THE HUMAN CANVAS: A QUARRY REHABILITATION by Aisha Alsuwaidi

The Human Canvas

Changing Landscapes: The land where every inch is altered

A Quarry Rehabilitation

The Human Canvas A Quarry Rehabilitation

Ayesha Khalid AlSuwaidi

A thesis book for the Final Architectural Project submitted to the Department of Architecture, School of Architecture, Art, and Design, American University in Dubai In partial fulfillment of the requirements for the Degree of Bachelor of Architecture Fall 2021

Approval of the Thesis Book for Final Architectural Project Department of Architecture, School of Architecture, Art, and Design, American University in Dubai

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Acknowledgments To my parents, for always supporting me. To my grandparents, for surrounding me with their prayers. To my siblings, for always believing in me. To my Aunt, for sticking with me throughout my sleepless nights. To my best friend, for always being there. To my classmates, for their company along this beautiful journey. I would like to thank my instructor, Dr Annarita Cornaro, for her unwavering guidance and dedication. Thank you for believing and opening great extents to every single idea we came up with. I would like to express my gratitude to Professor Ghada Yaiche and all of the professors whom I had the honor to register with. Every professor has had a significant impact on where I am today. We wouldn’t be here if it hadn’t been for you. Letters and words don’t suffice. Thank you.

Abstract The landscape is always being reshaped as a result of cyclical rewrites. Each trace represents the evolution of the dialogue between the human and his surroundings through time. The human imprint over the physical environment stands undeniable. People tend to adapt to their surroundings through drawing cultural landscapes to match their needs. These transformations mainly occur due to humans’ constant need to either obtain food (agriculture), shelter (housing), or profit. The development of various urban textures due to the changes in landscape primarily arise using two operations: Subtraction and Addition. Humans in different parts of the world diversify the use of these operations to fulfil their needs. Regardless of the effects that such performances have on nature, positive or negative, the cycle resumes. In the United Arab Emirates, a landscape which consists of sand dunes, oases, rocky mountains, valleys, and marshes, various forms of landscape addition and subtraction are evident. The two most recognizable forms of landscape alteration are artificial islands through land reclamation and artificial canals through digging. These changes occur in an urban context that has already been fully disturbed by humans. On the other hand, forms of landscape alterations in natural contexts (untouched or insignificantly disturbed by humans) are being overlooked. Over 17 quarries exist in a land that is 80% covered by sand, leaving 20% for mountains and other features of the country’s geography. Quarries ,which are frequently left abandoned after their exploitation, are damaging as they leave serious effects such as air pollution. This may lead to respiratory problems for people living close to quarries. The dust produced damages the internal structure of leaves and opens up to a loss in the crop yield. Moreover, quarries hinder the germination and establishment of young plants leading to a damage in biodiversity. Quarries are not considered a cultural ritual in the UAE but came in as an effect of globalization which marks it: A drift away from culture. Will it be possible to rehabilitate and add value to spaces where value has been lost? Will the idea of injecting culture in quarries be able to restore the drift away from culture caused by quarries? Will it be possible to give something back to nature in a sustainable, cultural and social manner? Keywords: Cultural landscapes, Quarries , Rehabilitation, Sustainability, Culture

Section 1

Table of Contents

Chapter 1

Humans

1.1 The true landscape architects

Chapter 2

Theory

Chapter 3

History

2.1 2.2 2.3 2.4 2.5

Landscape /ˈlan(d)skeɪp/ Cultural Landscapes Landscape as a psychological phenomenon Landscape as a Metaphor Sustainable Landscapes: A Utopian Dream

3.1 Why Humans change landscapes 3.2 How Humans change landscapes 3.3 Temporary vs permanent landscape’s change

Chapter 4

The United Arab Emirates

Chapter 5

Quarries

Chapter 6

Quarrying in the UAE

4.1 Geography and geology of the UAE 4.2 The UAE altering landscape in an Urban Context 4.3 The UAE altering landscape in a Natural Context 5.1 5.2 5.3 5.4

A History of Quarrying Types of machinery used in quarrying Types of Quarries Why is this an issue?

6.1 Quarries in the UAE 6.2 The local problem

Chapter 7

Rehabilitation

Chapter 8

Back to Nature

7.1 Rehabilitation /riːəbɪlɪˈteɪʃ(ə)n/ 7.2 Why to Rehabilitate? 7.3 How to Rehabilitate? 8.1 8.2 8.3 8.4 8.5 8.6

Temporary, Reversible Architecture Gabion Walls Sandbags Shelter Biological Concrete Biodegradable Materials Finite

Section 2 Chapter 9

Case Studies

Chapter 10

Site Analysis

Chapter 11

Program

Chapter 12 Chapter 13

9.1 9.2 9.3 9.4

Rehabilitation via Landscaping Rehabilitation via Man-made Structures Cultural Parks Cumulative Program Table

11.1 11.2 11.3 11.4

Program Studies Main Program Themes Relationship Matrix Spatial relations

Synthesis 12.1 Sythesis

Concept 13.1 13.2 13.3 13.4 13.5

Concept Proposal Concept I Concept II Concept III Zoning

Section 3

10.1 Site Selection 10.2 Criteria Assessment 10.3 Nominated Site

Fig 1. Ras Al Khaimah Quarry Site

Fig 2. Underground city near Tungkwan, China

“Wherever men live, they have operated to alter the aspect of the Earth, be it to their boon or bane” (Greenwood pg62). People do not hesitate to take advantage of opportunities for urban changes that arise as a result of different settings and periods. Humans do not view landscapes as a fixed aspect of earth but instead they perceive them as objects that are always open for reinterpretation (Tyszczuk 91). The face of earth has been reformed and customized creating an environment that matches the lifestyle of people deciding upon the change. This led to the development of layers of urban styles and fabrics all over the world. “The scale of human interference in the landscape has reached such proportions that one cannot imagine it passing on to a qualitatively greater stage.” (Greenwood pg65) Landscapes existing today are a fruit of a complex history and decisions of diverse people with shared schemata (Rapoport pg 35). An example of how humans alter the face of earth is visible through the term Sitopia or ‘food place’ which is derived from the Greek word “sitos”, food + “topos”, place.

The True Landscape Architects

1.1

Food, humans most important shared commodity, is the key to unlocking the urban dilemma. It shapes humans’ landscapes and cities, their daily routines circle around it, their politics and economies are led by it, their ecological footprints are ruled by it, and their survival is reliant on it; food is socially, physically, and symbolically interwoven in humans’ lives. “What better tool, then, with which to shape the world?” (Tyszczuk 82). The face of the earth has severely been altered by the aim of producing “food”. The impact of humans on the landscape became considerably evident following the development of agriculture (Rapoport pg 34). Such ideas are observable in the Rice terraces of Asia, the Date tree oases of the Middle East and more. Humans live in a Sitopia where food is constantly changing the face of their land. The once called independent decisions add up to create a completely new face of earth: a collage of thoughts, cultures, human needs, and various schemata.

2.1 Fig 3. Salt man-made ponds in Australia

Landscape

/ˈlan(d)skeɪp/ noun

The word landscape is derived from the Dutch word landschap. Landschap usually refers to a patch of land or area. The term’s origins may be traced back to the Renaissance and is strongly linked to landscape painting. The history of the landscape idea implies that it originated in the search for certainty among Renaissance humanists, rather than as a tool for individual subjectivity (Cosgrove pg 45). The concept of landscape design evolved from painting as “landscaping”. This application came to influence conventional usage, for instance, through references to a beautiful landscape (Rapoport pg 34). Yet, the term “landscape” does not solely represent the artistic depiction of a natural world like it was common in the 19th century. Landscape, in anthropological terms and theory, refers to the material manifestation of human-environment relationships. It is the result of the dialectic between biophysical and cultural contexts (Nicholson pg 15).

2.2

CULTURAL LANDSCAPES Cral Sauer from German Cultural Geography introduced the term “ Cultural Landscape”. The term defines the interaction between human action and the natural landscape. This raises the question of: When does a primeval landscape become a cultural one? What is the point of transition or the threshold to where a landscape’s label is altered? “The more modified by humans, the more “cultural” a landscape is” (Rapoport pg 34). By time, original landscapes turn more into cultural landscapes through humans interference. The more altered, the more cultural the landscape is (Rapoport pg 34). “No place left on earth which, even if not manmade, had not been at least modified or influenced by human action” (Rapoport pg 34).This makes the earth inhabited by a humans a collection of cultural landscapes that differ in the level of how cultural each is.

“The more modified by humans, the more “cultural” a landscape is”

Cultural landscapes are rarely designed in the traditional sense that the word ”design” portray , yet elements of them may be, for example, monumental cityscapes (Rapoport pg 35). Instead, they are layered through different periods of time through land uses, circulation networks, human preferences, settlements, fields and the like. A cultural landscape does not always present a result of a culture but instead, they express a general, long, and intimate link between humans and their natural environment as a combined integration of nature and humankind.

Fig 4. Wrapped trees by Christo and Jeanne-Claude

2.3

Landscape as a psychological phenomenon: The emotional aspect of landscapes The human perception of landscape differs based on multiple aspects such as ones surroundings and the internal interpretation of what that person is encircled with. These, as well, depend on other factors such as the speed at which the landscape is viewed. The human’s brain translate the landscape as a “combination of sequential views” (Rapoport pg 38). The speed at which these views are viewed drastically affects one’s understanding of the landscape. Moreover, since the human in this case is not a detached observer as in watching an image or a painting, the experience is a dynamic one. This leads to the possibility of people having different experiences every time they pass by the exact same landscape. This makes the idea of physically interpreting a landscape a multisensory one. Through “sounds, smells,

kinesthetics, tactile textures, air movement, and temperature” all senses are completely involved with one’s experience. Humans tend to evaluate landscapes by drawing a comparison with the “romantic models” in literature and paintings. This sets a bar through which a “beautiful” vs an “ unpleasant” landscape is assessed. It led to a stereotypical preference where for instance, a field with fallen dead trees is an unlikable one. No landscapes are technically chaotic yet, at a human scale, what seems to be incomprehensible is simply a “different” order (Rapoport pg 39). The order vs chaos paradox is mainly set on one’s mindset. Therefore, there are a million ways, through a million mentalities to interpret a single landscape. 39

The work of Christo and Jeanne-Claude present an illustration of this phenomenon. They give the viewers the freedom of interpreting the redefined landscape based on their own psychological extents. Christo states: “Every interpretation of the project is legitimate, even the most critical and the most positive”. He believes that one of his main drivers is that his projects have open dimensions that allow every single interpretation to pass

through (Lindsay pg 3). One of his well-known projects is “Wrapped Trees” located in Riehen, Switzerland, 1998. The trees were wrapped in a woven polyester fabric giving viewers the potential of forming a brand new interpretation of the landscape (“Christo and” pg 1).

Fig 5. Wrapped trees by Christo and Jeanne-Claude

After the evaluation of a landscape is established, humans tend to draw an emotional connection with it; one that is referred to as Topophilia. The term topophilia was invented by the geographer Yi-Fu Tuan in 1974 and is defined as a person’s emotional link with their environment—their mental, emotional, and cognitive ties to a place. Topophilia is a non-observable construct, a psychological concept comparable to “attitude” or “intelligence” whose diversity can only be noticed indirectly by its impact on measured reactions (Heimer pg 1). Topophilia is a word that encompasses the diverse ties individuals have with certain places around the world, both as people and as participants in long-standing cultures. It corresponds to the complexity of sense of place and the various aspects of place experience. People respond to the environment in a variety of ways, one of which is aesthetic appreciation. A beautifully colored rainbow after depressing afternoon showers, a vibrant city street filled with human interaction— one could be impressed by the beauty of such scenes that were mundane only minutes before or are being encountered for the first time. Furthermore, the influence of the landscape on the person experiencing it has an impact on how a landscape is interpreted. In this situation, the environment is more than just a backdrop; it is also a main character in this symbiotic relationship. The theory of this relationship is studied through the term “Transactional theories”. Transactional theories highlight that people are participants in the landscape in a setting of “mutual influence,” rather than being apart from it. This shared relationship is conveyed throu-

Fig 6. Wrapped trees by Christo and Jeanne-Claude

“The environment is more than just a backdrop; it is also a main character in this symbiotic relationship”

gh various aspects. Landscapes completely surround humans. They allow for movement and exploration while also “forcing” the observer to participate. They also are multisensory. They deliver data that is received and processed simultaneously through several senses. Moreover, landscapes convey information on the periphery. Information is received from behind as well as in front of the participant, from outside as well as within the focus of attention. This leads to the fact that landscapes deliver far more data than can be utilized. Landscapes evoke responses. They provide symbolic meanings as well as motivational messages that might motivate people to take action. Landscape perception involves action at all times. Landscapes offer possibilities for interference, control, and modification (Nassauer pg 232). These considerations demonstrate how humans interact with and on landscapes, as well as how landscapes provide individuals with knowledge and experiences. Japanese gardens present an example in which this relationship is emphasized. According to ancient Japanese beliefs, the garden is transformed into a humanoid entity that comes to life due to the viewer’s engagement. Users engage in an emotional experience with the garden, in which the garden comes to life and the viewer is introduced to new ways of interpreting the landscape (Stedman pg 2). This leads to the fact that the interpretation of a specific landscape, as well as the psychological and emotional bond formed with it, becomes a question of why, when, and how it was experienced. 43

Fig 7. Running fence by Christo and Jeanne-Claude

2.4

Landscape as a Metaphor Landscape modification is an artistic endeavor. Another form of experiencing landscape is through art. Landscapes are not always made up of tangible, physical elements. They have the ability to inhabit letters, papers, canvases and photographs. When physically witnessing a landscape, one’s impression of his or her surroundings tends to be more malleable; but, when a landscape is represented through art (a poem, a painting, a photograph, and etc.), the perception becomes more directed. Artists tend to exaggerate a type of sensation through word choice in poems, color choice or painting style in arts, and angle choice in photography, among other things (Davis pg 1). In this way, the landscape’s perception in such works of art is more imposed. Landscapes could also be used to communicate a metaphorical message, one that represents a landscape’s emotional aspect. Artists like Christo and Jeanne-Claude created various projects that allowed a malleable interpretation of the redesigned landscape. “Running Fence” was made of 200,000 sq m of heavy woven white nylon fabric hung from a steel cable on the hills of Sonoma and Marin Counties. The fence had a metaphorical meaning that symbolizes that even if a fence, in the well-known meaning of it, means a barrier; the fence in this case it “was a fence that didn’t divide people but instead brought them together” (“Christo and Jeanne” pg 1). The fence runs through between dwellings, over hills, and into the sea, combining all aspects together. This created a landscape that also serves as a metaphor and evokes thoughts. 45

Fig 8. Running fence by Christo and Jeanne-Claude 47

Photographers capture landscapes to invoke metaphor, capture the sublime, flirt with tradition, expose conflict, and alert humans about their influence on the natural world (Palumbo pg 1). Despite the fact that such an approach lacks the multimodal aspect of physically experiencing a landscape with the involvement of all senses, some photographers have developed unique techniques that serve to communicate the mood of a landscape through motionless photography. They also construct landscape interpretations through pictorialist effects and, eventually, formal compositions of close-up, cropped views. They capture the mood as well as the conflict associated in these kind of settings: The land’s beauty and its unsettling history.

