CONTENTS ARCASIA FORUM 2017 The 19th ARCASIA Forum 2017, hosted by the Indian Institute of Architects (IIA) at Jaipur from the 21st–25th of May, served a perfect setting to validate the theme of the forum— Happiness through Architecture. The ARCASIA Forum has been an acclaimed and intellectual international platform for its 21 member countries from Asia for deliberations on architecture and environment. Page 28>
AQUATIC CENTRE LUMS excelling in academicism moved a step ahead in extracurriculum and set out the first Aquatic Center of its kind. The main concept of designing this building was to create a compact facility for the extracurricular activities of the students. It was designed based on the needs of students for aquatic activities and to offer a space for swimmers to be trained for international competitions. Page 50>
HEALING THROUGH DESIGN Husaini Blood Bank launched a new hospital building, designed by IDG, located near Sakhi Hassan at Qalandri chowk. The Husaini Radiology and Thalassemia Center was intended by IDG to offer a restorative Healing environment to patients, as well as opportunities for social activity. Page 56>
ARCHITECTURAL LANDMARK Expo Center has emerged as high profile architectural landmark of Lahore following the Alhamra Arts Center and is located in the newly developing area of Lahore. The facility provides for essentially two kinds of programs, namely a convention centre with conference and auditorium facilities and an exhibition zone where various scales of exhibitions and events can be held. Page 62>
CONTENTS LARA KERVANSARAY HOTEL In the complex built in Antalya’s Lara region, on one of the many touristic plots that are lined up in juxtaposition and perpendicular to the sea, rather than using the customary fragmented polyphonic masses which form the main trend in the region’s architecture, drawing the entire building complex to the west of the plot and transforming the spaces facing the east and the south – the sea – into open areas created a simPage 70> ple and rigid mass.
MODERN ESSENCES The voluminous folds of its bright white façade were inspired by the fabrics, shapes and movement of the toiles created in Dior’s Haute Couture Atelier at 30 Avenue Montaigne. Taking the form of twelve soaring resin and fiberglass sails that stand proud above the building’s base, itself decorated with Dior’s cannage motif, the four year process of design and construction rePage 80> quired significant technical innovation.
A NOD TO TRADITION AND HERITAGE The magnificent, Grade-II-listed hotel, boasting beautiful gardens and views over York Minster, was originally one of Britain’s greatest Victorian railway hotels, housed in a purpose-built building in yellow Scarborough brick by architect William Peachey and first opening its doors in 1878. Page 88>
INTERVIEWS To promote & appreciate architecture, A+i has launched Architect’s interview series of the renowned Architects & Interior Designers. The contribution to their profession & distinctive style of work one of the renowned Architect & Interior Designer will be featured in every issue of A+i. In this issue we are publishing Architects Marvi Mazhar and Mansoor Ghanchi interviews. Page 38>
OTHERS Editorial Project News Happenings
Page 19> Page 22> Page 94>
50th issue ISSN no. 2073-901X founder Arch. Syed Akhlaq Hussain (Late) editor Arch. Mujtuba Hussain managing editor Arch. Murtuza Shikoh features editor Arch. Suneela Ahmed Arch. Ali Arsalan Pasha Arch. Sahar Saqlain contributing editors Arch. Sohail Razvi (USA) Arch. Anila Naeem (England) Arch. Apurva Bose (India) Arch. Shoaib Arif (Gulf) Arch. Agha M. Mirza (Canada) art designer Salman Arif marketing / advertising Ruralz Inc. Ruralz.Inc@gmail.com 0343-2005020 circulation / subscription Saleha Ali Zaidi published by ARCH PRESS B-34, Block 15, Gulshan-e-Iqbal Karachi - 75300, Pakistan. ph: 92-21-34977652, 34975976 e-mail: aplusi@cyber.net.pk Website: www.archpresspk.com
Although every care has been taken to ensure accuracy, the publishers cannot accept responsibility for any errors or omissions that may occur in this issue. Opinions expressed in the articles are of the authors and do not necessarily reflect those of the editors or publishers. Materials published in this magazine may be reproduced only with the written permission from the editors. Price for single issue: PKR: Rs. 850/Annual Subscription: Rs. 3500/-
Editorial Every year in monsoon season, Karachities brace for water clogged streets and power cuts. First we desperately yearn for rains, and when it falls, we pray for it to go, as the sewers overflow, roads cave in and electricity cut off for days. Water clogging was not only limited to CDGK administered areas. Posh localities of DHA and Clifton also went under water. All the underpasses got filled with water, so were the streets and houses of various phases of DHA. As there are forecasts of more rains in days to come, the CDGK, KESC and other “public service� institutions should have their disaster management and crisis control acts ready or get prepared to face the wrath of masses. In our ARCH TALK section we are publishing Architects Marvi Mazhar and Mansoor Ghanchi interviews. In this 50th summer issue of A+i we are publishing Aquatic Center in LUMS, first of its kind designed by Habib Fida Ali Associates and Husaini Blood Bank launched a new hospital building, designed by IDG located near Sakhi Hassan at Qalandri chowk. The Husaini Radiology and Thalassemia Center was intended by IDG to offer a restorative Healing environment to patients, as well as opportunities for social activity. Also featured in this issue Lahore Expo Center designed by Nayyar Ali Dada, Lara Kervansaray Hotel and Convention Center designed by Emre Arolat Architects, Christian Dior New Boutique in Seoul and The Principal York designed by Goddard Littlefair.
PROJECT NEWS
PAKISTAN KIDNEY & LIVER INSTITUTE - LAHORE
Construction work is progressing satisfactorily at the 200-Bed State of the Art Pakistan Kidney and Liver Institute designed by ARCOP, being established at Educational city in Lahore spread over an area of fifty acres of land provided by the Government of Punjab. The first phase of the institute which will have 200 beds is likely to be completed in 2017. Eventually this healthcare facility will consist of 800 beds hospital, extendable to 1500 beds, whichis expected to set a benchmark in the healthcare sector of Pakistan and to raise the overall standards of the provision of health facilities in the country. This institution will provide free of cost, state of the art treatment of kidney and liver disease including transplantation.
BAKHT TOWER - KARACHI
The site being on the cusp of the ocean has dynamic views on one side, and city panoramas on the other. A mixed use building with relative height, it has been conceptualized as a vertical city with outdoor green spaces. Retail areas are located at lower levels, offices at midlevel & apartments on top. The individual functions are reflected in the elevations, showing their distinct character yet merging to become a unified whole. Segregation of human as well as vehicular activity was considered paramount in planning to increase security and privacy. A double height recreational area dividing the office and the residential floors has been allocated for a high end club with its ancillary facilities. Each residential floor has four luxury apartments with panoramic views and the double height green courts provide relief on alternate floors enhancing the idea of a creating a residence in the sky.
ARCHITECTURE INTERIORS [22]
PROJECT NEWS
YAS ARENA, YAS ISLAND - ABU DHABI
HOK have designed a new sport and entertainment arena that will form a focal point on the expanding waterfront promenade in Yas Bay in Abu Dhabi. A new cultural landmark is in the works for Yas Island, Abu Dhabi. Yas Arena will be the first multipurpose built arena in the city designed to accommodate a wide variety of sport and entertainment events. The facility’s dynamic form and illuminated lantern facade is intended to both complement and animate the expanding waterfront promenade at Yas Bay. HOK designed Yas Arena to create an intimate, highly flexible and efficient venue with excellent acoustics that can be used year-round for a variety of sport and entertainment events. The arena is designed to expand from an intimate 500-seat theatre to an 18,000-capacity venue, maximizing revenue and supporting a wide variety of events. This focus on flexibility carries over to premium and back-of-house spaces. The arena is designed to adapt to create the ideal user experience for a diverse set of events, including community gatherings, concerts, performances, sporting events, and meetings and conventions. Premium spaces include a VIP lounge that can be transformed into a grand ballroom for events, hospitality boxes and unique terrace bars for receptions and parties. Additional amenities, including food and beverage, will be located adjacent to the arena to create a linear street that stretches down the waterfront promenade. This outdoor concourse will create a festival-like atmosphere to generate year-round activity. The outdoor concourse will provide connectivity to the surrounding district on Yas Bay.
ARCHITECTURE INTERIORS [24]
PROJECT NEWS
ONE VANDERBILT AVENUE - NEW YORK
The first steel is put in place at One Vanderbilt as it sets a course to become the second tallest tower in New York City. Developed by SL Green Realty Corp., New York City’s largest commercial property owner, One Vanderbilt Avenue had its first steel column installed, marking the beginning of the iconic skyscraper’s vertical construction. The 1,401 ft tall, Kohn Pederson Fox designed, state-of-the-art office skyscraper will anchor the modernization of the East Midtown business district and stand as the second tallest tower in New York City. It will encompass an entire city block, bounded by Madison and Vanderbilt Avenues to the west and east, and East 43rd and East 42nd Streets to the north and south. Rising adjacent to Grand Central Terminal, One Vanderbilt will include direct connections to its network of mass transit, improved by $220m in upgrades that SL Green is implementing as part of the project. As part of SL Green’s agreement with the city, the transit improvements will be completed with the building’s full opening.
