T H E E X A G G E R AT E D M A S H R A B I YA - E L E VAT E D C I T Y -
A I M I N ATA S YA Z A H A N I DS22
CONTENTS STUDIO BRIEF
1
PROJECT 1 PROJECT BRIEF INTRODUCTION TO SITE L E G E N D N A R R AT I V E KEYWORD MAP CONCEPTUAL DRAWINGS DESIGN DEVELOPMENT DEVICE COMPOSITION PHOTOS OF DEVICE MAPPING D E V I C E N A R R AT I V E DRAWINGS
2 4 6 7 8 10 12 16 18 24 26
FIELD TRIP
TRIP SUMMARY C O L L A B O R AT I O N W O R K S W I T H H C T
34 36
PROJECT 2 PROJECT BRIEF FILM STUDY ELEMENTS OF MUTTRAH MANIFESTO S I T E A N A LY S I S N A R R AT I V E S E C T I O N U R B A N S T R AT E R G Y SITE PLAN SITE SECTION TYPICAL GROUND FLOOR PLAN CUT SECTION OF MARKET T E C H N I C A L D E TA I L S MOMENTS
40 42 44 48 50 52 54 56 58 60 62 64 66
STUDIO BRIEF This year’s theme ‘Sin-City, Silent City’ reflects the current paradoxes at the Persian Gulf. With the latter possessing half of the world’s total oil reserves, it is no surprise that it has been a centre of global attention and conflict. Today, the Strait of Hormuz as the passageway for the world’s oil market, is seen as the world’s foremost checkpoint. As Fraser and Golzari explains: “Cultural variants, ethnic divides and other enmities currently divide the two sides of the Persian Gulf – and yet, equally, it has been a singular entity for most of human history.” The urban face of the Persian Gulf is changing. Between the northern and the southern edge, dramatic architectural language is being created. On the southern side of the Gulf, lies what we call Sin Cities. The cities are abstracted to a space of sleep and consumption overtaken by the power of the market economy. In the city of Dubai and its neighbouring emirates, the ‘free for all’ architectural approach is creating a surreal cityscape where alien interventions collide with the cultural context. While on the northern Iranian edge, silent cities continue to defy their omission from the world political equation. Communities are forgotten and excluded from the landscape to live in what we call Cities without Names. These however, remain as resilient cities constantly bouncing back to survive. Many are left untouched with a unique landscape, cultural, environmental and spatial practices that add to their magic. And yet, with the political and economic pressure, some are tempted to emulate their southern neighbours in their quest for change. Stemming from the need for an alternative discourse and a critical form of architectural practice that engage with spatial, social and environmental realities, our aim is therefore, to re-construct new architectural narratives on the Gulf and at its edge that debate the so called culture of ‘Dubaisation’. With practical, speculative or ironic architectural proposals, we are to create fictional future scenarios that can nourish a space of possibility and imagination for these Silent Cities that can respond to the aspiration of their inhabitants. In this fascinating and often contradictory region, you are to critique, question and imaginean alternative architecture that can interrogate the notions of power, globalisation, locality and resilience to inform the future geography and the architectural vision of the Persian Gulf.
1
PROJECT 1 - W H I L E YO U A R E O N LY PA S S I N G BY Working in groups, the task is to design a device or a fragment of a device that can map, provoke, or activate the following: • Environmental qualities and unique landscape Taking advantage of the natural phenomenon there • Form part of legends associated
the fictional with these
stories silent
and cities
• Choreographing narratives of the absent communities
2
3
Al Jubail Bandar Abbas Qeshm
Dammam
Kish Bahrain
Khasab Qatar
Persian Gulf
Dubai
Abu Dhabi
Muscat
Silent cities sit invisible along the Persian Gulf craving to be awakened through the endless possibilities. The locals believe that the Star Valley came to life at night leaving them fearful of inhabiting the plateau. This along with the narrative and legends of the site attracted us to the silent city of Qeshm as well as our interests on emphasizing the existing natural beauty of the landscape in the remaining time the valley has due to its fragility and climate effects perhaps ceasing to exist forever in the future, erasing its history and tradition entirely. We aim to awaken the silent city and its locals in hopes that it will remain true to its tradition and history avoiding the fate of a sin city.