Fig 9. Photograph by Michael Kenna

Michael Kenna, a British photographer, is noted for his unique black and white landscapes that seem almost ethereal. He has adopted an extreme approach to achieving his personal style, shooting at night with exposures up to 10 hours long. Kenna’s work has a distinct and peculiar feel to it, with simple compositions and a deeply reflective or meditative nature. He has introduced a serene and largely unseen universe that exists but only reveals itself to him. As a result, his work has received universal praise, and it serves as a continual reminder that landscapes do not simply wait for humans to photograph them. Instead, humans have to wait for landscapes to open up to them.

Fig 10. Photograph by Brett Weston

Brett Weston captured unique landscapes that embody his signature style. He used both wide and long lenses to convey his concept. Many of his photographs have a tight focal feel, which may seem contradictory, but seeing his work inspires viewers to think outside the box and break free from stereotypes and traditional photographic standards. It lights a spark of thought and inspiration.

Fig 11. Photograph by Brett Weston

Some photographers even pioneered the concept of creating landscapes with the use of common, ordinary objects. This serves as a metaphor for humans’ capability of transforming reality and constructing entirely new landscapes. Human daily routines, in a manner similar, lead to the creation of distinct landscapes.

Fig 12. Photograph by Harry Callahan

Harry Callahan, is an American photographer who ,in abstract ways, developed simple landscapes from regular points of view, all while including a humanistic aspect. He also did what is referred to as “micro landscape photography” through his weed studies. In these, he portrayed isolated forests made up of little weed bushes growing in the snow, similar to the real forests shot by Michael Kenna 57

Fig 13. Photograph by Harry Callahan

Fig 14. Photograph by Maija Savolainen

Maija Savolainen ,a recognized photographer from the Helsinki School, used a vibrant palette to create abstract and minimalist depictions of landscapes for her project “Paperworks.” Savolainen’s art reveals how the simplest resources may lead to the most beautiful simplifications and abstractions.

Frances Seward has a distinctive style when it comes to portraying landscapes and seascapes. She has captured the inner and ethereal world of solid glass by manipulating it to appear like landscapes. Seward makes a variety of textures using the peculiar behavior of glass, which combines the unpredictable nature of liquid with the static properties of any other material, exactly like any painter; however, instead of a paintbrush and palette, she utilizes her camera to capture the magic of glass and natural light.

Fig 15. Photograph by Maija Savolainen

Fig 16. Photograph by Maija Savolainen

“Poetry can shape the way people think”

Metaphorical messages sent by landscapes are also conveyed through poems. Humans experience landscapes through words as a method of building and conveying a meaningful connection with nature. Between the late eighteenth and mid-nineteenth centuries, Europe was engulfed in an artistic and intellectual movement known as Romanticism. In that movement, the importance of emotional sensitivity and individual subjectivity was emphasized. Imagination, rather than reason, was the most important creative skill for the Romantics. Romantic poets had their emotional sensitivity and appreciation for nature define them. What can poetry accomplish? One of the things that poetry can do is shape the way people think. An example of the poetic capacity for change can be observed in the tremendous impact it had on shaping human conceptions of wilderness during the nineteenth century. Up until that time, wilderness was regarded as a sinner’s wasteland, however after, it became regarded as a metaphor that symbolizes a spiritual haven. This transition, which can be traced in part, but not entirely, to Romantic poets like William Wordsworth, was essential in sparking the first wilderness preservation efforts in the late nineteenth century (Elliott, pg 3). One might say that the Romantic movement not only generated, but also documented, the shifting perspectives of the times, because many other influences, such as the industrial revolution, also altered human conceptions of wilderness (Elliott, pg 4). As a result, the human perception of how a landscape can be interpreted is completely malleable. Through poetry, human thoughts were and could be manipulated. Poems, in some instances, reconstruct the human perception of a landscape. Earth’s surface is “the Space of the Human and the place of the Poet” (Lobsien pg 1).

Fig 17. “Wave” 1870 by Gustave Courbetnen

Paintings are another form of art that artists use to convey metaphorical messages about a landscape. In the classical landscape painting , born in the seventeenth century, the placement of objects was planned; every tree, rock, and animal was placed with care to create a harmonic, balanced, and immortal atmosphere. Nicolas Poussin, a French artist, mastered the classical landscape. Later in life, he began to feel that landscapes could evoke the same powerful emotions as the human events depicted in historical artworks. From then on, he worked to raise landscape art to a higher level. In the 19th century, Gustave Courbet, a revolutionary artist, stretched the limits of landscape painting even further by making it both a tactile and visual experience. The following generation of painters was led by his revolutionary painting techniques and his unique spirit. Courbet’s paint application required careful precision and skill, resulting in paintings of great sensory and metaphorical appeal (Getty pg 7). This had a significant impact on the work of later generations of painters, such as Cézanne and Vincent van Gogh (Getty pg 2). This way painters manage to communicate the mood, environment, and symbolism of a landscape via paintings that are motionless yet, in a way, full of life. The audience, in this case, gets to see a landscape through the eyes and by the emotions of an artist.

Fig 18. Landscape near Auvers: Wheatfields , 1888 - by Vincent Van Gogh 71

2.5

Sustainable Landscapes: A Utopian Dream

Conceptions of the phrase “sustainable landscape” highly differ between “old world” and “new world” landscapes. Sustainable landscapes are looked at through different dimensions: environment, economics, society, and aesthetics. Starting with the Environmental sustainability, Landscape ecology, which is concerned with spatial patterns and processes, has had a significant impact on landscapes. A sustainable landscape, from an ecological standpoint, is one in with a green infrastructure—i.e., a biodiverse network of habitat areas of sufficient size, quality, and connectivity to sustain species life cycles, resulting in healthy and viable populations (Selman pg 24). The Economical sustainability, however, is pursued through the preservation of beautiful scenery to encourage tourism and recreation. People’s engagement and inclusivity in decision-making are widely used to describe Social sustainability in landscapes (Selman pg 25). This is accomplished by allowing different members of the society to make decisions. The Aesthetic sustainability parameter is particularly significant in landscape, not only because visual aesthetics has long been a social pillar, but also because it is frequently assumed to signify the health of the underlying systems. A fascinating feature of aesthetic sustainability is that aesthetic choices are socially dynamic, and while some conceptions of beauty are cross-cultural, they frequently change with time and place. This makes the task of sustaining aesthetics a challenging one (Selman pg 26).

In landscape planning, there is a major form of theory: Substantive theory. “Substantive theories” aid in a better understanding of the landscape as crossroads of natural and cultural processes, as well as articulating the ideology, goal, and principles of Sustainable landscape design (Ahern 121). Substantive theories” are descriptive and prescriptive theories that emerge from basic study in the natural, social, and humanities. This leads to how sustainable landscapes are designed. Landscapes that are sustainable are environmentally responsive, regenerative, and can actively contribute to the establishment of healthy communities. Sustainable landscapes absorb carbon, clean the air and water, improve energy efficiency, restore habitats, and add value to the economy, society, and environment (Asla pg 1). Because landscapes are constantly changing in a more or less chaotic manner, the concept of sustainable landscapes could be considered a utopian dream. 73

Fig 19.Giants Causeway in Northern Ireland.

Why Humans Change Landscapes

3.1

A “man’s ecological dominance was won so long ago that he generally takes it for granted”. (Greenwood pg 62). The demand for basic resources by humans has resulted in changes to the Earth’s landscape, many of which have had major and often lasting environmental consequences (“The Human-Made” pg 1). It is possible to determine how specific landscapes were settled, developed, used, and altered through history. Landscapes are defined as the combination of natural and human phenomena on an area of the earth’s surface. Within that view, landscapes are taken to be deeply tied to human life and are primarily for living and working in rather than simply gazing at (though they can, surely, serve both roles). Overall “spatial organization, land uses, circulation networks, plants, field layouts, fencing, buildings, settlements, and so on” are all included in the formation of cultural landscapes (Rapoport pg 34). All of the following may be summarized under the umbrella of three main categories: food, shelter, and profit. 77

3.2

How Humans Change Landscapes Humans tend to change landscapes by either adding to or subtracting from them. Humans in different parts of the world diversify the use of these operations to fulfil their needs. Regardless of the effects that such performances have on nature, positive or negative, the cycle resumes. This led to the creation of the landscapes that humans are living on today. The layers that accumulated over the human history provided a variety of ways in which the three headlines that drive changing landscapes were experimented with: food, shelter, and profit.

Food

Following the emergence of agriculture, human alteration of the landscape became much more obvious (Rapoport pg 34). Food demand is anticipated to double by 2050, resulting in widespread agricultural growth, mostly at the expense of forests. Between 1980 and 2000, it is projected that more than half of new agricultural land in the tropics was developed on forested land (Dayne pg 1). Agriculture played a crucial role in the shift from hunting, gathering, and nomadism to sedentism and permanent settlements towards the end of the last Ice Age. Domestication of wild plants began around 12,000 to 11,000 years ago in Western Asia (Cordon pg 1). Today, agroecosystems cover 30 to 40 percent of the Earth’s land surface and are characterized as ecosystems formed by humans as a result of their decision of growing crops for food (Cordon pg 2). Diverse agricultural lands ,which are mostly a mosaic of farmers’ fields, could be observed in the rice terraces of China, the Olive tree groves of Cordoba, the date tree oases of the Middle East, the rapeseed flower fields of China, and the like.

Fig 20. Humans altering landscapes for food

In the rice terraces of China, a complicated system of waterways transports water from forested mountain peaks to the terraces. The rice terraces’ adaptive land management system exhibits amazing visual and ecological harmony between people and their environment, based on remarkable and long-standing social and religious systems (UNESCO pg 1). The people have created an incredibly complicated system of irrigated rice terraces that flows around the contours of the mountains,

responding to the challenges and opportunities of their environment of high mountains, narrow valleys bisected by canyons, extremely high rainfall , and sub-tropical valley climate (UNESCO pg 2).

Fig 21. The Rice Terraces of China

Fig 22. The hills of Córdoba Olive Groves

The hills of Córdoba, in southern Andalusia, are covered in olive trees. Throughout history, people who have lived in this region have contributed their own technology and culture, making the olive a widely used product as well as a main trading commodity. Around 90% of all olives harvested are processed into oil, with the remaining 10% being consumed as table olives. The olive trees gave the land a distinguishable, unique feature.

The palm tree has a long history in the Arab world, and it is an intrinsic component of their customs and heritage that dates back to ancient times. Previously, people of the region completely relied on this tree to make a living and ensure their survival (“Palm Tree” pg 1). As told by Mohamed Khalifa Al Mubarak, Chairman of DCT Abu Dhabi “For generations, palm trees have been a vital and authentic element in the heritage of Arab culture, and it is seen as a symbol of generosity on which many of our

cultural values are based” (“Palm Tree” pg 1). Oasis – in an otherwise dry and arid region, an area transformed agricultural by a source of freshwater – are regarded a source of life in the desert, changing dry ground into an agricultural piece of land (National Geographic Society pg 1).

Fig 23. Liwa Oasis in the United Arab Emirates

Rapeseed, is farmed primarily for the production of cooking oil and rapeseed meal. Canola oil is the world’s third most consumed oil, and canola meal is used to raise livestock, poultry, and fish. China is a major producer and importer of canola products in the globe. Rapeseed fields in Luoping District has been a significant attraction for photographers and tourists due to its karst hills and burst of yellow flowers (“China’s Fields” pg 1).

Fig 24. Rapeseed fields in Luoping District, China

Shelter

The first farmers planted their roots, literally and metaphorically, 10,000 years ago. Agriculture allowed hunter-gatherers to erect permanent houses that later transformed into sophisticated societies in many parts of the world, and it allowed them to have stable food sources. The dwellings that were created paved their way through existence via the alteration of landscapes. “Humans are masters at creating niches. Our shaping of our environment is as old as our history” (Price pg 3). Some of these dwellings are observed in the Cappadocian cave houses, the Halong Bay floating villages of Vietnam, the lost city of Derinkuyu , Matera’s stone city of Italy, and more.

Fig 25. the Cappadocian caves of Turkey

In Cappadocia, Turkey, rock cutting by earlier generations changed the landscape’s face, giving it a unique, distinct character. The landscape’s massive mushroom-shaped mountains topped with basalt mimic the appearance of fairy chimneys. People discovered that it was simple to dig caves in the mountains made for storage at a constant cool temperature and therefore, inhabited the mountains by carving through their soft volcanic rocks to build settlements. Today, the Cappadocian caves are one of the major touristic attractions in Turkey.

Fig 26. Halong Bay floating towns

The Halong Bay floating towns were originally established as a site for returning fishermen to market their fresh catch from the previous day, however they gradually became four residential towns. The floating settlements that are self-sufficient. Each village is a self-contained community that lives in complete sync with the land and sea, overcoming daily hardships and tribulations by collaborating. Although no one lives there anymore, the Halong Bay floating towns have been preserved in their original state, as they were when the residents lived there entirely. The locals still use the villages to engage in a variety of hobbies and jobs, including fishing, net weaving, and pearl processing (Halong pg 1).

Between the 12th and 15th centuries BCE, a historical subterranean settlement called Derinkuyu was developed. Derinkuyu was carved out of soft volcanic rock. Although the underground city has multiple entrances, they are all covered by a variety of unique items. The intricate system of ventilation tubes that supplied oxygen to the underground city is covered as well (Harris pg 2). Derinkuyu has 18 levels and a depth of roughly 85 meters. The intricate passageways and chambers of the subterranean city, according to archaeologists, were

constructed to keep the people secure during attacks. The underground tunnels were designed to force foreign attackers to not crawl through them at the same time. The passageways then open up into vast spaces that might have accommodated thousands of individuals. The chambers are close enough to a subterranean river at the bottom level that the entire city had access to drinkable water. The underground city was self-sufficient as it managed to stand completely on its own (Harris pg 5).