CIRCULAR QUAY TOWER - SYDNEY
Foster + Partners wins design competition for Circular Quay Tower in Sydney. Foster + Partners has been appointed to design a new office tower as part of an urban precinct that is set to reinvigorate part of Sydney’s iconic Circular Quay. Located between George and Pitt streets – a stone’s throw away from the city’s famous harbour – the scheme is characterised by a network of pedestrian laneways that criss-cross the site at different levels. The laneways will be lined with shops, cafes and bars, celebrating Sydney as a unique destination. Gerard Evenden, Head of Studio and Senior Executive Partner, Foster + Partners, who led the design team remarked: “We wanted Circular Quay Tower and its surroundings to be of its place, taking advantage of its topography and unique location near Sydney Harbour. The tower will be the centrepiece of an urban regeneration precinct that will reshape the northern end of the CBD into a vibrant community contributing to Sydney’s status as a global city.” The tower also makes a distinctive contribution to Sydney’s skyline with its innovative façade – a series of external cross-braces derived from structural stress diagrams. The south façade is broken into three bays with the concrete cores 'book-ending' the three transparent banks of lifts that animate the façade. The entire elevation is vertically articulated to modulate its visual impact on the skyline. The expressed structure also allows flexibility in interior layouts with the core offset to one side.
ARCHITECTURE INTERIORS [26]
SPREADING HAPPINESS THROUGH ARCHITECTURE
ARCHITECTURE INTERIORS [28]
Inaugration of the Green AsiARCH 2017 by ACGSA
Text: Ar. Apurva Bose Dutta Pictures: Courtesy 19th ARCASIA Forum Secretariat The 19th ARCASIA Forum 2017, hosted by the Indian Institute of Architects (IIA) at Jaipur from the 21st–25th of May, served a perfect setting to validate the theme of the forum—Happiness through Architecture. The ARCASIA Forum has been an acclaimed and intellectual international platform for its 21 member countries from Asia for deliberations on architecture and environment. With around 1200 delegates and 60 speakers across the globe who descended to the pink city for the forum this year, it was not only the royalty of the historic city and its beautiful local craftsmanship that stood out in these five days, but also the hospitality of a country that has been known for its dictum, Atithi devo Bhava. The forum through its technical sessions, committee meetings, networking dinners, exhibitions, artisans’ workshops, heritage walks and architectural tours, converted into a fascinating platform to experience the power of building and design and the camaraderie between architects across the globe. The IIA that is celebrating its centenary year, and the Rajasthan Chapter of the Institute who hosted the event, deserve a huge round of applause for this. The inauguration of the forum at the B.M. Birla Auditorium by chief guests, Shri Venkaiah Naidu, Union Minister for Urban Development, Housing & Urban Poverty Allevia-
The inaugral lamp lighting by the dignatries
The unveiling of the ARCASIA Journal
tion, Information & Broadcasting, Govt. of India, and Smt. Vasundhara Raje, Chief Minister of Rajasthan, set the perfect tone for the conference. With their forthcoming thoughts on architecture, living and cities, the dignitaries not only earned the attention and applause of the architectural fraternity, but also brought forth their vision of architecture and cities and stressed on the importance of conservation of the individuality of the Indian cities and consideration of nature, culture and the future as essentials for architecture and planning. Post the ceremonial lamp lighting by the chief guests and Shri Ashok Lahoti, Mayor of Jaipur, and Shri Surender Pal Singh, Minister of Mining, Government of Rajasthan, the ARCASIA journal was also unveiled. KEYNOTE SPEECHES The keynote speeches delivered by legendary architects Raj Rewal and B.V. Doshi on the 24th and 25th were met by thunderous applause and standing ovations and brought forth the icons’ interpretations of the theme. An ARCASIA lounge was set up at the venue of the conference, the Jaipur Marriott Hotel, where the delegates could directly interact with these icons. By reflecting on the different elements of architecture that infuse happiness into it, Ar. Raj Rewal showcased these in the Rajasthan forts to the South Indian temple shikharas to the Buddhist caves to the Hanging Temple near Datong in China. He elaborated on how aspects like sustainable architecture and aesthetics such as monasteries jutting
Ar. B. V. Doshi cuts the cake with Ar. Raj Rewal, Film personality Amol Palekar and Chief Advisor of ARCASIA 2017, Ar. Alok Ranjan
out of the rock in the Hanging Temple, were responsible for creating a sense of ‘happiness’. Through all these examples and his own projects including the former Hall of Nations and the Indian Parliament Library in New Delhi, Ismaili Centre in Portugal, Beijing Embassy in China, and the ongoing Jang-E-Azadi Memorial Complex in Punjab, he focussed on how light, material, space, culture and tradition can become integral elements in imbuing a sense of happiness and sacredness into buildings. His profound sense for creating an architecture that connects to the senses was applauded by the audience. Ar. B.V. Doshi in his philosophical talk on Celebrating Multiple Identities of the Indian Habitat, defined architecture as an extension of our lives and termed the learning in architecture as learning about life itself and its celebration of diversity, adaptability and interdependence. He delved on the importance of having an identity in a standardized world and weaved these thoughts into examples of cities and their architecture and planning such as those of Jaisalmer and Jaipur. Through these examples he illustrated how architecture should consider the changing of social relations with time and how socio-economic aspects can thus be used as a tool to better architecture. He spoke in length about his own office building, Sangath, at Ahmedabad, which is an epitome of how buildings should talk and constantly interact with nature and be flexible. His projects of the Indian Institute of Management at Bengaluru, and the Hussain-Doshi Gufa and the CEPT campus at Ahmedabad, reiterated the same philosophy. TECHNICAL SESSIONS There were 16 technical sessions followed by panel discussions that touched upon various topics of architecture including sustainability, urban design, vertical development, smart cities, heritage, vernacular architecture, community design, interiors and illumination. Though the concept of having parallel sessions at four different halls provided a great diversity of topics and speakers to listen to, however, at such parallel sessions there is always room for disappointments of missing out on exciting speakers and ideas. An eclectic mix of international speakers consisting of practising architects, academicians, researchers and experts graced the dais for each session. Interesting observations and thoughts on architecture, cities, planning and people, emerged from these sessions. Ar. Abha Narain Lambah from India emphasized on the need of heritage conservation and the importance to retain the identity of a city. She expressed her disappointment on the labelling of historic buildings as ‘old’ and ‘worn out’, putting them on a pedestal and the non-desire to change them. The citizen initiative in the urban conservation in the Kala Ghoda Art district in Mumbai that she stated, was an eye-opener. While on urban design, Ar. Wang Shuo from China stressed on the cost efficiency of vertical buildings, and Ar. Durganand Balsavar from India felt the need to revisit what we call ‘urban space’. He rightly admitted that any place where a group of people huddle actually becomes an urban space. Hong Kong in terms of urban design was accepted as a role model for its public transportation system with a well-integrated system of buildings, stations and walkways. On redefining urban design in the modern world, Ar. P.V.K. Rameshwar from India spoke about the changing notions of beauty in the modern world and the shift from shared to self-indulgence, which was influencing urban design. While Ar. Shrish Beri from India stated that the country is deficit in terms of public, open and green spaces and urged for the need to cultivate this awareness in people, fellow country architect K.R. Jaisim elucidated the mounting pressures on a city in contemporary times. Ar. Akhilesh Surjan from Australia echoed the need to focus on urban areas and the need to increase resilience in cities and proliferate happiness. Smart cities, a much trending topic in architecture and planning invited a lot of deliberations too. Ar. Jitendra Mehra showcased the example of Indore, a city selected under the first phase for the implementation of the Smart Cities Mission in India. He shared the city’s proposal for its environmental up gradation, development of public open spaces, redevelopment of slums and revitalisation of rivers.