4
S TA R VA L L E Y
Qeshm Island is a UNESCO global Geopark that takes the form of a dolphin in the Strait of Hormuz on the Southern Coast in Iran. The preservation of the island is supported by Green Tourism activities managed by the locals. Thus, the valley is the most visited amongst all Geosite due to its uniqueness dating back to the Cenozoic period of 2 million years ago. The exposed geological formations and morphology of the site has been shaped by the result of erosion by seasonal rainstorms, surface waters, wind and gravity through time and at some points as narrow as half a meter, creating a rare masterpiece of nature and range of remarkable landscapes and beautiful rock deserts. There are two main layers of sedimentary; a soft layer made up of light colour in contrast to the thin layer made up of hard nature in white or dark grey. The bottom soft layer is at risk to erosion although the layer above is resistant to this erosion process due to the natural cement limestone. Resulting in the smaller canyon structures to be morphed into the shape of pillar columns of which some are needle-shaped. Despite the appearance of rigidness of the geological valley, some areas are critically soft, vulnerable and emptied by erosion.
5
Hormuz Bandar E Laft
L E G E N D N A R R AT I V E We are interested in the theme of Stars (Light) & Wind (Sound) inspired by the narratives of the Stars Valley or as the locals call it ‘Estalah-kaftah’ meaning ‘The Fallen Star’. The narrative is based on the local belief that a star (meteor) descended from the skies many centuries ago rapidly hitting the landscape forming a unique plateau. The indigenous people of Qeshm believe that the collision elevated the existing limestone in the air, freezing them in time. These geological forms create mysterious howling sounds from the winds at night, which the locals believe is evidence of the presence of supernatural spirits or ‘jinns’ haunting the valley, creating an uninhabitable environment. It is believed that the labour workers of Qeshm migrated to sin cities for job opportunities to seek a better life. Whenever they get too tired of the soaring heat and concrete jungle, they often spend time on top of the skyscrapers where the horizon of the sin city and beyond can be seen. They sought solace in the shooting stars falling down on earth, perhaps somewhere near their homelands, dreaming of freedom like shooting stars in the sky and hoping one day to return to their families. However due to the uprising of these sin cities, the workers based on concrete facts, where mistreated and forgotten, unfairly paid with little rights. Within some vulnerable and health risk working conditions, some cases led to death. Like their last ever wishes of life, these wandering souls are attracted to Star Valley where time was once frozen when a huge star struck the plateau, which is believed, as a place where their spiritual journey begins. At night, the boundaries of earth and sky, humans and spirits, physical and metaphysical, real and imaginary are blurred. The souls at the Star Valley then invite other lost souls with loud howling sounds. Star Valley is not only a place of spiritual gathering but also a place to celebrate the nature, legend and remembrance of souls as the spiritual presence is revealed through the notion of sound and light. 6
Bandar E Doulab Basaidu
Tabl Salakh
Dargahan
Qeshm Suza Hengam Island Star Valley
Larak
Emotions
Sensation
Constellations
Invisibility Wind
Super Natural Spirits
Invisibility Mysterious
Voids
Predicting Future
Star
Sound Plateau
Howling
Verticality
Light Illuminate
Erosion Layering
Texture
MANIFESTO The stars from the legends metaphorically influence the formation of the plateau while creating this vertical connection from the sky to the earth. We aim to combine a hybrid of these notions into a device that will both map and provoke. Through the notion of wind (sound) we aim to activate the sounds of the mythical ghosts or noise made by the winds within the voids of the valley transforming it into a peaceful sound ultimately inviting the locals back into the site removing all fear of the legends they grew up believing in and transforming the metaphysical into the physical. The notion of sound will be connected to the notion of the stars (light) through the rhythmic pattern of the sounds into the flicker of lights imitating the flicker of the stars creating a dialogue between the ground and sky vertically through an invisible and metaphorical connection. These flickers of lights will map out a potential pathway for the locals inviting them into the now peaceful and illuminated valley. The device will celebrate the existing erosion because it is a natural element that cannot be avoided or stopped through any device, we do not want to defy natures course but emphasize on it bringing the locals to the site to cherish its history. 7
CONCEPTUAL IDEA
The idea of the project is to create a vertical bridge connecting the unique landscapes with the beautifully star lit sky where the boundaries of earth and sky, humans and spirits, physical and metaphysical, real and imaginary are blurred.
8
ABSTRACT DRAWING
From the precedent studies, a few elements have inspired us and have formed an abstract drawing which represents the device, bridging the city with space, in some way projects lights and capturing wind forming a beautiful landscape for the villagers to interact with the Star Valley.