Fig 27. Derinkuyu subterranean settlement in Turkey

Fig 28. The town of Matera in Italy

Matera is situated on a plateau, that spans from Apulia’s Salento coastlines to the Ionian shores. The town ‘s background is vast, and it has passed through many ages of mankind evolution: the Stone Age, the Metal Ages, late antiquity, the Middle Ages, and more until the present day. Despite the fact that Matera has seen significant alterations throughout history, it has maintained its distinctive aspect. The magnificent environment generated by the ancient urban core (the Sassi) as well as the encircling region, the Murgia Materana Park, comprising of canyons, valleys, and highlands formed by the Gravina stream, demonstrate the relationship between nature and civilization. In 1993, UNESCO recognized the Sassi shelters as a World Heritage Site. Originally, the Sassi were only a rocky region nearly identical to the opposing bank of the Gravina river’s canyon. The canyon’s western edge has a sharp side that overlooks the river, as well as various hillsides and terraces that are better suited for human settlement. With the flow of times, those locations evolved and became dwellings then, eventually, a packed town. The earliest people settlements date from the Paleolithic period, and they arose in the numerous caves that mark the surrounding rocky landscape (“Tourist Portal” pg 1).

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Fig 29. The town of Matera in Italy

Profit

People seek to substantially develop their environment to generate profit in a society where money rules nearly all. The issue lies with the world’s thirst for power and money. It is the provided system we all experience today, not just the people. Major historical events such as the Industrial Revolution, Cold War nuclear testing, and others have had a significant impact on landscape change. Technological improvements also played a crucial role in the process. Such changes are visible in the Tulip Fields of Holland, the Marble Mines of Carrara, the Baihetan Dam of China, the Salt Fields of Australia and the like.

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Fig 30. Tulip fields of Holland

Tulip bulbs, as well as crocuses, daffodils, and hyacinths, are among the most popular and well-known flowers grown in the area. Flower cultivation began towards the end of the 16th century, but the large-scale cultivation began in the second half of the 19th century. Tulip fields are now between the most popular tourist attractions in Holland, receiving hundreds of thousands of visitors each year (Ashley pg 3).

107

Fig 31. Carrara Marble Quarries in Italy

Carrara marble is a type of marble that originates from the town of Carrara in northern Tuscany. The Apuan Alps, beside the port city of Carrara, are among the most well-known marble resources. The marble, often known as “Luni marble,” has been utilized since the era of Ancient Rome. Many quarries have operated in the adjacent highlands since earlier centuries. Carrara quarries largely served international customers who were captivated by the Luni marble throughout history. The Luni marble has been utilized in a number of notable structures as well as well-known sculptures (Shigley pg 1). Many Christian buildings were layered with aesthetic decorations made of marble such as the Baptistery of Florence, the Cathedral of Santa Maria del Fiore, Santa Maria Novella churches in Florence, and more (Simo pg 2). Marble blocks are transported from the highlands to the coast of Livorno, where they are then shipped internationally.

109

Fig 32. Carrara Marble Quarries in Italy

111

Fig 33. Carrara Marble Quarries in Italy 113

One amongst China’s major mega-projects, the Baihetan Hydropower Station, has recently begun operations adding to the country’s production and economy. The dam is located deep within the Daliang Mountains on the Jinsha River in Southwest China (Xiaoyi pg 1). It is considered the world’s second-largest dam. The Baihetan dam provides sufficient energy to power 500,000 people every year – daily (Pflughoeft pg 2). As part of the Baihetan Hydropower Station project, hundreds of villagers were relocated from substandard dwellings in the project’s dam region to recently built light - filled dwellings.

Fig 34. The Jinsha River before the Dam’s construction, China

Fig 35. The Baihetan Hydropower Station, China 115

Fig 36. The Baihetan Hydropower Station, China 117

Fig 37. Salt production ponds, Australia

Man-made evaporation ponds are filled with seawater. The sun’s and wind’s power intensifies the water, promoting salt production. The water’s color is caused by tiny microorganisms or bacteria, which alter color as the salt content rises (Cowan pg 2). To enable adequate duration for evaporation, sea salt can only be produced in places with little rainfall. As a result, dry areas like the Mediterranean and Australia create a lot of sea salt (Moncel pg 3). When the shallow ponds fully dry out, a layer of salt about 25cm thick accumulate in the pond and is free to be collected. The salt is purified and arranged for shipping after collection

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3.3

Temporary vs Permanent Landscape Change Nature frequently manifests itself in cycles. From the four seasons of the year to the ebb and flow of the tides, cyclical changes in the landscape appear for a brief period of time. Nature provides quick ways to recover when it changes on its own. Humans, on the other hand, tend to make more permanent alterations that nature often struggles or fails to correct. Different (temporary or permanent) alterations by nature and humans accumulated over time to form the landscapes that people inhabit today. Human-caused permanent changes are often more noticeable than human-caused temporary alterations, yet they still exist. These changes can be observed in a water body that is temporarily covered by boats, various Christo and Jeanne Claude projects, and more. Permanent changes, on the other hand, could be observed in human settlements that remained for hundreds of years, different forms of quarries, and the like.

121

Fig 38. A body of water temporarily covered with boats 123

Fig 39. “Floating Piers” by Christo and Jeanne Claude

Lake Iseo in Italy was temporarily redesigned between June 18 and July 3 in 2016 by Christo and Jeanne Claude. The “Floating Piers” were made up of 100,000 sq m of sparkling yellow fabric, which was carried on the water by a modular dock system made up of 220,000 strong polyethylene cubes (“Christo and” pg 2). 125

Fig 40. “Floating Piers” by Christo and Jeanne Claude 127

Fig 41. “Surrounded Islands” by Christo and Jeanne Claude

Another project by Christo and Jeanne Claude is “Surrounded Islands” which was finalized on May 7, 1983, in Miami. 11 of the islands were encircled by 603,870 sq m of floating pink woven polypropylene fabric topping the surface of the water. To match the shapes of the islands, the cloth was woven into 79 different designs. Surrounded Islands was visible, approachable, and experienced by the community for 2 weeks (“Christo and” pg 3). 129

Fig 42. “Surrounded Islands” by Christo and Jeanne Claude 131

Fig 43. “Wrapped Coast” by Christo and Jeanne Claude

“Wrapped Coast” covered a 1.5-mile strip of the Australian coastline with one million square feet of cloth and 35 miles of rope to secure the fabric. From October 28, 1969, the shore was completely encompassed for ten weeks. After that, all of the elements were dismantled and repurposed, and the land was restored to its former state (“Christo and” pg 4). 133

135

Fig 45. “Wrapped Coast” by Christo and Jeanne Claude

Fig 44. “Wrapped Coast” by Christo and Jeanne Claude

Fig 46. “Valley Curtain” by Christo and Jeanne Claude

In 1972, the “Valley Curtain” was created between two Colorado mountain ridges. A total of 18,600 sq m of woven nylon fabric were used to create the shiny orange curtain. A gale forced the dismantling to begin 28 hours after it was completed (“Christo and” pg 5).

137

Fig 47. “Valley Curtain” by Christo and Jeanne Claude

139

Permanent changes Carrara Mines in Italy present an example of the more permanent changes caused by humans to the natural landscape.

Fig 48. Carrara Marble Mines, Italy

Fig 49. Carrara Marble Mines, Italy 141

Fig 51. China’s Underground rehabilitated homes today

Fig 50. Another example of a more permanent landscape change is China’s 4000 year-old subterranean cave homes in Yaodong. 143

Fig 52.Pamukkale, a natural site in Denizli Province, Turkey.

Geography and Geology of the UAE

4.1

Based on CIA’s World Factbook, the United Arab Emirates, with a surface area of 83,600 sq.km, is primarily divided into 3 geographical zones: low, flat, coastal plains; sandy dunes that reach from the coast to the massive desert wasteland that merges into the Empty Quarter (al-Rub al-Khali), the earth’s widest sand desert; and a rocky mountain chain linked with Oman in the north and east. Jabal Yibir, at 1,527 m, represents the UAE’s tallest peak (“Geography of” pg 2). The geography of the country is further divided into: oases, valleys, marshes and mangroves and salt plains. Sand, however, covers a substantial percentage which calculates over 80% of the land’s total area (“Topography and” pg 1). This leaves around 20% for other forms of the country’s geography. The sand dunes are constantly pushed by the northwest winds, progressively drifting south eastwards. The size and color of the sands differ. They are cream to beige along the coast, but turn a deep red-brown color in the parts far from the coast. In the northern Emirates, the United Arab Emirates (UAE) has significant limestone and hard rock sources (“Geological Passport” pg 6). The Arabian Gulf and the Gulf of Oman, which are separated by the Straits of Hormuz, border the United Arab Emirates (Sutori pg 2). 147

UAE Altering Landscape in an Urban Context

4.2

Transportation, as in all countries, plays a significant role in changing the landscape of the UAE. Aerial views of roads piercing through a large desert in a natural setting are common . In the case of the desert, sand is uncontrollable. It eventually returns to cover everything humans create because of the wind. As a result, everything humans build in the sand takes continual upkeep to maintain its shape. Humans, on the other hand, have developed ways to alter what nature fails to. The act of mining, which creates land-changing quarries, is an example of this phenomenon. The land loses its identity in quarries, which are typically situated in natural settings, and a new fabric is developed.

Fig 53. Transportation altering the desert of Dubai

With the spotlight mainly focused on the changes in the urban context, forms of landscape alterations in a natural context, one that is untouched or insignificantly disturbed by humans, are often overlooked. Landfills, roads cutting through a desert, and quarries are all examples of such changes.

149

Various changes in the urban context, one that is fully occupied and disturbed by humans, are evident on the country’s land. However, the two most recognizable forms of landscape alteration are the artificial canals through digging and artificial islands through land reclamation. Dubai Water Canal is a man-made water body in Dubai that was constructed between 2013 and 2017 by government owned developers (“Dubai Water” pg 1). The main aim of the canal’s construction was its future positive impact on the commercial real estate market. Due to the additional benefits in terms of leisure attractions that the project gives residents who live close, it is extremely likely that property prices in the water canal’s neighboring neighborhoods will rise. It will undoubtedly be beneficial to Dubai, as this monument will boost the tourism industry. Another main goal is the fact that in summer, it will help people relieve mental and physical tension due to the heat (“Timeline: How” pg 2). The 3.2-kilometer canal, which runs across Business Bay connects Dubai Creek to the sea, thus turns Bur Dubai, Jumeirah 1, and Downtown Dubai into an island (“Dubai Water” pg 1).

Fig 54. The artificial islands of Dubai

Furthermore, Dubai is distinguished by its artificial, manmade islands, which have changed the way the city was previously viewed from above. The islands were built/ will be built to increase the amount of coastal real estate offered and improve the tourism industry. The islands were first built in 2001, however only the Palm Jumeirah, one of the world ‘s greatest artificial islands, has been finalized as of now. More forms of land reclamation in the UAE are also visible in the Bluewaters Island and Burj Al Arab Jumeirah that was constructed on its own artificial, man-made island. Other projects that haven’t been completed yet include “The World”, a 300-islands cluster constructed to look like a map of the Earth’s continents where every island will be designed to correlate to a particular country or area, according to the plan. Moreover, Deira Islands, which is a project that was put on hold in the 2008 financial crisis. The island was supposed to be the largest of the three palms, almost eight times the size

151

Fig 55. Al Dhafra Landfill altering the desert, UAE Fig 56. Al Dhafra Landfill altering the desert, UAE

4.3

UAE Altering Landscape in a Natural Context Only in Dubai, six landfill sites exist, covering an area of around 1.6 million square meters. This makes up 14% from the overall number of landfills in the country. Landfills have a drastic negative impact on the environment. Toxic chemicals, fumes, and pollutants seep out of landfills and blend with the soil and groundwater, polluting the soil and water. Moreover, plants and animals are negatively affected by landfill sites. Landfills provide food for some birds and animals. They absorb plastic, aluminum, drywall, and other objects in this way. Also, people who live near landfills or who are exposed to them for an extended period of time have been associated with cancer, respiratory illnesses, and developmental problems in children, according to studies (“Advantages and” pg 2).

Number of Waste Treatment Sites (landfills), in % by Emirate, 2017

Abu Dhabi Ajman Al Fujairah Dubai Um Al-Quwain Sharjah RAK 153

Fig 57.C a p p a d o c i a Cave House in Turkey

A History of Quarries

5.1

As mentioned in the previous chapter, quarries are forms of how landscapes in the UAE are altered in natural contexts. A quarry is a site where rocks, sand, or minerals are mined out from Earth’s crust. Since it is opened to the crust of the Ground, a quarry is classified as an open-pit mine. A subsurface mine, on the contrary, is made up of subterranean tunnels or shafts (National Geographic Society pg 1) . Quarries are also known as surface mines, pits, open pits, and opencast mines (“What Is Quarrying” pg 1). Quarries have been used to obtain natural stone for ages. The Great Pyramids of Egypt were built using hand-cut limestone and granite from quarries. The lower classes (typically criminals and slaves) were also ordered to extract rocks by the Ancient Romans (“Background into” pg 2). After the earliest quarries were excavated in Egypt’s Aswan region, techniques of obtaining rocks and other minerals from quarries have evolved. The first quarries were dug with stone hammers, picks, and hand tools, as well as metals like bronze and iron. Quarrying material for use in construction required a lot more labor. Stones had to be transported or hauled from quarries by hand. Pulley systems utilizing ropes and adjustable wooden tracks were also used to transport stones. Captives and other labourers were often participating in this procedure. Nowadays, mechanical equipment such as drilling tools, blasting tools, and transporting tools are used to mine quarries. Later, massive mining quarrying trucks transport the extracted materials elsewhere. This requires less labour and allows quarries to be generated at a much faster rate (National Geographic Society pg 3). 157

159

Fig 59. The tunnel entrance to the quarry at Coxbench in 1905

Fig 58. Removing Portland Stone at Seccombe Quarry in 1932

Fig 60. Surface stripping or explosive blasting are used to clear materials between the surface and the materials that will be mined. Crawler tractors, are used mostly for surface stripping. Drilling holes into the ground with specialized drill tools installed on a movable base is the initial step in the blasting process. Explosives are put into the holes after they have been bored (Johnson pg 1).

Conveyor belts

Wheel loaders Fig 61. Wheel loaders are machines that are used to carry dirt produced by crawler tractors or blasting specialists. They are also used to load extracted material into rock trucks, which then transfer it to be processed (Johnson pg 1).

Off-Highway Trucks

5.2

Fig 62. Off-highway trucks are large vehicles that transport both overburden (earth that must be moved in order for the materials to be mined) and collected materials. These vehicles are a crucial aspect in improving the quarrying operation’s efficiency (Johnson pg 1).