ARCHITECTURE INTERIORS [30]
Sustainability, an inevitable topic in architecture, was discussed extensively. While defining it, Ar. Qazi M. Arif from Bangladesh commented, “Sustainability is a reality, and being sustainable is a never-ending process; it is not an end state.”Ar. Madhura Prematilleke from Sri Lanka urged everyone to move to another set of terms to convey sustainability, as the word itself has been taken more as a marketing label by people keen on using it for their own interest. Prof. Sevin Yildiz from California acknowledged that when the word sustainability gets a status that has to be achieved, it becomes a dangerous paradigm. Ar. Dharmali Kusumadi from Indonesia spoke about his designs for sustainable architecture resorts including the Angsana Laguna in Phuket and Banyan Tree Lijiang in China and highlighted the importance that sustainability should get not only during construction, but during building operations too. Architects Parul Zaveri and Nimish Patel shared the Third Schools of Design in India, the inherent design and crafts’ knowledge and wisdom that Indian craftsmen have, and termed it a necessity for sustainable practices. “The strength of architecture in the 20th century is in its anonymity in design”, this quote of theirs summed up the importance of their topic. While on interiors and its related aspects, lighting design expert from Singapore, Sai Tallapragada explained the need to select the correct layers(between ambient/decorative/ focal/ task layers) in lighting design and their correct technique and execution. Ar. Sanjay Mohe from India discussed the modulation of natural light in architectural spaces thorough his well-crafted designs for projects such as the Karunashraya, a hospice in Bengaluru and Dr Anji Reddy’s Memorial in Hyderabad. Ar. D.S. Ramakrishna from India defined the importance of colours in interiors, commenting on their specific role and the need to avoid their ostentatious implementation, which could make them a distraction. He, along with Ar. Nela De Zoysa from Sri Lanka, professed their fondness for the use of white colour in interior design.
The finalist entries of the ARCASIA awards 2017
Architecture and design is a lot about living Life. Ar. Kamal Malik from India while speaking on community design and lifestyle changes, spoke about the importance of silence in buildings, especially when they communicate with nature. He highlighted the need of understanding the memory of a space before designing for it. Ar. Rahul Shankhwalker from Singapore who confessed that his designs actually reveal ‘stories’ about their sites or clients, shared his projects such as the Kodhipparu resort at Maldives, Grand Park hotel at Singapore and Hotel Radisson at Shimla. While deliberating on taking the ownership of architecture and planning, Ar. Mukul Goyal from India, the moderator for a panel discussion, made a valid point while discussing the responsibilities of the government.“There is no face in the government. It is about who advises the government. It is actually what we all do. So instead of blaming everything on the government, any efforts that need to be started, should be started from our side only”, he admitted. BONDING OVER ARCHITECTURE AND MORE… While the technical sessions on the 24th and 25th were a source of exchanging resources and knowledge on architecture and design, gala dinners at heritage venues including the Taj Jai Mahal Palace, Sujan Rajmahal Palace and The Gulmohar left the delegates gaping at the stunning architecture of Jaipur. These were peppered with delicious palettes of food plus a scintillating mix of traditional and contemporary live entertainment. The awardees of ARCASIA Awards for Architecture 2017 were also felicitated. The finalists of the awards selected amongst a stupendous number of 600 entries in 10 categories, also presented their projects earlier at the forum. A couple of exhibitions were put up – Showcase, a building material exhibition that saw the participation of more than 70+ prestigious brands, an exhibition with the finalists’ entries of the ARCASIA 2017 awards, the Green AsiARCH 2017, an exhibition by ACGSA (Committee on Green & Sustainable Architecture), and the IIA centenary exhibition. The main sponsors of the event were J. K. Cement Ltd. and Jaquar. The organisers pepped up the forum by publishing an ARCASIA Times for all the days, briefing everyone with the previous day’s events. They ensured that it was not always the bigger things which defined the success of the forum, but even the smaller emotional moments that created touching memories. One such moment happened when the IIA members along with the council members of ARCASIA cut a cake and sent collected birthday wishes through a video for the president of ARCASIA, who unfortunately had to give the event a miss. To celebrate Ar. B.V. Doshi’s 90th year, there was also a special cake cutting ceremony. The fraternity bonded closely during the forum and especially at the culminating dinner, the Friendship Night dinner, where a grand announcement of ARCASIA 2018 to be held in Tokyo was made. This culminating conference night also had several countries presenting and competing through their cultural programs, with the first prize being bagged by the Malaysian delegates. In all these moments, the world with its diverse countries shrunk to one small stage where the ‘Arcasians’ from all nationalities let down their guard, bonded with each other, creating an aura of extreme happiness and joy. Truly, ARCASIA 2017 at Jaipur, walked the talk, of spreading HAPPINESS THROUGH ARCHITECTURE.THROUGH ARCHITECTURE
Ar. Apurva Bose Dutta is an architectural journalist and a correspondent of ARCHITECTURE + INTERIORS (A+i) & ARCHI TIMES from India (www.apurvabose.com) She works globally with architecture and design publications and organisations.
BOOK REVIEW
A significant input of the book is the collection
of profession with important contributors and
of rare information about several architects about
their works. AH elaborated on the dynamics of
who very little is known. The authors engaged in
practice, typology of clientele and the influ-
painstaking fact finding to apprise the
ences of various ‘isms’ in the
reader-
shaping of our
ship about their origins, work and legacy left be-
edifices. JH, while exploring on various dimen-
hind. One mention is Ugandan born Pyarali
sions, also informed about the link of educa-
Merali Ali, who established his practice in Karachi
tional trends and developments on the overall
where two young architects – Arshad and Shahid
framework of architectural practice. HK men-
Abdulla joined him. Later the two brothers
tioned the significance of scholarship in under-
founded one of the most successful firms in the
standing the labyrinths of the profession and
profession.
several local and international trends and tendencies – including the ‘Dubai effect’ and glob-
The book opens up with four essays on different
alization in the form of artefacts added in built
dimensions of architecture in Pakistan. The au-
environment.
thors invited Kamil Khan Mumtaz (KKM), Arif Hasan (AH), Jawaid Haider (JH) and Hasanuddin
The profiles of the architects are organized in
Khan (HK) to comment on the state of architec-
a non-linear style. At the beginning, the de-
tural practice and allied issues in the country.
scriptions of a few architects from the first gen-
The essays set the scene for the overall contents
eration is included but there after the pattern
of the book. KKM expounded on the evolution
does not observe ‘seniority’ as the reason for
ARCHITECTURE INTERIORS [32]
placement, or geography of practice as the
pursuit of ‘innovation’ which makes an interest-
basis. The present order, however provides in-
ing position for future problem. Not too many
teresting sequence to read through the probes
architects, however, said much about the mutual
of evolution without pronouncing it in an im-
competition to win design commissions or the
posed manner. The profiles include quotable
issues related to professional ethics.
quotes from many architects that tend to narrate many important messages. Intellectual position
The book contains high quality images and some
of architects on the practice, approach of archi-
rare photographs and descriptions which shows
tects in respect to their work and important mes-
the depth of probe conducted by the authors.
sage to the community of professionals or
The volume however requires a cross cutting cri-
people at large is some of the baselines included
tique of the works included and the profession-
in the statements. Whereas many statements are
als
vital to be noted, the view of Minoo Mistry in
tremendous value to the overall understanding
covered.
Such
a
chapter
shall
add
relation to making architectural solutions
of architecture in Pakistan and its states from
contextually relevant and respectful to surround-
various intellectual perspectives.
ings is very profound, Rustom Sorabjee mentioned about paying respect to experience. Some statements also depict contradictions and strong views, unconventional and deviated from the norms. One senior architect questions the
INTERWOOD ARCH TALK
MARVI MAZHAR Interview by: Iqra Wazir Photographs: Courtesy Marvi Mazhar
Marvi Mazhar , an Architect and Heritage Consultant representing the original skin of the cityand believes in the fundamental importance of heritage. She graduated from the Indus Valley School of Architecture (IVSAA) and joined Yasmeen Lari's Heritage Foundation. After completing Masters from the University of Turin, Italy ,She established her own architecture and design studio, Marvi Mazhar & Associates. She is the Director at Peache Niche (T2F), co-founder of The Architectural Design Research Lab (ADRL), member of the Lahore Conservation Society, Karachi Biennale (Outreach Committee) and South Asia Foundation (SAFPakistan), Managing Director at The Citizens Archive of Pakistan (CAP).She has done various projects in collaboration with Arcop, Shahab Ghani & Associates, EFT, Pursukoon Society, Planning, Development and Works Sindh / Culture, Tourism & Antiquities Department (PDMI) also. Some of her current projects include Conservation of Karachi Cantt Railway Station, documenting the heritage of Thatta, documentation of Karachi’s Historical Old Town Quarters in collaboration with stake holders and Sindh Government.
ARCHITECTURE INTERIORS [38]
ARCHITECTURE + INTERIORS (A+i): TELL US ABOUT YOUR EARLY SCHOOLING, PROFESSIONAL EDUCATION AND YOUR BACKGROUND?
MM: I went to Indus valley school of Art and Architecture.After graduating in 2009, I worked with Madam Yasmeen Lari. Further I got scholarship to Italy where I studied World Heritage Management in which I got a chance to work with world class Heritage Monuments.Both my parents are Doctors and I was the first Architect in my family. My 90% of focus is towards rehabilitation and heritage work. It all began with the 3rd year of my college for my mini thesis which was based on Mohatta palace. It was a dialogue with the existing structure. I used to question that it’s a heritage monument than why is it not approachable to the younger lot. I made an installation in front of Mohatta Palace which was kind of questioning it’spresence. In my final year I studied on Railway and quarters which were four old barracks and I proposed them to be turned into contemporary art galleries. The barracks were left as jewel pieces with modern wing at the back acting like a spine connecting them. I am a strong believer of working with the government .Again that’s something that a lot of young people not feel comfortable with but I feel you just have to find right way to work with the city management. That’s why i work very closely with these two departments, one is the Cultural Heritage Antiquity Department and the other one is Heritage Technical Committee. WHAT COMPELLED YOU TO PURSUE A CAREER IN ARCHITECTURE? WAS THERE A SPECIFIC EXPERIENCE OR PERSON THAT INSPIRED YOU TO EXPLORE ARCHITECTURE PROFESSIONALLY?
