


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 sunlight 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.

SAUDI PROJECTSHOWCASE


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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THE SKETCHBOOKAL KADIMIYA


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

THE SKETCHBOOKAL KADIMIYA


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


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

ARCHITECTURE COMPARE & CONTRAST


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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

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ME Architect - March 2010

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