Types of Machinery Used in Quarrying

Stripping and drilling equipment

Fig 64. Conveyor belts are the backbone of the quarrying industry, transporting materials and wastes from the quarries to neighboring factories. Conveyors are also used to regulate the transportation of mined materials in collaboration with stackers and reclaimers (“Types of” pg 1).

Crushing ment

equip-

Fig 63. Crushers are machines that break down huge rocks into manageable pieces. These massive machines crush materials sent on stone trucks from quarries into the finalized product using an intricate system of jaws, vibrators, and fixed steel plates (Johnson pg 2). 161

5.3

Types of Quarries There are many different types of quarries around the world, all of them are driven by a major factor: the material extracted. Gypsum, salt, marble, granite, sandstone, limestone, clay, sand, and other materials are commonly taken from quarries (“What Is Quarrying” pg 1). Even the same materials can be found in various forms in diverse locations of the world. “Where the quarry geographically resides fundamentally alters the physical structure of the material (“Background into” pg 1). Exquisite and finegrained marble, for example, is mined in Greece. Parian marble is popular among Italian sculptors because of its near-translucent whiteness. Therefore, wherever the material is mined heavily decides upon the type of material and the form of the quarry it is excavated from

163

Fig 70. Clay quarries: Clay is an organic, natural material made up primarily of clay minerals, a group of crystalline hydrous silicate minerals. The open-pit approach is used to mine the majority of clay material (Clay Processing pg 1).

Fig 65. Gypsum quarries: Gypsum is a mineral that may be located in deep layers among sedimentary rocks including limestone, shale, and sandstone (“Gypsum Mining” pg 1).

Fig 68. Granite quarries: Granite, as previously stated, is a fire-formed stone made up of feldspar, quartz, and mica. This stone began as a molten, flowing mass, similar to lava. It hardened and became extremely thick as it cooled (Anderson pg 2).

Fig 69. Sandstone quarries: Sandstone is formed over hundreds of years by deposits that occur in lakes, rivers, and on the ocean floor. These elements compact when they come into contact with other minerals. The pressure of these minerals gathering through time forms sandstone (Gosford pg 1).

Fig 66. Salt quarries: A glimpse of the Salineras de Maras salt pans in Peru’s Cuzco district

Fig 67. Marble quarries: The Carrara Marble quarries, situated in north Italy’s Apuan Alps, have been producing marble for nearly 2000 years and are 1500 meters above sea level. For thousands of years, the richness of the milky white marble has makes it a preferred source for Italian art.

Fig 71. Limestone quarries: Limestone is made through water crystallization or the collection of shells and shell fragments. Limestone is a sedimentary rock composed primarily of calcite, which is composed primarily of microscopic creatures’ skeletons (“25 WORDS” pg 1)

Fig 72. Sand quarries: Sand mining is by far the most significant mining operation on the planet, mostly for the concrete used in construction (Pearce pg 2). 165

5.4

Why is this an Issue ? Mining and quarrying have the potential to be extremely harmful to the planet. They have a significant effect on the environment by producing rubbish dumps and wastes. Sulfur dioxide and other pollutants from the extraction procedures can pollute air and water, placing wildlife and local inhabitants in danger (“Environmental Science” pg 1). Moreover, rock blasting and the large trucks that commute to and from the quarry nearly on daily basis also factor in the generation of dust and noise pollution. Therefore, quarrying affects the health of residents nearby, particularly for those with respiratory issues The trucks also cause traffic congestion and animal harm in rural areas (Quarrying pg 1). Furthermore, quarries harm biodiversity and lead to the loss of species and ecosystems. They hinder the establishment of young plants as they harm the internal structure of leaves and cuticles. This leads to a reduced crop yield. According to a study of 79 people living in a location that is close to a quarry, “People who live in close proximity to the quarry sites reported exposure to dust at home (98%), land destruction (85%), plant leaves covered with dust (97%), and an inability to grow crops (92%). The exposed group reported significantly higher eye and nasal allergy (22% vs. 3%), eye soreness (18% vs. 1%), and dryness (17% vs. 3%), chest tightness (9% vs. 1%), and chronic cough (11% vs. 0%) compared to the control group” (Nemer pg 1).

167

Fig 73.Rice Northern

feild in Thailand

Quarries in the UAE

6.1

Since the United Arab Emirates have major limestone and hard rock sources. Quarrying businesses employ them to make building aggregates and raw material used in cement production, with a tiny quantity also being used to make rock wool, dimension stone, and mineral filler. Around 17 quarries exist in the country. Crushed rock aggregate, building sand, and cement raw materials are the major products of the UAE quarrying sector (“Geological Passport” pg 10). Types of quarries in the country range from open pits, underground mining, boulder quarries, to aggregate quarries (“YellowPages” pg 3). 171

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Fig 74. Location of quarries in the UAE

Fig 75. Ras Al Khaimah Abandoned Quarry by Stevin Rock

6.2

The Local Problem Despite the fact that cultural landscapes are not “designed,” they have a distinctive and immediately distinguishable character -- If someone grasps the “code,” a single view may be enough (Rapoport pg 35). People who create landscapes apply rules to attempt to recreate the ideal landscapes embodied in their schemata. These systems can be seen as a specific feature of culture-induced habitual behavior. The application of these principles results in systematic decisions, and it is this systematicity that leads to cultural styles and, in the case of cultural landscapes, recognizable cultural landscapes (Rapoport pg 36).The survival of clear (or strong) landscape orders is dependent on conservatism, or the presence of those who are unwilling or unable to change what has worked in the past. As the degree of sharing schemata and the strength of rules lessens or disappears, so does traditions. As a result, there are fewer clearly distinct cultural landscapes and traditional vernaculars’ place specificity is decreasing (Rapoport pg 36). In the United Arab Emirates, quarries emerged as a result of globalization, as they were not previously a part of how people engaged with landscapes. Stevin Rock quarry in Khor Khwair, Ras Al Khaimah has been operating since 1978. The quarry significantly altered the mountain’s natural face, resulting in a site that does not reflect the country’s geography. As a result, the land’s local distinctive identity has lost its value, resulting in an alien face: One that does not represent an identifiable local environment. 175

7.1 Fig 76.Troglodyte dwellings in Matmata, Tunisia

Rehabilitation

/riːəbɪlɪˈteɪʃ(ə)n/

noun

The noun rehabilitation is derived from the Latin prefix re-, which means “again,” and habitare, which means “to fit.” When anything falls into a state of disrepair and requires restoration, it is referred to as rehabilitation. In a simpler form, the act of bringing back and reviving something to its former condition is known as rehabilitation.

179

7.2

Why Rehabilitate ? In the year 2100, the world’s population is estimated to reach ten billion people. Global primary energy consumption is expected to triple this century. Consequently, efficient built-environment planning is becoming extremely important in lowering carbon emissions (Dyrbol pg 1). Larry Strain, a principal at Siegel & Strain Architects in Emeryville, states “If you renovate and reuse the biggest parts of existing buildings—typically the structure and foundation—you can save 50 percent of your carbon on a project right off the bat” (“Renovating Buildings” pg 1). This makes rehabilitation significant in meeting carbon goals. Another important aspect is that abandoned spaces degrade the value of the neighboring land and provide security risks to the public. Abandoned buildings and empty lots are degraded structures that people often witness and which may provide physical possibilities for violence by sheltering unlawful behavior. Thus, the revival of such spaces play a key role in sustaining the safety of the surrounding environment. Moreover, rehabilitation is often used to preserve historical buildings. Historical monuments serve as witnesses to a neighborhood’s aesthetic and cultural heritage, providing a sense of belonging and an emotional connection to the past (“The Importance” pg 1). Other sites that are apt to revive are natural contexts that have been degraded by humans through processes like quarrying, deforestation and the like. In the UAE, after the resources have been removed, quarries are largely left unused.This practice generates unsafe abandoned spaces, especially if located in a close proximity to habitable urban environments, urging the need to rehabilitate. In summary, people frequently rehabilitate in order to minimize the environmental impact through reducing carbon emissions, to breathe life into a dead space left by humans in a city, to preserve and celebrate a historical monument, to restore a natural site that has been degraded by human practices, and etc.

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7.3

Fig 77. The high line after rehabilitation Fig 78. The abandoned high line before rehabilitation

How to Rehabilitate?

Rehabilitating a dead space in a city The High Line was erected in the early twentieth century to solve the unsafe conditions generated by goods and passenger trains crossing the City at street level. Yet, by the 1960s, the railway had lost ground to the highway system as the primary mode of transportation services, and the last train down the High Line traveled in 1980. The raised track had been empty since that year, drawing only weeds and violent criminals. Later on, the idea of rehabilitating the high line instead of demolishing it was born. The structure was to be transformed into a public park. In June 2009, a promenade that celebrates the High Line’s previous rail legacy and natural overgrowth while also picturing new public places for the future was designed (Lopate pg 1). In a busy metropolis, the park became a vibrant and lively spot. It was transformed into a public space where people could sit back and enjoy themselves. The park’s center, which contains peaceful areas of wild vegetation and plants, rusty rails, and several tiny spaces for visitors to relax and enjoy the scenery, has become the soul of the park (Barbanel pg 3).The High Line has become a symbol of modern landscape design in the United States. 183

Fig 79. The High Line by Diller Scofidio, USA 185

Fig 80. Platform Park, USA view 1 Fig 81. Platform Park, USA view 2

Platform Park by Terre moto California, USA 2019

“A vacant lot. An underpass in Culver City. A city amidst a city of cities. Nowhere, but also the center of the universe” says the landscape architect Terre Moto(“Platform Park “ pg 1). Initially, the park was an empty lot under a transit bridge near to their Culver City shopping and dining complex. The owners’ key aim was to establish an exciting, energetic, and vibrant public area that could also host regular public activities. The designer managed to fullfil the desires of the owner by creating lively public space beneath the bridge: A less programmed civic space, and a more natural plateau. 187

Rehabilitating Industrial Sites Dexamenes Seaside Hotel by K-Studio Kourouta, Peloponnese, Greece 2020

Dexamenes dates back to the “Era of Currants.” Currant production has grown to astounding proportions following Greece’s freedom in 1830, and currants were the Greek Kingdom’s principal export crop. However, when the “Currants’ Crisis” occurred in Greece in 1910, the currant trade crashed, forcing the conversion of unused currant stocks into alternate exports like wine. The wineries and distilleries were established around this time. Dexamenes was constructed on the seashore just so ships could be stocked with wine straight from the tanks before sailing to the world’s key markets. Since the 1920s, the decaying, industrial monuments that define the land have been kept largely undisturbed (Pintos pg 1). The decision was taken not just to save the structures, but to present them in a manner which would inject new life into their walls, in order to retain their rich past and natural magnificence. The redesign adds grace to their brutality and converts their basic purpose into a haven of quiet, serenity, and leisure.

Fig 82. Dexamenes before the rehabilitation Fig 83. Dexamenes after the rehabilitation 189

Fig 84. Dexamenes after the rehabilitation 191

Fig 85. Dexamenes after the rehabilitation

Fig 86. Dexamenes after the rehabilitation 193

Fig 88. Pier 54 before the hurricane’s devestation Fig 87. Little Island Park bird eye view

Rehabilitating Historical Monuments Little Island Park by Heatherwick Studio New York, United States 2021

The Hudson River shoreline became a popular port of entrance in the 19th and 20th centuries. Pier 54 was the home of the British Cunard-White Star line from 1910 to 1935. It later evolved into a community space that hosts a variety of public activities. It transformed into a home to the annual “Dance on the Pier” event, a venue for summer events and concert series, and more . Hurricane Sandy caused devastation on New York City’s waterfront in 2012, destroying multiple piers all along the river, notably Pier 54. The pier was later abandoned. In 2013, those in authority took advantage of an extraordinary chance to develop a plan for Pier 54’s restoration and rehabilitation. A completely new kind of public area for New York was proposed, one that would provide an interactive experience involving nature, art, and the historical piers of the Hudson river (“History of Little” pg 2). The ruins of the existing wooden piers inspired the concept of elevating the park on piles that have created a major home and shelter for the marine life underneath (Pintos pg 2). 195

Fig 89. Little Island Park by Heatherwick 197

Fig 90. Before rehabilitation- Mining site while operating Fig 91. After rehabilitation- Lake Kepwari

Rehabilitating natural sites degraded by humans Lake Kepwari by Premier Coal Australia 2020

Since coal mining began in the 1970s, it was always the company’s intention to develop a touristic waterbody. The corporation had a plan in place before starting the mining process to repair the site after the process was completed. It was dedicated to the land’s beneficial revitalization, working to modify the area and restore it to a condition that was beneficial to both the environment and people. The company spent five years redesigning the terrain after mining around the planned lake area finished in 1996. In 2020, the 32-gigalitre man-made lake was completed. People now perform various activities on the lake such as waterskiing, fishing and etc. Moreover, native species of plants were planted, resulting in a rich, local wildlife (Ronan pg 2). 199

Fig 92. Before rehabilitation- Wilikie Creek mine Fig 93. After rehabilitation- grazing trails

Wilkie Creek Mine by Peabody Queensland’s Surat Basin 2016

After the completion of coal mining in 2013, the company began to rehabilitate and restore what has been damaged. Filling empty voids generated by the process, restructuring dumps, and performing excavation and related operations are all part of this process. Barns and livestock watering systems are included in the end landscape result More than 50 cattle were included on the rehabilitated land with grazing trails. This opened the door for community involvement and engagement (“Mine Rehabilitation” pg 4). 201

Fig 94.Pantalica burial caves in Sicily

Humans have an instinct to pursue long term stability and permanency as a species, as they refuse to recognize that they are ephemeral in the larger scheme of things. In architecture, this urge is mirrored. Back in time, people used to always be concerned with long-term stability and permanence which clearly evident in traditional architecture (Introna pg 1). Nearly all of what exists is going to end, yet people still seek permanent solutions to temporary issues. Temporary architectural monuments are distinguished by the amount of time they inhabit the ground or their ability to adapt to various purposes and occupants. As prominent Polish sociologist Zygmunt Bauman explains , people inhabit a “liquid society” ; A society in rapid change, where almost everything quickly becomes outdated. Therefore, a new approach of planning and building that incorporates a dismantle-able assembling kit could be considered. Claas Architectes designed a house called L’Architecture est dans le Pré, which is located in France. It began as a self-build kit, a conversation combining agricultural building methods and economic requirements. On a larger scale, another example could be the ephemeral megacity constructed