MM: We should know that Heritage Activism is very important and I think in that skin where I believe in the existing fabric of the city. My conversation or dialogue started with the buildings but then I also got very interested in the anthropological side of it. For me the building story, walls or the structure speaks a certain language but the people inhabiting those spaces also speak volume and I think that’s what compelled me the most to pursue it.
The person who really made a difference was in my college when I was a student and I shadowed the Anthropologistwho came here to document Sehwan Sharif and required a translator from Sindhi to Urdu. I realized at the site that the shrine, the space, the ambience became secondary and the people who inhabited those spaces became primary. I think this opened an entirely differ-
ent window in my life. WHAT DO YOU THINK ABOUT THE CHALLENGES THAT WOMEN FACE IN OUR PROFESSION?
MM: I have been asked this question before as well and I’ll say that I have never felt any drawback of being a female in ourfield. I work for hours in Railway Station and public spaces. I have never felt harassed in my field whether on site or in meetings where I am the only woman. This I am co relating to my experience of working in Shikarpur for last 3 -4 years where people are more backward but I have always gotten a lot of respect.
WHAT ARE YOUR VIEWS ON WHAT’S HAPPENING IN URBAN KARACHI ARCHITECTURE?
MM: We need to be trained to not to add on into the problems and start solving them. Right now,Rationality and identity are the major questions in Karachi. We need to explore aspects like how our vernacular or indigenous language should be used, contemporized and modernized? What are our own materials? We need to teach the students to understand the humbleness of Architecture. We are now only looking upwards and not outside. We are doing isolated construction which is wrong. The bylaws don’t relate with the existing fabric, they don’t tell you how a courtyard can be connected or how shared spaces function.
WHAT DO YOU THINK IS THE FUTURE OF OUR CITIES OR WHAT KIND OF CITIES ARE WE GOING TO HAVE 50 YEARS FROM NOW?
MM: It’s going to be a mad house and the population will play a major role. The encroachments,land use and the never ending construction in the city need to be controlled. We need to look into the fact that what master plan are we looking into?. Recently Arif Hasan was talking about the axis on which Quaid’s Mausoleum lies, imagine high rises popping up and that axis will be gone.In Istanbul you can’t build anything around the Blue Mosque because that skyline is so important to them. If anything comes in front, they will demolish it because they want their heritage to be visible from every side. That’s why the tourists come in and that’s how their city functions. WHAT IS YOUR DESIGN PHILOSOPHY AND METHODOLOGY AS AN ARCHITECT?
MM: For me, the originality is very important. When we design we have a very thorough conversation with the client. We want to know more about the person’s living habits and how do they inhabit a space. After that, we come up with a methodology for the specific project. Our design is always a conversation and extroverted.
WHAT KIND OF PROJECTS DO YOU ENJOY MORE? AND WHAT PROJECTS DO YOU CURRENTLY HAVE ON THE BOARDS?
MM: Unlike a residential project, restoration takes years to complete because everything is happening simultaneously and it’s a very slow process. But yes, I love removing layers from buildings. Building is exactly like a human, the more layers you remove the more your find out about it to reach the soul. For example, the current project of Railway Stationwhich is a neo classical building, we discovered six archesin the main gallery hall .The were hidden by marble and concrete applied over the years.We also removed seven layers of concrete from the walls and only than reached the stone .We have let some patches stay which are called layers of memory. I have various project on board, one of them is Jufel hurst School. It’s a huge fight with the land mafia, government and the education dept. The unique Goan Architecture was demolished overnight and we are rebuilding it. Pakistan Chowk is my urban project which is rehabilitation of the old town .We are also working in Shikarpur and Larkana. WHAT ARE THE THINGS THAT YOU WOULD WANT TO CHANGE ABOUT ARCHITECTURE? OR THINGS THAT MAKE YOU UNCOMFORTABLE OF ANGRY?
MM: I think the younger population should be a part of it because it’s not a single person’s job or an isolated situation. This is our city and we all have to come together to create a sense of owner ship. Unfortunately, In our country heritage is treated as a retirement plan by Architects. When they are done building all over the world than heritage becomes like a philanthropic work. We need more Architects because right now it seems like a lonely fight. It’s very easy to teach heritage in classes and an altogether different scenario in field.
INTERWOOD ARCH TALK
Pakistan Chowk before restoration
The other problem is that Architects take up this job without any specialization. We need to expand our study, research and start taking people in who are doing their kind of work. For example, I am collaborating with S.M. Najmi where he is designing the New National Food Wing and I am restoring the historic bungalow in the Centre. Such mergers should start happening where the modern wing gels in with the old structure.
well with his permission and it has done wonders for us. It taught us what he did in walled city and what are the local needs or design aesthetics.
WHICH ARCHITECTS HAVE INFLUENCED YOUR WORK?
IS THERE A PARTICULAR PROJECT/DESIGN THAT YOU ARE MOST PROUD OF?
MM: I think I was very lucky with my Gurus. Madam YasmeenLari has helped me in understanding the heritage fabric of the city. Conversations with Kamil Khan Mumtaz have taught me the theoretical side of complex forms. Najeeb Omar is my all-timefavorite in today’s contemporary work.Nayar Ali Dada and Balkrishna Vithaldas Doshitaught design philosophy. These are the people I have really close association with. Forme, this older generation is really the asset and inspiration. The thing which I carried from Kamil Khan Mumtaz who is an institution in himself is the “Mohalla Baazi”. I used this term for my Pakistan Chowk project as
ARCHITECTURE INTERIORS [42]
WHAT FUTURE GOALS DO YOU HAVE IN MIND?
MM: The goals would about more documentation and preservation. For me, It’s always about “what’s next?”. MM: Railway Station which is an ongoing project. Other than that, Pakistan Chowk would be my most passionate project. WE HAVE SEEN YOU ARE INVOLVED WITH MANY ACTIVITIES E.G. YOU ARE ALSO WORKING AS A MEMBER OF HERITAGE FOUNDATION KARACHI FOR THE BETTERMENT OF KARACHI ISSUES, HOW DO YOU MANAGE TIME FOR THESE ACTIVITIES?
MM: 70% of my time goes in the field. I am always connected and corresponding I am out of the city for work most of the time but my office says it feels like you are here. The more you get involved with the city the more
Pakistan Chowk after restoration
understanding and practicality comes out. Thirties is the prime time where you should build yourself in such a way that your body is intuned to all the problems and hardships of the city. WHAT STEPS SHOULD BE TAKEN TO ENHANCE AND PRESERVE THE ARCHITECTURAL HERITAGE?
MM: EDUCATION is the best way. You have got to spread the knowledge of Heritage. Government’s vigilance is of absolute importance. They have to be on their toes constantly and the most critical thing is the questioning by common man. For example, the scaffolding of Frere Hall was jarring to the eye, the work never got completed and nobody asked what happened to the funds or why was the work not done. I feel very nervous when people don’t question or write about such matters. WHAT OBSTACLES USUALLY COME YOUR WAY IN ARCHITECTURAL PROJECTS AND CONSERVATION OR RE-ADAPTATION OF BUILDING?
MM: From restoration point of view, there is lack of Artisans and Craftsmen. Unfortunately we don’t invest in this sector and we have lost our experts be-
cause we made them realize that we don’t need them. Talking about legality, before starting restoring just getting the N.O.C is extremely difficult so the bureaucracy kills us than the artisans are unavailable and by that time the client gets tired.We don’t have indigenous Art schools or vocational centers for the artisans or labor for training as well. WHAT ADVICE WOULD YOU LIKE TO GIVE FEMALE STUDENTS AND ARCHITECTS ENTERING IN THE FIELD OF ARCHITECTURE?
MM: My humble advice would be that explore and study your city. Understand the methodology the city functions on and complex nature of city development. I think it’s important to understand the touch and feel first. Developing a new concept after that will be more nourishing. They should know the city in and out.
Many thanks for talking to us!
INTERWOOD ARCH TALK
MANSOOR GHANCHI Mansoor Ghanchi a name that defines dedication and hard work. He joined Habib Fida Ali Architects (HFA) in 1981 and gave his 36 years to the firm. He has a number of known projects in his name and shadowed Habib Fida Ali in almost all of his projects. Mansoor Ghanchi continues to carry forward the legacy of HFA and deliver products of discipline, timelessness and simplicity.