9
Sketch of Bow Element
Sketch of Bow Element
Sketch of Bow Element
Device
Elevation of Element
Tutorial Sheets
10
2
3mm Rod 1
1
Plan
2 2
s
11
DEVICE COMPOSITION
TOP VIEW
SIDE VIEW 12
FRONT VIEW
Wind Catcher
5mm Acrylic Sheet
3mm Metal Rod
Violin Strings
Bow
3mm Metal Rods
Arduino
Fishing Wire Radio
Metal Frame
AXONOMETRIC VIEW
EXPLODED VIEW 13
The wind catcher moves with the strong winds of the valley rubbing the bows against the violin strings to create a peaceful sound. This metaphorically show the presence of the ‘jinns’ within the valley. The sounds produced then translate to fickering lights lighting up the dark valley. The radio attached to the device is used for visitors to communicate with the jinns throughout Star Valley.
14
15
16
17
18
STAR VALLEY
SOUNDS OF THE JINNS The howling sounds of the ‘jinns’ (wind) are concentrated more on certain areas where the valley is narrower. This results in a stronger wind movement which trigger the devices more viciously.
19
20
F L I C K E R I N G S TA RS Howling sounds of the ‘jinns’ move the windcatchers, brushing the bows against the strings creating sound that triggers the flickering lights. The narrow and hollow valleys light up brigther due to the strong wind movement passing through.
21
22
DIALOGUE BETWEEN THE SKY AND EARTH The device becomes a medium of communication between the ‘jinns’ and the humans. The sound recorded by each device is used as a dialogue for the ‘jinns’ to narrate their past life experience to the visitors of the valley. 23
D E V I C E N A R R AT I V E Building upon the inspiration from the narrative, we aim to amplify and exaggerate people’s experience through a series of interrelated devices throughout Star Valley’s path. The experience is emphasized along the realm of the real and unreal where it creates a virtual connection between the visible and the invisible. The idea is to create a surreal journey through the valley by introducing device interventions which will intensify the notions of stars, frozen in time and the seemingly intimidating souls at Star Valley.
24
25
26
INVISIBILITY Translation of metaphysical to physical happens within this journey in the valley, where people is imagined to venture across the threshold into the invisible dimension which simulate unreal sensual experience complemented with a taste of the intangible. This journey is like a dream where people experience the real and unreal without a boundary. 27
28
I N H A B I TAT I O N This will form a network within Star Valley constituted of individual device which scattered across the surreal landscape of the valley, taking specific positions according to the condition of that area. The long vertical rods of the device which extend imaginatively to the sky full of stars, act as a ‘beacon’ in the dark to guide the lost souls. This in turn reflects the location of the souls wandering as the device itself becomes the ‘refuge’ for the lost souls. Each lost soul will reside in one of the devices and this is thought to be the process of providing identity to these souls in the Persian Gulf region, allowing them to settle down permanently or temporarily, before embarking on their next journey. The device is fundamentally a mean of communication between the souls and the people, where the soul (wind) activates the device by moving the tall vertical rods which in turn trigger the movement of the horizontal bows below. The movement of the bows rubbing against strings of different thickness produces an orchestra of sounds. This sound will then activate the flickering of the dangling lights through sound sensor, creates waves of light depending of the sound produced. This is the communication from the souls to the people. Each of the devices is equipped with a sound component controlled by a frequency meter, which people could adjust to activate different audios from the archive of recorded sounds of the valleys (from the sound of rock falling to wind howling). This successively activates the sensor which then generates a different pattern of light flickering. This is the reply from people to the souls.