Temporary, Reversible Architecture

8.1

during the Kumbh Mela, a Hindu holy celebration. The city ,which is able to carry 7 million people, sits on the intersection of two rivers. The entire city appears in a matter of weeks, and is dismantled in the same amount of time at the end of the event. Consequently, the river’s area is restored. “Temporary” can be defined as something that can be easily reversed or changed over time. Additionally, one can describe temporary in terms of how a landscape will change around the buildings through time. The term allows us to understand the fragility of the present. Like natural elements which go through a naturally existing closed loop cycle, a “man-made” closed loop cycle could be explored and researched in attempt of giving back to nature what has already been looted. Such concepts can be investigated through the use of natural materials that can be easily restored to nature without creating harm, such as Gabion walls and Sandbag architecture, by using materials that allow the inhabitation of nature like biological concrete, or by experimenting with biodegradable materials such as finite. 205

207

Fig 96. Ephemeral megacity for Kumbh Mela

Fig 95. L’Architecture est dans le Pré with a dismantle-able assembling kit

Fig 97. Dominus Winery by Herzog & de Meuron

8.2

Gabion walls Gabion is derived from the old Italian term gabbione, which implies “large cage” (“gabion walls” pg 1). Gabion walls have a natural appearance and blend in with the surroundings due to the use of natural materials. Gabion walls’ rocks can be easily disassembled, restored to their original source, or repurposed for other uses. In the Dominus Winery by Herzog & de Meuron, the gabion walls, which are made of locally sourced stones of varied sizes, are the most noticeable aspect of the monolithic structure. The metal cage carrying the stones filters natural light into the interior (Klein pg 2). 209

Fig 98. Wire-mesh sculpture at the Arte Sella open-air museum

Another example is Simbiosi, the wire-mesh sculpture at the Arte Sella open-air museum by the artist Edoardo Tresoldi in Italy. A building ruin is sculpted employing a distinctive wire mesh in the artwork. The mesh frame’s empty walls have been filled to different degrees with locally produced stones. The sculpture colonizes a space between the material and immaterial world (Han pg 1). 211

Fig 99. Wire-mesh sculpture at the Arte Sella open-air museum 213

Fig 100. Wire-mesh sculpture 215

Fig 101. Sand bag shelter construction Fig 102. Sand bag shelter construction

8.3

Sandbag Shelters The California Institute of Earth Art and Architecture, established in 1991 by the Iranian architect Nader Khalili, has explored and designed solutions, such as the SuperAdobe, a structure composed of long plastic bags filled with sand and secured by barbed wire (Guimapang pg 1). The method of building using sandbags entails compacting sand-filled polypropylene bags until they are rock solid. These bags are inexpensive and widely accessible. In the gaps between the bags, barbed wire ,which adds tensile strength, is used as reinforcement and mortar. Earth plaster, white cement and dye, mosaic, or another coat of cement plaster can be used to cover the building. The final resistant coating protects the structure from the weather, requiring minimal maintenance (Prosser pg 3). Because the sand is preserved in the bags until the structure is disassembled, this technique enables for the usage of sand without causing damage to it. It also enables for the future reuse of sand in other projects. 217

Fig 103. Sand bag shelter construction 219

Fig 104. Sand bag shelter completed

221

Fig 105. Biological concrete close-up Fig 106. Aeronautical Cultural Centre by Sergi Godia covered with biological concrete panels

8.4

Biological Concrete “Plants and lichens on a concrete wall used to be a sign of decay, but soon they might be a sign of sophistication” (Eveleth pg 1). Construction materials are engineered to withstand growth, and significant study has gone into developing paint treatments and biocides that prevent living organisms from colonizing the concrete, wood, and bricks that compose up the structure. Instead of building moss and lichen-resistant surfaces, the BiotA lab seeks to create “bioreceptive” facades. The lab wants people to conceive of a building’s façade as bark rather than skin. A team meber from BiotA lab says that the skin is “not just a protective thing, a host; it allows other things to grow on it” (Eveleth pg 2). Three layers of biological concrete are overlaid on top of a structural foundation. The first is a waterproofing system that covers the structural foundation from moisture damage. The biological layer follows, which promotes the colonization of species such as moss, lichen, and drought-tolerant vegetation while also acting as an underlying substructure that aids in moisture retention. The final layer is a discontinuous coating with reverse waterproofing, which allows moisture to soak through while keeping it within the concrete. Moreover, the concrete has applications in air filtration and CO2 reduction (Inhabitat pg 2). The wall is not a sacred forest, nor is it an empty green space, but it is a combination of both (Eveleth pg 3). 223

8.5

Biodegradable Materials

“Biodegradability is a natural degradation mechanism”

Plants thrive, perish, and biodegrade, yielding a source for fresh growth. Although biodegradability is frequently linked to natural materials, man-made materials can likewise be manufactured to biodegrade (Sassi pg 94). This cyclical aspect of natural processes can be adapted to construction works. Demolition is an undesirable final method of removal since it produces a variety of numerous waste kinds that is tedious and difficult, if not unattainable, to sort. Deconstruction, on the contrary, allows waste types to be separated. Separating trash would not even be essential in buildings that are biodegradable. The employment of biodegradable materials can produce a cyclical system for buildings and their materials (Sassi pg 93). A biodegradable material is a material that can be decomposed by living organisms including bacteria and fungi without damaging the environment. Biodegradability is a natural degradation mechanism that causes material compaction and liquefaction. Natural cycles gradually recycle the nutrients discharged into the surroundings (“Biodegradable Materials” pg 1). Biodegradable materials include: Cork, Bamboo, Linoleum, Bioplastics, Timber, Mycelium, finite and the like (Thorns pg 1).

225

Fig 107. ArboSkin pavilion by ITKE

Bioplastics ArboSkin pavilion by ITKE 2021 Bioplastics degrade far more quickly than synthetic plastics, at a speed proportional to that of paper, and generate energy. A soybean based solution is employed, which helps to minimize CO2 emissions. 227

Fig 108. Hy-Fi by the Living

Mycelium Hy-Fi by the Living 2014 Mycelium is the fungus’s vegetative component. It is mixed with agricultural wastes in molds to create organic bricks that could be used in construction and then decay to be restore to nature. 229

Fig 109. Finite possible compositions

8.6

Finite Despite popular assumption, sand is in short supply and in high demand around the world. Because of its thin, silky grains that do not easily join collectively, desert sand has previously been ineligible. However, it has been included into Finite, a composite material produced at Imperial College in London. It is said to be as durable as concrete and ‘traditional housing bricks,’ as well as being easily recyclable and biodegradable, with half the carbon emissions of concrete and the ability to be remolded for various lifetime uses (“Biodegradable Materials” pg 2). It is believed that the product is suited for usage in the Middle East since the raw material for the concrete substitute can be collected directly from the desert instead of being shipped at a high cost. Finite is non-toxic, according to the designers, and can be left to decay naturally or completely remodeled to be used in other purposes (Block pg 2). Colors can be added to the material to generate diverse appearances to complement the purpose, resulting in complicated and flawless finishes. 231

Fig 110. Mleiha Quarry Site

Fig 111. Ancient carved caves in Nepal.

Rehabilitation via landscaping

9.1

The act of rehabilitating quarries mainly occurs through landscape reinterpretation. This concept is driving a number of projects around the world with the goal of restoring quarries’ original biodiversity and ecology. Paying nature back is a way of repairing damage that has already occurred. Some case studies include Quarry Garden Shanghai Botanical Garden, Roman Quarry Redesign, Lookout Path at the Old Gypsum Mines, Quarry Gardens, and ENCI Quarry. 243

Fig 115. Quarry Gardens

Fig 114. Roman Quarry Redesign

Fig 112. Quarry Garden Shanghai Botanical Garden.

Fig 116. ENCI Quarry

Fig 113. Camí de les Guixeres - Lookout Path at the Old Gypsum Mines

245

Fig 117. Quarry Garden view 1

Quarry Garden Shanghai Botanical Garden by THUPDI and Tsinghua University Shanghai, China 2010 42600 m2 Built

Quarry Garden, which was rehabilitated from an old, unused quarry site, became a distinctive monument and symbol of Shanghai. Its capabilities are clearly demonstrated through methods for ecological restoration and cultural reconstruction. One severely unreachable abandoned piece of land has been transformed into an appealing touristic destination for visitors interested in seeing the natural landscape and learning about the quarrying industry’s history. A project’s highlight is the challenge of creating a spectacular aesthetical environment using extremely demanding building methods (“Quarry Garden” pg 2). 247

200 m

About Architects THUPDI is an architectural practice based in Beijing, China. The practice works with landscape design and is most famous for its project: Quarry Garden Shanghai Botanical Garden.

Fig 119. Quarry garden view 3

Fig 118. Quarry garden view 2

Project Context Quarry Garden, with a total area of 4.26 hectares, is situated in the heart of Shanghai Chen Mountain Botanical Garden. Chen Mountain is over 70 meters tall and stands alone in the Garden. Its look has been significantly ruined, and quarrying has resulted in the formation of two east-west quarries throughout the early twentieth century up to the 1980s. After the hill has been used and excavated into the ground, one deep pool remains in the western quarry. By emphasizing on the western quarry, this project intends to create a unique, site-sensitive, and distinctive horticultural landscape (“The Quarry” pg 1). 249

Fig 120. Variety of materials at Quarry garden Fig 121. Vegetation restoration

Project Concept

Project Key Elements

When reclaiming a quarry, many designers tend to return the site as similar to its previous setting (before the mining process took place) as possible, or at the very least minimize the location’s industrialized background. THUPDI and Tsinghua University did accomplished the reverse with planning the Quarry Garden in Shanghai, China, and the consequences were fruitful. The desolate landscape provided a unique opportunity for the designers to build an uncommon place that provides insights into Chinese mining practices while also reviving the site by establishing an environmentally friendly public space. The design is sensitive to and accepting of the historical, cultural, and ecological setting of the old quarry. ““It’s a very honest project. It’s not trying to cover up what it is and it’s an example of everything done right in reclaiming a quarry. As it seeps down and stains, it will be even more beautiful” (Network pg 4).

Quarry biodiversity and ecology is restoredOffered a unique rock terrain, the designer employs the “ substruction “ approach to create an unique ecology by modifying the land form and enhancing vegetation coverage. Developing an exotic natural and cultural experienceModern design was utilized to reflect the natural landscape culture of the Orient along with China’s utopianism, enriched by Chinese landscape painting and classical literature. Furthermore, as a tribute to the eastern natural landscape culture, the designer recreated a landscape from “The Land of Peach Blossom” and assured that tourists could explore and appreciate the scenery via a theatrical path depending on the deep pool’s distinctive land form (“Quarry Garden” pg 3). 251

Fig 122. Staircase at the garden Fig 123. Circulation diagram of the garden

Design Strategy The site has the potential to transform a severely damaged quarry into an environmentally advantageous open public space. The quarry’s unique spatial form also allows for the creation of an uncommon landscape by designers. However, there are some obstacles to overcome, such as the necessity to restore the highly degraded ecological habitat. There is a limited vegetative cover and few species on the site, yet there is considerable rock weathering, as well as water and soil erosion. The designers must completely excavate and utilize the worth of the quarry’s landscape. The site was previously completely abandoned, with the Deep Pool closed off from the public.

Circulation The circulation focuses on providing users with a dramatic experience. It is surrounded by underground amenities with six exits and entrances. Multiple layers of defined levels with retaining walls link the exits and entrances; the set-back floor is covered with different types of shrubs. A number of mountain-climbing routes are developed for people to access the Platform’s top and view the “hidden garden” of varied vegetation (“Quarry Garden” pg 4). 253

Fig 124. Tunnel view at Quarry garden Fig 125. Program distribution

C A B

Program A The Deep Pool The deep pool is the project’s main zone because of its distinctive spatial form. The difference in height between the water surface and the terrace area is between 20 and 30 meters. B The Lake Area By excavating and refilling the landscape, the designers created the “Mirror Lake” and “Flower-seeing Platform.” The “Mirror Lake” balances with the Deep Pool, and the reflecting surface of the lake minimises the monotonous sensation of the hill; the south hill on which the “Flower-seeing Platform” is constructed not just isolates the site from exterior intervention, but also provides an ideal location for flower planting and exhibit. C The Platform Area Enhances the spatial sequence and expands the sightseeing area. Guests will be enabled to see the quarry from many perspectives and explore the dramatic landscape, which will enhance their awareness of eastern terrain and mining traditions. 255

Project Materiality

Fig 126. Quarry Garden view 4

A bold environment is created by combining stone, steel, wood, and water. Rock surface serves as the entry to the Quarry Garden. Visitors go down a CorTen steel stairway into a deep pool at the old quarry’s lowest point. Multiple viewing points to view the waterfalls and the surrounding rock surfaces can be found along a wooden walkway that spans the pool (“The Quarry” pg 1).

257

Roman Quarry Redesign by AllesWirdGut Architektur Sankt Margarethen im Burgenland, Austria 2008

Fig 127. Roman Quarry vuew

4980 m2 Built The Roman quarry provides visitors unique a experience. It serves as a perfect destination for musical fans and habitants of the region to either enjoy the opera performances or encounter the quarry’s rocky walls (“Aguilar” pg 1). 259

Fig 128. Roman Quarry eye bird view

About Architects AllesWirdGut has been working on projects of various scales since 1997, ranging from urban planning to interior design. The pragmatic approach looks for opportunities in the current situation. By viewing so-called difficulties as opportunities, fresh and unanticipated possibilities emerge. AllesWirdGut’s four designers encountered at the Technical University of Vienna (TU), where they developed their first collaborative designs. The team is distinguished by their diverse character contribution (“Alleswirdgut” pg 1). Project Context Sankt Margarethen im Burgenland is a town in Burgenland, Austria, near Eisenstadt, the state seat. The town is home to a m assive 1st-century Roman quarry. The town lays close to Hungary’s border (“Aguilar” pg 1).

50 m 261

Fig 129. Esposed rocky facade of the quarry

Project Concept The main concept of the design is to display and celebrate the rock scenery in most parts of project. The concept was inspired by a sculpture symposium where two Japanese men created the “Japanese Channel” by hammering the compact rock in an almost impossible-to-replicate manner. The “Japanese Channel” concepts were applied, and the redesign is most likely considered as a continuation of the sculptor’s work (“Roman Quarry” pg 1). Project Key Elements The key element of the project is the theatre and the theatre visit being a part of the quarry’s picturesque rock scenery allowing the visitor to participate and engage with it pg 1). 263

Design Strategy In their design, the architects used three key strategies. First, there is accuracy, which is defined as an easy and straightforward shape language. Second, reduction, through focusing on the most important aspects of a scenario. Finally, subtraction, which implies: adding more value by removing (“Aguilar” pg 1).

constructed monuments primary entrance secondary entrance views from ramp

Circulation Two major entrances welcome the visitors to the quarry. There is also a wheelchair access option that leads along the ramp over the park to the first reserved seat. The ramp provides views to the whole site (“Aguilar” (“Aguilar” pg 3).