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ARCHITECTURE + INTERIORS (A+I): TELL US ABOUT YOUR SUCCESSFUL CAREER JOURNEY BACKGROUND AND YOUR ASSOCIATION WITH HABIB FIDA ALI?
Mansoor Ghanchi: After the completion of my education I was looking for a place where I can practice and gain experience to establish a studio to design and print. I was very fortunate to get introduced to Sir Habib Fida Ali (HFA) by my uncle which proved to be the turning point of my life. He generously allowed me to sit in his design studio. The magic of his personality, support of my seniors and the environment of the place never let me think about going elsewhere. I joined the firm in February 1981 and soon got the opportunity to work closely with HFA. We did three projects in Dhaka. Currently I am working on two more projects in Dhaka as well. The doors were opened by him to go further towards the road of success and travel the world to learn and serve. I utilized my experiences while working with NGOs for Education of “Deen Aur Duniya”. Simultaneously I was allowed by my mentor to be involved in planning of industrial projects like Dewan Motors, Chipboard and poly bag plant etc which led to the exploration and search of innovative Building Materials. It’s all due to him that I am standing in the front line to carry forward the legacy of HFA and the brand that he introduced. I am also thankful to Syed Babar Ali, Dr. Saleem Habib and Sheikh Mukhtar Ahmed Sahib for their support to reach the elevation, where I am today.
Bank Building, Multan
YOU WERE VERY CLOSE TO HABIB FIDA ALI AND DEFINITELY HE WAS YOUR MENTOR, NOW HOW YOU WILL MANAGE THINGS AFTER HABIB FIDA ALI?
MG: Yes, I was very close to him and it is difficult to express the respect that I have for him in words. I am known as Mansoor Ghanchi of Habib Fida Ali which is evidence of his role in my success. HFA equipped us to look in to the affairs independently. Over the years he evolved a system based in various sectors to deal with different sort of projects. The way I am taught and trained during these 36 years of association with the great Habib Fida Ali, I am confident that we will manage and continue to deliver the desires of the end-user by the Grace of Almighty. Our recently awarded projects in Education, Health and corporate sector shows the trust of our clients on Habib Fida Ali Architects . WAS THERE A SPECIFIC EXPERIENCE OR PERSON THAT INSPIRED YOU TO EXPLORE ARCHITECTURE PROFESSIONALLY?
MG: One of my Art teachers used to draw old Karachi streets and I was so fascinated by the art that I started to do the same. He encouraged me to design and make 3D models. When he saw my work, he suggested that I should take it up as a profession. Mansoor Ghanchi with his mentor (Late) Habib Fida Ali
INTERWOOD ARCH TALK
WHAT IS THE MEANING OF ARCHITECTURE TO YOU?
CHITECTURE OR DID YOU HAVE TO EDUCATE THEM A LOT?
MG: To me Architecture is tool to add beauty without spoiling nature and an opportunity to make life easy for others.
MG: While you are working with a living legend, it is always a challenge to make yourself noticeable in the market but the way HFA gave us the platform, it was dealt with in no time.
WHAT IS YOUR DESIGN PHILOSOPHY AND METHODOLOGY?
MG: I try to create something different without losing the grace of simplicity. I do not believe in turning somebody’s dreams in to unwanted product. This is what a self-explained methodical arrangement offers.
YOU CURRENTLY HAVE ON THE BOARDS?
We build less on ground more on paper but the fact of the matter is that every challenge invites you to improvise. Eventually you learn more ways to put your ideas across which helps you to deal with confused clients. I simply follow this method and by the Grace of Almighty Allah turned challenges into opportunities. Iam lucky that most of my clients are clear about their needs and understand architecture as well.
MG: I enjoy every project of mine but Institutional and corporate interest me more.
WHAT DO YOU ENJOY MORE: ARCHITECTURE PROJECTS OR INTERIOR PROJECTS?
WHAT KIND OF PROJECTS DO YOU ENJOY MORE? AND WHAT PROJECTS DO
I have variety of assignments on the board for Educational and financial institutes. A Planetarium is in the design phase as well.
MG: I enjoy Architectural assignments because its offer more creation and innovation. Architecture makes you feel more responsible. WHAT TYPE OF PROJECTS YOU ENJOY MORE: COMMERCIAL OR RESIDENTIAL
WHAT WERE SOME OF THE CHALLENGES YOU FACED IN PRIVATE PRACTICE?
AND WHY?
WERE YOU LUCKY TO HAVE CLIENTS WHO HAD AN UNDERSTANDING OF AR-
MG: I have done residences as well but I am in to all kinds of projects
Executive Development Complex
ARCHITECTURE INTERIORS [46]
Lahore University of Management Sciences
INTERWOOD ARCH TALK
because the canvas of Architecture offers variety of opportunities. HOW WILLING ARE YOU TO COMPROMISE DESIGN IDEAS TO FIT PRICE POINTS AND CLIENTS DICTATION?
MG: When your plans are based on minimalism and the design brief is the end of dictation, then the story is simpler. It is a fact that space efficiency gives you more command on expenditure in many ways. HOW WOULD YOU DESCRIBE YOUR PERSONAL STYLE OF DESIGN?
MG: It is closer to ground realities. I try to minimize the role of a guide in my design. WHICH ARCHITECTS HAVE INFLUENCED YOUR WORK? Academic Block SIBA, Sukkur
MG: Of course Habib Fida Ali! Other than him Richard Meier for his lines and Tadao Ando for his finishes. WHAT FUTURE GOALS DO YOU HAVE IN MIND?
MG: I want to do more for Educational Institutes. There is so much that needs to be done in this sector which is often neglected. IS THERE A PARTICULAR PROJECT/DESIGN THAT YOU ARE MOST PROUD OF?
MG: My contribution in LUMS and Mohatta Palace make me feel energetic. These projects are not only mine but a source of pride for Pakistan. HOW SUPPORTIVE WAS YOUR FAMILY? TELL US ABOUT YOUR FAMILY.
Hostel Block, Lahore
MG: Without the support of my family this journey would have been a dream only. My wife looked after everything while I was away for the projects and work. She tried to give me as much time for work as possible. My daughter and her husband are Doctor. My son is in final year of architecture and his wife is in fashion design. We support each other through thick and thin. WHAT ADVICE WOULD YOU LIKE TO GIVE STUDENTS AND YOUNG ARCHITECTS ENTERING THE FIELD OF ARCHITECTURE?
MG: Tomorrow will be more challenging than today and to face these challenges they must choose the right path. They have to craft their ways to get strength to perform in given conditions. It is never wrong to do the right thing. Consistency of efforts brings result and action without delay is the secret of efficiency so be efficiently consistent. Many thanks for talking to us!
Sports Complex, Uttara, Dhaka
Commercial Complex, Banani, Dhaka
Corporate HIB, Karachi
Corporate Office Building
Sports Complex, Karachi
SPORTS ARCHITECTURE
AQUATIC CENTRE HABIB FIDA ALI ARCHITECTS
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LUMS COCA COLA AQUATIC CENTER Project Location Client Architect Project team Project Manager Structural Engineer M&P Consultant Electrical Engineer Consultant for Pool Contractors Building Area Building Height
LUMS COCA COLA AQUATIC CENTER DHA Lahore Lahore University of Management Sciences Habib Fida Ali, Architect MansoorGhanchi, Nasheetul Islam National Management Foundation Republic Engineering Corp. Suhail Ahmed Associates MEP Solutions Wave Associates Professional Construction Services 35600 Sft 45 feet
SPORTS ARCHITECTURE
Text by: Kaynat Jabbar & Rabia A, Qureshi Photographs: Courtesy LUMS
The Lahore University of Management Sciences is an independent research center located in Lahore Pakistan. The University excelling in academicism moved a step ahead in extra-curriculum and set out the first Aquatic Center of its kind. Initially this Aquatic centre was assigned to HFA. Later they decided to go for a competition through PCATP. “After reviewing all the entries in the competition, we realized that the initial proposal given by Habib Fida Ali Architects was best suited for our needs.� said Amir Khan Durrani, Director Administration & Services at LUMS. Hence, once again Mansoor Ghanchi was called to take up the task. The main concept of designing this building was to create a compact facility for the extracurricular activities of the students. It was designed based on the needs of students for aquatic activities and to offer a space for swimmers to be trained for international competitions. The building is equipped with re-
ARCHITECTURE INTERIORS [52]
quired up-to-date modern technologies which are supported by dehumidifiers and HVAC systems. It is an aquatic center with the pool of 25 meter as per F.I.N.A standards with allied facilities. "The aim was to design a place where users can recharge themselves to deal with the demands of tomorrow. A self-explained, easy to maintain, space efficient, cost effective and user friendly environment for both faculty and students" - Architect Mansoor Ghanchi LOCATION AND FORM: The building located on the South of the educational institute, adjacent to the Sports Complex, is simple yet voguish in appurtenance. The site is primarily not in the portion of the institute where it would become a hindrance to the academic departments of the university, but it is in fact the part which is allocated specifically for sports. The form of the building is a simple block model made with a R.C.C framework surrounded by in fill cavity wall and cladded with Red Brick that perfectly blends into the context. The form of the building relates well to the overall ambiance of the campus.