29
30
GROWTH In order to maintain the idea of spiritual(emotional/mental) communication and interaction, it is aimed to have the whole network of devices to be formed and established though an uncontrolled methodology. Visitors are given a module (device) each at their entrance to the valley and they will decide the location to install the device based on their personal experience of Star Valley. There will be a series of pre-installed modular frames attached to the valley wall for the visitor to fix the device. This creates an unpredictable process and it is happening naturally, along with the unseen souls and the dynamic changing landscape. 31
32
IDENTITY Star Valley will eventually be populated by series of devices, creating a strong connection between each modules (the souls, unreal), the people (the real) and the eroding landscape (the space). Once the network is complete, a coordinate system will identify the location of every devices out in the field, and compile the data into a coordinate code system, recording the number of times of activation of the devices. This system will eventually build an archive of communication scripts between the real and the intangible over time, thus giving identity and a sense of belonging to the lost souls. 33
FIELD TRIP M U S C AT - K H A S A B - D U B A I The field trip was a ten day journey across the Gulf visiting three different cities and countries facing one another. We experienced the significant spatial characters shaped by the Gulf of Oman, on the Arabian Peninsual - which has been less dependent economically on the Persian Gulf - and then crossing the Straits of Hormuz to reach Khasab. From Muscat the capital of Oman - that has managed to create a relatively good balance between its cultural practices and economic desires-- we took a ferry that passed by the edge of Emirates to reach Khasab, an exclave of Oman wihtin United Arab Emirates. We mapped the coastal edge mountain villages and green valleys overlooking the northern edge of Iran. After the ten official days, the studio parted journeys as some headed back to London while some of us continued our journey to Dubai to experience the contrast of the cities culture and architecture.
34
35
C O L L A B O R AT I O N W I T H H C T S T U D E N T S THE ROOF OF MUTTRAH The field trip was a collaboration with academic partners in Oman from the Higher College of Technology who joined us along with their students in our journeys. During the few days in Muscat, we had a workshop where students from Univeristy of Westminster and Higher College of Technology worked together in smaller groups. Each group were to choose a site from Muttrah and propose interventions in the specified areas. The briefs included specific requirements, however we were allowed to propose suitable interventions to further develop the “in between spaces�. A final presentation was given by each group explaining our proposals which included some drawings. My group specifically proposed an elevated walkway for the locals of Muttrah seperating their daily lives from the tourists.
36
Scanned by CamScanner Scanned by CamScanner Scanner by Cam Scanned
37
38
39
PROJECT 2 - PREDICTING THE RESILIENT CITY The proposal for Project 2 is to transform the silent city into a resilient city. The idea is to bring the surface the absent communities that have been excluded offering them new roles and possibility in a post-Oil era. Drawing from the findings in the firat project and field trip, in project two architecture and drawings are used as tools to predict and imagine a fictional future scenario for the Silent Cities that have been visited or passed by. • Would the predicition for a resilient city be a new form of ‘collective’ going beyond the neo-liberal agenda? • Can a new economically and culturally-resilient structure be offered, that can challenge consumption and address the urgent socio-political and environmental needs? • Can a new resilient urban stratergy be created for the Silent City that challenges the so-called culture of ‘Dubaisation’?
40
41
WOMEN WITHOUT MEN SYNOPSIS The streets of Tehran, Iran, are teeming with protesters objecting to the overthrow of the prime minister, but four disparate women have more immediate concerns. Farrokhlagha’s (Arita Shahrzad) husband thinks he’s entitled to be married to multiple women. Munis (Shabnam Toloui) is a virtual slave to her brother. Faezeh (Pegah Ferydoni) has physical and emotional troubles. And Zarin (Orsolya Tóth) is an unwilling prostitute. Boldly, the women pursue solutions to the problems foisted upon them.
42
43
ELEMENTS OF MUTTRAH ‘ M A S H R A B I YA’ A mashrabiya (Arabic: ةيبرشم), also either shanshūl ( )لوشنشor rūshān ()ناشور, is a type of projecting oriel window enclosed with carved wood latticework located on the second story of a building or higher, often lined with stained glass. The mashrabiya is an element of traditional Arabic architecture used since the Middle Ages up to the mid-20th century. Mashrabiya is a hybrid architectural element revealing the shifting cultural, historical and political dimensions in light of cultural globalization, foregrounding thereby the notion of identity as a process of constant flux and cultural exchange. Mashrabiya is a spiritual, decorative, and functional architectural element that merges the form and function of the Islamic window screen with a conventional jalousie, taking on the materiality of local culture. Depending on the position and the gaze of the visitors, the perception of the piece and the spatial experience changes.
44
45
ELEMENTS OF MUTTRAH ‘LUBAN’ Luban also known as frankincense is an aromatic resin used in incense and perfumes, obtained from trees of the genus Boswellia in the family Burseraceae grown in the Southern part of Oman in Dhofar. It was once Oman’s main trading product. Luban is used in perfumery and aromatherapy. It is also an ingredient that is sometimes used in skincare. The essential oil is obtained by steam distillation of the dry resin. Some of the smells of the frankincense smoke are products of pyrolysis. There are four main species of Boswellia that produce true frankincense. Resin from each of the four is available in various grades, which depend on the time of harvesting. The resin is then hand-sorted for quality.