265

Fig 131. The rehabilitated quarry’s entrance

The program of the rehabilitated quarry is organized in a way in which the theatre serves as a paradigm for how specific functions should be organized. In order to produce a spatial experience, the spectacle serves as a role model. It calls for unexpected moments as well as the arrangement of lanes and lounges (“Aguilar” pg 4).

Fig 130. Program organization

Program

Project Materiality The rock material is mainly utilized. The surfaces of the open areas are mostly made of quarry-related materials and materials extracted from the quarry site. Oxidized steel plates is also a material that was selected due to the quarry’s history. White fiber-cement sheeting is utilized wherever guests are capable of interacting with the surfaces such as the catering counters, toilet entrances, and etc. – creating a much more polished note contrasting the raw sandstone and rusted steel (“Aguilar” pg 5). 267

Fig 132. Path’s eye bird view

Camí de les Guixeres - Lookout Path at the Old Gypsum Mines by Batlle I Roig Igualada, Spain 2018 Built On the suburbs of Barcelona, the project was proposed to recapture the former gypsum mines of El Caret and El Pelfolt. After the abandoned gypsum mines were abandoned, they were utilized as a municipal trash transfer station until the late 1970s, when that facility was also decommissioned and the entire region was deserted without any further remediation or clean-up. The Batlle I Roig project aims to restore these severely deteriorated areas (“Batlle I Roig pg 1). 269

Fig 133. Observatory deck

About Architects Batlle I Roig is a Catalan-based architecture firm. For their idea to rehabilitate the ancient gypsum mines of El Caret and El Pelfolt on the outskirts of Barcelona, the firm earned the Year prize at the 2018 World Architecture Festival (“Batlle I Roig pg 1). Project Context The project is located 65 kilometers west of Barcelona, on the suburbs of Igualada (“Camí De Les” pg 1).

100 m 271

Fig 134. Lookout path through bird eye view

project insertion the green ring

Project Concept To recover the ancient gypsum mines of El Caret and El Pelfolt, the design develops a prototypical section with three distinguishable strips that respond to the layout’s various scenarios: Resolving the site’s challenges while also expanding its potential. The architect found immense promise in the over-exploited and degraded site - first as a quarry, then as a landfill - after carefully analyzing it. It offers unsurpassed picturesque views of the city’s skyline. The designers came up with the notion of building some attractions to entice the community back to these outlying suburbs (“Batlle I Roig pg 1). Project Key Elements Connectivity in which the city-scale project creates a continuous green ring. Recover the landscape and biodiversity through developing the components needed to create a new dynamic in the area that will eventually help improve the environmental circumstances by capturing water (Sagredo pg 2). 273

Fig 135. Lookout path bird eye view Fig 136. Main pedestrian path disected

Design Strategy Providing the basis for a new dynamic to emerge in the area that will gradually improve its environmental conditions through various methods. Circulation The design of the continuous path takes into account the major existing landmarks, greenery, and plants by widening and establishing rest places, which are enhanced by linear benches (Sagredo pg 3). 275

Project Materiality

Fig 137. Luminiscent concrete glwoing in the

The materials incorporated are suitable for the location and were actually sourced there. Granatic sand to create the main track, stones -from rockfalls- to construct the retaining walls, wasted cobble stones to build the overflow points, precast concrete to build benches in resting areas, and Luminescent concrete that improves visibility during the evening by returning, in the form of luminescence, the solar energy captured during the day (Sagredo pg 4).

Program The program primarily consists of walkways, bike routes, and a number of resting spaces, all of which honor the abandoned quarry site while providing city vistas (“Batlle I Roig pg 2). 277

2 1

6 7 Fig 139. Location of the the 6 quarry gardens

Quarry Gardens by ATELIER DYJG + School of Landscape Architecture, Beijing Forestry University Nanning Garden Expo Park, China 2018 350000 m² Built

Fig 138. Quarry garden no. 6

The China International Garden Expo was held at Nanning, on the city’s hilly outskirts, along a river. A number of quarries exist in the southeast area of the property. The planning team aimed to turn seven of the largely destroyed quarries into unique landscapes that would be showcased at the garden exhibition. During the mining process, these quarries were subjected to blasting, which resulted in shattered surfaces and rocky landforms at the quarry base. The placement of facilities and numerous walkways were designed with safety in mind, avoiding risky zones while displaying unique aspects of the quarry terrain. Landscape architects used a variety of interventions and vegetation restoration techniques to enhance every quarry’s unique characteristics (Li pg 1). 279

Fig 140. Quarry No. 1 is a serene pond surrounded by a rough rock hedge, attempting to capture China’s traditional landscape aesthetics. A wooden and irregularly shaped pavilion, whose structural form is inspired by local vernacular architecture, is situated amid a rock gap at the edge of the pond.

Fig 142. Quarry No. 2 is fully bordered by cliffs. The quarry has been designed to appear like an aquatic paradise. It has an enclosed wooden box that also serves as an aerial viewing platform from which visitors may enjoy a view of the cliff and the full garden expanse.

Fig 141. Quarry No. 3 was created as a unique rock garden. At the pond’s edge, two platforms with varying elevations have been built from which visitors can experience a spectacular view of the garden.

Fig 143. Quarry No. 5 is the largest of the 7 quarries. Because of the constantly rising water level, the quarry has turned into a lake. On the lake and between trees, a network of bridges and pathways of varied heights connects to the hilltop viewing platform. Moreover, a waterfall is created, creating a scenic area.

Fig 145. Quarry No. 4 is a wide pond with green and clear water surrounded by cliffs. The quarry has observation decks on the northern and southern sides. One of the decks floats over the water, with a curved bridge connecting it to the main waterfront deck.

Fig 146. Quarry No. 6 was converted into a romantic garden with a post-industrial ambience through the use of sand production machines that remained abandoned onsite. The majority of the remaining equipment were placed in lush greenery to contrast with the rusted machinery.

Fig 144. Quarry No. 7 has two small quarry pits. After decades of being abandoned, a variety of local plants have sprouted out of gaps in the rocks. A ring-shaped walkway surrounding the slope between two pits is built. It provides tourists with a wild vista that displays natural forces and capabilities in quarry rehabilitation.

281

Fig 147. The rehabilitated ENCI quarry

ENCI QUARRY by Rademacher de Vries Architects Maastricht, Netherlands 2020 350000 m² The unique industrial landscape of the area, as well as the biological richness of its surroundings, were the driving forces behind the transformation of the quarry into a public park. In order to learn how to carry out a project of developing public areas without interfering with the natural reserve, an adaptive technique was used. The quarry, the transition zone, and the business park are the three primary components of the project, each of which has been constructed in different phases. A lookout platform was built to provide views of the site as well as provides access to the area (“Recovery of” pg 2). 283

285

Fig 149. Staircase at the ENCI quarry

Fig 148. Staircase at the ENCI quarry

Concept There are several industrial building volumes in the quarry that might be abstracted as spreading geometric signs throughout the landscape, providing more inspiration for the concept. Connection, participation, and visibility are the three key aspects of the project. Art, heritage, and research are all incorporated into the proposal. Based on the design, the transition zone must maintain the extension perception of the post-industrial area: it should symbolize the identity of both the industrial area and the quarry itself. The concept proposes a new architectural intervention order that would be implemented on the location. In the transition zone, three major architectural volumes would be built: a big public plaza, a memorial museum, and a water pavilion.

Fig 151. The arrangment of the abstract shapes to forn the

Fig 150. Two students proposed another complimentary proposal for the rehabilitation of the ENCI quarry which mainly revolves around the two concepts of Disorder and Reassemble.

287

Simple

SYNTHESIS

Distinctive

Restoration

Display Engage

Picturesque

Attract Connect Revive

Vegetation Unique Enhance

Vista Access Adapt

Rehabilitation via man-made structures

9.2

Rehabilitating quarries often includes the concept of introducing new programs. These programs, in most cases, try to link to cultural activities and people involvement. In this case the programs are either fully or partially hosted in architectural, man-made structures. Some projects following this approach include the Quarries of Fantiano, the Rehabilitation of Cava Bregaglio. 299

Fig 153. The Rehabilitation of Cava Bregaglio

Fig 152. Quarries of Fantiano

301

Quarries of Fantiano by Francesco D’Elia

Fig 154. The stage at the quarries of Fantiano

Fantiano Forest, Italy 2008 Total built area: 2225 m² The extraction activity for the production of tuff blocks and calcarenite sand was centered in the region between the 1950s and 1970s. The quarries have been exploited as unauthorized landfills due to years of abandonment. In recent years (since 1999), the local government has led to the recognition of these sites as offering incalculable landscape value, allowing the creation of the Regional Natural Park of the Land of Gravine (Archilovers pg 1). 303

Fig 155. Photo of old Tuff blocks extracted from the quarry site

About Architects Francesco D’Elia is the founder of Donati D’Elia Associati, a firm based in Taranto, Italy. The architect designed multiple rehabilitated projects besides the Quarries of Fantiano that include: The urban transformation and redevelopment of the central area of the Municipality of Statte, the renovation and adaptation of the “Pala Coccia” sports hall in Aia dei Franchi and etc. Project Context The site is roughly located three kilometers north-west of Grottaglie’s urban core. Between the 50s and 70s of the 20th century, an extensive activity of material extraction for the production of tuff blocks and calcarenite sand influenced the area for a long period of time (Archilovers pg 2).

50 m 305

Fig 156. Mountains where rocks were previously extracted

Project Concept Out of an architectural, landscape, and environmental standpoint, the project’s driving concept was to create an overall picture with significant symbolic and representative values that could link to the agricultural and man-made context through easily recognizable signals (Archilovers pg 1). Project Key Elements Reduction of environmental effect and hierarchization of roads and accesses, durability of the choice of materials from traditional practice, and reduction of technical system maintenance make up the key elements of the project (Archilovers pg 3). 307

Fig 158. backstage facade Fig 157. backstage interior corridor

Design Strategy The architectural structure that houses the backstage operations is designed to resemble the monolithic look, with a sliced façade, of the mountains where tuff blocks were previously mined (Archilovers pg 4). Circulation The areas in the back-of-house operations block are organized linearly. On one side of the structure, a single long corridor accommodates the doors that lead to all functions. 309

The distinction of materials, the design textures, the colors, and the treatment of the diverse materials’ surfaces have all been presumed to provide an aesthetic value to be emphasized. Materials of the project include: Lengo, stone, metal, and ceramics. For instance, Tuff material is used for the auditorium seats while the BOH – built of tuff blocks- is covered with croten sheets in remembrance of the old mining equipment (Archilovers pg 4).

Program

Fig 159. Different types of materials used

Project Materiality

The program includes an open-air theater where the seats area created by partially utilizing existing steps (subject of past mining activities) and partially constructing new seats using the tuff material left abandoned on site. A back-of-stage block houses dressing rooms and services for the artists and personnel (Archilovers pg 4).

toilets offices washroom block artist’s dressing rooms corridor technical rooms multipurpose rooms

Quarries of Fantiano

Backstage services Preformance area Total

Space

Area

Units

Total

offices

29 m²

artist’s dressing rooms

25 m²

150 m²

washroom block

11 m²

toilets

5 m²

30 m²

technical rooms

10 m²

20 m²

corridor

110 m²

multipurpose room

15 m²

stage

730 m²

theater

1130 m²

1130 m² 2225 m² 311

Fig 160. view of the main entrance

The Rehabilitation of Cava Bregaglio by Y3AB The province of Lecco, Italy 2021 49000 m² Unbuilt

The project deals with the existing topography, which is made up of edges and boundaries, to define mandatory spaces with activities that are tailored to the quarry’s unique qualities. The project’s origins can be traced back to the use of the concepts of mimesis, which allows the approach of the unexpected surroundings in a harmonious manner. The suggested intervention’s sensitivity is founded on the principle which aims to generate meaningful spaces that are in harmony with the surrounding terrain. To accomplish this, the project is designed as an organic combination of social, architectural, and environmental solutions that complement the existing resources. The program includes a climbing gym, spa, museum pavilions, restaurant, library, auditorium and more (“Nuova Vita” pg 3). 313

Fig 161. bird eye view of the main path

315

1| Quarries of Fantiano 2| The Rehabilitation of Cava Bregaglio

Mimic

Local

SYNTHESIS

Materiality Durability Harmony

Social

Environmental

Cultural Architectural Symbolic

Cultural Parks

9.3

Cultural parks are viewed as beneficial and constructive strategies whose effectiveness is linked to heritage conservation, bridging the nature/culture gap, reinforcing identity and history, and enhancing social cohesion and economic growth. They are considered a place that allows people to interact and interpret their environment based on their own mindset and perspective. Some examples of cultural parks include Parc de la Villette, Zhangjiang future park, and the Loannina Cultural Park. 321

Fig 163. The Loannina Cultural Park

Fig 162. Parc de la Villette

Fig 164. Zhangjiang future park

323

Parc de la Villette by Bernard Tschumi Paris, France 1987 546326 m²

Fig 165. bird eye view of the park

Total built area: 28385 m²

Designed to raise the value of an underutilized site, La Villette was intended to become an extension of the city, not a rejection of it. Tschumi describes the park as one of the greatest buildings ever built, a fragmented construction but nonetheless an unified entity. As a result, La Villette, is envisioned as a “social and cultural park,” instead of a “basic landscape duplicate” or a picture of nature (“How the Parc” pg 1). 325

Fig 166. Site plan of the park

Tschumi rose to fame as a theorist before winning the famous contest for the Parc de La Villette. The interlaced concepts of “event” and “movement” in architecture his supports Tschumi’s idea that architecture is by far the greatest significant invention of our time. “Bernard Tschumi Architects “ is recognized for revolutionary projects such as the new Acropolis Museum, the Le Fresnoy National Studio for the Contemporary Arts, and more (“Bernard Tschumi” pg 1).

Fig 167. Red follies at the park

About Architects

Project Context The park is located in Paris, France. It was constructed on the grounds of a previous slaughterhouse that was later abandoned for a period of time. The main in of the park was to rehabilitate the dead space in the city of Paris (“How the Parc” pg 1).