SPORTS ARCHITECTURE
PLANNING: This aquatic Center is deigned on split levels to use the spaces to the maximum. These levels play a major role for dividing the audiences and the swimmers as well. The building has multiple entries to approach areas, offering different recreation. Upon entering the building from the leading road side the double height reception with the aquatic center label is create to welcome the dignitaries, guest swimmers and the spectators. On the right side of this foyer, guest swimmer can reach the lockers, changing and bathing area by going down and spectators can go up to the viewing gallery whereas on the left hand side steps take people down to cafĂŠ Teria. Another viewing gallery can be reached by taking the steps going up. The entry connected to Sports Complex takes the swimmer directly to the Changing and bathing areas. Well placed admin office and sport shop separate the facilities for Male and Female user. A time schedule is being adhered for male and female to enjoy this marvelous pool. Third entry facilitates the
ARCHITECTURE INTERIORS [54]
physically challenged person and act as emergency exit as well. At this side a sculptural stair case from outside is a source to reach the Gymnasium without disturbing the pool activities. Roof can be reach by said stairs to maintain the equipment as well. THE POOL The pool area itself is temperature controlled, with ducts located for the very purpose that run along all four orientation of the pool hall. Sitting place for the audience is located on the East and West side of the pool, 5 rows on each side and 39 seats in each row. The center can accommodate up to 390 people as audiences. The South side of the pool at the ground level accommodates two pockets of spaces which act as relaxing or rest area on the back of which is the changing and prep area for the participants, whereas the upper level has the waiting room as well as the public toilets for handicaps. The pool itself is 25m X 21m with a deck area of 3m all-round. The depth of the pool varies as 6'-6" as deepest and 4'-6" as the shallowest. The swimming pool has a service path on all four sides at basement level. All the equipment
and other apparatuses are placed at this level to support the pool. MATERIALS For the roofing of this complex, Prefabricated Steel Structure with pre-engineered sandwich panel sheets as covering is used. This light weight, cost effective, energy efficient arrangement is the most suitable solution for this type of building. Roof primarily is slanted at four sides and has slopping segments from the top and has skylight which illuminates the entire hall. A total of 16 skylight windows are installed which are divided as 4 on each orientation. The building uses LED lights and invertor based HVAC systems to ensure its energy efficiency.
Marble is used at the entrance as well as on staircases. 10"x5"tiles with special indentations are used on the stairs of the sitting area to avoid slipping. 1' x 1' matte tiles are used the deck area to avoid slipping whereas a complete system tiles are laid for pool and its edging. The patterns of dark blue tiles emphasize the swimming lanes for competitors. It would be fair to say the building serves functionally as well as aesthetically for an Aquatic Centre with complementing the rest of the educational campus. The use of RCC frame structure with pre-engineered light weight roofing, insulated walls, natural lighting in abundance, use of HVAC systems, use of modern technology, its simple form, an effective planning add up to make this building a cost effective, easy to maintain, space efficient and energy saving complex.
HEALING ARCHITECTURE
HEALING THROUGH DESIGN HUSAINI BLOOD BANK AND THALASSEMIA CENTER INTERNATIONAL DESIGN CONSULTANTS
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HEALING ARCHITECTURE
Text by: Kazim Manzoor Photography by: Umair Ahmed
LTD, located near Sakhi Hassan at Qalandri chowk. The Husaini Radiology and Thalassemia Center was intended by IDG PVT LTD to offer a restorative Heal-
Cities all over the world today are overwhelmed with the task of keeping up
ing environment to patients, as well as opportunities for social activity. The
with the demographic expansion. Not only do they have to grow, but densify;
architects, whose past projects include a A.F.I.C Hospital and many other hos-
not only provide infrastructure, but update it. One of the most high impact areas
pitals, wanted to create a building that departs from the typical form of a
is health care, making the health sector remain always in need of re-using, re-
medical facility, and is more responsive to social responsibilities and healing
cycling and new proposals. This provides an opportunity for a never-ending
of patients through architecture.
process, since a Hospital is never finished and is a continuous building site. Architect Syed Manzoor Mehdi Says “If hospitals are making people sicker, The greatest considerations in health-care design have traditionally been func-
where are the architects and designers to help us build and design hospitals
tionality, hygiene, efficiency, and flexibility for changing technology and hos-
that allow us to heal?”
pitals have thus evolved to become dehumanizing ghettos. Emphasis on shorter inpatient stays coupled with economic constraints has only exacer-
Husaini being a welfare organization wanted to keep their activities transpar-
bated this tendency.
ent to public. Transparency thus became a crucial element of the design by architect Syed Manzoor Mehdi Naqvi. The architect has used glass exten-
Husaini Blood Bank launched a new hospital building, designed by IDG PVT
sively within the building in order to offer maximum visibility of activities
First Floor Plan
Upper Basement Plan
ARCHITECTURE INTERIORS [58]
Ground Floor Plan
HEALING ARCHITECTURE
happening within the hospital. It also helps in healings of patients as research
metric form with a central volume that ties together or anchors two other vol-
suggests that patients who are exposed to activities and social support tend
umes visually and spatially, thus acting as a design datum. This central volume
to heal faster than those who have no views or are less exposed to activities.
is clad with stone, which the architect used to symbolize responsibility for the
The architect designed the spatial arrangement of the rooms in such a way
earth and actively striving to preserve, restore or improve the natural environ-
that it maximizes the functionality of the building. Each room is designed very
ment. It also makes this central organizing feature stand out aesthetically. The
carefully, awarding each room a view to activities happening adjacent to it.
architect’s idea of flushing the stone with light at night time not only gives the building a majestic look but also helps make the hospital a major landmark in
The architect’s design allows differentiating the users by providing access
the neighborhood.
through two separates entrances – one leading directly to the basement parking through a ramp reserved for staff, while the other leads to the reception
The interior of the building is done by architect Syed Kazim Manzoor Naqvi.
which is for the public, clearly identifying public, semi-private and private
The intention was to add minimalistic interventions and not to overdo the in-
zones with in the building.
terior that helps in creating a soothing and healing environment for its users. The white-painted walls contribute to the bright interior, while the wood work
In terms of exterior form, the main body of the building is a monolithic geo-
ARCHITECTURE INTERIORS [60]
creates continuity with the idea of using natural materials.
Nature’s impact on man’s state of mind has been described in a variety of
The architect explains that there is a distinction between the terms “heal”
studies. Sometimes a beautiful picture of nature will suffice to achieve this ef-
and “cure” although the two terms are often used interchangeably. Healing
fect. Plants and natural landscapes have shown to have a powerful impact on
refers to alleviating a person’s distress or anguish. Curing is the relief of the
people who are ill and have always been a positive diversion for them. Thus,
symptoms of a disease or condition. Furthermore it has been known for eons
lots of plants along with paintings are placed with in the building while the
of time that color plays a major role in setting up a particular mood or state
negative spaces of the building are cleverly used as healing elements; small
of mind, and therefore the architect used the colors in such a fashion that it
landscape instillations are placed that consists of visual effects along with
helps in creating an environment that is soothing and helps the healing
sound effect of water dripping etc., which helps create a soothing and tranquil
process of patients and also complements Husaini’s own color theme of red
environment within the stressful environment of a hospital.
and white.
EXPO ARCHITECTURE
ARCHITECTURAL LANDMARK THE EXPO CENTRE, LAHORE NAYYAR ALI DADA ARCHITECTS Text & Photography: Architect Nayyar Ali Dada Associates
ARCHITECTURE INTERIORS [62]
THE EXPO CENTER, LAHORE Architects Client Location Principal Architect Project Team Site Area Project Area
Nayyar Ali Dada & Associates Export Promotion Bureau Johar Town, Lahore Nayyar Ali Dada Ghazanfar Ali, Nausheen Jabbar, Raza Ali Dada, Muhammad Nawaz Asim, Abdul Majeed Butt, Umar Hayat Khan, Saima Shah 167,225 sqm 40,850 sqm
EXPO CENTER HAS EMERGED AS HIGH PROFILE ARCHITECTURAL LANDMARK OF LAHORE FOLLOWING THE ALHAMRA ARTS CENTER AND IS LOCATED IN THE NEWLY DEVELOPING AREA OF LAHORE. THE FACILITY PROVIDES FOR ESSENTIALLY TWO KINDS OF PROGRAMS, NAMELY A CONVENTION CENTRE WITH CONFERENCE AND AUDITORIUM FACILITIES AND AN EXHIBITION ZONE WHERE VARIOUS SCALES OF EXHIBITIONS AND EVENTS CAN BE HELD.