46
47
MANIFESTO T H E E X A G G E R AT E D M A S H R A B I YA - E L E VAT E D C I T Y
Muttrah a city located a few kilometers from the capital of Oman was once the country’s centre of commerce with the largest sea port in the region. Though many goods were traded in the port, ‘Luban’ was the largest export from Oman. After the rise of the oil industry, the city of Muttrah lost in the battle of globalisation losing its power as the largest trading port in the Persian Gulf. However, Oman itself has managed to create a relatively good balance between its cultural practices and economic desires. The grounds of Muttrah is mainly dominated by men while the women conquer the upper parts of the city standing in the ‘mashrabiyas’ overlooking the men. Their invisibility is seen as a form of empowerment and should be further celebrated. Therefore the proposal of the project is to exaggerate the mashrabiyas by elevating the spaces on the rooftop of the existing urban fabric creating a new skin for the women. The idea of the project is to give more flexibility for the women of Muttrah to explore the
48
city in a more comfortable and convenient environment by elevating parts of the city. The elevated parts become a new public realm for women to empower themselves through economy, education and not forgetting spiritually. The elevated spaces create a new skin upon the urban surface which connect different women flows and forming a ‘third space’ or enrichment of women’s daily routines of moving between live and work. The overall concept is to celebrate the separation as a new beginning of women empowered city. Due to lack of Omani products in the market, the ‘luban’ becomes the main catalyst of the womens’ activities to keep the traditions and Omani product from extinction. ‘An architect does not “create” a city, only an accumulation of objects. It is the inhabitant who “invents” the city: an uninhabited city, even if new, is only a “ruin”’ -Yona Friendman-
49
S I T E A N A LY S I S
50
EXISTING BUILDINGS
MAIN ROAD
As seen from the above diagram, Muttrah is filled with existing buildings built closely to each other. The water front is called the Corniche which is filled with mostly shops facing the beautiful view of the port.
The main road is seen on the edges of the city which only pass through the Corniche with minimal access to the city itself. The roads are narrow with mostly a one way access.
N E G AT I V E S PA C E S
RESINDENTIAL AREAS
The negative spaces between the existing buildings are mostly small and narrow not giving much space for new development. Some alleys can be very dark and quiet making it an uncomfortable area to pass through.
Residential pockets can be seen in Muttrah where the houses are built in cluster forms. Sur Al Lawatia facing the Corniche is the only gated residential area in Muttrah with walls surrounding them due to the different religious practice.
51
N A R R AT I V E S EC T I O N Since the ground floor of the city is mainly dominated by men, the women of Muttrah take over the roof of the city using it as a space for them to gather. It is known traditionally that women in the Middle East use the spaces on top for their activities together. Taking over the higher parts of the city gives the a sense of empowerment to these women while celebrating their power of invisibility.
52
53
54
U R B A N S T R AT E R GY Women of Muttrah mainly move thoughout the city via cars. The main road surrounds the edge of the city giving less access to them. The idea of the project is to elevate the spaces for women and introduce elevated pathways for women to penetrate into the city better. The proposed site starts from the Corniche and builds up to the edge of the mountains.
55
SITE PLAN
SCALE 1 : 500 56
0 5
10
20m
57
SITE SECTION T H E CO U RT YA R D This portion acts as a large courtyard for women to gather and relax where they can either have afternoon tea or have meals together while enjoying the view of the water front. Open spaces are also prepared for outdoor activities.
58
THE MARKET This area is from Luban. these Omani essential oils,
for women to buy and sell products made Each and every product are hand made by women. The products range from raw Luban, perfumes, skin care , medicine and many more.
THE LIBRARY This section is mainly for educational purposes filled with classrooms, lecture rooms and social libraries to boost the knowledge of the women. Some towers contain testing labs to study other outcomes of Luban and ways to better produce it.
59
X
4 3 1
2
SCALE 1 : 200
X
60
0 1
5
10m
TYPICAL GROUND FLOOR PLAN LEGEND 1 2 3 4
. . . .
Market area for essential oils Access from existing building Production area Market area for medicine
61
62
CUT SECTION OF MARKET This sections shows the relationship of the elevated proposal with the existing building. Women enter the elevated market through the existing building below.
63
T EC H N I C A L D E TA I L S
64
CONSTRUCTION SEQUENCE
E X P L O D E D D E T A I L65
66
67
68
69
70
71