327

Fig 168. Deconstruction of the park Fig 169. Distributing the follies to follow the grid

Project Concept Parc de la Villette is a cultural space where natural and manmade elements are made to coexist in a permanent state of reconfiguration and discovery. Tschumi designed it to demonstrate that a sophisticated architectural organization may be built without the use of standard composition, hierarchy, and spatial organization rules. Multiple means of Deconstructivism were utilized to create the park. Different layers make up the park where each has its own separate system. As a result, their crossings produce systematic chaos and disorder, which is one of the goals of deconstructivist design (Demirelsimay pg 3). Moreover, the unrestricted spaces of the red cubes “follies” are not based on their purposes, which is another fundamental aspect of deconstructivist design. Bernard Tschumi merely constructed a range of areas, such as large spaces, little spaces, and etc, and then allowed the people who would use the spaces to select how they would utilize them based on their recent experiences.

Project Key Elements The project’s key elements include the three organizational principles that organize the park in multiple layers. Another key element is the red “follies” that symbolize the collisions and “disjunctions” produced by bringing all of these places together. They act like a common denominator and are meant to motivate people to choose their own paths and design their own experiences through the park (“Cinegram Folie” pg 3). 329

Fig 171. The set of different layers making up the park

Fig 170. Red follies at the park

Design Strategy Via the overlaying of the 3 organizational principles: points, lines, and surfaces, Tschumi aimed to establish an urban density of different activities. The lines represent circulation networks, whereas the surfaces are the planted gardens distributed throughout the area. The points are a series of bright red architectural “follies” arranged in a 120 m2 grid all over the park. The sequence of follies provides the park a dimensional and organizational aspect by functioning as reference points (“Cinegram Folie” pg 3). Even though each folly is unique and different, the repeated pattern of each allows visitors to maintain a sense of place as they walk across the huge park (Souza pg 3). 331

Fig 172. Diagrams showing circulation and program distribution

Circulation The “lines” layer is utilized to create paths between the red elements “follies”. Lines are not built on a grid system like the points layer. It is made up of many types of lines, such as straight and curved, which occasionally meet. Pathways divaricate as a consequence of the variety of lines and intersects, allowing people to select different paths. Program An array of programs are housed in the little red structures, which are each a different variation of an exploding 10-meter cube (“Cinegram Folie” pg 3). Throughout the vast, wide area, there are ten themed gardens that visitors may come across in a real or figurative sense. Visitors can unwind, contemplate, or even play in each themed garden (Souza pg 3). 333

Fig 173. Red follies at the park

Project Materiality Follies making up the most noticeable feature of the project are made up of a steel structure that is painted in a bight red color. 335

Parc de la Villette

Total

Space

Area

Units

Total

follie

100 m²

2600 m²

science museum

10800 m²

gallery

7460 m²

concert

3830 m²

theater

1470 m²

1470 m² 28385 m²

337

Zhangjiang future park by MVRDV Zhangjiang District, Shanghai 2017 100,000 m² Total built area: 24700 m² Fig 174. Bird eye view

Unbuilt The project is intended to serve as a new focal point for the neighborhood, with collaborative public amenities that incorporate nature, culture, and entertainment (“MVRDV Win” pg 1). 339

Fig 175. Built monuments connected by bridges and paths

About Architects MVRDV, managed by Dutch architect Winy Maas, was founded in Rotterdam in 1993 and is an award-winning architectural firm with branches in Paris and Shanghai. MVRDV is a multinational architecture and urbanism firm with a progressive ideology committed to addressing global concerns (“MVRDV” pg 1).

Project Context The public park is located on an island in the Yangtze River. The river, which is located in China, houses nearly one-third of the country’s population. The project’s strategic location offers various views from and to the site (“MVRDV” pg 1).

50 m 341

The overall complex will offer a high-quality public space with a variety of public and cultural facilities, allowing residents and workers to unwind and entertain themselves. Separate structures were created to burst from the ground like silhouetted fractures in the land, providing dramatically diverse viewpoints based on the visitor’s viewpoint. All architectural interventions have activated roofs, which will be connected by pedestrian bridges. This will create a second city layer that affords vistas of the river and the neighborhood (“MVRDV Win” pg 2) .

Fig 176. Park’s entrance overview

Project Concept

Project Key Elements The key elements of the park include the three rings that make up the park’s layout: the inner ring, which represents the built public area, the slow ring, which includes a mixture of natural and man-made architectural components, and the outer ring, which is entirely made up of vegetative components (Lynch pg 2). 343

secondary entrance main entrance main pathway

Fig 177. Elevated ring connecting the buildings

Circulation

Design Strategy The primary design strategy is to create a regional architectural landmark that combines the serenity of a natural setting with the strong excitement of a metropolitan center. This is achieved through designing a sequence of green landscaped buildings connected with an elevated pathway along with plazas leading to a main center of the park (Lynch pg 3).

Fig 178. The three circulation rings

There are two main entrance points on the north and south sides of the park, as well as three secondary entrance points. The main promenade is a linear, wider path with sharp edges that connects the north and south entrance points. On the outer level, a narrower curvy route encircles the park. space on the roofs have a secondary circulation system that is composed of bridges and paths that allows for the ease of circulation between program elements on both levels. Inside the constructed buildings, a grid-based circulation is adapted to organize the spatial components (Lynch pg 2).

345

Fig 179. Eposed teel structure

art center library sports center retail center performance center

Program

Project Materiality

The program of the project includes 10,000 m² of public plazas and 37,000 m² of four unique venues - a library, an art center, a performance center, and a sports center. In addition, a 56,000m2 public park will be built that will blend in with the natural greenery of the bordering landscapes (“MVRDV” pg 3).

The project’s circulation paths are covered in wooden flooring and stone paving. The architectural components’ inner and exterior areas allow transparency due to the steel structure and the huge glass facades that make up the buildings . 347

Zhangjiang future park

Total

Space

Area

Units

Total

sports center

8060 m²

retail center

1810 m²

library

4050 m²

art center

3140 m²

performance center

7320 m²

toilets

20 m²

320 m² 24700 m²

349

Fig 180. Park’s overview

The Loannina Cultural Park by Anagram Architecture & Urbanism Ioannina, Greece 2018 20000 m² Unbuilt The concept of Loannina’s city cultural park provides an open and easily accessible public place that gives the town a new character and grabs the city’s enthusiasm. The general design pays homage to the ancient theater and stadium’s historic roots as indivisible parts of the historical city (Baldwin pg 2). The proposed public space, which serves as an ‘urban theater’ linking the city with Loannina’s lake, provides a cohesive and flexible environment for both regular leisure moments and huge occasions. The park’s open space is divided into two areas, one for the park and the other for open public area for smaller or major scale events. The proposal’s three key elements are the urban theater, the cultural hub, and the forest (“Urban Theater” pg 1). 351

1| Parc de la Villette 2| Zhangjiang future park 3| The Loannina Cultural Park

Deconstructivism

Organization Symbolism

SYNTHESIS

Systematic Dis-integration

Public

Nature

Cultural

Connection

Social

Identity

Link

Historical

Ancient

Urban

Cumulative program table

9.4

Quarries of Fantiano

toilets

30 m²

theater offices

1130 m²

artist’s dressing rooms

150 m²

washroom block

Parc de la Villette

Zhangjiang future park 320 m²

1470 m²

29 m²

11 m²

technical rooms

20 m²

corridor

110 m²

multipurpose room

15 m²

stage

730 m²

follie

2600 m²

science museum

10800 m²

gallery

7460 m²

concert

3830 m²

sports center

8060 m²

retail center

1810 m²

library

4050 m²

art center

3140 m²

performance center

7320 m²

Total

2225 m²

26160 m²

24700 m² 359

Fig 181.Circular crops feild in Dubai.

Site Selection

10.1

Three potential sites make up the options of the project’s location. Through site and context analysis, the three quarry sites are studied and graded via a set of criteria that includes scale, status, history, views, touristic attractions, human presence, and accessibility. 363

Fig 182. Potential sites on the map of the United Arab Emirates

Potential Sites Stevin Rock Quarry, North-East Ras Al-Khaimah Al Faya Mountain Quarry, Meliha Al Marra Crushers Quarry, Masfut, Ajman

B C

365

Area | Scale

Fig 183. Site A 5,544,270 m²

Fig 184. Site B 120,000 m²

Fig 185. Site C 590,000 m²

1000 m 367

Site 1 1000 m

Site boundary | Status | History

In use Fig 186. Ghalilah is a province of Ras Al-Khaimah. Ras AlKhaimah’s history extends origins to the Bronze Age, making it among the rare areas on the planet where people have lived consistently for almost seven thousand years. Ras Al Khaimah, also referred to as Julfar, Majan, or Al Seer, has long been regarded as one of the region’s most significant trading centers and market places. 369

Site 2 100 m

Site boundary | Status | History

Unused Fig 187. The Meliha site includes important historical monuments such as: Stone age caves, pre-Islamic fort from the 2nd century, burials of the bronze age, archaeological center, the sphinx and camel rock, and the first gasoline station in the country. 371

Site 3 600 m

Site boundary | Status | History

In use Fig 188. Masfut lays at a close proximity to Hatta. Hatta was originally identified as Hajarain. Throughout the rule of Hasher Bin Maktoum, the Omani Sultan Turki bin Said surrendered the region to Dubai when he was incapable to protect it from the Na’im of Buraimi, who had settled nearby Masfout — province of of Ajman. 373

Site 1

Fig 189. Steven Rock Quarry site

375

Fig 190. Rocks factory neighboring the quarry site

Fig 191. Rocks factory neighboring the quarry site 377

Fig 192. Trucks moving materials inside Stevin Rock quarry site

Fig 193. Rocks conveyor belt connecting the site to the factory 379

Site 2

Fig 194. Views form Meliha Quarry site

381

Fig 195. Views form Meliha Quarry site

Fig 196. Views form Meliha Quarry site 383

385

Fig 198. Meliha Quarry site

Fig 197. Meliha Quarry site

Site 3

Fig 199. Masfut’s Quarry site

387

389

Fig 201. Masfut’s Quarry site

Fig 200. Masfut’s Quarry site

Fig 202. Extracted rocks near Masfut’s Quarry site

Fig 203. Extracted rocks near Masfut’s Quarry site 391

Site 1 1

Fig 204. Touristic Attractions

1 Rahba Dam 2 RAk cave, Kabdah

393

Site 2

6 7

Fig 205. Touristic Attractions

1 Moon Retreat 2 X Quarry Adventure Park 3 Faya camp site 4 Camel Rock 5 Valley of the Caves 6 The Wadi caves 7 Jebel Faya Archealogical Site 8 Mleiha Archealogical center 9 Mleiha Fort

395

Site 3 1

Fig 206. Touristic Attractions

1 Hatta

397

Fig 208. . Site 1 236 m

Site 2 4750 m

Human Presence

Site 3 2275 m

Fig 207. The first site lays at a very close proximity to a lively village while the two other sites lay further and therefore, have less human presence..

Accessibility Site location Path via secondary roads Path via main roads 399

10.2

5 highest 1 lowest

Ghalilah

Mlieha

Historical Context

Scale

Status

Views

Touristic Attractions

Human Presence

Accessibility

Total

Criteria

Assessed through the list of criteria, Mleiha’s quarry site recorded the highest score among the two other sites.

Masfut

401

10.3 NOMINATED SITE Fig 209. Al Faya Mountain Quarry

Mleiha quarry site 403

520 m

m 165

0m 10

70 m

135

110 115

m 215 m

Fig 210. Site boundaries and dimensions Fig 211. Meliha quarry on the UAE map

100 m

Location 25°05’47.3”N 55°49’46.1”E

AlFaya, Maleha, Sharjah Jebel Al Fayah Its geographic position, between East Africa and South-West Asia, makes it a natural junction between continents, with a long anthropological history. 405

Fig 212. Historical sIte in Mleiha

Historical Context Mleiha, a UNESCO World Heritage Site in Sharjah’s Central Region, is host to a range of important historical sites. The world’s earliest Paleolithic archaeological finds are in Africa, but evidence from Mleiha suggests that early individuals traveled across Arabia on their way to South Asia. Several rock sculptures have been discovered in the Mleiha site, although their age cannot be estimated precisely because they were discovered amongst natural stones. The site in Jebel Faya, on the other hand, contains a lot of evidence of habitation throughout the Paleolithic Period’s later phases. Moreover, the Mleiha area has played a critical role in advancing the knowledge of the Neolithic period in south-east Arabia. The excavations of the region’s burial graves, especially, has offered valuable information into the region’s burial habits at the period. In the Mleiha region’s Inner Valley, considerable Bronze Age evidence has been discovered throughout the past twenty years. The Mleiha valley was ideally adapted to oasis culture — a specialized farming practice involving irrigation, allowing Bronze Age residents in the area to gather and preserve agricultural crops throughout the year. The Umm an-Nar tomb, located near the Mleiha Archaeological Museum, is regarded the most remarkable grave site amongst the several ancient funerary sites in the Mleiha region. The burial place was built about 2300 BCE and was utilized for about two hundred years. 407

Views

A E

Fig 213. A

D F

Fig 219. . Fig 214. B

Fig 217. E

Fig 216. C

Fig 215. D

Fig 218. F

409

Road Network Tertiary roads Secondary roads Main roads

Access points Fig 220. The site is accessed from one unbuilt route that branches to connect to the main routes. 411

10 4

6 7

9 10

Fig 223. Camel Rock

Fig 221. .

Program Investigation 1 Moon Retreat 2 X Quarry Adventure Park 3 Faya camp site 4 Camel Rock 5 Valley of the Caves 6 The Wadi caves 7 Jebel Faya Archealogical Site 8 Mleiha Archealogical center 9 Mleiha Fort 10 Residential village

Fig 222. Mleiha Archealogical center

Activities Included Sleeping Camping Hiking Exploring Learning Eating Off-road car racing Horse-back riding

Fig 224. Moon Retreat 413

Heights and Topography Fig 225. The Al Faya mountain rises to a height of 350 meters. The surrounding dunes do not exceed 200 meters, making Al Faya mountain Meliha’s highest point. +350m +300m

+150m

Fig 226. Topography of the site

415

12 minutes

Nearest village

Sun path

Fig 227. The nearest village to the site is 12 minutes away by car. The village is composed of a single family’s dwellings called “sha’abiya”. 12 minutes 417

Dry Bulb Temperature

Average Precipitation in Sharjah

Average Humidity in Sharjah

Wind-Rose 419

Tonality Fig 229. The site is covered in various hues of natural tones, allowing the project to either blend in or contrast with the surroundings.