Expo Center has emerged as high profile architectural landmark of Lahore following the Alhamra Arts Center and is located in the newly developing area of Lahore. The facility provides for essentially two kinds of programs, namely a convention centre with conference and auditorium facilities and an exhibition zone where various scales of exhibitions and events can be held. The project expresses an architectural approach that varies just as its programming. An array of four high technology, pre-fabricated modern steel structures represents an industrial approach for entirely flexible space that is expandable in modules. Large spans up to 120 feet in width account for excellent usability along with adequate heights, while mezzanine levels provide for administrative, business and catering functions. Due to the modular nature, the flow of visitors is seamless as the volume and architectural detailing sets out to address the natural lighting and climate-related issues. These exhibition spaces form an arc that encompasses the Convention Centre building which takes on a completely different architectural concept. This building that also doubles as a cultural centre relies on the artistic and local heritage of Lahore and uses regional cues as a basis to form its new contemporary language out of exposed brickwork. This building provides various facilities such as a 1200 and a 300 seat auditorium, meeting and conference facilities with all new technologies integrated within them and flexible to adapt to newer ones in the future. The monumental scale which again connects to historical buildings of Lahore responds appropriately to the natural materials and resources used for this building which takes what seems to be the centre stage of this project. The two statement could not have been more different, and truly reflect the varied programming within the project as well as the dynamics of growth in various sectors of Lahore as a city. The traditional cues have been rendered with a minimalist attitude resulting in a creative contemporary expression that demonstrates futuristic thought while maintaining the necessary connection with where this project is located.
ARCHITECTURE INTERIORS [64]
EXPO ARCHITECTURE
Expo Hall
Ground Floor-Expo Hall
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Expo Convention Center Main Foer
First Floor-Expo Hall
First Floor-Convention Center
Ground Floor-Convention Center
Master Plan
EXPO ARCHITECTURE
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The Convention Centre successfully displays the craftsmanship and local materials that Lahore has historically maintained over the years. Brickwork, hailing for the environs of Multan finds its way as the primary material in the interior as well and provides a complimentary backdrop for detailed woodwork in railings, colored cement floor tiles, hand-made ceramics and blown glass light fixtures. Due to the proximity of these Exhibition and Convention Centre buildings, dynamic outdoor green spaces are formed that present multiple uses for various events. Logical and carefully laid out street network and pedestrian movement all around and within the buildings is adaptable to many different arrangements and adds to the flexible arrangement of the entire program. This technologically advanced facility has another phase expected to be completed in the near future. So far 2 out of 4 Exhibition halls have been completed and function well. The remaining two are awaiting funding whereas the entire landscaping around the buildings, which is absolutely essential at such a stage is also pending to date. Despite the unfinished phases, the Expo Centre has become a much admired and noted facility that is now beginning to service the gap for a multitude of public and business events that were not being serviced earlier.
HOSPITALITY ARCHITECTURE
LARA KERVANSARAY HOTEL AND CONVENTION CENTER EAA-EMRE AROLAT ARCHITECTS
ARCHITECTURE INTERIORS [70]
LARA KERVANSARAY HOTEL AND CONVENTION CENTER CLIENT LOCATION CONCEPT DESIGN ARCHITECTURAL PROJECT RESPONSIBLE ARCHITECTS CONCEPT PROJECT TEAM FUNCTION AREA INFORMATION STRUCTURAL PROJECT MECHANICAL PROJECT ELECTRICITY INFRASTRUCTURE
KERVANSARAY ANTALYA-TURKEY EAA-EMRE AROLAT ARCHITECTS EAA-EMRE AROLAT ARCHITECTS EMRE AROLAT, RIFAT YILMAZ, LEYLA KORI EMRE AROLAT GONCA PAŞOLAR, NESLI KAYALI, ELIF KARAELMAS, ÇAĞRI YILMAZ, ORHUN ÜLGEN, EKIN ERIK HOTEL AND CONVENTION CENTER GROSS AREA: 87 000 M² BIRIM GN HB TEKNIK EKIZ PROJE
HOSPITALITY ARCHITECTURE
ARCHITECTURE INTERIORS [72]
Text and photographs: Emre Arolat Architects
In the complex built in Antalya’s Lara region, on one of the many touristic plots that are lined up in juxtaposition and perpendicular to the sea, rather than using the customary fragmented polyphonic masses which form the main trend in the region’s architecture, drawing the entire building complex to the west of the plot and transforming the spaces facing the east and the south – the sea – into open areas created a simple and rigid mass which resulted in a contrast with the neighboring constructions that wasn’t intended beforehand. The main mass comprising the bedrooms was shaped according to the premise that the width of the front elevation remain within the limits allowed by construction regulations, that limits for height would be used to the maximum, and that all rooms would have a view of the sea. The vast space between the two lines of bedrooms was covered with a semipermeable ceiling to create the hotel’s indoor recreational areas.
ARCHITECTURE INTERIORS [74]
The shift in scale that was assumed would be created by this area, which is much larger than its counterparts, and the perceptual distortion that would be formed by the landscaped gardens between the interior and the exterior and which divide the area, were aimed to conjure the theatrical world expected from such buildings. This world was to be nourished by the interior lighting which would sustain the tension by changing in color and increasing and decreasing; by the digital platforms which appeared in unexpected places and shapes; by the constant bombardment of information from the scrolling; and by the darkness of the rooms which are far from being Mediterranean. Instead of building imitations to be consumed by tourism, the misty environment that was formed was intended to take the user outside his customary habitat for a limited amount of time. The choice of construction materials, the questioning of covering and concealing habits, which dominate customary design strategies, and the repeating load-bearing system which optimizes construction techniques made it possible to build the complex with a relatively low budget and in a short time compared to similar buildings.
CIVIC ARCHITECTURE
MODERN ESSENCES OF LUXURY AND INNOVATION Christian Dior Opens Exclusive New Boutique in Seoul
Architect AECDP Christian de Portzamparc Text by: ACDP Architects Photography by: Nicolas Borel
“I wanted the building to represent Dior and to reflect Christian Dior’s work. So I wanted the surfaces to flow, like the couturier’s soft, woven white cotton fabric. These surfaces, which soar into the sky and undulate as if in motion, crossed by a few lines, are made from long moulded fiber glass shells, fitted together with aircraft precision. In Seoul, where the quadrangular buildings align with the avenue, and which are all occupied by leading international fashion labels, the building stands out like a large sculptural tribute to Dior, inviting everyone to step inside. The entrance, where two shells come together, is a sort of modern lancet arch, in which two metal mesh surfaces cross in line with the clothing metaphor. Once inside, the customer makes a succession of discoveries – a feature typical of the interiors designed by Peter Marino.” Christian de Portzamparc ARCHITECTURE INTERIORS [80]
CIVIC ARCHITECTURE
Project Data: Local Architect/Project Manager DPJ & Partners, Architecture GFRP Façade Development DPJ & Partners, Architecture Design Base Structural Engineer CS Structural Engineering GFRP Façade Quality Control BureauVeritas Lighting Designer L’Observatoire International Main Contractor Kolon Global Corporation GFRP Façade Sub-contractor Design Base Metal Façade & Curtain Wall Sub-contractor Iljin Unisco Location: 464,Apgujeong-ro,Gangnam-guSeoul,Korea Program Flag ship Store, Gallery and Café Construction Period June 2013 to June 2015 Main Building Elements Glass Fibre Reinforced Plastic(GFRP) façade composed of self-standing 11 panels of 6mx20m Anodized aluminum panel claddings
Christian Dior is delighted to announce the opening of a brand new Dior Boutique in Seoul. Nestled in the heart of the city’s elegant Cheongdam-dong, Gangnam-gu district, the innovative and unique building has been designed by the French architect Christian de Portzamparc, winner of architecture’s prestigious Pritzker Prize. The interiors have been designed by the internationally renowned architect Peter Marino. Portzamparc’s ambitious new creation is a sculptural and fluid structure that redefines the landscape it sits in. Famous all over the world for his buildings including the LVMH Tower in New York that challenge the status quo of urban architecture whilst still remaining in keeping with the grandeur of their locations, the outstanding House of Dior Boutique in Seoul is no exception. The voluminous folds of its bright white façade were inspired by the fabrics, shapes and movement of the toiles created in Dior’s Haute Couture Atelier at 30 Avenue Montaigne. Taking the form of twelve soaring resin and fiberglass sails that stand proud above the building’s base, itself decorated with Dior’s cannage motif, the four year process of design and construction required significant technical innovation.