Materiality Fig 228. The site is a cultural landscape with a distinctive setting consisting of a limestone range rich raw materials towering in between the desert ‘s reddish dunes and the gravel plain . 421

Vegetation Fig 230. The area has low vegetation in comparison to the scale of the site surroundings, which could be massively enhanced. The types of trees on site include a range of species. Palm trees, Ghaf trees, Calotropis, Hammad elegans, Acacia Tortilis, and others are among the varieties. 423

Fig 231. Palm trees

Types of trees

Fig 234. Hammad elegans

Fig 233. Ghaf trees

Fig 235. Acacia Tortilis Fig 232. Calotropis

425

Wild Life Fig 238. Wild goats

Fig 236. Arabiyan oryx

Fig 240. Gerbil

Fig 237. Camels

Fig 239. Wild rabbit 427

Lighting Fig 241. Because the only sources of light are the freeways that surround the site, the mountain has poor lighting. This underlines the importance of increasing light sources to improve the site user’s experience. 429

Keywords

Site Strengths - The site holds a great historical worth which adds more to its value. - There is a variety in the geology of the site where the sand contrasts the limestone mountain. - The site is surrounded by many activities which makes it a touristic attraction. - The site beholds a strategic location. - The topography left by mining activities invites projects to inhabit it. - Nature surrounding the site allows pleasant views on all sides of the project.

Site Weaknesses - Minimal lighting - Limited vegetation - Views are not celebrated enough - Wild life is not seen on regular basis - There isn’t a built road that accesses the site directly - The site can be dusty when the wind is strong - No shaded areas for space users - Activities — like hiking, camping, and more, attract limited visitors in summer

Mountain Calm Views Tones Nature Topography Breeze Desert Contrast Empty

Fig 242. Mlieha quarry site

Fig 243. Masfut Quarry Site

Fig 244. Salt feilds in Peru

Program Studies

11.1

The proposed program will turn the abandoned quarry into a touristic destination. The program invites tourists, artists, learners, adventurers , and more. The program’s cheif goal is to rehabilitate and breathe new life into a site that has lost its purpose. 445

447

Fig 245. Users journey through the site

Produce

Present

Exchange

Collaborate

Reflect

Enjoy

Interact

Learn

Explore

Observe

Creating a journey Fig 246. Users journey through the site

Museum

Observe Explore Learn Discover Seeds pavilion

Quarry rock exhibition

Café

Retail stores

Observatory deck

Outdoor plants exhibition

Library Meditation zone Interact Reflect Enjoy

Multipurpose cubicles

Spatial Bubble Diagram

Cooperate Exchange Collaborate

Art rooms

Mental reflection zone

Outdoor workshops

Indoor worshops

Theatre

Produce Present Perform

Animals feeding zone

Tree Planting zone

Aquatic hall Climbing wall

Quarries of Fantiano

Backstage services performance area

Proposed Program Space

Area

Units

Total

Space

Area

Units

Total

offices

29 m²

Museum

2000 m²

artist’s dressing rooms

25 m²

150 m²

Seeds pavilion

1000 m²

washroom block

11 m²

Gallery

2000 m²

toilets

5 m²

30 m²

Quarry rock exhibition

2000 m²

technical rooms

10 m²

20 m²

Research room

100 m²

200 m²

corridor

110 m²

Observatory deck

100 m²

multipurpose room

15 m²

Library

200 m²

stage

730 m²

Outdoor plants exhibition

100 m²

500 m²

theater

1130 m²

Meditation zone

100 m²

200 m²

2225 m²

Animals feeding zone

50 m²

100 m²

Climbing wall

100 m²

Aquatic hall

300 m²

Total

Parc de la Villette

Interact Reflect Enjoy

Space

Area

Units

Total

Café

25 m²

follie

100 m²

2600 m²

100 m²

science museum

10800 m²

Restaurant

100 m²

gallery

7460 m²

Retail stores

20 m²

60 m²

80 m²

3830 m²

Outdoor workshops

20 m²

concert

80 m²

1470 m²

Indoor worshops

20 m²

theater

Multipurpose cubicles

50 m²

500 m²

Theatre

1000 m²

Art rooms

50 m²

100 m²

Mental reflection zone

50 m²

Tree Planting zone

100 m²

300 m²

Theatre backstage

200 m²

Total

Cooperate Exchange Collaborate

28385 m²

Zhangjiang future park

Total

Observe Explore Learn Discover

Space

Area

Units

Total

sports center

8060 m²

retail center

1810 m²

library

4050 m²

art center

3140 m²

performance center

7320 m²

toilets

20 m²

320 m² 24700 m²

Produce Present Perform

Services Total

Prayer rooms

50 m²

100 m²

Storage

10 m²

40 m²

Staff rooms

50 m²

100 m²

Staff entrance

50 m²

50 m² 11485 m² 455

11.2

Main Program Themes Reviving

Honouring Museum Seeds pavilion Gallery Quarry rock exhibition Research room Observatory deck Library Outdoor plants exhibition Meditation zone Animals feeding zone Climbing wall Aquatic hall Café Restaurant Retail stores Outdoor workshops Indoor worshops Multipurpose cubicles Theatre Art rooms Tree Planting zone

457

Must have

Tree Planting zone

Art rooms Outdoor gym

Theatre

Multipurpose cubicles

Indoor worshops

Outdoor workshops

Retail stores

Restaurant

Café

Aquatic hall

Animals feeding zone Climbing wall

Meditation zone

Plants exhibition

Observatory deck Library

Research room

Quarry rock exhibition

Gallery

Possible Addition

Museum

Based on proximity

11.3

Seeds pavilion

Relationship Matrix

Museum Seeds pavilion Gallery Quarry rock exhibition Research room Observatory deck Library Plants exhibition Meditation zone Animals feeding zone Climbing wall Aquatic hall Café Restaurant Retail stores Outdoor workshops Indoor worshops Multipurpose cubicles

The links between the functions present a significant task and are crucial in establishing the proposal’s flow. It is important to consider the experience of the user along with the user’s movement from one space to another and having the necessary services close by.

Theatre Art rooms Outdoor gym Tree Planting zone 459

sea rch roo m Re

Seeds

sta

ura

Explore

Plan

rpose c

Outdoor workshops

Meditation zo

Interact

Exchange

ubicles

Animals feeding zone Climbin

g wall

hops Indoor wors

Aqua

tic h

es stor

Storage

Prayer rooms

stage e back Theatr

ms roo

Sta ff e n

Tre e

Art

tran ce

ro aff St

all

The

Services

ail Ret

ibiti

xh ts e

Café Multipu

arr

itio

ib xh

oc yr

lle

s Mu

Libra

Observatory de

pavilio n

11.4

atre

Pla

nti

Spatial Relationships The project’s spatial relationships are meant to react to the visitors’ journey as they walk around the space. The spatial arrangements determine how users perceive the environment and how they interact with it. As a result, correct placement of facilities is highly required. 461

Fig 247.Ancient carved caves in China

Synthesis

12.1

The next chapter will include a synthesis and a recap of the previous sections, with an emphasis on the key conclusions that will be incorporated into the proposed project. 465

467

The landscape is portrayed in many ways through diverse forms of art in section one. Users of space are given the option of having open dimensions for various landscape interpretations. Landscape art, whether in the form of a painting, a poem, or a photograph, evokes emotions. Landscape becomes more than just a backdrop in this symbiotic relationship; it becomes a primary character. It sends messages and serves as a metaphor for something more complex than what can be seen at first glance. Landscapes are composed of layers of history, thoughts, needs, activities, and forms. It is an unintended system that individuals follow and contribute to. It is what gives rise to today’s cultural landscapes. Some changes in the landscape are permanent and difficult to restore, while others are more ephemeral, temporary, and sustainable. Permanent modifications frequently harm the land and devalue it, prompting the concept of rehabilitation. Whether it was reviving dead places in a city, historical monuments, industrial sites, or natural locations that had been degraded by humans, several means of rehabilitation were examined. Temporary changes, on the other hand, have a more positive influence and are more respectful of the land. Through the use of biodegradable materials and reversible, and temporary architecture, the cycle could be reversed.

Different techniques of approaching the design of quarries were examined in section two. Instead of inhabiting the entire land, as in Parc la Villette, a large area of land could be inhabited through a system of deconstructed monuments. This results in a more sustainable and organized solution. Furthermore, especially in quarries, the industrial history aspect might always be emphasized rather than totally overlooked. The rock scenery might be highlighted to provide the user with a unique experience that could only be found in an abandoned quarry. Furthermore, whether it is a visual or physical connection, connectivity is critical. Because quarry sites tend to disconnect and become foreign elements in their surroundings, it is essential to reconnect them and allow space users to experience the connection as well. In the UAE, quarries are not regarded part of the country’s cultural rituals; hence, developing a program or arrangement that would inject culture back into the country may be considered. Allowing for cultural engagement through the introduction of accessible, interactive events could be a technique for bringing the abandoned quarry back to life. 469

Fig 248. 1

Fig 251. 2

Fig 256. 3

Fig 249. 4

Fig 252. 5

Fig 257. 6

Fig 250. 7

Fig 253. 8

Fig 258. 9

Fig 254. 10

Fig 255. 11

Fig 259. 12

1. Art evokes emotions 2. Landscape as a metaphore 3. Temporary landscape changes 4. The use of biodegradable materials 5. Visual continuity 6. Deconstuctivism 7. Connectivity 8. Celebrating rock scenery 9. Systematic arrangment 10. Symbiotic relationship 11. Interactive sites 12. Layers

Fig 260.Dallol volcanic crater in Ethopia

The fundamental concept proposes that the quarry’s life cycle be reversed. This cycle could be reversed in a quarry that was originally a natural site unaffected by humans, then a human-occupied site, and lastly an abandoned site. The notion could be realized through the use of reversible architecture and biodegradable materials that are designed to biodegrade and decay back to nature in a sustainable manner. In addition, the plan offers a tribute to the quarry’s past by showcasing the rock scenery and incorporating materials like Corten steel to recall the industrial feel. The usage of abstract forms taken from factory layouts is used to honor the industrial history. These forms could be configured in a variety of ways to meet the requirements of diverse scenarios. On the long run, the proposed forms are temporary and are constantly changing. The forms are wrapped once, like Christo’s, and inhabited and invaded by artistic installations at other times. Culture is injected into the area thro-

Concept proposal

13.1

-ugh a variety of on-site activities, transforming it into a flexible, cultural, and artistic destination that provokes users’ emotions and feelings. The landscape is always being reshaped as a result of cyclical rewrites. Each trace represents the evolution of the dialogue between the human and his surroundings through time. Often, such dialogues pull spaces away from the culture that blooms within them; therefore, the project acts as an intervention that brings culture back to where culture has forcefully been taken away. Furthermore, a single path, inspired by the conveyor belt used to transport rocks in quarrying sites, takes users on a voyage that starts with observing, then moves on to learning, interacting, and finally producing. These two layers, the forms prototype and the path, are arranged in a system that either follows the grid, the topography, or the middle space. 475

Fig 262. .

Fig 263. .

Fig 261. .

Fig 264. .

Fig 265. .

Layer 1 Fig 266. The abstract forms extracted from the rock production factories’ blueprint make up the first layer of the overall system. To construct a prototype, simple forms are extracted. The forms could be arranged in a variety of ways to meet the various needs of the site.

Layer 2 Fig 267. The second layer consists of a path that is inspired by the conveyor belt that transports rocks and usually runs from the quarry to the neighboring factory site. The path that would guide users from the beginning to the conclusion is inspired by the voyage of the rocks.

Fig 268. The extracted abstract forms are converted to volumes and placed through a secondary system that will eventually be included as a layer to the primary system. The forms may be used as single objects, stacked, or incorporated into a three-dimensional grid that could expand and compress.

481

Concept 1 The Grid

Concept 2 The Topography

Concept 3

The Middle Space 483

Concept 1 The Grid

13.2

Approach A PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

Fig 269. The basic way of approaching the grid system is to employ the most essential architectural elements: the line and the point. Vertical and horizontal “lines” are used to construct a regular grid, with “point” elements at the intersections. As a result, the areas where forms might be hosted are bound to these locations. Later, the grid is overlaid on the site, and the forms are injected. 487

PRODUCED BY AN AUTODESK STUDENT VERSION

Approach B PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

Fig 270. The second method involves using the placement of Al Faya mountain in Meliha’s desert to create an irregular grid whose intersections will house the forms/ functions. The grid spacing will vary depending on the required function in its precise location after it is superimposed on the site. 489

PRODUCED BY AN AUTODESK STUDENT VERSION

Approach C PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

Fig 271. The third approach explores how the volumes materialize the grid rather than the intersections in old Emirati villages, resulting in irregular, non-identical pathways. The required pathway is constructed and the desired journey is generated by setting the proposed volumes and making them inhabit the grid itself. 491

PRODUCED BY AN AUTODESK STUDENT VERSION

493

Fig 273. Grid concept embodied through eye level view

Fig 272. Elevation showing the grid organization

13.3 Concept 2

PRODUCED BY AN AUTODESK STUDENT VERSION

The Topography

Approach A

AN AUTODESK STUDENT VERSION

Fig 274. The second concept proposes occupying the topography cuts and blending in with them by subtracting or adding to them. The first method uses a single form that is repeated across all additions and subtractions.

PRODUCED BY AN AUTODESK STUDENT VERSION

Fig 275. Elevation showing the topography inhabitation 497

Approach B

AN AUTODESK STUDENT VERSION

Fig 276. The second approach looks at how different forms can be used to subtract and add to topographical cuts. Curved and sharp cutouts and additions give the site a more versatile look, and makes better responses better to the functions because each function can be hosted in an unique manner.

PRODUCED BY AN AUTODESK STUDENT VERSION

Fig 277. Elevation showing the topography inhabitation 499

501

Fig 279. Topography inhabitation eye level

Fig 278. Topography inhabitation bird eye view

Concept 3 The Middle Space

13.4

Approach A | B

Fig 281. Elevation showing the middle space

AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

Fig 280. The third proposal focuses solely on the usage of the central space, leaving the rocky façade exposed and undisturbed. This would honor the quarry’s past while also allowing users to engage with it. Using the middle space can be accomplished in two ways: by adding forms or by subtracting them. 505

507

Fig 282. Middle space inhabitation through ad-

Fig 284. Middle space inhabitation eye level

Fig 283. Middle space inhabitation through subtraction

13.5

Zoning

Observe functions Interact functions Collaborate functions Produce functions 509

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Fig 229. Collage by Author

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Fig 178. “Openfabric.” Openfabric Zhangjiang Future ParkShanghai China Comments, http://www.openfabric.eu/projects/zhangjiang-future-park-

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Fig 219. Diagram by Author

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Fig 220 - Fig 221. Diagram by Author

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Fig 266- 285 Diagram by Author

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