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CIVIC ARCHITECTURE
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The six-story Boutique will house the exclusive world of Dior including accessories, fine jewellery, watches, womenswear, shoes and menswear as well as a VIP Lounge, Gallery and Cafe Dior operated by Pierre Hermé. The Peter Marino designed interiors blend inspiration taken from Dior’s iconic Avenue Montaigne flagship in the shape of a feminine and glamorous aesthetic with the modern, delivering a timeless take on elegance that showcases the brand’s exquisite attention to detail. Alongside luxurious interior design, a carefully curated group of artworks by
some of the world’s leading contemporary artists has been chosen to display throughout the store. On entering the building between the folds of its towering white sails, two intricate benches of woven branches and leaves created by the French sculptress Claude Lalanne take pride of place. Above them hangs an installation made of crystal, glass and aluminum by the Korean artist Lee Bul, one of Asia’s leading female artists. Downstairs,
CIVIC ARCHITECTURE
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with sleek architectural symmetry, luxe materials, and rich, tactile finishes, marks the new multi-dimensional retail space for Dior Homme. On the second and third levels, the carefully considered art collection continues with furniture designed by the French artists Hubert le Gall and Hélène de Saint Lager, table lamps by Véronique Rivemale, a piece by the American artist Rachel Hovnanian in the shoe salon and a ceiling covered in the beautiful liquescent mirrored glass decoration of the artist Rob Wynne. An exclusive VIP Lounge and Gallery to be used for private appointments sit on the fourth floor, with a reception featuring six framed drawings by the Austrian artist Lucas Zallmann and a sculpture by Carmelo Tedeschi. Step through into the adjoining gallery to find a pair of Innerblow benches by Nendo, lamps by Curtis Jere and a console by Juan and Paloma Garrido, all of which lend themselves perfectly to this unique space. Upstairs, the rooftop Cafe Dior by French pastry chef Pierre Hermé, provides an elegant space to relax after shopping and the perfect place to discover the unique world of tastes, sensations and pleasures of the Maison Pierre Hermé Paris. The inspired menu will include a carefully selected range of macarons, chocolates, ice cream and cakes as well as a special selection of Pierre Hermé Paris drinks and will evolve and grow according to the seasons and the desires of Pierre Hermé. To celebrate the opening of this groundbreaking new boutique in Asia, Dior has launched a Limited Edition collection to be sold exclusively in Korea. Featuring handbags and accessories including special versions of iconic Dior items, all of the pieces will be numbered and engraved with the words “Limited Edition.” From concept to design, experience to product, technical prowess to its extraordinary attention to detail, this unique and world leading new Boutique reflects the whole exclusive world of Dior from its heritage of timeless elegance to its modern essences of luxury and innovation. It is scheduled to open its doors for the first time on June 20th 2015.
INTERIOR DESIGN
A NOD TO TRADITION AND
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HERITAGE
Text and Photographs: Caroline Collett MA Oxon
I
t was confirmed that The Principal York (designed by Goddard Littlefair and one of the launch hotels for PRINCIPAL, a collection of landmark hotels in UK city centres) has won the Gold Award for Hospitality Interior Design at the London Design Awards 2016, to be presented at a ceremony in March of this year. The new award is in addition to the hotel’s double success at the Visit York Tourism Awards, where it won both Conference Venue of the Year and the overall Hotel of the Year crown. ThePrincipal York was also shortlisted twice over for the refurbishment of its public spaces at the EHDAs (European Hotel Design Awards) at the end of 2016. The magnificent, Grade-II-listed hotel, boasting beautiful gardens and views over York Minster, was originally one of Britain’s greatest Victorian railway hotels, housed in a purpose-built building in yellow Scarborough brick by architect William Peachey and first opening its doors in 1878. After the hotel was acquired by Starwood Capital, Goddard Littlefair was commissioned to redesign its public spaces, including the lobby, reception, Garden Room, entrances and corridor spaces, as well as all 159 bedrooms and suites.
The Colonnade, where guests enter from the railway station
‘Our overall ambition was to breathe life back into every artery of the hotel’s interior’, Goddard Littlefair Director and Co-Founder Jo Littlefair explained, ‘giving a nod to tradition and heritage, but also creating a tremendously warm, light and welcoming contemporary environment for guests. We were briefed to reinstate the hotel’s essential character and to pay respect to its original architecture, whilst at the same time ensuring a feeling of comfort, restfulness, so that The Principal York was once again a true destination hotel.’ The hotel originally had two entrances, with the first on the garden side of the hotel for guests arriving by coach or car and a rather secondary entrance on the other side for guests arriving by rail. One of the first key elements of Goddard Littlefair’s new plan was to ensure both entrances were of equal importance so that all guests had a real sense of arrival, with both routes quickly joining one of two main public space circulation axes – the Promenade or the Colonnade. The ‘business’ of arrival is now contained within a relocated reception area, located off the Promenade, so the overall public space feels less transient and suitcases can disappear quickly into this dedicated and spacious contained room. Reception seating area
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Reception Desk
The Lobby Lounge
Lobby Lounge with newly-cut-through view of The Garden Room
Lobby Lounge seating area
Above: Staircase leading up from Lobby Lounge Bottom: Lobby Lounge seating
Above: Looking down the stair into the Lobby Lounge Bottom: Stairs leading to rooms
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A different suite lounge
Suite (example B), The Principal York
Opening up views throughout was key and two brand new entrances were cut into the Garden Room, alongside three more into the relocated reception area, so that the ground floor is flooded with light and there are tempting glimpses of spaces beyond, whichever way guests traverse the building. The new public and lounge spaces are bright and generously-proportioned and offer food and beverages throughout the day, from teas and coffees to afternoon tea or an evening menu, maximising revenue possibilities from the fabulously light and welcoming space. The central design concept was to create a modern and softer interpretation of a country house, featuring over-scaled furniture, such as large wing chairs, to ensure an instant feeling of welcome, combined with a light and soothing colour palette, featuring a gentle and fairly neutral base with softer highlights in shades such as eau de nil and lavender. Similarly, the furniture is in colours such as tan, buff and charcoal, with small amounts of texture and pattern for added interest. Interesting and unique art and antiques give the interiors a sense of heritage and character, whilst traditional, high-quality materials, including linen, leather, wool and linen velvet express both comfort and authenticity. A sense of place is incorporated through, for example, artworks referencing York Races or images from historic society gatherings in York, particularly involving the Duke and Duchess of York. The design team also integrated architectural drawings of Castle Howard and other local stately homes, as well as antique maps. The whole scheme features a series of antique objects, handpicked by Goddard Littlefair from antique markets around the country, including old trunks, for example, and beautiful stone dogs. The furniture throughout is also bespoke. This ensures a unique environment and is part of the Goddard Littlefair design approach, looking to create as many bespoke items as possible, so that they are always designed with the exact location, function and end-user in mind - and also embody a certain location-specific exclusivity. Lobby lounge sofa with example of single-tier chandelier
HAPPENINGS
WORKSHOP To put spotlight to this and to encourage the upcoming architects and artists to consider and put an insight to such delicate matters and to understand the meaning of “Deep Beauty” in architecture, the Department of Architecture, UET, Lahore , in collaboration with Higher Education Commission of Pakistan and Kansas State University, USA organized a 3 day workshop titled ’Exploring “Deep Beauty”in Architecture ; Reconciling Tradition and Modernity’. In this workshop, participants were invited to explore the presence and experience of Deep Beauty in nature, art and architecture. In answer to the question of how architects can create buildings and landscapes characterized by Deep Beauty, participants were provided with a conceptual model comprised of three interconnected levels of design and metaphoric signification that might be likened to a tool for the excavation of ever-deeper and more meaningful layers of architectural experience.
IAPEX 2017 IAPex 2017-Lahore was held from 25th to 27th April in Lahore. The Opening ceremony of the Annual Architects Convention and Building Products exhibition organized by IAP Lahore Chapter was performed by Sh. Alauddin, Minister for Industries and Investment, Government of Punjab. The various events such as; Materials and Building Products exhibition, Students Jamboree, IAPex Forum, Cultural evening and Closing ceremony had a very good participation from both Architects and Students from Architectural institutes from across the country. A host of paper readers from Pakistan and abroad presented their scholarly works relevant to IAPex 2017 theme "CONSERVATION OF HERITAGE: EXPLORING NEW CONTEXTS". The key note presentation by Dr. George Arbid from Lebanon was followed by enlightening presentations by Ar. Ashley De Souza from Sri-lanka and Prof. Sajjad Kausar from Pakistan.
ARCHITALKS ArchiTalks - A Collaborative initiative of Agha Steel and ARCHI TIMES. The series of events for Architects, Engineers, Consultants, Researchers, Academicians and representatives from the field where they gather and express their views, concepts, ideas on various topics to move towards a mutual agreement under the slogan “Sharing Knowledge-Building Future”. Dr. Noman Ahmed, Chairman Department of Architecture and Planning, NED-UET, Karachi delivered an encapsulated presentation on the topic “Karachi-The Planning Dilemma”. He shed light on the historical development, heritage and modernization of the city. He started with the historical background of the city and the rapid growth of population that continues to increase till date and finally reached over 22 million.
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